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.
This post contains my complete running coverage of this annual festival ...
© Chicago Sun-Times
Friday @ Lollapalooza: Good morning, grandma!
By Thomas Conner on August 5, 2011 1:13 PM
Lollapalooza 2011 opened with this ringing, backhanded endorsement from Jenn Wasner of the band Wye Oak: "I love Lollapalooza because it's the one festival even my grandparents know what it is."
Such cross-generational branding succeeded in selling out a record capacity this year. Over the weekend, 90,000 fans will attend each day of Lollapalooza. That makes this three-day concert event in Chicago's Grant Park one of the country's biggest, with Coachella's daily attendance around 75,000 and Bonnaroo's more than 100,000.
Thousands were already on hand Friday morning for the festival's opening sets, which included Baltimore duo Wye Oak and their Southern gothic shoegaze. Wasner, however, struggled to get going against a bad guitar pedal that eventually forced her to stop mid-song and apologize.
"There seems to be a ghost in it or something," she said as drummer Andy Stack looked on helplessly. "This is the worst thing that's ever happened to me."
She eventually salvaged her gear and the set, completing the song "Plains" to gracious applause from several hundred devoted early fans.
Friday @ Lollapalooza: Vaccines, Naked & Famous
By Thomas Conner on August 5, 2011 2:41 PM
Lollapalooza opened Friday morning with an announcement about more Lollapaloozing to be had worldwide next year — the festival will return to Chile (March 31-April 1) and add a new event in Sao Paulo, Brazil (April 7-8) — and then quickly moved to Britain as the Vaccines christened this year's main stage in the south end of Hutchinson Field.
Supporting their super-hyped debut, "What Did You Expect From the Vaccines," the Vaccines turned over the same well-tilled ground — lots of post-punk revival with tons of reverb and Strokesy confidence — but sounded fresher and cockier than they do on record. Singer Justin Young comes on quickly with a Dylanesque whine over his band's retro Walkmen grind, advocating for emotional destruction in "Blow It Up" and a quickie in "Post-Breakup Sex." The band's heap of influences seeped deeper than expected, too; for "Wetsuit" guitarist Freddie Cowan and the rhythm section chugged along simply like the Crickets, and Young encouraged dancing, saying, "This is one you can dance to. You're at a rock and roll show, remember." Anything to help clear away some of the band's studied self-consciousness.
When the Naked & Famous started playing at the other end of the south field, one fan shouted, and seemed sincere, "Oh, yay, another British accent!" That would be the buoyant Alisa Xayalith, leader of the festival's first '80s-inspired offering. Full of humming synths and buzzing guitars, all propped up by hard drums and loops, this New Zealand quintet took its time whipping up a melodious melodrama. "All of This" and "Punching in a Dream" opened the set establishing the template: Gothy pretension but irresistible tunes, sometimes building up one and tearing down the other. (They, too, suffered some equipment-related pauses on the same stage that dogged Wye Oak's earlier set. "Just fixing some broken sh—," Xayalith assured during a long break.) I'll call them Katrina & the Darkwaves.
Friday @ Lollapalooza: Foster the People
By Thomas Conner on August 5, 2011 7:31 PM
Friday afternoon turned out to be fine concert weather, with high clouds dulling the sun's edge and a cool lake breeze occasionally refreshing weary fans. But don't tell Mark Foster, hapless leader of L.A.'s Foster the People, whose crisp white dress shirt was transparent with sweat by the band's third song.
Foster the People are brand new, riding a slick slacker single from last year that landed them on one of Lollapalooza's biggest stage this year. They're still exploring who they are as a band, and they played the day's most eclectic set — evolving from dreamy, keyboard-laden grooves to ill-advised R&B to throwaway love ditties and, near the end, a straight cover of Neil Young's "Heart of Gold." Foster is an odd duck, singing in his pinched nasal voice and occasionally leaping over to mash piano keys or pound the drums (as he did during "Call It What You Want"). Sometimes he was ridiculous, his shoulders jerking up and down as he whined his New Radicals funk-lite; other times he was gloriously unhinged, cackling like a madman near the end of the set when Foster the People suddenly turned into a garage band (or Joe "King" Carrasco). I the end they returned to what they thus far do best, laying down supple, sleepy grooves for that aforementioned single, "Pumped Up Kicks." Most of the crowd was pumped up and sang along.
Friday @ Lollapalooza: A Perfect Circle
By Thomas Conner on August 5, 2011 7:33 PM
You've never heard John Lennon's "Imagine" delivered with such quivering earnestness as warped vocalist Maynard James Keenan gives it. In fact, you've likely never heard the song turned on its head in quite this manner, imbued with minor piano chords and a martial rhythm — twisted from its hopeful, thoughtful origins into a surprisingly dystopian sneer.
Such is the heavy gloom of A Perfect Circle, a supergroup playing Lollapalooza's main stage after being reactivated from a seven-year hiatus.
