Lollapalooza 2010: Reviews from Day 3
Video by Kevin Pang
Lollapalooza is a wrap, setting a new attendance record of 240,000 for the three-day festival, up 15,000 from the peak set in 2008 and ‘09.
Here’s an excerpt from my Monday story for the print edition that summarizes my concerns about the record-busting weekend:
Size matters at Lollapalooza, as the festival expanded its reach westward by shutting down Columbus Avenue and spreading eight stages across 115 acres, up from 80 acres in previous years. Columbus Drive was converted into a giant sidewalk lined with portable toilets, a simple but effective improvement that allowed fans to avoid the dreaded Buckingham Fountain bottleneck that had turned previous festivals into human traffic jams. The festival topped its previous three-day record of 225,000, reached the last two years.As for the music, here’s how Day 3 went down Sunday, with reports from me (GK) and my indefatigable colleagues Bob Gendron (BG) and Andy Downing (AD).
Still, there was little room during some performances at the northernmost stages on Butler Field, where fans jostled shoulder-to-shoulder for space to see performances by Metric, Phoenix and Arcade Fire. Note to Austin, Texas-based promoters C3 Presents: How about widening the southern entrance to Butler Field or moving one of the stages onto Columbus Drive to relieve what is becoming an annual problem? It's only going to get worse if the festival approaches its new capacity of 95,000 a day in future years.
11:20 a.m.
Chicago DJ Dani Deahl begins her early set on Lollapalooza's final day under gray skies and a steady stream of raindrops. Flanked by a quartet of dancers that pop-and-lock like extras from Madonna's “Vogue” video, Deahl mixes glammed-up disco grooves with harder rock beats (dig that ominous, reverb-soaked bass line), but has a hard time rousing the couple dozen early arrivers that mill about the stage. Surrounded by partially-deflated beach balls, the soggy attendees — some wearing wide-brimmed sombreros — stand around glumly as though their afternoon beach party has just been canceled. (AD)
View more Lollapalooza 2010 pictures.
11:35 a.m.Health guitarist-vocalist Jake Duzsik throws his instrument down on the stage floor. The action isn't out of frustration. Rather, it's part of the Los Angeles quartet's sonic terrorism that, along with the steady rain and wind, gets Day Three off to a ruckus start. There's no way to tell if the noise rock band (above) makes any mistakes. Borrowing from the Japanese no-wave tradition, songs aren't concerned with form. Function — namely, using various gadgets, hot-rodded computer keyboards and tribal percussion to stir up a frenzy — is key. Indecipherable vocals, phased effects, repetitive electronic loops and programmed synths that mimic shorting-out fuses contribute to the danceable commotion. One wonders what E.T. would've done had the alien heard the group's version of Speak and Spell transmissions. In the process of bridging abrasive disco to hyperactive punk, Health aptly reminds everyone about the importance of treating attention-deficit disorders. (BG)
Nneka (right) strikes a prayerful pose, bowing her head at the microphone stand before starting "The Uncomfortable Truth." The Nigerian vocalist, whose exotic accent lends a sensual smoothness to her phrasing, emphasizes narratives that prize social commentary and self-affirming beliefs. "Pay attention to the lyrics. That is the major issue here." Maybe so, but the singer also shows serious potential in delivering an alternating mix of soul, hip-hop and reggae spiced with deep bass grooves and syncopated beats. She's less effective when strumming an acoustic guitar and leaning in coffeehouse directions. In addition, the afro-haired singer, who is slightly reminiscent of the fictional crooner Marie de Salle in "High Fidelity," could afford a warmer stage presence. That should come in time. For now, she and her solid backing quartet turn "Kangpe" into a cross-cultural dance anthem that taps Afrobeat-derived scat vocals and rainstick rhythms that come across as ideal responses to the driving rain and umbrella-bending wind. (BG)
12:30 p.m.
