This post contains my complete running coverage of this annual festival ...
© Chicago Sun-Times
New at Lollapalooza: Perry's open, anti-scale fencing
By Thomas Conner on July 29, 2012 4:00 AM
Music fans inside and outside of Lollapalooza will notice at least two physical changes at this year's music festival in Grant Park.
First, Perry's tent is no longer a tent.
Last year, Perry's stage — one of the festival's eight stages, focusing largely on DJs and electronic music, and named for Lollapalooza founder Perry Farrell — expanded to an enormous circus tent with a 15,000-person capacity.
As it proved to be one of the most popular attractions at the weekend concert series, the tent roof trapped too much heat from the mass of dancers. By the second day of Lollapalooza 2011, portions of the big top had been stripped away to allow heat and humidity to escape.
This year, Perry's stage will be open-air like the others and will feature a theatrical set design courtesy of one of the acts, Swedish DJ Avicii.
Secondly, promoters are trying a new tactic to battle the perennial horde of fence-jumpers.
The last two years at Lollapalooza have seen a marked increase in the number of young fans assaulting the festival's perimeter fence in order to get in without paying. Sometimes it's one or two individuals — including several who were critically injured in their attempts last year — but last year saw flash mobs of up to a hundred at a time overwhelming certain sections of fence, occasionally employing boards as ramps.
Organizers at C3 Presents, producers of Lollapalooza, tell the Sun-Times this year's perimeter will include "The Black Fence," an 8-foot anti-scale barricade used in Washington, D.C., around government buildings and during citizen protests.
"The more pressure you put on it, the sturdier it gets," said Charlie Jones, a partner in C3.
Lollapalooza looks ahead: A 10-year deal with the city, paying taxes and standing out among the Big 3
By Thomas Conner on July 29, 2012 4:01 AM
Last year, Lollapalooza celebrated a 20th anniversary and the music festival's founder, Jane's Addiction singer Perry Farrell, remarked to me, "I mean, it looks like this will go on forever, right?"
Never say forever, but Lollapalooza's long-term future in Chicago — where the touring concert series was reborn in 2005 as a stationary, destination event in downtown's Grant Park — certainly firmed up this spring. In a revised agreement consummating the existing relationship between the city and the festival's producers, Texas-based C3 Presents, Chicago now has a solidified tax deal and Lollapalooza has use of the city's front yard through at least 2021.
"We're no longer dating now," C3 partner Charlie Jones told the Sun-Times this week. "We're married."
Plus, according to ads that started showing up on CTA platforms this week, the dates of next year's Lollapalooza are already set: Aug. 2-4, 2013.
Lollapalooza is now one of the country's big three annual pop music festivals, alongside the Bonnaroo Music Festival in rural Tennessee and the Coachella Valley Music & Arts Festival outside Los Angeles. This year Lollapalooza will admit another record crowd of 100,000 ticket holders per day into Chicago's public green space.
That's up from last year's already record-breaking daily tally of 90,000, and way up from a 33,000 daily maximum for 2005's inaugural reboot.
Can it get any bigger?
"No, I don't think it can," said Michael Kelly, superintendent of the Chicago Parks District, in a separate interview this week. Considering the number of people and available real estate, Kelly said, "We're about at the limit."
Jones (pictured) actually agrees. "At a certain point — and we may be there — there's a tipping point where it just feels too crowded," Jones said. "If we tried to think of pushing it to 150,000, we'd have to ask for Millennium Park, too. That becomes something too big, a different thing. I was at [the New Orleans Jazz & Heritage Festival] the year they pushed it to 125,000. It was too much."
So, like an actual marriage, C3 and the Parks District both now speak of settling in, setting a routine — and fixing up the house.
Dearth and taxes
The new deal announced in March mandates that C3 pay for any damage done to the park immediately following the festival each August. Instead of C3 fixing things themselves, as they've done previously, the Park District will assess any damage and make the repairs, with C3 getting the bill.
Last year, a rain storm combined with high foot traffic on the fest's final day caused significant turf damage that took weeks to mend. C3 was criticized for its speed in making the repairs, for which they paid $800,000.
But Jones and Kelly have been in talks about facilitating more long-term infrastructure improvements to the park, specifically in drainage and soil retention — maintenance Jones likened to "looking under the hood and fixing 'er up."
"Lower Hutchinson Field has become a premier permitting space for the city," Kelly said. "The breast cancer walk, the Rock 'n' Roll Marathon, the Chicago Marathon, now Lollapalooza — it's a big gathering space, and that's not going to change. We're going to take a serious look at how we can improve what's going on at that site, how we can make it great for softball as well as for the semis that roll in and out for these larger events."
Under its new terms with the city — a renegotiation that was initiated, Kelly and Jones said, by Jones and his partners, Charles Attal and Charlie Walker — C3 this year begins paying all city and county sales and amusement taxes.
In the previous arrangement, C3 was partnered not with the city itself but with the Parkways Foundation, a nonprofit fundraising arm of the Park District, which handled all the city permitting in exchange for an annual payment from Lollapalooza. Last year, according to the Park District, that amounted to $2.7 million from total ticket sales of $22.5 million.
Kelly said he expects the Park District to receive the same amount this year. The extra amount in city taxes, he said, will amount to about $1.5 million — higher than the $1.1 million estimate in a September 2011 city inspector general's report suggesting the tax be applied to the festival.
"We had to up the ante," Kelly said. "[C3] had to pay more for the event."
As a result, so did fans. To cover the added expense of the taxes, the cost of three-day passes to Lollapalooza jumped $15, from $185 (early-bird) and $215 (regular) to $200 and $230, respectively. The event still sold out all three-day passes within a week before performers were announced.
Parkways was able to earmark its Lollapalooza income especially for park improvements citywide, including playground renovations, Grant Park tree planting and part of the restoration of Buckingham Fountain, which sits between Lollapalooza's allocated concert area. Under the new deal, though, Kelly admits some of the Lollapalooza revenue will be used to shore up the Park District's deficit budget, but he adds, "We have been and will be disciplined in allocating a big chunk of that money to the neighborhoods."
Parkways announced in April that it will cease operations this summer. A new nonprofit division, which will not be connected to Lollapalooza, will start up later this year.
An aerial view of the crowds at Lollpalooza 2011. (Sun-Times file)
Standing out from the big 3
Lollapalooza's direct negotiation with governments is unique among the "big three" fests.
The Bonnaroo festival started in 2002 on a private farm in Manchester, Tenn., between Nashville and Chattanooga. In 2007, festival organizers purchased 530 acres of the land; they continue to lease about 250 acres for parking and camping. Bonnaroo occurs each June and draws about 80,000 people daily over four days.
Coachella now stages its concerts over two weekends at a rented private facility, the Empire Polo Club in Indio, Calif. That festival, which started in 1999, ran into its own governmental woes this spring when an Indio city councilor proposed a tax on Coachella tickets (approximately $18 per ticket). The festival balked and began shopping for alternate locations; the tax proposal was dropped.
Coachella's agreements with the polo club have been made two years at a time, with the current contract expiring after the 2013 festival (for which tickets are already on sale).
This year's Coachella events in April were attended by 158,000 total and grossed $47.3 million in ticket sales, according to Billboard Boxscore.
The Chicago Parks District estimates the overall economic benefit from Lollapalooza to the city at $100 million annually.
"Because we do this in the heart of a culturally savvy town," Jones said, "the overall economic impact is huge. Fifty percent of the people at this festival are from out of town. You can't get a hotel room during the festival. Plus, we shut down at 10 [p.m.]. After that, the town gets lit up."
He's referring to the numerous official post-festival concerts each night at Chicago indoor music venues, as well as the other food, drink and entertainment business from festivalgoers throughout the city.
Lollapalooza, in fact, has become so attractive to the Parks District that they're looking for other ways to add large music events to Chicago's green spaces. In addition to Lollapalooza in Grant Park and the annual Pitchfork Music Festival in Union Park, this fall the annual punk rock Riot Fest will include two days outdoors in Humboldt Park.
The city's openness to large-scale music in the parks is a relatively recent development, Kelly said.
"I was still in college in 1991 when Smashing Pumpkins were talking about playing Butler Field, and people talked it down because the crowds would be too big or whatever," Kelly said. "Years later we were doing Shania Twain and Radiohead in the park, and people were saying, 'Well, maybe we can do concerts in Chicago parks, after all!' ...
"With the concerts we do now, we're one of the largest providers of outdoor entertainment in the state. And we've always got a Dave Matthews or a Jimmy Buffett knocking at our door. Plus, other cities, like San Francisco, have been calling and asking, 'How'd you do it?' So, yes, pop music has become increasingly important to us."
Lollapalooza opens Friday with record crowd
By Thomas Conner on August 3, 2012 10:00 AM
And so it begins again.
Year eight of Lollapalooza as a sit-down music festival in Chicago's Park — with at least 10 more on the horizon — is the biggest ever. Last year's fest jumped up to 90,000 fans each day; this year, a sold-out crowd of 100,000 per day will stream through the gates.