With no new music to present, this patient, pummeling band — led by Keenan from Tool, and now featuring former Smashing Pumpkins guitarist James Iha — drew from the band's brief period of activity, and a lot from 2004's "Emotive." That album was mostly covers and was not widely acclaimed. Their take on Depeche Mode's "People Are People," for instance, is so thundering and morose as to be largely unrecognizable. There's something to be said for making a song your own.
Because where Keenan's Tool goes for the gnarled composition, A Perfect Circle succeeds in creating a somber, dour mood, simmering with restrained fury, which Keenan unleashed perfectly during "Pet," roaring and growling from his isolated perch in the back of the stage (he does like to lurk) and whacking a tambourine on a staff to punctuate his demands: "Go back to sleep!" The song ended with angelic, chiming guitar, smoothing out the scene.
Friday @ Lollapalooza: Chicago's Kids These Days
By Thomas Conner on August 5, 2011 9:45 PM
If you looked around Lollapalooza just after 4 p.m. Friday and wondered where all the teenagers had gone, a large crowd of them were crammed in front of the BMI stage watching fellow Chicago teens Kids These Days.
Easily one of the best shows I saw all Friday, Kids These Days is an eight-piece group comprised of 18- and 19-year-olds, half of them from Whitney Young High School. Mixing up blues, hip-hop, funk, rock, jazz and most other genres except electronic (but give them time), KTD has come up through the ranks during the last two years. They started selling out small clubs, then filled Metro, played a buzzworthy showcase at South by Southwest last March, and now here they are at Lollapalooza. The meteoric local rise, based on the sheer energy of their performances and a pretty potent musical cocktail, should have drawn the attention of any music industry moguls present.
Friday, though, was a hometown celebration.
MY VIDEO INTERVIEW
KTD charged on stage with enough energy for the rest of the day's lineup. Rapper Vic Mensa lead the charge, biting off rhymes with a clenched jaw and leaping around the small stage pumping up the crowd, salted as it was with adoring friends, family and classmates. Fans were crowd surfing almost immediately, and Mensa and others tried their hand at stage diving.
Mensa has no fear of Lollapalooza-related injuries. He tried to attend the festival last year — by sneaking in. He jumped a fence near the Metra tracks, but brushed against an electrical transformer. He not only took several thousand volts through his left arm, he fell 30 feet to the pavement and spent three days in the hospital. "I almost f—-in' died trying to sneak in here last year," Mensa told the crowd. "This is way better."
The unfettered mashing up of genres KTD pulls off is truly heady. They mix together everything great about Chicago's musical roots. Guitarist Liam Cunningham will lay down a blues riff, the horns will pop in with some kind of syncopated ska, the rhythm section backs it up with some slinky rock-soul, all the while Mensa is bounding around like Tigger the Creator. With remarkable compositional and performance skill, they blended "Summertime" into James Brown's "Man's World," threaded by Mensa's rhymes ("You're like a blood transplant and you're just my type"). Their repertoire of classics is broad, though: the horn section snuck in the riff from Radiohead's "Creep."
Effervescent, exciting stuff. The results are positively funkadelic. This band could open for Ozomatli as easily as Steely Dan. KTD has an EP out now, "Hard Times," available on iTunes. A full-length is in the works.
Friday @ Lollapalooza: Chatting with OK Go
By Thomas Conner on August 6, 2011 12:37 AM
You've seen their viral music videos online, and so apparently has the president.
OK Go, the treadmmills-to-Pilobolus YouTube favorites, performed at Barack Obama's 50th birthday bash this week at Chicago's Aragon Ballroom. Two days later they were playing to Lollapalooza.
We caught a few minutes with OK Go singer Damian Kulash backstage at Grant Park on Friday to talk about his Marilyn Monroe impression:
MY VIDEO INTERVIEW
Friday @ Lollapalooza: Muse, Girl Talk
By Thomas Conner on August 6, 2011 12:44 AM
Who was the main headliner Friday night? If you're over 30, you probably thought it was Coldplay. But the biggest stage at Lollapalooza with room for the biggest crowd is on Hutchison Field in the south end of the park, and that's not where Coldplay performed. The bigger stage and crowd went to Muse.
That older demographic has been asking me for weeks, "Who the hell is Muse?" But this wailing trio has been around for 17 years, longer than Coldplay — long enough that at festivals later this month in their native Britain they'll be performing one of their "classic" albums in its entirety — and they sold out London's Wembley Stadium before most Yanks had heard of them. Muse has developed a fiercely loyal following around the world of largely younger fans less familiar with the glam- and prog-rock they ape so ably. The band's appearance last year on the latest "Twilight" movie soundtrack put them over the top in the United States.