With garlands of white flowers dangling from its keyboard rig and a parcel of black umbrellas dotting the crowd, the Antlers rain-soaked set takes on the feel of a funeral mass. The Brooklyn trio, displaying a better command of dynamics than it did at last year's Pitchfork Festival, mixes moody, atmospheric dirges with emotional outbursts, singer-guitarist Peter Silberman scraping out sandpaper-coarse riffs as he rips his hand across his instrument. Taking its time to explore tone and texture, the group frequently lets songs develop deliberately; the trio gradually layers keyboard buzz atop a swirling “Sylvia,” for one, until the song drones like a room packed with flatlining heart monitors. “Kettering” is especially impressive, Silberman swinging from a broken falsetto to a full-throated, mournful wail as the music climaxes in a blur of white noise. (AD)
1:15 p.m.
With the Antlers still playing across the field, San Francisco trio the Dodos lock into a jangly, joyous tune — shades of Band of Horse dueling with Jane's Addiction at the close of last year's fest. Songs like “Paint the Rust,” colored with twinkling vibraphone and scraping guitar, find the band in fine tune. Singer-guitarist Meric Long, sporting a mustache that's one arm twitch while shaving away from matching John Waters' look, often channels a particularly intense busker, stomping his feet and plucking an array of thorny notes from his acoustic. Best of all is a two-song appearance by red-haired belter Neko Case, who brings a lonesome quality to the shuffling “Walking” and verbally waltzes with Long on a dreamy, romantic “Red and Purple.” (AD)
1:50 p.m.
Backstage before his afternoon performance, Chicago's Ike Reilly is clearly honored to be on the bill, no matter the time slot. “I've been hanging around the edges a long time,” he says, gesturing at the festival grounds. “It's nice to make it inside.” (AD)
2:15 p.m.
Young women in peasant dresses walk barefoot in the soggy grass, while another fan blows soap bubbles that mingle with buzzing dragonflies to create a surreal scene, like some outtake from “Woodstock” — the movie. The flashback is topped off by Portland band Blitzen Trapper, their pastoral folk-rock straight out of 1969. The undulating acoustic guitars, loping tempos and slow-rising high, lonesome harmonies conjure scenes of campfire singalongs and hootenannies on the porch. The band keeps shrinking the songs until they land on “Furr,” a folk fable with a save-the-earth message.(GK)
2:25 p.m.
Ike Reilly recites the names of several illegal drugs and spins the laundry list into a catchy refrain. With all apologies to the Queens of the Stone Age and their smash "Feel Good Hit of the Summer," Reilly's bluesy shuffle is better. If there's a craftier wordsmith at this festival, he or she hasn't shown. Always entertaining, the local singer is going for broke today, with the members of the Assassination stepping up with crunchy chords, barroom piano lines and slicing solos that back Reilly's character-rich stories. His extremely clever narratives concern the situations of outsiders looking in, underdogs confessing their wasted youths and losers that turn the tables by laughing at their troubles. Humor abounds. As do pop-culture references and self-deprecating rejoinders that would make both Jon Stewart and Warren Zevon proud. By way of his blatant honesty, Reilly lifts up the veil on lies, schmoozing and flattery, presiding over scenarios that put protagonists in uncomfortable positions and expose some of the more ridiculous aspects of our culture. "Valentine's Day In Juarez" lampoons the hi-my-name-is problem-curing mentality associated with get-help groups. "Last Time" challenges the popular concept that pills can instantly solve sexual satisfaction issues. "What Ever Happened to the Girl In Me" laughs at sensitivity. Meanwhile, the band's power pop, table-pounding Irish jigs and strutting drinking songs fuel a freewheeling caterwaul that's endless fun. Reilly downs at least four beers during the performance, dispenses advice ("Don't go to New York if you're from Chicago. Nothing good ever happens there.") and relishes the perception of being a slacker who is anything but. Quite a homecoming performance. (BG)
It sounds as though legendary Smiths guitarist Johnny Marr (pictured right, on the left) has been playing with the Cribs for ages. Marr, exuding a casual English swagger, looks and sounds like he could be the youthful London trio's cool older uncle. The guitarist, who swings between spiky fills and sparkling, ambient washes, integrates himself seamlessly on a tattered “We Still Share the Same Skies” and the ominous, feedback-laden “Be Safe.” Content to play a supporting role, Marr leaves plenty of room for twins Gary (bass/vocals) and Ryan (guitar/vocals) Jarman to shine on a host of jagged six-string anthems that slag wanna-be hipsters (“Hey Scenesters!” and the brash “Mirror Kissers”) and lash out at controlling forces. Witness the slashing “Hari Kari,” which finds the band curling together like a fist in protest. “It's your mind/It's your voice!” they chant in unison. “It's your body/It's your choice!” (AD)
3:05 p.m.