Concertgoers can expect to see added vendors, the usual upscale food options in Chow Town, Perry's stage under an open sky, extra barricades around the perimeter to foil fence jumpers and extra fencing around the park's landscaping (be kind to the bushes — you own them). Here's a look at the set-up.
Gates open at 11 a.m. today. For complete info about the fest, look to the Reader's handy guide. Plus, here are my music picks for Friday, Saturday and Sunday in the park.
Stay tuned to this blog through the weekend, where myself, Anders Smith Lindall and our Lolla crew will update all the music and news from Grant Park.
Important: Keep an eye on the weather: Severe storms are a good possibility late in the day Saturday. (Ask yourself: where would you seek shelter out there — and how long would it take to get there?)
In the meantime, some numbers. This year's 100,000 daily mark is a record attendance. But how does that stack up against the other two summer music fests in America's "big three"?
Setting: in suburban Indio, Calif.
Duration: 6 days (two weekends)
Time of year: mid-April
No. of performers (2012): 144
Total daily capacity: 75,000
Size of site: 90-acre polo grounds (rented), plus 280 acres (owned)
Ticket prices (2012, not including VIP packages): $285 plus fees (three-day pass only)
Reported gross: $47.3 million (2012)
Local annual government share: $1.6 million, plus applicable sales taxes
Local annual economic impact estimate: unknown
Setting: in rural Manchester, Tenn.
Duration: 4 days
Time of year: mid-June
No. of performers (2012): 184
Total daily capacity: 80,000
Size of site: 530 acres (owned), plus 250 acres (leased)
Ticket prices (2012, not including VIP packages): $209.50-$259.50 plus fees (four-day pass only)
Reported gross: $20 million (2012 estimate)
Local annual government share: $1 million given to Coffee County organizations since 2002
Local annual economic impact estimate: $20 million
Started: 2005 (reboot)
Setting: in urban Chicago
Duration: 3 days
Time of year: early August
No. of performers (2012): 130
Total daily capacity: 100,000
Size of site: 115 acres of Grant Park (total 319 acres)
Ticket prices (2012, not including VIP packages): $200-$230 (three-day pass), $95 (single-day pass)
Reported gross: $22.5 million (2011)
Local annual government share: $2.7 million to the Parkways Foundation in 2011
Local annual economic impact estimate: $100 million
Locals at Lolla: Empires, JC Brooks, Haley Reinhart, more
By Thomas Conner on August 3, 2012 12:00 PM
The out-of-state folks who book Lollapalooza at least make an effort to dip into the local talent pool, resulting in often well-deserved showcases for Chicago-area up-and-comers. Last year's side-stage performance by Kids These Days was explosive and contributed to landing the band on the "Conan" show earlier this year. Lolla 2012 spotlights several other locals, including the great alt-rock band Empires (3:20 p.m. Saturday, BMI stage), the already sweat-inducing soul group JC Brooks & the Uptown Sound (noon Saturday, Sony stage) and our own suburban "American Idol" finalist, Haley Reinhart (1:10 p.m. Friday, BMI stage).
Another one to watch is Andrew Christopoulos, a senior at Glenbrook North High School (pictured below).
He's 17, but he's played in a local band, the Axidents, for six years. Christopoulos plays drums in that band, but at his two (count 'em, two) Lollapalooza slots, he'll be showcasing his singer-songwriting chops on the piano.
"It's hard to put a genre on your own music, but I would call it 'folk rock.' It's mostly written for a piano and an acoustic guitar," Christopoulos told Sun-Times Media. "But I hired a full band, Jackpot Donnie — they're all older than I am — to back me for Lolla. There will be two guitarists, a bassist, a drummer, an organist, a cellist, and me on piano, and singing."
That all goes down twice — 4 p.m. Friday and 2:30 p.m. Sunday — on the Kidzapalooza stage.
Lollapalooza: Perry's tent, White Panda in the sun
By Thomas Conner on August 3, 2012 2:26 PM
Some Lollapalooza fans wasted no time starting the rave Friday afternoon at Perry's stage, jumping and dancing to the duo White Panda.
Perry's, the one of Lolla's eight stages that focuses almost exclusively on DJs and electronic music, has been under a large tent in previous years. That caused high temperatures to be trapped and endanger fans, so this year Perry's is open-air — an enormous new stage, rivaling the size of the main Red Bull Soundstage in Grant Park's Hutchinson Field. The new Perry's features a special raised deck for the DJs, plus two video screens on either side and three LED strips above and below the stage.
"This is our home town and this means the world to us!" shouted White Panda's Tom Evans (aka Procrast).
He and his partner, Dan Griffith (DJ Griffi), wore panda masks with blinking LED eyes and led the crowd through their typical mash-up mixes, ranging from "Whoomp! (There It Is)" to — yegods — "Call Me Maybe."
The latter got the crowd really jumping — the half that wasn't smirking — and without that big top the Perry's crowd is in direct sun through the afternoon. Methinks the crowd I was watching during the White Panda will have a lot in common with the crowd in the first-aid tents by evening.
Lollapalooza Friday opens with hot rock block
By Thomas Conner on August 3, 2012 7:11 PM
Lollapalooza's first day began, as expected, with a strong indie-rock block in the afternoon. What wasn't expected was the marriage proposal.
Wisconsin native Alex Schaaf, performing on the Sony main stage as Yellow Ostrich, stopped his set midway through and introduced someone named Nate, who came on stage and promptly proposed to someone named Steph. "I met you a year ago and knew then that I'd be getting onstage with Yellow Ostrich to ask you this," Nate told his beloved. Everyone has their dream, man.
"Congratulations, and thank God she said yes," Schaaf said, resuming his show, "'cause that would have put a big bummer on everything."
His set was no bummer, shaking up his bedroom lo-fi by applying extra speed and spunk, even in the precocious "Elephant King."
Philadelphia's Dr. Dog regaled Hutchinson Field's sparse Friday afternoon crowd with a rich set of their slightly skewed, oddball pop. The fullness of the quintet's sound, after the rambunctious but ramshackle Yellow Ostrich, was laced with organ and inventive guitars. Their latest album is called "Be the Void," but there's no emptiness in their quirky '60s sounds, like a funky Camper Van Beethoven.
Tame Impala was next — and the heat was getting to them. After they rambled through "Apocalypse Dreams," a classic-rock marathon that ebbs and throbs through slow-grinding '60s guitar swell, singer-guitarist Kevin Parker stopped to explain something.
"If anyone's interested as to why that song sounded so strange," he said, "I think one of my [guitar] pedals has melted."
This Australian trio started out as 13-year-olds clear back in 1999, making bedroom records until 2007. Now fully immersed in the glare of hipster hype — and the harsh Friday Lollapalooza sun — they acquitted themselves nicely, switching effortlessly between shoegazey Floyd rock, early solo McCartney melodies and T. Rex boogie. Their second album, "Lonerism," is due in October, helmed by producer Dave Fridmann (Mercury Rev, etc.).
French electronics at Lollapalooza Friday: Madeon, M83
By Thomas Conner on August 3, 2012 11:47 PM
Perry's stage showcases a lot of rising stars, such is the nature of the fast-paced EDM world. Friday afternoon's case in point: Madeon, aka French dubstep DJ Hugo Leclercq, who introduced himself two years ago with six little words: "Here are 39 songs I like." That opening to his very viral video for "Pop Culture," a deft three-and-a-half-minute mash-up of those songs, set him on the path to Perry's stage, where he put on one of the day's more animated performances.
The drag of it, though, was that — despite the big, new Perry's stage being flanked by two enormous video screens and framed by LED strips above and below — no camera focused on the 18-year-old DJ's movements, his unique instrument (the Novation Launchpad) or, most tragically, his jazz hands. The screens at Perry's just flash a bunch of pseudo-trippy screen-saver nonsense, thus wasting the effort of building this large stage with its elevated DJ platform in order to showcase the mixmasters as real performers. Half the joy of watching "Pop Culture" on YouTube is that the footage is static on Leclercq's hands as he punches out all those melodies and beats. At least his jumping around — and, seriously, the jazz hands were cracking me up — gave those of us in the shade something to watch.
Another largely electronic act, M83 — and fellow Frenchfolks — crafted their cinescope sounds on the Sony main stage Friday evening. Bathed in and sometimes pierced by a flashy light show, the band worked through an hourlong set (almost pushing past their time limit up against the night's closer, the Black Keys) that swelled and swirled, nearly every song building with cymbal-crashing crescendo toward a big finish. Over and over.