As if to ingratiate themselves, singer-guitarist Matthew Bellamy slipped in several nods to Americana during the band's nearly two-hour show, threading our National Anthem early in the set and transitioning with "House of the Rising Sun" later. This was between the band's relentless assault of slightly anachronistic, theatrical pomp on the order of everyone from Queen to Def Leppard. This is a band of unrepentant Big Rawk dorks, unafraid to wallow in the hoariest clichés — and they inspire such moments in their fans. Half the people around me were air guitaring throughout the set with wide smiles, reveling in the gift of a summer concert festival moment — a free pass for acting silly and letting loose. Songs such as "Resistance" and "United States of Eurasia," along with all the "1984"-meets-"Tron" visuals on stage, are as shallow as most primetime TV (and by hour two, most Muse sounds the same) but the crowd at Hutchinson Field cheered religiously for every hollow agit-pop couplet ("Rise up and take the power back / It's time that the fat cats had a heart attack") and punishing riff all the way to the encore.
Meanwhile, the real action Friday night was in the newly expanded Perry's tent. The festival's annual DJ stage expanded this year to house 15,000 ravers (that's one big tent, lemme tell ya), and Girl Talk overflowed the capacity.
A Chicago favorite, Girl Talk, a k a 29-year-old Pittsburgh biologist Gregg Gillis, returned to Lollapalooza after three years with a much bigger show featuring his wild, live mix of pop music samples. Gillis makes music out of splicing others' together into new creations, and watching him trigger his samples in real time is like seeing a truly mad scientist at work. Dozens of fans from the crowd joined him on stage, throwing streamers, toilet paper and confetti around Gillis as he folded rap into '80s pop and '90s R&B into indie-rock. He snips the "hey ho" out of the Ramones and the "ay ay ay ay" out of Vampire Weekend for use as rhythmic props for Big Boi and General Public. His catholic tastes make for some of the best cross-generational jamming ever, and it certainly got every one of nearly 20,000 people hopping.
Saturday @ Lollapalooza: Grouplove, Ximena Sarinana, more
By Thomas Conner on August 6, 2011 2:21 PM
It's cool and lovely at Lollapalooza — but that's because a fair amount of rain fell overnight. The clouds remain, which is great, but there's a 50-50 chance of more precip. Hutchinson Field is muddy, oddly everywhere except the perpetually dusty baseball diamonds. Some hay has been spread around in the worst areas, but the coverage is pretty poor. If you're packing up now, include a cheap poncho and don't wear the good shoes.
"I can't believe I wore flip-flops," lamented Carrie Berenstein, 22, of Aurora, as she tip-toed her way across the muddy grass. "I'm going to be a disaster. I'm already a disaster."
Saturday opened with a worldly vibe on many stages. "We're from Los Angeles," said a member of Grouplove by way of introduction — noteworthy only because of his thick British accent. Grouplove came together at an artists retreat on the island of Crete and reconvened back in America, fusing a worldly sensibility with otherwise rootsy Americana. The quintet delighted through "Don't Say Oh Well," strumming guitars and one ukulele (for pure sound, not gimmick!).
All Mexico's Ximena Sarinana had to say during her set was "This song is all in Spanish" or "Viva Mexico!" and the small crowd gathered for her noon Saturday set at the BMI side stage cheered and whooped. Several waved Mexican flags. Sarinana, 25, a popular telenovela actress south of the border, is going for a breakout with her self-titled sophomore album, which is really great. For her early afternoon set at Lollapalooza, silhouetted against the lake with flying geese as an occasional backdrop, Sarinana performed a handful of new songs as well as a few from her 2008 debut, the misleadingly titled "Mediocre."
Playing electric piano at center stage, she eased into the big drums and cinematic refrain of "Normal" before electronically layering her vocals, and later bopped through her bouncy new pop single, "Different," and the seductive groove of "Echo Park." "This is the first festival I've played in America," she said. As impressed as I am with the album, I have to say her set suffered from a sense of unease and occasionally shrill vocals, as if she hasn't quite mastered the challenges of moving and singing at the same time. The crowd, however, demanded an encore, and she obliged by finally knocking us out with her fine voice — singing the sad, bluesy title track to "Mediocre" alone at her keyboard, working every dynamic smoothly and powerfully. Every nationality was cheering then.
On the main south stage, Cincinnati's Walk the Moon leapt joyously through its set of world music dance-rock, heavy on the beats and smeared with very Bow Wow Wow warpaint. Mixing beard-rock harmonies and spirited, switched-up beats, they worked through their own "Lisa Baby," about a "dancing queen," and by the end of the set were covering Bowie's "Let's Dance."
Saturday @ Lollapalooza: Big Audio Dynamite
By Thomas Conner on August 6, 2011 4:02 PM
In our interview before the band's Lollapalooza debut, former Clash guitarist Mick Jones said the world had not, indeed, been clamoring for a reunion of his post-Clash band, Big Audio Dynamite — but they haven't minded it, either.
MY VIDEO INTERVIEW
This unlikely but potent collaboration between Jones and filmmaker Don Letts started in 1984 and took the world grooves the Clash had begun to explore, pushing them further while also working open-mindedly with sound samples and video visuals. If that sounds pioneering, go figure - from yesterday's MTV to today's YouTube — it might have been. Because B.A.D. sounded very fresh, and very good, during their Saturday afternoon concert here.