London hillbillies? How else to describe Mumford and Sons, who rock banjo, acoustic guitar and upright bass like they’re high on moonshine, or whatever it is would-be hillbillies in London imbibe. Their rustic punk gets a good-sized crowd all fired up, spontaneous hand-clipping breaking out on just about every song. Breakthrough song “Little Lion Man” is twice as frenzied as the recorded version, with guitar strings scrubbed so hard it’s amazing they don’t disintegrate. (GK)
3:06 p.m.
Backstage, a wisecracking Ike Reilly is clearly amped (and grateful) at having had the opportunity to play his hometown festival, particularly since he used to work right down the street. "We're so [expletive] good. Sometimes I don't even have to try," he jokes in trademark fashion before turning serious. "I used to be a doorman at the Hyatt downtown for years. To get a chance to play here [in Grant Park] is great. As I told the band, I'd rather have played Lollapalooza now than five years ago and then never come back. It's that slow burn." (BG)
3:15 p.m.
With his beard and long brown locks, Minus the Bear singer-guitarist Jake Snider looks like “The Big Lebowski's” Dude sans bathrobe. Between songs, he channels the Coen Brothers famed stoner, too. “Uh, did I say who we are yet?” he asks several songs into the band's performance. Despite hailing from the cloudy environs of the Pacific Northwest, the six-piece specializes in sunny jams that often stretch out like a swath of lonesome desert highway. But while the dual-guitar lineup drives rollicking roadhouse tunes like “Secret Country” — a song that finds Snider and fellow guitarist Dave Knudson's laying down gnarled riffs that circle one another like would be bar brawlers — it's the textured keyboard flourishes that keep the tunes from becoming overly redundant. “Summer Angel,” which drifts across the field like a cool lake breeze, flowers with soulful synth organ, while “My Time” seems to takes its analog pulse from a vintage arcade game. (AD)
4:15 p.m.
After watching Yeasayer perform the songs from its latest album, “Odd Blood,” earlier this year at Metro, I couldn’t help but think how great they might sound in a bigger setting. So here’s the payoff. The quartet brings the likes of “Ambling Alp” and “Madder Red” — that wordless vocal hook kills me everytime — to the great outdoors, and they translate very well. The Brooklyn band blends Afro-pop, synth-pop, touches of hip-hop and R&B under the rubric of indie-rock, and wisely puts the emphasis on the hooks and the grooves. (GK)
4:25 p.m.
Everything about X Japan (above), making its stateside debut in front of a smallish audience split between die-hards (those people holding aloft stuffed dolls in the bands' likeness and crossing their arms above their heads while chanting, “X, X, X, X!”) and curiosity seekers, is cartoonishly over-the-top. The long-running Japanese crew makes a comically slow entrance to the stage as epic choral music pumps through the speakers. “Are you ready to rock?” screams singer Toshi Deyama, his voice absent any trace of irony. “We are!” Dressed like glammed-out extras from “The Warriors,” the group combines piano-driven power ballads (the band's glass-and-stainless-steel piano, which takes center stage on “Endless Rain,” looks like something Axl Rose might have sprung for at the height of Guns N' Roses' consumption) and thrashier, guitar heavy numbers like “Jade,” which more often than not are accompanied by towers of flame blasting up from the stage. With a style that combines the theatricality of a Broadway production with cheesy-yet-earnest prog/hair metal, it often sounds as though the Sunset Strip of 1987 has been temporarily airlifted to the band's hometown of Chiba, Japan. (AD)
4:28 p.m.
Lollapalooza ringmaster Perry Farrell joins thenewno2 on the Kidzapalooza stage, which is brimming with adult fans. Along with guitarist Peter DiStefano, the collaborative ensemble performs "Pets," a former hit from Farrell's post-Janes's Addiction band, Porno for Pyros. One can almost hear 5-year-old Susie asking her mother, "Mommy, what's porno?" once Farrell introduces it. Oh, and then there's the matter of the two f-bombs in the first verse. A stroll through the Velvet Underground's "Sweet Jane" has more life. As for thenewno2: Anchored by George Harrison's son, Dhani, on vocals and acoustic guitar, the British quartet plays bright, enjoyable if unspectacular jangle rock tethered to Harrison's quaint English timbre. A rendition of the Talking Heads' "Psycho Killer" is an inspired if slightly ironic choice given the young audience, however, and compensates for a series of microphone problems. Quest-ce que c'est "ba ba ba ba ba ba ba ba?" Run run, run far away. (BG)
5:09 p.m.
