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The fest doesn't rest and neither do we.
OK we both took off Monday, but we're still in the game.
Our tenacious music team tackled more reviews Wednesday night. Here's what they liked (or didn't like) during Summerfest Day 7.
Tom Petty and the Heartbreakers at the American Family Insurance Amphitheater
It's sad to say, but during the opening song Wednesday, you could see why Tom Petty and the Heartbreakers have contemplated calling it quits.
The start of the band’s two-hour set was a bit stiff, but near the end of “Mary Jane’s Last Dance,” Petty and lead guitarist Mike Campbell did their own little gnarly guitar dance.
From that point forward, the band held tight to its mojo at the American Family Insurance Amphitheater.
The show ended with 'American Girl' and Petty's bright white smile peering out from his facial scruff. The joy on his face suggests his talk of ending major touring likely will be just talk. If not, this was a fitting farewell from a Summerfest favorite.
— Piet Levy,
Milwaukee Journal Sentinel
RELATED: Tom Petty plays the hits, with a few thrilling tweaks, on night one of Summerfest Heartbreakers residency
Kyle at the Miller Lite Oasis
Rapper Kyle took command of the packed bleachers at the Miller Lite Oasis Wednesday, offering a light-hearted, engaging and impressive performance.
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His DJ came out first and played a flurry of hits, including Vic’s “Get Silly,” delighting the mostly teen-aged crowd. He may have played a few too many songs, but when Kyle ran onto the stage rapping his 2015 single “Doubt It,” all was forgiven. Between bouncing around the stage to choreographed danced routines with his DJ, rapping verses a capella and chugging a Miller Lite in one gulp, Kyle's set brought a fun and playful vibe that was refreshing.
The crowd sung every word and passed every 'test' — his was term for interacting with them — until the end, when he performed his smash hit 'iSpy' featuring Lil Yachty two and a half times.
Throughout, his stage presence and crowd control were impeccable and, more importantly, consistent. He barely took a break for the hour he was on; an impressive feat for such a young artist.
— Tyrone Miller,
Special to the Journal Sentinel
James Arthur at the U.S. Cellular Connection Stage
The ongoing saga of singer-songwriters on the U.S. Cellular Connection Stage vs. louder bombasts from adjacent Summerfest venues pitted British singer James Arthur against T-Pain Wednesday night.
For once, the singer-songwriter was up for the challenge.
The throbbing introduction to 'Back From the Edge' led to screeches from the crowd. When the lanky singer walked on stage, his deep, soulful voice resonated loudly over his four-piece band's own grinding bravado.
'Prisoner' was a swirl of funky rock 'n' roll swagger and autobiographical reflection on life's demons. Even when T-Pain's thundering volume threatened to drown out an inter-song chat with the crowd, Arthur was undeterred, urging his fans to clap overhead and summoning the band to drive into the wailing stomp of 'You're Nobody 'Til Somebody Loves You,' as his own voice soared into a falsetto roar.
'I love Milwaukee,' Arthur said, noting it was his first visit to town. Hopefully it's not the last.
— Erik Ernst,
Special to the Journal Sentinel
Chris Stapleton at the American Family Insurance Amphitheater
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If you wanted to be mean about it, you could call Chris Stapleton's return Summerfest appearance a demotion.
Last year the breakout country traditionalist was co-headlining the Marcus Amphitheater (now known as the American Family Insurance Amphitheater). On Wednesday, he was an opener for Tom Petty and the Heartbreakers.
But Stapleton comes off like the kind of low key guy who's just content to get a gig. That's not surprising considering his primary trade was songwriting (for Adele, George Strait, Tim McGraw and others) before his debut solo album 'Traveller' became a surprise blockbuster in 2015.
Aside from a sung band introduction (in which he called his wife and backing vocalist Morgane 'the beauty that tames this beast'), Stapleton was always in service of the songs Wednesday. His soulful voice conveyed the devastation of 'Death Row' without ever slipping into showboating, and his blues guitar solos — for 'Midnight Train to Memphis,' 'Outlaw State of Mind' and others — were relatively compact.
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You could still hear the superb technique though, even if Stapleton was a pretty stagnant stage presence. He'd never confess to this, but perhaps he was humbly trying to impress a certain rock legend backstage.
— Piet Levy
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And now, here are the things we weren't so keen on Wednesday.
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T-Pain at the Uline Warehouse
T-Pain fans are no strangers to waiting. He released the first single from his new album 'Stoicville' in November 2014; we're still waiting for said album to materialize. In the meantime, his collaboration with Lil Wayne, 'T-Wayne,' came out in May (the duo recorded it in 2009). Nevertheless, the Uline Warehouse headliner emerged promptly at 10:02 p.m. Wednesday, seemingly ready to party.
The crowd was a bit slow to get energized, but 'Buy U a Drank (Shawty Snappin')' did the trick. Then, there was the first of several pauses in the music; a few times the stage went completely dark and there would be no sound whatsoever for a full minute or so. Those are long minutes for a young Summerfest crowd, which had started thinning shortly after this set began.
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The man is as famous for his umpteen chart-topping features as for anything, but it was his own hits that got the crowd dancing the hardest. 'Can't Stand It' elicited squeals of approval thanks to its 'Put you in the mansion/somewhere in Wisconsin' lyric, and 'I'm 'n Luv (Wit a Stripper)' was perhaps the most surreal sing-along of the night.
The funny thing about Auto-tune, of which T-Pain is the undisputed Peter Frampton, is that it sounds prerecorded even when it's live, which inherently sapped some of the excitement of the performance. It's not the only trick up T-Pain's sleeve, but all together they didn't add up to much magic.
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— Cal Roach,
Special to the Journal Sentinel
Gnash at the U.S. Cellular Connection Stage
Before he arrived on the U.S. Cellular Connection Stage Wednesday night, Gnash had his D.J. warm the crowd with a 15-minute set of familiar club-thumping hits from DJ Khaled, Future, Kendrick Lamar, Childish Gambino and Migos.
It was an interesting choice as the Los Angeles-based singer and producer (real name Garrett Nash) is known for laid back, ambience-infused pop tracks like the opening 'Lonely Again' and the sauntering 'Daydreams,' which lulled the crowd back to a slow sway.
'What's good, Milwaukee?' Gnash said, as he slinked onto the stage. To their credit, the audience members screamed when he appeared and sashayed with their arms in the air when the summery island grooves of 'Something' carried the musician's rolling rapped lyrics. But when he urged the crowd to dance and sing after a sloppily sung introduction to Imad Royal's 'Bad 4 U,' a track in which he was featured, only half the crowd obliged while the rest seemed to be checking their phones.
Gnash didn't seem to mind, or even notice, calling the crowd 'beautiful' as he obliged the scattered indifference.
— Erik Ernst