What sounded a wee bit gimmicky in the mid-'80s — the film dialogue samples, the sound effects (ricocheting bullets and wailing sirens), the synthesized beats — are now perfectly natural to contemporary ears. I'd forgotten what a Wild West fixation these Brits had, still on display: They opened with whistling western movie music, and shouted "Rawhide!" after Jones' ADD guitar solo in "B.A.D."
The other reason people might not mind the return of B.A.D. is because the band's socially conscious songs, written during the Reagan and Bush administrations, alas, still speak to economic inequality and class conflict. Saturday they sounded positively prescient, singing, "Nation's economy's on a downward slide / On the best course of action no one can decide." That's from 1985. But they also debuted a new song, "Rob Peter, Pay Paul," which Jones introduced this way: "Our current global financial meltdown is explained in three and a half minutes." Sample lyric: "Where is the justice? What happened to the law?"
It was a surprisingly jangly song for this, the band that finds a groove and works it - usually for much longer than three and a half minutes. The opening "Medicine Show" (on which drummer Greg Roberts wasted no time attacking his cowbell), "A Party" (featuring Letts breaking out from behind the keys and deliver some fiery toasting), the closing "Rush" - these are songs with eternal grooves, lasting five minutes or more. They milked the signature riff of "The Bottom Line," teasing it like they were making a live 12-inch mix.
What will come of it? Jones and Letts said they don't know yet. Maybe a new album - they did play the new song, which is one more than most reunited bands manage (ahem, the Police) - but certainly more reissues.
Saturday @ Lollapalooza: Cee Lo Green, Local Natives
By Thomas Conner on August 6, 2011 7:43 PM
I had tweeted earlier in the day Saturday that I'd like to hear less "thank you" and more "f—- you" at Lollapalooza. So many bands had been taking to the stages and voicing their unbounded gratitude — thanking everyone for being there and thanking Lollapalooza for having them, profusely — that it started to feel like rock was really dead, after all. Where's the sneer, the challenge, the middle finger?
Cee Lo Green tried to say something about that, and literally. Appearing on stage wearing football shoulder pads bearing long chrome spikes and hanging chains, Green juiced the crowd by demanding that we shout "f—- yeah!" It was an opening salvo in a long tease leading up to the one song the massive crowd in Hutchinson Field wanted to hear. In the meantime, however, we listened to Green shout and growl — for most songs, his trademark smooth husk was gone, even intentionally distorted (and he's a judge on "The Voice," no less) — through a speedy set of his rock-soul songs and a few unexpected covers, from the Violent Femmes to Billy Idol. Green seemed to suffer from technical issues, as well, stopping and starting songs, such as his "Crazy" hit with Gnarls Barkley, haphazardly.
One of his early records was "Cee Lo Green Is a Soul Machine," but Saturday night's hard riffs and black leather meant to portray a rock machine. And nothing says rock and roll like "F—- You," which Green finally got around to at the end of his cumbersome, mostly uninspired hourlong set.
Preceding Mr. Green was one of those fawning, thankful bands. Orange County's Local Natives were clearly thrilled to have graduated from last year's Pitchfork Music Festival to this year's Lollapalooza. "This is the biggest crowd we've played to by far," said singer Kelcey Ayer. "This is insane!" It was a joyous, not fearful, exclamation, fitting with the band's sweet temperament. All tight SoCal harmonies and heaving, unaffected guitars, Local Natives moved through a set of rhythmic charmers from their own "Shape Shifter," built on piano chord crescendos, and a cover of the Talking Heads' "Warning Sign." The Sony stage seemed like it might be too big for them, but they held it. Fleet and foxy.
Saturday @ Lollapalooza: Ximena Sarinana
By Thomas Conner on August 6, 2011 8:00 PM
After her Saturday afternoon set at Lollapalooza, we got to chat with Mexican actress-singer Ximena Sarinana, whose self-titled sophomore album I adore ...
MY VIDEO INTERVIEW
Saturday @ Lollapalooza: Eminem, Skylar Grey
By Thomas Conner on August 7, 2011 1:28 AM
Arcade Fire beat Eminem to Lollapalooza (they headlined here last year) and snatched the top Grammy from him in February. But it's still been Mr. Mathers' year. Taylor Swift, after all, isn't covering Arcade Fire in concert this summer, and if Facebook is any arbiter of cultural presence, it was announced this week that Eminem has overtaken Lady Gaga as the most "liked" living person on the social media site.
For fans new and old, Eminem took to Lollapalooza's main stage Saturday night and encapsulated his entire career into one sizzling 90-minute set. Featuring two noteworthy guests — and assisted midway by an old partner, Ryan "Royce da 5'9" " Montgomery — the Detroit rapper launched a consistent barrage of recognizable tunes and furious rhymes into the largest crowd ever assembled at the annual concert festival in Chicago's Grant Park.
