Dave Grohl of the Foo Fighters performs at Lollapalooza in Chicago.
Sacha Lecca for Rolling StoneThe last time the Foo Fighters headlined Lollapalooza’s flagship festival in Chicago in 2011, the band appeared to have the power to control the skies. During “My Hero,” every guitar stroke seemed dramatically timed to each torrential downpour, eliciting buoyant cheers from the crowd. Back then, weather was the typical worry at an outdoor festival. Now, of course, the main concern over large gatherings such as Lolla is the potential to become a super-spreader event.
In a press conference on Sunday morning before the festival resumed for its fourth and final day of 2021, Mayor Lori Lightfoot gave an update on Covid-19 and, along with the Chicago Department of Public Health Commissioner Dr. Allison Arwady, discussed Lollapalooza. Lightfoot said, “90 percent of the people that are at Lolla are vaccinated” (although it was unclear who provided the data for that statistic) and that the festival had done a good job with the protocols. She said Lollapalooza is only one of many large outdoor gatherings the city has held this summer and that Chicago’s been able to reopen carefully because of the emphasis on getting vaccinated. “I feel very good about what we’ve done,” she said. “Obviously we’ll know a little more in a week to 10 days.”
Addressing videos that showed attendees holding up their vaccination cards as they quickly went through gates with what appeared to be little examination, Lightfoot said that she and Arwady visited the gates themselves and that they were “comfortable” that the protocols that were put in place were solid, adding that the fest had even turned “hundreds” away.
On Friday, city health officials recommended universal mask-wearing indoors, and the festival followed suit with the guidelines, requiring attendees to wear a mask in indoor spaces on the grounds starting on Saturday. On Sunday morning, Lightfoot also gave a stern warning that anyone riding the CTA — Chicago’s public transportation system which is flooded with riders getting to and from Lollapalooza’s four-day run — should wear a mask.
The press conference was not the only Lollapalooza-related breaking news that morning. The festival announced that it would be removing DaBaby, one of its headliners from the lineup, following the rapper’s homophobic remarks at Miami’s Rolling Loud. He was replaced by Young Thug, while G Herbo took Young Thug’s previous daytime spot on Sunday. “Lollapalooza was founded on diversity, inclusivity, respect, and love,” the festival tweeted. “With that in mind, DaBaby will no longer be performing at Grant Park tonight.”
Young Thug performs at Lollapalooza in Chicago.
Steven Nunez for Rolling Stone
All this before gates even opened, but once they did, the lineup changes proved to be a wise choice. G Herbo adeptly slid into Young Thug’s late-day mainstage slot, drawing an enthusiastic, large crowd for his compelling set, which included guest turns from fellow hometown artists Chance the Rapper (“PTSD”) and DCG Brothers (“Mmhmm”). Later, Young Thug’s vibrant last-minute headlining turn on the opposite side of the field from Foo Fighters included guest Gunna, and was packed with fans who sang along to the bars.
Meanwhile, on the mainstage, just as threatening thunderstorms didn’t stop the rock in 2011, the pandemic didn’t quash it, either — at least not on the last day of Lollapalooza 2021. Foo Fighters are the quintessential festival band, whose anthemic, hit-filled material — coupled with frontman Dave Grohl’s magnetism and humor — is an ideal match for the setting. And the fest veterans did not disappoint the fans who packed the field tightly on their side of Grant Park. The stalwarts primarily stuck to their tried-and-true set list from recent shows. They opened with “Times Like These,” which has taken on new resonance in our current pandemic era, and they delivered their greatest hits — “The Pretender,” “Learn to Fly,” and “My Hero” among them.
Grohl is a consummate performer, swiftly working all sides of the stage while also engaging the audience in friendly banter and communal participation. His connection to Chicago runs deep, as he recounted with his story of seeing beloved Chicago punk band Naked Raygun at age 13 at the Cubby Bear in the city’s Wrigleyville neighborhood. “It changed my life,” he recalled. “I wanted to do this the rest of my life.” Some “235” penned songs later, he said he wanted to perform them all. And while that couldn’t happen, he would deliver as many as the two-hour set time would allow.