Minutes into the set, Scott Hutchison is already drenched in sweat. As well as he should be. The Frightened Rabbit singer reacts to his group's music in the same manner in which a scarred lover responds to the mention of a toxic ex-partner. He twitches, quivers and hunches over his guitar, the awkward movements serving as animated expressions of the trauma that distinguish the group's songs. Few contemporary artists expunge soul-shattering heartache, regret and sadness with such vulnerability and meaning. "The Twist" updates the famous dance and dangles desperation on a string. "The Wrestle" tussles with a tangle of emotions laid over an atmospheric glaze. Towering organ accents and Hutchison's full-blush vocal cries instill "Nothing Like You," bringing the group's quivering folk-rock to a simmer and the audience's participatory hand claps to a feverish climax. Frightened Rabbit sacrifices some of its previous ramshackle looseness, yet the more professional version is just as, if not more, effective. (BG)
If Erykah Badu (right) wanted to play longer, she should have arrived on time. The soulstress, sporting a golden mohawk that made it look as though she got her 'do done at Kidzapalooza's punk haircut booth pre-show, appears perturbed when Wolfmother unceremoniously plays her off the stage. Badu, who hits the stage about 20 minutes after her scheduled start time, approaches her performance with a similarly laissez-faire attitude, breezing through a flurry of weightless soul jams with the all the urgency of a recreational gardener enjoying a Sunday in the sun. Supported by a seven-piece band and four backup singers, Badu eases into “20 Feet Tall” cooing over windblown chimes and casual finger snaps. “Out My Mind, Just In Time” builds a similarly minimalist groove, Badu carefully wrapping her voice around an airy flute line like smoke curling over a fire (Side note: Has there ever been a more startling tonal shift at Lolla than Badu following Japan X?). Between songs, Badu, dressed in a floral print dress and wearing regally outsized, golden feather earrings, blows a whistle and urges the crowd to “settle down” like a cranky neighbor snapping at the kids playing in his yard. Sure, it's likely a joke, but the singer seems to be following her own advice a bit too literally. (AD)
6:21 p.m.
Big dumb rock sweeps over the south end of the park. Wolfmother guitarist-vocalist Andrew Stockdale hops on one foot, backwards, while soloing doing during "Woman," thinking he's some kind of guitar god. He's not. A second coming of the equally derivative ‘80s band Kingdom Come, the subtlety-free Australian quartet operates as if the world is permanently stuck in 1973, and the members even have the mutton chops and Orange amplifiers to help with the illusion of time travel. Mind's eyes, gypsies and vagabonds populate the lyrics. Wolfmother's retro music conjures up memories of shag carpets and blacked-out oval van windows caked with bong residue. The fact that Wolfmother took the stage at exactly 6 p.m., rudely cutting off the finale of Erykah Badu's set, adds insult to the prolonged injury. (BG)
6:45 p.m.
Tomorrow, she’ll be flying back home and preparing for the start of another school year. But today, a pre-school teacher and ski instructor from Jackson Hole, Wy., is enjoying Lolla decked out in feathers and glitter. “I come every year,” she says. “It’s not that unusual for me to get dressed up this way for it. After all, I use a lot of glitter with my pre-schoolers.” The teacher represents a substantial portion of the Lollapalooza audience this weekend. Promoters say that roughly 40 percent of the estimated 240,000 fans in attendance are from out-of-state, infusing the local economy with about $20 million in revenue. (GK)
7 p.m.