Performing nearly the exact set he delivered in June at the Bonnaroo festival, Eminem — who so rarely tours these days — dished hits one after another, sometimes in abbreviated form, reaching all the way back to "The Slim Shady LP." Prowling the stage in a hoodie, Em proved deft as ever with his famously furious rhymes (misogynistic and homophobic as they sometimes are), spitting out "No Love" and "The Way I Am" with such tenacity and urgency you wouldn't think there was a decade between them.
Midway through the set, though, it was easy to forget Eminem is a rapper as we entered the hot chorus portion of the evening, signaled by the guest appearance of Bruno Mars. The omnipresent tunesmith sang a trademark melody for the chorus of "Lighters," a new single from Bad Meets Evil, a revived collaboration between Eminem and Royce that delivered a new EP in June. This continued through "Airplanes II," "Space Bound" and several other tracks more song than rap. By the time we reached "Love the Way You Lie," we expected Skylar Grey — who co-wrote the song and who performed on Lollapalooza's BMI stage earlier in the day — to take the Rihanna part. No dice. She did, however, appear to sing her part in "I Need a Doctor."
"Lighters" was the song that softened the immensity of the audience in Hutchinson Field. This was a crowd one could officially refer to as ginormous. With a record sell-out this year of 90,000 each day, it looked as if at least 80,000 of them were waving hands and jumping up and down in the mud for Eminem. Even he seemed impressed, guffawing, "Holy sh—, there's a lot of people here." But in between Em's fuzzy-wuzzy raps in that song, Mars sang about "a sky full of lighters" at the same time he witnessed one. Tens of thousands of people in a field holding lighters — real lighters, much more than cell phones for a change — was a breathtaking sight.
Eminem has made much of his recovery, even making it the title of last year's "comeback" album. A video intro to the concert plays up the post-addiction story, and Saturday night — after asking fans, "How many people here get f—-ed up to the "Recovery" album? ... What kinda crazy backwards-ass sh—is that?" — he even managed to turn it into sketch comedy. In what he played as a personal moment, Eminem asked the crowd if we minded him relapsing tonight, taking a drink. He produced a bottle. Veteran hype man Kon Artis played the other side, "You sure you wanna do this? You know you get crazy when you drink." Eminem slowly put the bottle to his lips and drank. Liquid then began streaming from various holes in the special shirt he was wearing, as if he were a Warner Bros. cartoon character enjoying a beverage after a gun fight. What is this, "Hip-Hop With Benny Hill"?
He also used the shtick to validate — or explain away — the quirky, juvenile sound of his early hits. A medley of "My Name Is"/"The Real Slim Shady"/"Without Me" sounds potentially hilarious cast against Em's grave current image as a newly sober but still angry young man, but he introduced it by framing it in context with his addiction: "This is the stuff I was making when I was drunk."
Skylar Grey's own midafternoon performance on a side stage established that she belongs on the sidelines. Sassing around the stage in a flailing shirt and bikini top, Grey tried to play the tough, bad girl but hit the mark closer to Alannah Myles than, say, Gwen Stefani. Backed by too many meathead rap-rock grooves and peppered with too many clumsy exhortations for the sizable crowd to either dance or fight each other, most of the songs from Grey's forthcoming album, "Invinsible" (sic) seemed a dime a dozen despite her obvious vocal talent. She opened "Weirdo" with the refrain from Radiohead's "Creep" and sermonized about celebrating the world's oddballs, and it just sounded like a cheap grab at Lady Gaga's limelight. Here's to more "featuring Skylar Grey" and less solo Skylar Grey.
Sunday @ Lollapalooza: Titus Andronicus, Imelda May
By Thomas Conner on August 7, 2011 3:37 PM
Lollapalooza opened to a humid, rain-soaked Sunday with the defiant punk-Celtic squalls of New Jersey's Titus Andronicus.
As Big Audio Dynamite was the day before, Titus Andronicus proved to be the day's most socially relevant voice, crowing its resigned and occasionally paranoid lyrics about a U.S. of A. that's a shell of its former self. Their influences may be British punk and Irish pub rock, but their outlook is very American — even in the fans, who shouted "U-S-A!" several times, especially when singer-guitarist Patrick Stickles soloed so hard the U.S. flag tied to the end of his guitar actually waved in the light afternoon breeze. Lamenting in his choking yawps how "after 10,000 years it's still us against them" and that we continually squander "the value our forefathers gave you," Stickles' nervously darting eyes eventually always bring it back home to the harder, more personal questions: "Is there a soul on this earth who isn't too frightened to move?"