Beyond their own anthemic hits, the band also dropped their cover of Bee Gees’ “You Should Be Dancing” and for their rendition of Queen’s “Somebody to Love,” Grohl made a return to the kit while drummer Taylor Hawkins took on lead vocal duties. It was a family affair to boot: for Grohl’s daughter Ophelia, they sang “Happy Birthday,” and he and his daughter Violet sang their cover of X’s “Nausea.”
“I received plenty of comments saying it was far too soon to ‘go solo’,” Geese frontman Cameron Winter told NME last year while reflecting on how people initially reacted to his decision to branch out on his own. “Most likely because a lot of folks assume that ‘solo albums’ only happen once a band has passed its peak and that they usually feel like uninspired cash grabs.”
Honestly, everyone is trying to earn a living however they can these days, yet no one expected a Geese side project to generate any real financial payoff in 2024. “Just so you know,” he went on, “my solo album is different: because barely anyone knows my band, I am young and comfortable living with my parents and I have the freedom to follow any ideas that interest me.”
Brooklyn indie followers and former NME cover stars Geese were gaining real momentum when their second album ‘3D Country’ mixed cowboy psychedelia with a jazzy, art-punk energy that had already captured the attention of many UK 6 Music dads back in 2023, but who could have predicted what came next? Geese have become one of the most talked-about bands of 2025 and are expected to dominate multiple end-of-year lists with the ambitious and full-range rock of ‘Getting Killed’. Yet the moment that set the stage for this rise was Winter’s Lou Reed-inspired debut solo record ‘Heavy Metal’.

A handful of late-night US television appearances and a spot on Jools Holland acted as a welcoming doorway for the world to see what this 23-year-old can do far beyond what many twice or three times his age are capable of. Now the sold-out Roundhouse audience made up of indie teens, art school regulars, fans who traveled across Europe and seasoned listeners reacts with a collective breath as a slight opening in the stage curtain reveals the silhouette of Winter seated at a piano. First comes a spark of excitement, then a sudden hush.
There is no flashy social media moment, no chatter overriding the music and almost no sea of raised phones. There is a sincerity to how the night unfolds. The Geese singer barely turns toward the audience. “Turn around!” someone calls out from the balcony at one stage. “Is this not enough for you all?” Winter teases back. For some, maybe it was more than enough. At least four people appear to faint around the warm and crowded Roundhouse while the room stands in absolute focus as Winter moves through the dreamlike storytelling of ‘Try As I May’, the emotional swirl of ‘The Rolling Stones’, the bright lift of ‘Love Takes Miles’ and the sermon-like stomp of ‘Nausicaä (Love Will Be Revealed)’. When he reaches the intense and spiritually charged ‘$0’, even the most skeptical hipster might be convinced that “I’m not kidding, God is actually real”. In that moment, it feels as though we all understand.
The entire performance can be summed up in how ‘Drinking Age’ unfolds. It starts softly with a gentle touch on the keys before erupting into a thunderous attack on the Steinway that could echo into next year, followed by a long, open cry aimed toward the sky. Winter somehow manages to blend something minimal with something enormous, something grounded with something cosmic, a delicate approach that hits with staggering force as he reaches toward ideas of existence, heaven, hell and everything surrounding them.

Winter could recite the phone book and still leave a crowd stunned. He carries the spirit of a post-punk Rufus Wainwright you can play alongside The Strokes and Arctic Monkeys, a Gen Z Tom Waits for listeners exhausted by TikTok overload, a new Nick Cave who arrives at exactly the moment he is needed. His voice feels older than his years yet perfectly suited to express the concerns and emotions of his own generation.
We will continue praising Geese endlessly because they deserve it. They are an extraordinary burst of musical creativity that goes far beyond what their lineup would ever imply, and along with Fontaines D.C., they are poised to become one of the decade’s essential bands. Still, tonight offers something quieter and more intimate. Cameron Winter stands completely on his own power, talent and magnetism, proving himself a rising force who can hold an entire room with only his voice, a piano and an entire future waiting for him.
‘Try as I May’
‘Emperor XIII in Shades’
‘The Rolling Stones’
‘Love Takes Miles’
‘Drinking Age’
‘Serious World’
‘Nausicaä (Love Will Be Revealed)’
‘If You Turn Back Now’
‘Vines’
‘Nina + Field of Cops’
‘$0’
‘Take It With You’
‘Cancer of the Skull’