The nonstop dance party at Perry's stage continues unabated. Local DJs Josh “J2K” Young and Curt “Autobot” Cameruci, collectively known as Flosstradamus, build an almost seamless mix that nods to both Chicago's storied house music past and its current status as a club hip-hop mecca. A small cheer goes up in the crowd when the pair drops in “Big N Bad,” a cut by Josh Young's sister, Melissa — perhaps best known as rapper Kid Sister. The duo also displays a wicked sense of humor, splicing a monotone, computerized voice repeating the phrase “Barbra Streisand” into a drum 'n bass heavy mix — a move that suggests the group's thought process is something along the lines of: “We can make you dance to anything.” Not that the crowd at Perry's needs much prodding. The mass in front of the stage, which has gradually evolved into some kind of unending spring break/”Lord of the Flies” hybrid, has a throbbing life all its own. (AD)
7:05 p.m.
They didn’t play it at Coachella last April and took all sorts of grief for it. So MGMT (above) makes amends by playing “Kids” — the anthem of 2007-08 that has been covered by everyone from Weezer to B.O.B. (who capped his Lolla set Friday with it). A programmed stuffed frog “plays” the song’s main keyboard riff, and Ben Goldwasser and Andrew VanWyngarden jump from the stage to exchange hand-slaps with the audience. The song does its job, giving even the band’s most casual fans a reason to pogo and sing along: “Control yourself/Take only what you neeeed from it!” During the rest of the set, the duo at times conjures a wistful, melancholy electro-folk vibe reminiscent of the late, great Grandaddy. It’s telling that they follow the hit with “Congratulations,” a song that addresses how surreal their lives have become after “Kids” turned them into unlikely pop stars. (GK)
7:25 p.m.
Cypress Hill's B-Real lights up a huge marijuana joint minutes after thanking Lollapalooza kingpin Perry Farrell, who is standing on the side of the stage, for getting him high. The California hip-hop band wisely spaces its hits (basically, tunes from its 1991 debut) between new and lesser-known material. A percussionist and a turntablist at least keep the grooves on track and contribute salsa flavors, but the performance is littered with visual and aural clichés, as well as momentum-killing solos. At moments, it's as if the horribly caricatured Latin family from Ice Cube's bad "Next Friday" sequel has sprung to life. For the second straight night on the same stage, and at the same time, the south end of the park becomes a giant frat party wrought with embarrassing dance moves. "Latin Lingo" clinks along to three cowbells (take that, Neil Peart) and "How I Could Just Kill a Man" harnesses comedy sitcom theme music, low-rider bass and layered samples. It's nothing much, but the bilingual nostalgia is eons better than recent fare such as rap-rock travesty “Rise Up” and "Armada Latina," which might have a future as a commercial spoof. (BG)
7:55 p.m.
While there's not much sonic variety in Chicago-born Felix da Housecat's mix — bass lines rumble, drums thump and electronic voices are extruded, looped and chopped up like sonic Play Doh — the house music-reared DJ reveals himself to be a master of pacing; tracks frequently build slowly before erupting into towering walls of noise, like a solitary pebble kicking off a massive avalanche. By repeatedly adding and stripping back these digital layers, Felix builds textured, electronic tracks that have an almost natural ebb and flow. Concertgoers celebrate by hoisting all manner of garage sale fodder skyward, including flags, kites emblazoned with cartoon lizards, hula hoops and at least one inflatable woman, who, from a distance, appears to be happily dancing atop the crowd. (AD)
8:05 p.m.
It’s almost funny when the members of the National feel they have to defend themselves against the carnage depicted in their own songs. Singer Matt Berninger is “a happy guy,” really he is. “That’s why our songs are so mean and sad.” Mean and sad, perhaps, but also combustive. The band have always been masters of the slow burn, but now the crescendos – the moments when anxiety and tentative self-control give way to chaotic seizures – are more staggering than ever. The drama plays out right through the closing “Terrible Love,” with Berninger turning the declaration “It takes an ocean not to break” into a mantra, as if hanging on to a life raft in a storm. (GK)
8:49 p.m.