The film-score quality of M83's elegant disco is well-raved about — and will be applied to an actual film soon, as M83 has been picked to score an upcoming sci-fi flick starring Tom Cruise — and it was easy for me to select their recent hit, "Midnight City," from their latest album (the double-CD "Hurry Up, We're Dreaming") as last year's finest single. Keyboardist Morgan Kibby is an earthy, shamanistic foil to Anthony Gonzalez' earnest guitar rubbing and button jabbing. The band's Friday set strove to pump up the beat occasionally, particularly with other members joining in on drum kits during the thumping "Reunion," but it never got quite fast or furious enough. Like the spiral galaxy the band is named after, their set shone brightly but spun for a long time before burning out. Still, "Midnight City" closes with something you don't hear much at Lollaplooza, in this or any other decade. As the man behind me said, thankfully quieting his chatty friends at the song's climax, "Um, I'm sorry. Are we hearing a freaking saxophone solo?!"
Friday @ Lollapalooza: the Shins, the Head & the Heart
By Thomas Conner on August 4, 2012 12:17 AM
Seattle's the Head & the Heart took to the Sony main stage Friday at Lollapalooza and sang, "Don't follow your head, follow your heart." So despite their name, we know where their allegiance lies — with the impulsive, romantic and less rational of the two.
An unusual sound for Lollapalooza, even in its rebooted era, the Head & the Heart play music loaded with acoustic guitar, violin, piano and tambourine. Lots of real, resonating wood. Add to that the dual singing tasks of the equally gravel-throated Jonathan Russell and Josiah Johnson, and you have a rootsy pop that's, well — if you're over 40, call them the Waterdudes, and if you're under 40, they're the Novemberists.
Unfortunately, playing just as the dinner hour approached, the Head & the Heart's set proved to be a leaden lead-in to the Shins. Despite a few aces — including a new song, "Gone," dappled with lovely harmonies and building to a whomping finish — the plaintive ballads and folk-rock eventually suffered. Passion Pit began playing in the north, and those spunky yelps, urgent beats and lively melodies wafting over the park suddenly made it sound as if we were in the wrong end.
The Shins kicked off their set on the Red Bull main stage with no fanfare, no introduction, just launching right into "Caring Is Creepy" and several older chestnuts. The old songs —from the era in which Natalie Portman wasn't the only one proclaiming that the band would change your life — helped establish an identity, provided enough "Oh yeah!" reminders for casual fans trudging through the dust. While the tunes were recognizable, the performances were wonderfully fuller and more dense. It was like hearing a concert recording of the Smiths late in their career, marveling at how lush the sound gets when just a second guitarist is added. In this case, singer-guitarist James Mercer has a completely new lineup around him after ditching the old band as the Shins moved up to a major label for the latest album, "Port of Morrow."
The guitars packed greater punch throughout, plus organ ("Simple Song") and a tourniquet-tight rhythm section ("Bait and Switch") raised brows and kept them high. The set, though, mirrored the band's recording career. It started strong and grew progressively less interesting, until it ended amid some lengthy prog-rock, noodling nonsense.
Friday @ Lollapalooza: the Black Keys
By Thomas Conner on August 4, 2012 12:51 AM
Friday night's headliners tested fans with a black decision: see the newly reunited and infinitely influential heavy metal band Black Sabbath, or catch a widescreen performance by one of rock's most rollicking and fresh duos, the Black Keys.
For Nathaniel J. Werner, 56, of Oak Park, the choice was clear.
"This is a bucket-list item," he said, while awaiting the Black Keys. "Sabbath? Pfft! Seen that. These Black Keys — I like the blues, and these guys do that and more."
That they do, and did.
Just as they proved themselves arena-worthy in March at Chicago's United Center, the bold pair — guitarist Dan Auerbach and drummer Patrick Carney (and augmented on stage by a few extra players) — showed they could headline a massive summer festival just as easily.
Introduced briefly by Mayor Rahm Emanuel (pictured at right — no black keys to the city? anyone?), the Black Keys opened with "Howlin' for You" and proceeded to get the audience doing just that, singing along instantly to the song's da-da refrain. Swinging wide through their decade-old catalog, Carney pounded furiously and Auerbach sang firmly while wrenching riffs from his guitar. The sound these two knit together draws from clear influences old and new but never sounds indebted to anyone. Timeless, tuneful and catchy, even while still being sonically dirty and rough to the touch, songs like "Dead and Gone" cause heads to bob involuntarily and make redundant Auerbach pleas such as, "Come on, Chicago, sing it with us!"
Midway through the set, Auerbach and Carney dismissed their support players and woodshedded alone. But, proving their scope, they concluded the show with something much less intimate: a blast of fireworks that spelled out their name above the stage. Humble and audacious.
Saturday weather at Lollapalooza: Emergency plans
By Thomas Conner on August 4, 2012 11:56 AM
Be ready for rough weather tonight, Paloozers.
Forecasts call for severe thunderstorms — a 75 percent chance as of noon, and radar shows a colorful squall line already charging east across Iowa. Last year, thunderstorms blew through on the third day of the festival, merely slowing down a few bands including the Foo Fighters, but organizers tell the Sun-Times they're prepared for any eventuality.
What follows are details from the on-site emergency plan according to information this morning from Lollapalooza producers C3 Presents, as well as a few personal tips:
There's a real-time weather station on site at Lollapalooza. Follow its data here.
In case of high winds: The plan instructs staff to secure items that could be blown around (trash cans, etc.). If it gets windy but not so much that the park should be evacuated, staff is instructed to create "safe areas" around any structure that might come tumbling down as a result.
In case of lightning: Good advice: "Tents, trees and picnic shelters offer little or no protection from lightning. Therefore it is imperative that in the event of lightning in the area that patrons are directed to one of the safe shelter sites until the lightning danger has passed." If lightning-detection equipment on site gets crackling, the crowd may be moved within the park or evacuated.
In case of evacuation: If officials determine that the park should be evacuated, they're going to make the announcement via audio and video, then direct us toward three primary locations: the Grant Park North Garage (25 N. Michigan), the Grant Park South Garage (325 S. Michigan) and the East Monroe St. Garage (5 S. Columbus, with an entrance on Michigan). Look for the signs, blue with white letters, that say "Weather Shelter."
A few tips of my own when facing rain at the fest:
— Wear real shoes. Stop wearing sandals and flip-flops, you crazy people.
— Umbrellas are (a) useless in the crowd and (b) obnoxious to those behind you. Get a cheap drugstore poncho. Covers completely and allows you to move.
— Plastic bags for protecting phones, cameras, etc. Take an extra that contains dry socks.
— The weather comes from the west. Seek shelter in a tent with an opening on the west side and you've sought no shelter at all.
— Safety first. Live to rock another day.
Lollapalooza rebooting after Saturday storm delay
By Thomas Conner on August 4, 2012 6:31 PM
Well, that happened.
Lollapalooza was shut down and Grant Park was evacuated for more than two hours Saturday as severe storms moved through Chicago.
The gates have reopened, and after a confusing but panic-free evacuation fans are trickling back in. Perry's stage is thumping and full of muddy dancers. Some acts have been canceled, but music is expected to begin shortly.
For now, follow the full report here. All details posted to Twitter, too @chicagosmusic.
This has been a test of the emergency Lollapalooza system
By Thomas Conner on August 5, 2012 12:39 AM | No Comments | No TrackBacks
BY THOMAS CONNER Pop Music Critic
with Emily Morris and Mitchell Herrmann
"We need to clear the whole park."
That was the first audio announcement from the southern main stage Saturday afternoon at Lollapalooza in Grant Park. In the next hour, the day's entire sold-out crowd was evacuated from the park — the first such procedure in Lollapalooza's eight years as an annual event in Chicago — ahead of a squall line of severe storms that moved through Chicago featuring lightning, downpours and high winds.
"In all, more than 60,000 festival-goers and nearly 3,000 staff, artists and vendors were safely evacuated in 38 minutes," said a late-night statement from Lollapalooza producers C3 Presents.
Two and a half hours later, the crowds were back in the muddy park and bands were playing on a revised schedule. Storms? What storms?
Here's a run-down of what we experienced:
Saturday's weather forecast had been ominous for days, and by morning the squall line was already charging eastward across Iowa. C3 Presents released the details of their emergency plan, and a few hours later — at 3:30 p.m., after the National Weather Service issued a severe thunderstorm warning for Chicago — we all experienced it.
According to that plan, in the event of the decision to evacuate the park ahead of severe weather, announcements would be made via audio and video. (C3 claims both occurred, though every fan we spoke with said they saw no video announcements.) The information was also reported on the Lollapalooza web site, Facebook page, Twitter account and transmitted to 40,000-plus subscribers to the festival's mobile app. Many fans we spoke with had heard the news via texts and tweets well before announcements came from the stage.
Several fans reported confusion about the information given, or lack thereof. "They just told us to get out and find the nearest shelter," said Sara Parolin of Kansas City. "I guess that's where we're going."
Many took the news in stride, and most everyone proceeded calmly and casually toward one of several exits on the west side of Grant Park.
Not everyone wanted to leave, though. Shortly after the announcements, hundreds lingered in front of Perry's stage on the southwest corner of Columbus and Balbo. Matt Colello of Woodstock was one of them. "For those who spent $250 on tickets, we don't want to leave," he said. "Hopefully, it'll be quick."
