Gröna Lund was transformed into a kaleidoscope of colour, movement and energy as Australian electro-pop pioneers Empire of the Sun took to the stage as part of their Ask That God Tour 2026. More than a concert, the evening felt like stepping into an alternate dimension – one where music, mythology, fashion and spirituality merge into an immersive experience.
All photos by Karen Lundquist.
From the very first moments, it became clear that Empire of the Sun had not come merely to perform songs. They had come to invite Stockholm into their universe.
Luke Steele and Nick Littlemore delivered a set packed with fan favourites, including We Are The People, Alive, Walking On A Dream, High and Low, and Standing on the Shore. Each track was met with an eruption of cheers from the audience, who sang along word for word, turning Gröna Lund into one giant choir beneath the summer sky.
The duo proved that they have comfortably stood the test of time. Nearly two decades after bursting onto the international music scene, Empire of the Sun continue to sound as fresh, relevant and captivating as ever. Their music transcends generations, attracting everyone from longtime fans who grew up with Walking On A Dream to younger audiences discovering the band’s magical world for the first time.
And what a world it is!
Empire of the Sun have always been more than a band — they are an artistic universe unto themselves. Throughout the evening, the stage was filled with striking visual symbolism and elaborate projections referencing nature, cosmic forces, spirit, creation and transformation. Luke Steele appeared in a succession of theatrical costumes, accompanied by dancers whose outfits incorporated Asian-inspired motifs, mythical creatures, celestial imagery and otherworldly beings. Every detail felt intentional, as if each song were a chapter in a larger mythology unfolding before our eyes.
Particularly fascinating was Steele‘s stage presence. His movements often resembled ritualistic choreography, incorporating hand gestures and mudras that reinforced the spiritual undertones present throughout the show. Rather than simply performing music, Empire of the Sun seemed intent on creating a collective experience — one that connected sound, image and emotion.
Between songs, Steele charmed the audience with his characteristic charisma and playful humour. He interacted frequently with both the crowd and the dancers, who remained delightfully in character throughout the performance. At one point he asked his companions what they had discovered while visiting Stockholm, prompting references to the Stockholm Archipelago, the Vasa Museum, the ABBA Museum and, naturally, Swedish meatballs.
He also took a moment to compliment the audience, joking:
“You’re already good at everything else, so I’m sure you’re good at dancing too.”
Judging by the reaction from the crowd, he was absolutely right.
The energy exchange between artist and audience was remarkable. There was an almost tangible sense of joy flowing back and forth throughout the evening. Thousands of people danced, sang and celebrated together, creating one of those rare concert experiences where performer and public seem to become part of the same living organism.
Among the many highlights was the sight of spontaneous dance circles opening up within the crowd. Groups of young concertgoers formed playful mini dance floors, spinning around hand in hand and adding another layer of joy to an already euphoric atmosphere. It was a beautiful reminder of how music can bring people together, dissolving barriers between strangers, generations and cultures.
As the final notes echoed across Gröna Lund and the lights slowly dimmed, one thing remained certain: Empire of the Sun continue to occupy a unique place in modern music. Few artists are capable of blending pop hooks, visual art, performance, symbolism and pure escapism into such a cohesive experience.
For one unforgettable evening in Stockholm, they reminded us that concerts can still be portals to somewhere extraordinary.