The reunited Soundgarden attacks "Jesus Christ Pose" with menace, as guitarist Kim Thayil's screeching distorted notes serve as nails being pounded into the song's body. Perhaps motivated by a decade-plus of poor career decisions and forgettable albums, singer-guitarist Chris Cornell (above) looks and sounds like 1992 all over again. His long curly mane has returned, and his lung-clearing wail is in fine form. He receives a few echo boosts on select highs from the mixing board, but primarily, he goes it alone. There's scant evidence that the members care for each other, yet the Seattle quartet exceeds expectations and confirms its place as one of the last great hard-rock bands to emerge in the last 25 years. The rhythm section thunders with genuine fierceness and, moreover, the sludge-factory propulsion is tight, cohesive and forceful. However rooted in nostalgia (nothing new is performed), Soundgarden doesn't treat the show as an automatic cash-it-payday. Songs ooze torment, darkness and frustration. "Searching With My Good Eye Closed" swings like a hangman's noose as strobe lights pop. "Rusty Cage" scampers with prison-break determination, and "Outshined" witnesses Cornell departing the stage and meeting front-row fans face-to-face. Later-era material such as "Black Hole Sun" and "Like Suicide" provides psychedelic relief. Still, it's the heavier stuff that grinds, creeps and sticks in the head, particularly "Gun" and the foundation-shaking "Slaves and Bulldozers." Whether this reunion is just a temporary fling or carries over in the form of worthwhile new material remains to be seen. (BG)
Win Butler (right) of Arcade Fire is applauding the audience. “By the end of a festival people are usually so burned they’ve got nothing left. … I hope you’ve got a little more in the tank.” Butler and his bandmates sure do. After playing a solid hour in which they explore the orchestral possibilities within their urgent songs, coloring in the luxurious melodies with accordion, violins and glockenspiel, the Montreal band closes with a rush. “Neighborhood #3 (Power Out)” inspires a massive clap-along by the audience, and just when “Wake Up” appears inevitable, the band pulls out a new song from its latest album, “The Suburbs.” “Month of May” hits like an unexpected roundhouse right from a heavyweight boxer, a pummeling attack that sounds at this moment like the toughest, nastiest, most unforgiving music the band has ever recorded. Usually the Arcade Fire’s music sounds big, expansive, welcoming, but “Month of May” is just brutish — and thrilling. After it, even the undeniable “Wake Up” sounds a little anticlimactic. No matter, the audience files out of Grant Park singing. (GK)
Photos by Mike Rich, Brent Lewis and Tim Harrison
ummm . . . i was there for Dani Deahl's set, the Entire Thing, and those dudes in the sombreos were in the middle of the dance floor THE WHOLE TIME! I post video that i took of it to prove. to be honest, for an opening slot, during a rain shower - people were DANCING. judging from the times on your reviews, you really didn't give most of the bands a chance to settle into their sets.
next year, Dani needs a better slot. as one of Chicago's premiere DJs, with a blog read by 50,000+ music fans, it's a no-brainer.
Posted by: black Sunshine | August 09, 2010 at 05:04 AM
240K spoiled brats is what this really is about. Welcome to America. I wonder how many cell phones calls were made there?
Posted by: Henry Waxmin | August 09, 2010 at 06:51 AM
It's "X Japan." Also, Erykah Badu showed up LATE for her set. Don't slag Wolfmother because they had enough professionality to start and end on-time. I don't even like the band, but as a musician, nothing is more annoying than a band not starting on-time and/or playing over their alotted time.
Also, with the amount of laptops, computers, and other non-instrumentation at Lollapalooza this year, it's not really cool to again slag Wolfmother because they actually play instruments. All these "indie" rock bands worship new wave 80s bands, so why is it so bad for a rock band to worship 70s rock bands?
Posted by: tony | August 09, 2010 at 09:10 AM
Bob Gendron - you're comparing Wolfmother to Kingdom Come? You're a moron! Buy yourself some Rogaine and shut the hell up...
Posted by: Mike | August 09, 2010 at 09:45 AM
Chicago needs festival grounds so the city and parks do not need to be disrupted as much for such events.
Posted by: Howard | August 09, 2010 at 09:49 AM
To Henry:
240k spoiled brats? How ignorant. Seriously. I was there, I'm 27, I bit too old to be considered a spoiled brat, especially considering I paid for my ticket, food, drink, transportation... etc
How many cell phone calls were made? What's that got do to with anything? Yes, there were lots of cell phone calls made. Why? So people can find their FRIENDS in the park. This is a social gathering after all.
I'm from Wisconsin and normally I go to Lolla all three days and stay in Chicago, easily pumping a few hundred dollars into the Chicago economy. A decent percentage of Lolla goers are also from out of town, heck, I've talked to some people who come from Canada.