His friend, Donald Stephens of Chicago, added: "And on the off chance this becomes a huge mud pit dance party ..." He raised his eyebrows expectantly.
In a bit of irony, new barricades in place around the park to keep fence-jumpers from entering illegally held firm as fans tried to exit the park — though several jumped the fence to get out rather than sneak in.
Clearing the park was one thing, and seemed to be accomplished in a timely manner (with plenty of time before the storm hit) and relatively easily. Giving the nearly 60,000 people someplace to go, however, seemed another matter.
As I began to exit the park, I asked staff near the inside gate where we were being directed. I was told to proceed to the next gate where there would be instructions. The outer gate poured us all onto Michigan Avenue, and there was no one giving directions. There was no staff in sight. Fans were simply flowing onto Michigan Avenue, snarling traffic and scattering.
"Once we were outside of the park, there was no information or directions anywhere," said Noah Hyrent of Roselle.
They filled hotels and businesses, some of which reacted against the influx. At a Starbucks at Michigan and Balbo, employees ordered everyone out of the packed coffee shop, even customers who had beverages in their hands. A liquor store near Michigan and Congress locked its doors.
"As we crossed Michigan, I saw all these people looking out the windows in the hotel at this horde of people coming for them," said Kevin Spry of Downer's Grove, seeking shelter underneath the Congress Hotel's southern awning.
One Chicago Police officer, leaning casually against a fence along Michigan Ave., quipped: "There's no place out here for 100,000 people to go."
Inside the Congress Hotel, masses of mostly cheery festgoers congregated in the hotel's bar and in the Gold Room, where some brought their own cases of beer. There were plenty of whoops and yells as concertgoers continued to drink and tried to have a good time despite having to leave the fest. Dan Shaughnessy, 31, of Midway, played for the crowd.
The quick-thinking owner of a bar called Quay commandeered a school bus and sent it to ferry wayward fans to his establishment on Navy Pier.
By 6 p.m., word-of-mouth spread news that the gates were reopening. Lines formed back at the two entrances, and at 6:30 p.m. — as the rain just about stopped — fans were readmitted. At first, Lollapalooza staff tried to make everyone re-scan their wristbands but then abandoned that sluggish procedure for quicker visual checks.
Fans stream back into Hutchinson Field on Saturday for the restarted Lollapalooza.
(Video by Thomas Conner/Sun-Times)
Back inside, the scene was swampy, especially in Hutchinson Field — which was full of gulls quite enjoying the newly created wetlands. Trash cans were turned over and large puddles spotted the landscape. In no time, several young women were purposely bathing in the muck and sliding in the mud.
A clump of readmitted fans clustered in front of the Red Bull main stage affirmed their conviction by singing the national anthem and shouting, "USA! USA!"
One by one, the stages came back online, with Perry's dance stage first pumping out the "Star Wars" theme. Not everyone was back on the schedule, however. Several bands had their remaining sets trimmed and others, including the eagerly anticipated Southern neo-soul band Alabama Shakes, had their sets canceled.
Chicago alt-rock band Empires was one of the unlucky cancellations. After tweeting a single but potent curse word, the band followed up with, "Our set is canceled. Nothing we can do about it. Hard to put into words how bummed we are. Thank you to everyone that traveled."
City officials allowed the park curfew to stretch from 10 p.m. to 10:45 p.m. to accommodate the rest of the acts.
Coming in 2013: Lollapalooza Israel
By Thomas Conner on August 5, 2012 1:25 AM
Shortly after Grant Park reopened to music fans after a temporary, weather-related evacuation, Lollapalooza made an off-topic announcement: the festival is expanding again overseas next year, this time to Tel Aviv, Israel.
Lollapalooza Israel is set for Aug. 20-22, 2013, in Tel Aviv's Yarkon Park.
It's the latest in international expansions by Lollapalooza, produced by the Texas-based C3 Presents. Lollapalooza Chile launched in 2011, and Lollapalooza Brazil began early this year.
"As a musician, I really missed the days when we were on the move," festival founder Perry Farrell said in a statement. "In the last few years we've widened our scope, presenting Lolla to the 'festival generation' around the world. Next stop: Tel Aviv."
Saturday @ Lollapalooza: fun., Washed Out
By Thomas Conner on August 5, 2012 1:44 AM
Once back inside Grant Park after Lollapalooza's rain delay on Saturday, fans scrambled to catch up to a revised schedule. Eventually, though, most just followed their ears.
A whole lot of them, in fact, crammed around the smaller capacity Google Play stage to hear Brooklyn's fun. The crowd wasn't surprising given the trio's series of chart and sales record-breakers thanks to the omnipresence of the hit single "We Are Young." But there was something else going on Saturday night — a level of exuberance that exceeded the already highly pitched spirits the band often generates in concert.
This crowd had just been shoved out of the park and let back in, and they were happy to be there. fun.'s many whoa-whoa, singalong choruses were just the ticket to celebrate Lolla 2.0 on a suddenly cooler Saturday night. When the band finally played "We Are Young," the crowd went wild. The audience in front of the stage sang ecstatically. A dance party broke out on Columbus Ave.
"Oh thank God, thank God, thank God!" exclaimed Kathy Winegate, 30, of Kenosha. "If I didn't get to hear that song tonight, well, we'd have us a problem."
Immediately after was the band named for the evening's activities: Washed Out.
Ernest Greene, the Southern gent behind Washed Out, was pretty happy to be back in the park, too. "We didn't even think we were going to get to play today," he told the crowd, "so it sounds much better with all you guys here."
On record, Washed Out lives up to its name more than in concert. The dreamy, drowsy electro-pop of the group's stellar second album, "Within and Without," is retooled with bigger beats and seismic synths. After an opening number that would have pleased Jean Michel Jarre, the three synth players plus a drummer tightened the grooves underneath Greene's lowly mixed, indistinct vocals.
Before the deluge, Green spoke to me about that early-Michael Stipe view of vocal mixing, plus what's on tap next for the project:
MY VIDEO INTERVIEW
Saturday @ Lollapalooza: Frank Ocean, Aloe Blacc, more
By Thomas Conner on August 5, 2012 1:55 AM
Saturday's schedule at Lollapalooza came pre-loaded with excellent R&B. Too bad the afternoon evacuation on account of weather resulted in the cancellation of one of those acts, the widely acclaimed Alabama Shakes, but the rest more than made up for the deficit.
In the blazing sun and soupy, pre-storm heat, sly soul singer Aloe Blacc (E. Nathaniel Dawkins) strutted out to a jumping, genteel start. With a suited band, featuring two horns, Blacc opened by showing how widely soul music can reach — swinging from "Politician," a lively groove stuffed with socially conscious lyrics ("This free country is not so free"), to a funky shaker celebrating more carnal concerns ("Her berries are sweeter and her melons are fat").
Likewise, his cheerleading with the crowd see-sawed between "Love!" and "Peace!" But what he really wanted folks to do was dance. To that end, he made sure we were all on the same page, asking: "Y'all remember a TV show called 'Soul Train'?" He then instructed the crowd to form the kind of dance lines popular on the long-running Chicago-born show.
Musically, Blacc moved through rich gospel, quoting soul standards and hip-shaking, wah-wah funk, all played and sung with a loose-limbed ease but a tight, professional snap. He closed with the bouncy rhythm of "I Need a Dollar," which even included a kind of dub/reggae breakdown. Best part: The sign language interpreter was communicating with hips as much as hands.
Chicago's own JC Brooks & the Uptown Sound opened Saturday's lineup in Hutchinson Field.
Anders Lindall caught that set. Afterward, Brooks sat down with me for a quick chat about soul music, Frank Ocean and how to get an audience into the palm of your hand:
Late because of the rain delay, ballyhooed R&B savior Frank Ocean calmly and coolly kneaded an hourlong set that justified all the slobbering reviews of his recent album, "Channel Orange."
A fixture in the media recently because of a game-changing blog post, in which he came out as bisexual, Ocean thankfully is not just another well-played piece of PR. Opening with an acoustic cover of Sade's "By Your Side," Ocean's depth of vision and talent were quickly fathomable.
An ecstatic crowd around the Google Play stage cheered every breath he took, especially when he buttered them up a bit. "I see we got a little rain today," Ocean said. "I'm happy you came back out. I wouldn't miss y'all for the world."
Performing with a four-piece band that didn't back him so much as they painted sounds around him, Ocean exuded an alluring confidence. And why not? He's got a strong voice that makes two- or three-octave leaps seem such a casual maneuver. He's singing some of the most clever, sometimes quirky and engaging lyrics and lines. He possesses a musical vision light years beyond the modern R&B bump-and-grind standard. Songs like "Novocaine" and "Swim Good" flushed with spooky undercurrents (both musically and narratively), and "Strawberry Swing" swelled into a dramatic, Coldplay-esque anthem. Even if the storm hadn't broken the heat, Ocean's performance still would've made a perfect evening.