Titus Andronicus is still supporting the album, last year's phenomenal "The Monitor," that they were at last year's Pitchfork Music Festival, and the set hasn't changed much. Still, it's great to hear Stickles shouting a hundred times during "No Future, Pt. 3," ringing over Grant Park, "You will always be a loser!" — changing it up just once to "You will always Lollapalooza!" The band goes for Springsteen bombast (even name-checking him during "The Battle of Hampton Road") but balances its uber-American influences — "Forever" is '50s rock so classic all it lacks is a Chuck Berry duckwalk — with those from Emerald Isle pubs. "Four Score and Seven" may allude to Lincoln, but the music is pure craic. It even had young guys with their arms around one another's shoulders, swaying and singing along.
The flip side of that came immediately after, when Dublin's Imelda May started her set across Hutchinson Field with a forceful thwack of her bassist's upright. Speaking between songs in a brogue so thick it was difficult to understand, this Irish lass served up a set of pure retro rockabilly. She gave props to a song she's "dreamed of playing here because it was recorded right here in Chicago at the wonderful Chess studios," Howlin' Wolf's "Poor Boy." Ultimately, though, this was music too slick, and with too much shtick, to leave a deep impression in Sunday's mud. Then again, she did continue the festival's emergent '80s theme by covering "Tainted Love." Whatever.
Sunday @ Lollapalooza: The Cars
By Thomas Conner on August 7, 2011 7:56 PM
Capping a noticeable 1980s vibe running throughout this year's festival, the Cars played a typically solid but staid set Sunday afternoon — much like their May set at the Riviera, just outdoors. Opening with their classic "Let the Good Times Roll," the most sedate party anthem ever, the reunited quartet (sans original singer-bassist Ben Orr, who died in 2000) see-sawed between MTV-era hits — "My Best Friend's Girl," "You Might Think," "Magic," "Let's Go," etc. — and tracks from their new album, "Move Like This." As usual, Ric Ocasek hardly moved, and the set glided along with great songs but zero showmanship. "I like the nightlife, baby," Ocasek sang as he squinted into the late afternoon sun.
Before their set, we sat down with guitarist Elliott Easton and drummer David Robinson to discuss how the band got back together ...
MY VIDEO INTERVIEW
Sunday @ Lollapalooza: The rain, Foo Fighters, Arctic Monkeys
By Thomas Conner on August 8, 2011 1:29 AM
Lollapalooza ended Sunday in the mud and muck from two short but powerful rain storms that drenched Chicago's Grant Park — and the record 90,000 fans assembled there for the final day of the annual music festival — and gave many fans a night of rock and roll they won't soon forget.
Hannah Frudden was at the Perry's rave tent when the first wave of rain came Sunday evening. "It was the best 30 minutes of my life!" said the 19-year-old Northwestern student, exuberant despite being covered head to toe in mud. As she stood along a sidewalk near the main Lollapalooza stages, every other passer-by noticed her condition and gave her high-fives and hugs.
Jesse Warmling, 39, in from Dallas, surrendered gladly to the downpour, which lasted about half an hour and only slightly delayed Sunday's concert schedule on the final evening of this three-day music festival in Chicago's Grant Park. "We haven't seen rain for months in Texas," Warmling said. "I'll take it any way and anywhere."
When British band Arctic Monkeys took the main stage at 6:30 p.m., a half hour delay, the rain had nearly stopped — and a rainbow framed the stage. "We're gonna push through this," singer Alex Turner said. The band rushed through an abbreviated set, but at least included the song "She's Thunderstorms," from their newest album, dedicating it "to Mother Nature."
The rain returned a couple of hours later, early in the Foo Fighters headlining set, but Dave Grohl scared it away.
Always eager to play, the Foo Fighters — the band started 16 years ago by former Nirvana member Grohl — started their set promptly at 8 p.m., their first notes crescendoing as the final notes from Explosions in the Sky faded out across the field. They slammed into "Bridges Burning," from the band's acclaimed new album "Wasting Light," and hurried into "Rope" as dark clouds amassed again in the northwest. By the time they launched into "My Hero," their fourth song, the floodgates had opened once again. Torrents drowned the throng and produced a perfect rock and roll moment. That feeling when the rain starts falling, and you're getting drenched, and you decide, "F—- it, we're not running for cover" — that's a rock and roll moment.
"I don't give a f—- if it's raining," Grohl declared after the band had noodled cautiously through the song's ending, backing away from the rain that came at them from an sharp angle. If they had the slightest notion of cutting off the performance, the crowd had no intention of letting them. When you and tens of thousands of others are in the middle of Hutchinson Field, ankle-deep in mud and no hope of escape, you've made your rock and roll decision. The crowd kept the song going, singing loudly even as Grohl and the band dropped out momentarily. Soon he was singing "Arlandria," in which the line, "Shame, shame, go away / come again some other day," easily sounded like a chant against the weather.
Grohl started and ended the set sounding a little hoarse — perhaps because of the three-hour special show the Foo Fighters had played Saturday night for a thousand fans at Chicago's Metro. His energy, however, was not dampened. Always bug-eyed and ferocious onstage, Grohl on Sunday was whipping his wet hair around wildly as he ground away at his guitar, leaping and growling and shouting. He caressed the softer dynamics, too, stitching "Skin and Bones" together so lightly the song barely held together but benefited from accordion backing. He thanked the crowd for sticking with him and sang "Times Like These" by himself, celebrating the special moment.