So are there some spoiled younger kids who's parent bought their tickets, sure. But a would wager the large majority are not. So Welcome to America where we have the opportunity to check out an awesome music festival and have a good time with our friends.
Posted by: Frank I | August 09, 2010 at 10:26 AM
@Tony
For somebody who doesn't "even like the band," you sure defend 'em an awful lot.
Also: since when is "actually play[ing] instruments" reduced simply to guitar/bass/drums/keys? The "laptops, computers, and other non-instrumentation at Lollapalooza this year" shouldn't be disqualified from being instruments. If they're used to somehow accentuate the music, they're instruments in and of themselves. If not, well, can you really call an electronic keyboard, most of which have internal computers now, an "instrument?" What about amplification, most of which is done by computers?
Posted by: Brendan Diamond | August 09, 2010 at 10:33 AM
huh?
so people that listen to music outside & use their cell phones are spoiled brats?
you, sir, need to lighten up.
Posted by: whitecity | August 09, 2010 at 10:50 AM
This was a fun fest downtown - fully accessible to hotels, restaurants, and retail outlets. With easy walking distance for visitors to return to their hotel to rest and refresh and great public transportation that cuts the cost of driving and $30 parking fees, our Parks serve the public and commercial business infrastructure very well.
We need more Fests like this one downtown in our Parks - that is what attracts people rather than some lame Fairgrounds out in a suburbia cow pasture with paid parking and services that makes money for only the vendors at the site.
Good Job Chicago!
Posted by: Lucy Bowles | August 09, 2010 at 11:07 AM
Northerly Island is a nice park venue for half day events, but for full day events like this, Grant Park is best for all using public transportation.
Posted by: Lucy Bowles | August 09, 2010 at 11:12 AM
This article smacks of the pretension that so many music critics aspire to. Decent pictures though.
Posted by: Rob | August 09, 2010 at 11:23 AM
It's obvious you wrote the review for X Japan without actually seeing their show. If you want to trash the band, at least get their name and set list right. Try a little bit harder next time you pretend.
Posted by: Randy | August 09, 2010 at 11:34 AM
video from Dani's set: http://www.youtube.com/watch?v=Px5uOVhEUVk and this is EARLY on. note: sombrero dudes dancing. oh look: http://www.youtube.com/watch?v=_kiW6l7Hc3o STILL DANCING. so yeah. opening slot, rainy day, and still had people dancing!
Posted by: black Sunshine | August 09, 2010 at 11:45 AM
Had the 3day pass and I was very happy with the way things were setup this year. Logistics were fantastic with the columbus dr. expansion. Well done chicago, keep it going, I'll be back next year for sure.
"spark another owl"
Posted by: N G | August 09, 2010 at 11:45 AM
BG is welcome to his/her opinion, but apparently does not hesitate to manipulate the facts while at it. Wolfmother did not start "exactly at 6:00" - they stared at 6:03. That 3 minutes make a big difference. They waited a few minutes, but came on when Erykah Badu showed no signs of stopping. Why should Wolfmother cut their show short because Erykah Badu decided to start 20 minutes late? And Green Day had some pyrotechincs, but calling it an "over-the-top fireworks show that competes with Navy Pier's display" is simply a fabrication. Navy Pier's shows last 20 minutes and includes hundereds of aerial bombs. The fireworks at the end of Green Day's show lasted less than a minute and there was not a single aerial bomb during the enitre show. You can express your opinion that the fireworks are exessive but don't grossly exagerate the facts of what they were.
Greg Kot - if you see this, if you are going to turn your space over to others, you should remind them that they can express whatever opinion they like, but when it come to factual matters, get them right.
Posted by: Larry | August 09, 2010 at 12:03 PM
i guess comments with links aren't allowed. in any case, do a Youtube search for "Dani Deahl live at Lollapalooza" and you'll see video of sombrero'd dudes dancing, as they were for her WHOLE SET.
Posted by: black Sunshine | August 09, 2010 at 12:07 PM
Andy Downing sounds like he needs a nap
Posted by: Hot Damn | August 09, 2010 at 12:18 PM
Grant Park forever!!!!!! If it bothers you get out of town during the festival in the United States we rule by majority...240k can't be wrong.