Sunday @ Lollapalooza: fields, the Walkmen, Little Dragon
By Thomas Conner on August 5, 2012 4:53 PM
"As Lady Gaga said when I saw her last time we played Lollapalooza [in 2010]," quipped the Walkmen's Hamilton Leithauser during the band's Sunday afternoon set at Lollapalooza, "'It's hot as f—- up here!'"
This sounds like a complaint from Friday or Saturday, when Chicago heat indexes were closer to 100, not on Lollapalooza's comparatively glorious third day — cooler, drier, clearer.
Then again, Leithauser was on the Sony main stage, facing the direct sun — and, just like the band's appearance in 2010, wearing a black suit.
After Saturday's two-and-a-half hour stoppage and evacuation due to severe weather, conditions and moods at Lollapalooza on Sunday were much improved.
Grant Park's Butler and Hutchinson fields in the north and south, respectively, are definitely showing wear. In both spots, grass is compacted and pocked with muddy patches. The softball fields in Hutchinson are dry and dusty again, but the tundra around it is spongy in most places, swampy in others. The ground around Perry's stage (southwest of Columbus and Balbo) is something of a dry crust, occasionally punctured to reveal the muddy sludge beneath.
Patches of mud in Grant Park's Hutchinson Field at Lollapalooza on Sunday. (Thomas Conner/Sun-Times)
The only real drawback, though, is the stench. Each of these fields reeks of either an old gym sock or a neglected kitchen drain.
Myra Woodruff, 22, of Cincinnati sported an old-school safety pin in her earlobe and a wooden clothes pin on her nose. "Smell is not the sense I'm here to concentrate on," she said.
Despite cooler temperatures, shade is still at a premium, with lots of fans huddled under the trees near Perry's stage and the Google Play stage, while the sunny patches directly in front of the performers were half full.
The Walkmen, for their part, seemed labored in that afternoon sun. The quintet, with the bloom of a 10-year anniversary just fading, meandered through their set and only seemed to plug into a real power source near the end. Once again in an incongruent setting for Leithauser to be squinting in the glare and wailing, "We're gonna have a good time tonight," this band's traditionally dirty sonics sounded clean and their normally vintage equipment seemed efficiently modern. Their official after-show later tonight at Lincoln Hall should wrap Leithauser's quivering wails in the darkness it so requires.
Meanwhile, an actual band — not a DJ — took to Perry's stage. Sweden's Little Dragon quickly set to justifying why they belonged on the EDM stage, opening with a clanging rhythm and a springy synth beat. The DJ tower gone, the quartet was free to leap about the stage, with singer Yukimi Nagano banging a tear-shaped tambourine. Their deeply soulful sound might have been a bit minimal for the Perry's ravers, but the songs' clean lines and electronic hums showcased a well-heeled, well-armed band. They oughta be, they've been around for 15 years now. So when Nagano asks the crowd if it's OK to play a "really, really old song," she's not just being coy.
Contributing: Anders Smith Lindall
Sunday @ Lollapalooza: Sigur Ros
By Thomas Conner on August 5, 2012 5:23 PM
You couldn't imagine a starker contrast between setting and style.
Here's Sigur Ros onstage at Lollapalooza. They open early with the funereal pace their hourlong set will maintain with elegant rigor throughout. Singer Jon Thor "Jonsi" Birgisson is, as always, playing his electric guitar with a bow. Eventually he begins emitting his pinched falsetto cry — like the call of some eerie, autistic wild — and continues the piece by singing that same cry directly into his guitar pickup. The result is an added echo, a faintly astral projected sound amid the band's chilly, lush, cinematic sound.
Before them, however, lies Hutchison Swamp.
The crowd is large, but not so large yet (in the middle of the day) that they can't avoid the biggest and slimiest of the mud pits, souvenirs of Saturday's brief but thorough storm soak. Many fans are again caked in the grey-green muck, which dries on their legs and shoes in the sun. All this crystalline beauty from this revived Icelandic band, but you keep expecting one of the "Swamp People" guys to wrassle a gator in the puddles.
Jonsi, all bones and pale, pale skin, patiently sawed out his ambitious (if occasionally wearying) compositions backed by the band, which was augmented by string and horn players. Video screens flanking the stage tried to frame the tone of the music by splicing watery imagery in between shots of the sun-squinting Icelanders. That they played as measured a set as they did in what had to be strange conditions likely contributed to the crowd's lengthy ovation.
Sunday @ Lollapalooza: At the Drive-In
By Thomas Conner on August 5, 2012 11:17 PM
The other surprising reunion act at Lollapalooza doesn't have the profile of Black Sabbath but on a good day might be able to go toe-to-toe with them. For much of their Sunday evening set in Hutchinson Field, it was a good day for At the Drive-In.
The Texas quintet revived its controlled, virtuosic, "post-hardcore" thrash in a main stage set peppered with jerking guitar lines, stand-up comedy and technical glitches.
"We are collectively known as Latin Danzig," said singer Cedric Bixler-Zavala by way of reintroduction. Bixler-Zavala's wit crackled throughout the set, commenting on the muddy field's pungent odor ("It smells like a Toblerone!") and filling an equipment breakdown with a rant about shoes.
But most of the time he was yelping and barking and pushing that unsettling, high voice that often falls somewhere between Geddy Lee and Kevin Cronin, just as At the Drive-In's music blends prog and pop, respectively. A table-pounding gem like "Lopsided," as close to a power ballad as this band gets, still showcases Bixler-Zavala's vocal versatility.
Sunday @ Lollapalooza: Jack White
By Thomas Conner on August 5, 2012 11:44 PM
Jack White closed out this year's Lollapalooza with an epic performance of the same kind of blues-rock that inspired the festival's Friday headliner, the Black Keys. But White is more than the yin to someone else's yang, he's the whole colorful circle of modern American music — bashing out rock, digging up roots and careening through country.
Fortunately, he brought along a band that could handle the breadth of material. In fact, he brought two.
On tour, White has been traveling with two bands: one all-female, one all-male. They usually take turns playing each gig. For Lollapalooza, they both hit the stage.
Opening Sunday's show with a serious-looking, suited crew of heavyweight gentlemen, called Los Buzzardos, White — in black, with white boots, looking every bit "The Crow" of rock and roll — began drawing from the scope of his work as part of projects such as the White Stripes ("Black Math," "Dead Leaves and the Dirty Ground") and the Dead Weather ("Blue Blood Blues"). Without the dead weight, as it were, he could showcase the same mélange of material and underlying razor focus displayed on his recent solo debut, "Blunderbuss." Crunching through "Sixteen Saltines," from that album, White and his moody men ran hot at full throttle and in low gear. Even when things backed off a bit and White took a turn at the piano during "Missing Pieces," sitting back-to-back with the Buzzardos keys man, the force was always fully felt.
Midway through the set, the gents retired and the ladies took over. The Peacocks, as they're called, dressed in white and maintained the hardcore energy and country gentility, continuing through more solo, White Stripes and even a Raconteurs ("Top Yourself") number.
All business, and hardly chatty ("We got lucky with the weather tonight, didn't we?"), White intently screamed, shrieked and growled into a set that rarely let up for an hour and a half. Then came the encore, a punishing blow of recognizable, raucous riffs: "Steady as She Goes" (another Raconteurs tune, which White used for some call-and-response with the packed crowd), "The Hardest Button to Button," "Freedom at 21" (during which the Peacocks' drummer bashed so hard she knocked off a cymbal) and "Seven Nation Army." In the end, both bands took a bow.
Pitchfork Music Festival 2012
This post contains my complete running coverage of this annual festival ...
© Chicago Sun-Times
Pitchfork Music Festival kicks off with new features
By Thomas Conner on July 13, 2012 3:45 PM
The 2012 Pitchfork Music Festival got off to a delayed start Friday afternoon due to passing storms. Gates opened 30 minutes later and music was delayed 10 minutes while crews pumped some flash-flooded spots.
First up is the organic drone of Lower Dens and the spunkier rock of Outer Minds. Through Sunday night, 47 bands will perform on three stages in Chicago's Union Park, featuring mostly indie subgenres of rock, pop, electronic and hip-hop.
With a daily capacity of 18,000 fans — Friday is nearly full, Saturday is sold out, Sunday is filling up — the annual music fest is exactly one-fifth the size of Lollapalooza's daily crowd of 90,000.
That does not mean it wields just 20 percent of the impact.
Showcasing rising stars and cutting-edge sounds, the Pitchfork event — derived from its namesake online music magazine, Pitchfork.com, the arbiter of what's playing in hipster headphones the world round — often assist in culling the field, even determining who steps up to the larger fests, such as Lolla, Coachella and Bonnaroo.
Situated squarely in this West Loop park, Pitchfork's schedule and layout are easy to manage and maneuver. It's a fan-friendly and usually Chicago-friendly experience. Ticket prices stayed level this year ($45 each day, $110 for three-day passes), so it's a great bargain.