Of course, Grohl related once again his tale of seeing his first rock show at the Cubby Bear (the band was Naked Raygun) — his age tends to change when he tells this story, Sunday night he was younger, 13 — and how it "changed my life." He then added that the first Lollapalooza 20 years ago had a similar impact. He beckoned Lolla founder Perry Farrell to come on stage, which he did — quickly, running on and off like a mischievous imp.
Chicago police: 'We don't work as bouncers' at Lollapalooza
By Thomas Conner on August 8, 2011 2:28 PM
Has everyone dried out and washed up?
The day after a rainy, muddy conclusion to Lollapalooza 2011 — read our full report — the Chicago Police Dept. has released a range of arrests during the three-day weekend concert festival in Grant Park.
As we've reported, last year's individual fence jumpers turned into this year's online-organized flash mobs — large groups of fans who gather and overwhelm a section of fence, using strength in numbers to insure better penetration and unpaid admission. Some groups were as large as 200-300 people.
But Chicago Police Supt. Garry McCarthy on Monday told the Sun-Times' Rummana Hussain that only a total of 20 to 30 people were arrested during the three-day Lollapalooza festivities.
While McCarthy said gate crashing at Lollapalooza is not "acceptable," he said officers assigned to the private event are not "bouncers."
"We're there to provide for the public safety," he said. "We don't work as bouncers for admission purposes."
The actual bouncers are the folks employed by Safety Service Systems (S3). They're the blue T-shirts seen here apprehending some other gate-crashers.
In the YouTube video below — one of several posted during the weekend, purportedly showing various groups of young people storming fences at the festival —one such mob coalesces near a vulnerable section of fence, rushes it (as you can see in the slo-mo, they had a plank to help them ramp up the chain-link) and streams inside the festival's perimeter. Near the end, two police paddy wagons arrive, but as the poster of the video writes: "Two paddy wagons came, but no one was actually taken away. It seemed like if you were under 17 years old they let you go , after searching you. 18 years old and up seemed to get tickets."
By Thomas Conner
© Chicago Sun-Times
Lollapalooza wasn't supposed to last 20 years. It was a miracle it survived 20 dates. The tour was a death knell, a tick on a bucket list, the proverbial last hurrah. That first tour, Lollapalooza 1991 — that was meant to nail a particular coffin shut.
"It was the farewell tour for Jane's Addiction," says Perry Farrell, leader of that storied — and now revived — alt-rock band and inadvertent founder of Lollapalooza. "Marc [Geiger, his agent] called me up to discuss what we wanted to do, how we wanted to send ourselves off. He said we could do whatever we wanted. Well, my background was putting on shows and parties in L.A. I would never play the straight clubs, I was always finding the weird loft or setting up in front of a hot dog stand or taking people into the desert. I was used to putting on parties that had extra things. And Marc said 'whatever you want.' So I said, 'All right, I'll call you back.' I wanted to really think about it."
Geiger, now head of music at William Morris Endeavor and still booking the new stationary Lollapalooza, recalls the idea for a roving festival being sparked in London.
After a Jane's Addiction club show, Farrell lost his voice, thus forcing the band to cancel its appearance the next day at Britain's Reading Festival, an annual multi-band music event dating back to the 1970s.
"I went on to the festival the next day and had an amazing time," Geiger says, "and we go back to the hotel, where the band is sitting around pretty depressed, and said, 'Man, you should have seen this. This is what we should try to do with the breakup tour.' Perry said, 'Absolutely,' and we sat in the lobby sketching out the format and making lists of bands. ... This being Jane's Addiction, there was a lot of interesting stuff going on. One day a while later, Perry called me at 1 a.m. and said, 'I've got the name!' He'd heard it on a Three Stooges episode."
Fried from drug abuse and exhausted from touring, by 1991 Jane's Addiction was ready to call it a day. Farrell and guitarist Dave Navarro were at each other's throats. They finished recording "Ritual de lo Habitual" and were able to agree on one last thing: the tour supporting that album would be their last as a band.
Farrell had no reason to think it would repeat itself.
"I wanted a longer lineup, just because I wanted to have a wilder, bigger party," Farrell says. "If it's a farewell, then let's invite some of our musical friends and peers. Nothing was supposed to come of it, you know. I had no intention of doing it again. I mean, the thing was over and William Morris and Marc and these guys are all really enthusiastic and saying, 'We think we can get the Red Hot Chili Peppers for next year!' — and I went, 'Wait, what? Next year?'"
Farrell's musical Frankenstein (created also with help from Jane's manager Ted Gardner and booking agent Don Muller) would become the undead monster stomping through popular music and the summer concert scene for years to come. Lollapalooza lived, died, and in 2005 was born again as an annual, stationary "destination festival" in Chicago's Grant Park. This weekend the event is sold out, meaning 90,000 fans a day over three days will hear 130 bands on eight stages.