Posted by: hp | August 09, 2010 at 01:31 PM
X Japan were cheesy as hell. People with taste should be listening to Boris and Mono instead.
Posted by: Joe | August 09, 2010 at 02:21 PM
As a 50-year-old spoiled brat with a cell phone who was one of the 240,000 who enjoyed the music this weekend...get a life, Henry
Posted by: tz | August 09, 2010 at 03:26 PM
Wolfmother was rude to start their set dead on time? Ms. Badu should have done the same. Instead, we waited for her for 20+ minutes.
And ps - Wolfmother ripped a sonic hole in the sky, which Cypress Hill then filled with bounce.
Posted by: Lydia | August 10, 2010 at 11:23 AM
Hey Hank, you need to get out more and temper your jealousy toward those of us who can afford a $240 3-day pass and who actually get out on occasion. You sound like a jealous, self-loathing old man, and frankly, I'm glad your kind doesn't go to music festivals, as the rest of us are there to have a good time, not to listen to some old curmudgeon like you whine.
Oh well, enough about the old man who doesn't get out to enjoy life at all...
I thought the expansion was great...except I had the hardest time finding the "Bloggie" stage the first day (the map did not show it proportionately). Getting around between stages seemed easier this year, and there was much less overlap in sound between the stages.
I couldn't believe how large the crowd was for Mumford & Sons...I trekked over there thinking it would be a smaller crowd, and I was jammed in!
On the other hand, I was kind of surprised at how small the crowd was for The Temper Trap, who put on an awesome show (I cannot believe that this band sounds as good as they do live). Soundgarden brought it home though. I was wary of how Cornell's voice would sound after reading some blogs and reviews on the 'net, but I was pleasantly surprised.
AND TO WHOMEVER FOUND MY WALLET AND RETURNED IT TO THE LOST & FOUND WITH EVERYTHING STILL IN IT: I CANNOT THANK YOU ENOUGH! Once again, I'm convinced that music festivals attract a bit more honest, good people than exist generally "on the streets." I'll take honest, moral "spoiled brats" any day over greedy, out-of-touch, self-loathing old men like Henry.
Posted by: Jim | August 11, 2010 at 01:28 PM
My one, single complaint: Whose idea was it to have Wolfmother and The Temper Trap opposite one another? I would have liked to see both, but was unable to. Nonetheless, I'm not Australian, but I did run into a few Aussies who were even more disappointed than I was that they were unable to catch both full sets.
Posted by: Jim | August 11, 2010 at 01:34 PM
Glad to hear a good Soundgarden review. However many people, fans as well as respected, and talented writers and performers in the music business, do not think that Chris Cornell has had a "decade+ of poor career decisions" nor "forgettable albums". He's been asked to be part of several albums other artists have recently done. For whatever else, the last decade was part of the reason he WAS asked. That includes "Scream" like it or not! What a ridiculous, blanket statement, as if he hasn't done anything worthwhile for 10 years. His solo albums are loved by devoted fans, right along with the previous ones.
Posted by: bijou | August 12, 2010 at 09:03 PM
As a 53 year old, life long music lover, I can truly say that I bought my ticket myself. My daughters, 21 & 25, who also attended bought and paid for their own tickets. Spoiled; I think not.
As for cell phone use, I used mine often to text my daughters about what they have seen / heard and what they are going to see / hear, would they like to meet for dinner, need a ride home. In other words; to exchange relevant information during the 3 days.
I am a little concerned regarding the increased attendance limit. Much too crowded at certain times and pinch points, even with the expanded acreage and two stages moved to the west of Columbus. Closing Columbus really doesn't alleviate the crowds at popular / well attended sets. At times I was trapped; especially at the north field entrance near the Petrillo Band Shell.
Lastly, considering the many overlapping acts and large distances between them, perhaps part of Columbus could be used for a continuous shuttle / trolley service running north / south. As much as I enjoy walking, it isn't so much the distance, as the time it takes to cover the distance on foot. I may have changed my strategy of who to see if I had a chance to get around quicker.
Overall, a well run festival, in a breathtakingly beautiful location, with too much good music. I can't wait to see what next year has in store.
Posted by: Barry | August 14, 2010 at 12:12 AM