New elements to the experience this year include on-site lockers for fans to stash belongings, a ride-sharing program and increased bicycle parking. Among the vendor booths and markets, such as the CHIRP Record Fair, is the new BookFort, sponsored by local publisher Featherproof and Poetry magazine, featuring books for sale and a schedule of readings and discussions throughout the weekend from writers ranging from Tim Kinsella to Cynthia Plaster Caster.
Also, for those not attending the festival, Pitchfork 2012 is streaming online for the first time via youtube.com/pitchforktv.
Pitchfork Day 1: Chicago's Willis Earl Beal amazes
By Thomas Conner on July 13, 2012 11:50 PM
Chicago's Willis Earl Beal delivered the first jaw-dropping set of this year's Pitchfork Music Festival. Preceded by a growing legend that's threatened to overshadow his actual talent — discovered as a visual artist and busker, Beal has been trumpeted as an eccentric wunderkind in Found magazine and in the Chicago Reader — he strutted onto the festival's smaller secondary stage as if he were headlining the United Center. He then unleashed a voice that would've filled eight United Centers.
Warming up with some head-turning a cappella gospel evoking Calvary, Beal started a reel-to-reel tape rolling — his only accompaniment at first — and began singing over tinny clangs, dobro slides and bass beats. But "singing" seems a flaccid verb for what Beal actually accomplishes. Projecting a massive, versatile voice that hollers and howls, grates and growls, the 27-year-old Beal's bellowing evokes the oldest bluesmen and the fiercest young rappers. It's a voice that swings wide, high and low — often from guttural yawps to fluttery falsetto within a single line. He's Screamin' Jay Hawkins, then he's Curtis Mayfield.
Beal's acclaimed debut album, "Acousmatic Sorcery," is mostly lo-fi and delicate. His show is raw and loud. Twirling slowly, falling down, wrapping himself in a black cape — his moody performance is dramatic and occasionally histrionic. It wears slightly thin, too, particularly during the stomping six-minute dirges, but it's unquestionably a singular talent.
"You've been very patient watching me up here being self-indulgent," Beal said near the end. The pleasure was ours.
Pitchfork Day 1: Rain, rain, we came to play
By Thomas Conner on July 14, 2012 12:03 AM
With its afternoon opening delayed slightly by a brief but heavy storm, Pitchfork's first day was deluged by a second downpour just before 6 p.m. The music didn't stop, though. Pitchfork organizers kept things relatively on schedule, and most fans seemed energized by the cooling rain.
More wet weather is forecast into the weekend, with a 40 percent chance of more storms Saturday.
Pitchfork's daily capacity of 18,000 fans wasn't quite sold out Friday, and the roomy field even during headliners suggested many fans with weekend passes stayed home due to the weather.
After A$AP Rocky's crew defied the evening downpour, skies cleared quickly and — save for a few muddy spots and puddles — Friday night went off without a hitch.
"I think the sun is coming out," said Japandroids' Brian King as his duo's set got under way. "Everything's gonna be all right."
Pitchfork Day 1: Outer Minds, Olivia Tremor Control
By Thomas Conner on July 14, 2012 12:25 AM
Friday's music at Pitchfork opened direct from the wayback machine.
The first band on stage, Chicago's Outer Minds, drenched the soggy park with shimmering '60s psychedelic boogie. Singer-guitarist Zach Medearis, Vox organist Mary McKane and tambourine-confetti queen Gina Lira harmonize like the Mamas & the Papas, but the music is eight-cylinder garage-rock — much wilder and reckless on stage than on record.
Medearis' Alex Chilton (Box Tops-era) bark and snaky Will Sergeant guitar lines literally vibrate in front of drummer Brian Costello's rolling fills and thundering drops. During "Until You're Dead," Costello was on his feet, pounding his toms like a musical Thor. Right on.
They were immediately followed on one of the main stages by the paisley sounds of the Olivia Tremor Control, a product of the Elephant 6 collective in the 1990s, re-formed in recent years (along with the reappearance of Jeff Mangum) with charter members Bill Doss and Will Cullen Hart. Their sunny '60s pop faced down Friday's looming clouds and included numerous horns.
Pitchfork Day 1: A$AP Rocky vs. Big K.R.I.T.
By Thomas Conner on July 14, 2012 12:34 AM
Two rising hip-hop scrappers nearly went head-to-head on the two main stages Friday night.
First, A$AP Rocky hit the Red stage — or at least his mob did. Rocky showed up during the fourth song and proceeded to throw his ADD rhymes at the crowd just before the second storm hit. Rain didn't stop the Harlem rapper, but with his frenetic flow, urban angst and stage-diving antics, little probably could. Championed by Drake and collaborating with Danny Brown, his 2011 debut "Live Love A$AP" caught enough mainstream attention to earn a major-label reissue this year. That was mainly for the slo-mo flow of hits like "Peso" and "Purple Swag." Friday, Rocky was so hyped-up his follow-up, coming in September, might be called "Live Wire."
Better was Big K.R.I.T., a slow burner from Mississippi who took to the Green stage in a Bulls cap and kept telling the crowd he wanted to "slow things down." With beats significantly more soulful than Rocky's, K.R.I.T. (King Remembered in Time) eased everyone through a scorching, satisfying set. His full-length debut, "Live from the Underground," mixes up the soul (and blues, he samples B.B. King) with anti-crunk hip-hop full of — like his Friday set — frequent reminders that K.R.I.T. is just "country people."
Pitchfork Day 1: Feist, Japandroids, Dirty Projectors
By Thomas Conner on July 14, 2012 1:26 AM
The two guys who make up Japandroids have a knack for multiplying humanity. First, guitarist Brian King (pictured) and drummer David Prowse generate enough raucous sound for a full quartet and then some. Secondly, they draw a crowd — one of the biggest I've ever seen at Pitchfork's smaller stage under the trees.
Taking the Blue stage as the rain receded, King took responsibility. "We brought the Vancouver weather with us," he said. Because of the weather delays, their set was trimmed. "So I'm not gonna talk after this. We're just gonna cram in as many songs as we can. ... It's Friday night! Let's have some fun!"
Here are two guys definitely not sorry for party rocking. Playing several bashers from their latest album, "Celebration Rock," they filled the small space with spirited, punkish New Wave jams that electrified the large crowd — like they did at Pitchfork back in 2008 — and could have held down one of the main stages with atomic aplomb.
On the flip side, Dirty Projectors began their main stage set shortly after Japandroids, offering highly quirky, jazzy chamber-pop that might have been more rewarding on a smaller, more intimate stage.
A regular at Chicago outdoor festivals (Pitchfork in 2008, Downtown Sound in 2009, Lollapalooza 2010), Dirty Projectors just released "Swing Lo Magellan," a slightly more straightforward batch of songs, though that's not saying much for these herky-jerky composers. Opening the set with "Magellan" songs, Dirty Projectors presented a cool, jazzy front, mixing in prog-rock breaks and dubby bass into fractured tempos and occasionally glitchy sounds. Dave Longstreth is charismatic and creative, but he's no singer. Well into the set, the grooves began knitting together more seamlessly, and the songs that spotlighted the harmonies of the group's three women — as on the stunning "Beautiful Mother" — reminded me how much I used to love the Roches.
Closing out Friday's main stage was Feist, the not-so-feisty Canadian who became a darling of indie-pop years ago with a little song called "1,2,3,4," a song that wound up everywhere from iPod commercials to "Sesame Street." And she didn't play it.
What Feist did instead was put on the show she clearly intended to put on — a patient rendering of her songs, old and new, with a decidedly earthy, rootsy palette. She even had (speaking of the Roches' harmonies) the female trio Mountain Man singing backup and wrapped in baggy, monk-like robes. Mixing new songs, from last fall's "Metals," and spacious reinterpretations of a few old ones ("Mushaboom"), Feist and her band slowly prodded her catalog. Rhythms palpitated like Native American songs, and the set started off like a bit of a wet blanket. Chatter online and on-site leading up to this set questioned whether Feist was a headliner-worthy act. As she plodded along like Jackson Browne's sister, the naysayers were winning.
Eventually, though, she cranked things up to festival level, grinding into her guitar hard enough to remind us she began her musical life in a punk band. "My Moon My Man" featured some six-string squall before its big, booming finish, and midway through the rocking backbeat of "I Feel It All" she had the whole crowd back. This ebbed and flowed, swelling again during "Comfort Me" and concluding with a self-satisfied grin.
Pitchfork Day 2: 'Embrace the mud!'
By Thomas Conner on July 14, 2012 6:50 PM
PHOTO BY ME
After Friday's soggy opening, the second day of the 2012 Pitchfork Music Festival in Chicago's Union Park received another soaking early in the afternoon. But a little rain failed to dampen the spirits of the sold-out crowd.
Festival organizers acted quickly to manage the puddles and mud patches, laying down clay and plastic decking, and pumping where necessary.
As one festivalgoer said, though, leading several around her in a chant: "Embrace the mud!"
Pitchfork Day 2: Flying Lotus, Wild Flag
By Thomas Conner on July 14, 2012 11:52 PM
Pitchfork's blessing and its curse can be the diversity of its programming. Saturday's schedule was proof of these extremes — a broadly inconsistent day — but sometimes the swing between extremes really crackle, as it did Saturday afternoon with two divergent but equally exciting sets.
First, California DJ Flying Lotus (Steven Ellison, pictured) quickly dispatched all who doubted that one man and a turntable deck could hold down one of Pitchfork's main stages. An odd booking, perhaps, but in the glare of post-rain sun, his charisma and cheer — not to mention a wise selection of tracks for his target audience (Kanye West & Jay-Z, Odd Future, Erykah Badu and more were in his fluid mixes) — were infectious. When he tweaked the Beastie Boys' "Intergalactic," the crowd — already pogoing in the slop — went berserk. When his time was up, he kept spinning and few argued.
Follow that postmodern party with a purely old-school guitar band. The inimitable Wild Flag continued knitting a '60s psych-rock thread that started on Friday with Outer Minds and Olivia Tremor Control.
But this supergroup quartet (members from Sleater-Kinney, Minders, Helium) see-sawed between more classic, concise pop-rock (closing with "Romance" from their highly acclaimed, self-titled debut) and stunning, feedback-drenched guitar workouts ("Glass Tambourine"), as well as taking turns between songs led by singer-guitarist Mary Timony and those led by Carrie Brownstein.
As if to highlight their roots as a two-guitar band, they opened with Television's "See No Evil," then unveiled a couple of new songs. Their back-and-forth in the climactic swirl of "Glass Tambourine" was athletic. Same for "Racehorse," which they ended by weaving squalls of feedback for several minutes, concluding with Brownstein — in an image I'll long remember — her hair frazzled and in her eyes, holding her aquamarine guitar by the bottom high over her head, with one hand, her other on her hip, as the feedback rolled and rolled. Triumphant.
A bonus of every Wild Flag show is watching Rebecca Cole dance behind her keyboards. Very Peanut-characterish, very endearing.
Pitchfork's known more for experimental and electronic acts, so it was nice to hear some rawk.
Pitchfork Day 2: Sleigh Bells and a mixed bag
By Thomas Conner on July 15, 2012 12:40 AM
Saturday was a day of mixed reviews. The weather: dreadful at first, delightful by nightfall. Mobile service: some hilarious tweets, though several of them were delivered two hours late. The video screen: beautifully clear this year, even though its images always seemed brighter and sunnier than reality.
Music, too. Sleigh Bells, for starters. Their reign of terror on the evening main stage alternated between hard-hitting and plain silly.
Pumped-up cheerleader Alexis Krauss, guitarist-producer Derek Miller and a second guitarist, Jason Boyer, put on a spirited track show, leaping and posing to a backing of tinny beats and high-EQ noise. Even in the wide-open park space for Pitchfork — where they also played in 2010 — the sound was claustrophobic. Opening with their now-signature high-EQ guitar assault, they dished music that at times aped Billy Squier ("Demons"), Roxette ("Born to Lose") and a Jamaican Jesus & Mary Chain cover band ("End of the Line"). Give Krauss props for filling in the holes with buoyant stage prancing and fierce orders for everyone to cheer, and give the crowd props for obeying. "I'm coming to get you, Chicago!" she cried as she dove into the audience. She makes a racket, but she makes it look like a blast.
Chromatics were playing for five minutes before I realized that the innocuous synth-pop I was hearing was not the piped PA music. Danny Brown's pinched, nasally, Nipsey Russell rapping was funny but flat, like his usually wild hair that the Detroit MC hid underneath a ballcap. London's Hot Chip filled the good-time, dance-party slot last year ably designed by Cut Copy, but did so by playing a batch of uptempo dance-pop that all sounds exactly the same, even their cover of Fleetwood Mac's "Everywhere." They sounded like everyband.
Pitchfork Day 2: Grimes, Godspeed You! Black Emperor
By Thomas Conner on July 15, 2012 1:17 AM
Saturday's Pitchfork headliners both seemed like mixed bags — especially to the hundreds of people who stuck with them for two songs and then bolted (I've never seen such an exodus on a Saturday night at Pitchfork) — but each earned their keep in drastically different ways.
On the main stage, the mysterious and expansive Godspeed You! Black Emperor confounded the curious and exalted the faithful. Reunited after a seven-year hiatus, the nine-member Montreal collective (last here in March 2011, just after reuniting) demonstrated why they are both revered and ignored, building a typical set that was all dynamics but little depth.
What GY!BE does is build tension — and build it, and build it. This is a band whose debut album had three songs on it, each averaging 17 minutes in length. Their opener Saturday night, as the field had cooled and the crowd loosened up, began with a musical murmur, a sound that could have been a sound check, could have been a tuning. Then a single violin note. Some static footage began (the video screen between the stages went dark for this, the better to force concentration on GY!BE's nonsense imagery behind them), drums began thumping, then an undulating hum. They sustained this intoned intimidation for 13 minutes, basically around a single note. You wondered if they even knew where they were, or cared.
From there, the set throbbed and threatened — morphing through Turkish violins and Middle Eastern chimes, unnerving drums that thundered and rattled, and occasional wafts of melody, like half-remembered folk tunes or hymns (I know I heard "Amazing Grace" in there). This was symphonic music as it would be crafted by, say, Crazy Horse.
A wordless wonder was a bold choice for a festival headliner, though only the faithful seemed to appreciate the audience with their Olympian legends. Unlike Explosions in the Sky, for instance, GY!BE never seem truly comfortable on — or even aware of — stage. Saturday's performance, however, launches a 17-date tour through the summer.
Meanwhile, another act proved far bigger than Pitchfork's small Blue stage. Vancouver native Grimes (Claire Boucher) took a break from her current participation in the Full Flex Express Tour with Skrillex, Diplo and others to drop in on Pitchfork and draw a massive crowd under the trees. Like GY!BE, she bewildered as many as she entranced — there was a similar mass exodus from her crowd, too, after a couple of songs — and seemed to be dancing to a different performance than the one we were hearing.
Despite purring and cooing through soft, skittering ballads and glitchy, gauzy pop fragments, Grimes whipped herself around as if she were spitting out block rockin' beats. Plus, in addition to her DJ (who didn't seem to unburden Grimes of her own considerable knob-twiddling efforts), Grimes was joined onstage by two dancers, of the "Solid Gold" variety. Whereas GY!BE is all structure and time, Grimes chucks structure for sound. Not only does she employ her own, trademark baby-doll voice to its full extent, she adds infantile vox humana to the synthesized mix. The result is often creepy, unsettling and occasionally bewitching. She knows how to craft a hook, but she casts them into strange, murky waters.
Pitchfork Day 3: the Electromusical Energy Visualizer
By Thomas Conner on July 15, 2012 5:54 PM
Mind you, this is the Pitchfork Music Festival, not another World's Columbian Exposition. Nonetheless, in one corner of Chicago's Union Park during this weekend's annual indie-rock fest, there was a contraption called the Electromusical Energy Visualizer.
Fans enter one of its four booths (sponsored by online service eMusic), don headphones and place one hand on an electric sensor. They then listen to snippets of four songs, each by one of the bands on this year's Pitchfork schedule.
At the end of each song sample, a photo is snapped. Like an amusement park ride, you exit the booth and receive your photo set — each shot overlaid with a color from the spectrum allegedly corresponding to your "musical aura" while listening to the song.
Yes, it's a 21st-century mood ring.
My session seemed accurate enough: Lower Dens (light yellow, mildly happy), Beach House (bright yellow, very happy, see photo at left), Iceage (goofy expression on my face, but no mood response) and A$AP Rocky (no mood response).
Pitchfork Day 3: The wooden letters
By Thomas Conner on July 15, 2012 7:08 PM
Fans who visited the Blue stage this weekend at the Pitchfork Music Festival took a moment or two to decipher Matthew Hoffman's plywood sculpture (above).
In letters 8-feet tall and spanning 80 feet atop the park's west fence, Hoffman spelled out, "THESE MOMENTS."
It's part of some on-site art installations in collaboration with Chicago-based Johalla Projects.
Watch a time-lapse video of the installation here, and see more of Hoffman's work here.
Pitchfork Day 3: Ty Segall, Thee Oh Sees, more
By Thomas Conner on July 16, 2012 12:08 AM
The only thing that made Sunday afternoon's block of garage rock at Pitchfork 2012 more scorching and thrilling was the camaraderie between two of the acts.
"Hey, Ty Segall!" John Dwyer shouted from Pitchfork's smaller Blue stage. "Can you hear us?"
Dwyer leads Thee Oh Sees, the prolific Bay Area pysch-rock band (four albums in three years) with the ever-evolving name (OCS, the O.C.'s, the Ohsees). Sunday his band started a half hour before the like-minded Segall on the larger Red stage, and Dwyer knew a lot of fans were torn by the scheduling — and planning to bolt. "Don't go," he pleaded limply. "Stay!"
While both White Mystery redheads watched and pumped devil horns in the air behind the stacks, Thee Oh Sees plowed through a set of rich, textured psychedelic garage. Dwyer and his mates threw their heads hard back and forth as they ground out relentless riffs, and Dwyer yelped and hiccupped. The first song bore down for eight glorious minutes, bashing and scraping like early '90s-era Flaming Lips scoring a post-apocalyptic road movie. Hanging tight to their garage aesthetic, they still sashayed through slower, ambling boogies and several moody freakouts. Segall definitely heard them.
In fact, he tried to repay the favor. Midway through his own set, Segall led the crowd on a count of three to shout, "Dwyer!" Then he noticed that Dwyer had already finished and was standing to the side of Segall's stage. "Holy sh—!" he blurted. Then, with the same utter joy he played his stunning set, he shouted, "Yeah!"
Segall, an even more prolific California garage primitivist (11 albums since 2008), was Pitchfork 2012's great revelation.
Where was the mud Sunday? Not in the field, but in Segall's amps. Thick, peaty sonic mud, tuned for flinging. Opening with peals of feedback squall, Segall and his band — featuring the battering Emily Rose Epstein on drums and equally aggressive guitarist Charles Moothart — blasted through a set of rollicking rock and roll as true to form but just as texturally diverse as Thee Oh Sees. Where Dwyer's band is slightly more cerebral with their clay, Segall is all physical — grabbing handfuls, lurching to and fro, torturing the desired sounds out of his instrument by flexing and twisting every part of his body, not mere hands and fingers. Garage stomps and banshee wails, jangly bits and cooing harmonies, screeching jet engines and screams of bloody murder — hell, not only did he throw in a cover of AC/DC's "Dirty Deeds Done Dirt Cheap," he turned in some credible blues-rock ("You Make the Sun Fry," a great title for Sunday's heat).
He even made something out of the stage-diving cliché by jumping in and steering the surf — pointing in the direction he wanted to go, out toward the sound booth and back to the stage. The crowd conveyed him just so while the band vamped. When he hit the stage again, he picked up his guitar and kept going. A golden god.
These sets were bookended by other unabashed guitar rockers at a festival sometimes known more for knob-twiddlers and shoegazers. Milk Music, a longhair bar band from Olympia, Wash., played dedicated '90s grunge and whipped their hair around without irony. The Men, a Brooklyn quartet with a Southern rock fixation, tempered their own thrash with slide guitar, harmonica and forays into stoner jams.
Pitchfork Day 3: Lady Gaga and Kendrick Lamar
By Thomas Conner on July 16, 2012 12:35 AM
Straight outta Compton, rapper Kendrick Lamar earned a huge crowd at Pitchfork's smaller Blue stage on Sunday. Were they all drawn by Lamar's hard-as-nails flow? Not quite.
Lady Gaga was there to see him.
You read that right. Lamar, you see, keeps excellent company.
He's not a newbie, either. He started his career as K. Dot, making three mixtapes under that name. Now rechristened, Lamar has Snoop Dogg singing his praises and Dr. Dre signing him to his label. (Lamar even has allegedly contributed to "Detox," Dre's now-legendary third album that's been in the works for 11 years.) Pitchfork fans can appreciate that he recently performed a concert with Best Coast.
The Lady and Lamar somehow became friends, and Gaga tweeted about him last week ("What a sweetie calling me this morning to see how I'm doin"). In a move smacking of marketing machinations, Gaga swung through Chicago to play tastemaker.
During Lamar's set, Gaga danced on the side of the small stage under the trees, surrounded by her entourage (which included a beefy fellow waving photographers away). Twitter nearly burst into flames with anticipation of her joining him on stage, but the pairing didn't happen.
Which left us Lamar by himself. Frankly, that's a bit of a letdown. Hitting the stage 15 minutes late, Lamar spent much of his set freestyling — impressively, with an appealing and gravelly street-preacher flow, but he seemed to be doing it most often because his lame, distracted DJ wasn't backing him up. "Hol' Up" is an easygoing reflection built atop some chill Herb Alpert-like horn samples, but after that we got a ride on the cliché train. Leers about sex and alcohol, demands for noise-making and hand-waving, comparisons of himself to Martin Luther King Jr. — by the end of Lamar's set, Lady Gaga would have been a comparable injection of humility.
But she just leaned on the railing, in a black bustier and some heavy jewels. All dressed up, and she didn't go anywhere.
Pitchfork Day 3: Vampire Weekend, Beach House, the Field
By Thomas Conner on July 16, 2012 1:33 AM
The 2012 Pitchfork Music Festival concluded Sunday night with three final acts touching on each strength this locally produced marquee has demonstrated over the years: dependable college rock (Vampire Weekend), noodling electronic mood music (Beach House) and a curious, tucked away experimental surprise (The Field).
Three days down, 47 acts on three stages, Pitchfork 2012 was a mixed bag — more mixed than usual, really — with a full-capacity sell-out only on Saturday.
Beach House — sigh. First off, I know. They're dreamy. If I never see a tweet or have it explained to me about their "dreamy" sound, it'll be too soon. But it's often a thin line between dreamy and dull.
When the drug lobby eventually succeeds in making everything legal and taxable, Beach House will be in great demand to provide music for Quaaludes commercials. Depending on your point of view, the plodding pretenses of Victoria Legrand (pictured) and Alex Scally (plus a mallet-loving drummer) either made for that perfect Pitchfork evening gazing into the twilight or a dreary, dark buzzkill. I expected the former but concluded the latter.
Legrand's sandy, deliberate voice pulsated in and out of the washed-out mix, while she and Scally hung back deep on the stage. (If you weren't positioned within a 45-degree cone from center stage, you could barely see them. Ironically, the cameramen were usually in the way, too.) Balancing light and dark tones within their Cocteau Twins echoes, the duo — in a better slot than their 2010 Pitchfork appearance — hummed and thrummed, mixing woozy sounds with delicate brushes and beats. But none of it had enough hooks to keep me from drifting away.
Which I'm glad I did, because I found the Field. A pseudonym for Swedish "minimal techno" artist Alex Willner, the Field on Sunday featured Willner joined by a drummer and bassist. Take the sustained tension of Saturday night's Godspeed You! Black Emperor, swap the bombast for some Tangerine Dream, and you've got the basics for this super-subtle patchwork of rhythm and sound that closed out Pitchfork's Blue stage.
Willner laid down a simple beat and began building dynamics above and below it — so lightly, carefully, applying the kind of noises you can't quite discern, the kind of insistent hums you search the house all over trying to locate. But it was cool, refreshing, and he kept layering the sounds and amping up the rhythm until the small crowd was dancing without most being aware of how or when they'd started. A study in electronic grace.
Now, to the Sunday night main-stage headliner: Vampire Weekend.
You hipsters and your inevitable backlashes. The preppy thing, the "Upper Wide Side Soweto" tag, the premature Spin acclaim, the bassist's relation to Scott Baio — I get it, Vampire Weekend is painted with easy targets. But on paper this band's world-beat/college-rock cocktail is much more affected than has been proven on record, and usually on stage (occasional cardigans notwithstanding). Hipsters love to employ the worn-out Paul Simon comparisons as a weapon. But you could do a helluva lot worse than having influences of such a rich songwriter and producer, particularly from his "Graceland" zenith. As has been argued before, Simon's legacy is overdue for indie-rock mining.
That said, Vampire Weekend missed an opportunity Sunday night to reintroduce themselves. Actually, the problem was that they didn't introduce anything new. "Contra," their last album, came out two and a half years ago; they've been laboring over the follow-up ever since, which they report is about 80 percent finished. From all that work, though, only one new song showed up Sunday. The rest of the set list was, well, drawn from the same well as their March 2010 concert in Chicago and their previous Pitchfork appearance as the hot new thing in 2008.
"It's been a long time since we played shows," singer Ezra Koenig told Sunday's ecstatic crowd. He repeated the caveat later, a few songs before his voice seemed to go (he sounded pretty out-of-practice on "I Stand Corrected").
The catalog is still bustling, spry and fun, especially with Sunday's concerted oomph, driven by the powerful drumming of Chris Tomson. But the new song — a stomping beat, a woven melody — and a satiny new reading of "Horchata" were the only fresh digs. Not that many seemed to mind. A screaming, dancing crowd hung on every tilt of Koenig's guitar and sang along to the whole bit. Still, to task, chaps! Finish that record!
These online "clips" reproduce a self-selection of my journalism (music etc) during the last 20+ years. It's a lotta stuff, but it only scratches the surface. I do not currently possess the time or resources to digitize the whole body of work. These posts are simply a bunch of pretty great days at the office.