Lollapalooza — one day and one stage — debuted July 18, 1991, at a dusty, shade-less amphitheatre in Phoenix. For the next month and a half, the tour's nine performers visited 21 cities, including Aug. 3 at the World Music Theatre (formerly the Tweeter Center, currently the First Midwest Bank Amphitheatre) in nearby Tinley Park.
By the end of Lollapalooza that year, Jane's Addiction would be over — but more popular than ever. The rift in the band, however, was clear from that first show.
"The guys in Jane's Addiction got into a fist fight on stage. It was a hell of a way to debut," recalls Andy Cirzan, vice president of Chicago's Jam Productions. Jam would be producing the inaugural Lollapalooza when it reached the Chicago suburbs, so Cirzan had flown to Phoenix to see how it was going down. "The fight continued off stage. There was some definite roundhousing going on. I don't know if anyone landed a punch, but I specifically saw some punches flying as they left the stage."
"Yeah, well, that's why we were leaving," Farrell admits.
The rest of the Lolla lineup that first year: Nine Inch Nails, Siouxsie & the Banshees, Living Colour, Ice T & Body Count, the Butthole Surfers, Rollins Band, the Violent Femmes and Fishbone. (See where the Lolla class of '91 is now.)
Emergency Broadcast Network, a group of video artists, bewildered fans at some of the shows by projecting soundtracked films between sets (basically the kind of electronica videos now all over YouTube). In San Francisco, an all-black heavy metal band, Othello's Revenge, played 1991's only side stage.
(That same Aug. 3, 1991, weekend in Chicago also offered Bonnie Raitt with Chris Isaak at Poplar Creek, the O'Jays at the Arie Crown Theatre, Kelly Willis at Schubas, Dizzy Gillespie at Ravinia, and the South Shore Jazz Festival featuring the Count Basie Orchestra at the South Shore Cultural Center.)
The idea of a multi-band festival wasn't that unusual in 1991. One that moved around the country was.
"The festival scene had been in Europe for a long time, and lot of this was modeled on that idea. But those were all destination festivals. To take this thing a put it on the road, that was unheard of," Cirzan says. "You're not talking about two or three bands and their equipment. Now you're talking about eight or nine bands, stages, vending, kiosks, and moving it all across America."
The more Farrell thought about what he wanted to do, brainstorming after that initial "whatever you want" phone call, the more he wanted to do.
"I was thinking in terms of what else would happen on the grounds. I really wanted an art gallery," Farrell says. "That's the first extracurricular, front-of-house idea I had, to have a traveling art gallery. From there, I started thinking, well, that covers the ground, but what about the sky? So I wanted hot-air balloons. I kept on going. I didn't get resistance on anything except the hot-air balloons. We managed to do it one year, but a balloon only holds two to four people at a time. It wasn't cost effective."
Even the first Lollapalooza provided plenty of extra, non-musical distraction to fill the long hours in the summer sun. In addition to shops full of trinkets and food vendors, numerous organizations were spreading their gospels. Greenpeace had a heavy presence, and informational kiosks abounded for groups such as Rock the Vote, the League of Women Voters, People for the Ethical Treatment of Animals, the National Abortion Rights Action League, Handgun Control Inc. and the Citizenship Education Fund. The Amok Bookstore sold banned books.
Jeffrey Othello, namesake leader of Othello's Revenge, christened Lollapalooza's first side stage. After working his way through college in concert security for legendary Bay Area promoter Bill Graham, Othello's first band was booked at Graham's 1990 festival, A Gathering of the Tribes. A precursor to Lollapalooza, this two-day event — a mini-tour organized by the Cult's Ian Astbury, with the first day outside San Francisco and the second outside Los Angeles — featured a diverse bill that included Soundgarden, the Indigo Girls, Ice T, Queen Latifah, Iggy Pop, Joan Baez and more.
"Our music got resistance from the booking agency for that festival, but you don't say no to Bill Graham," Othello recalls. "He liked our music, so he built a second stage especially for us on this grassy area at stage left. ... We were a big enough hit that we got the call to try the same thing at Lollapalooza that first year."
Lollapalooza '92 included a full-time side stage on all the dates, as well as the addition of the briefly notorious Jim Rose Circus Sideshow.
Diverse but not everything
The first Lollapalooza lineup and several subsequent ones were diverse, which is not necessarily the same as today's smorgasbord, everything-but-the-kitchen-sink approach. In 1991, the industry still filed many of these bands under "college rock."
"The other reason I wanted so many bands to come with us is I felt there was strength in numbers," Farrell says. "This is before the title 'alternative rock.' There was no name for it. It was just this underground phenomenon now getting a presence on radio and showing good numbers on the live circuit. I figured if I just brought my friends and my record collection out there with me, together it would be very powerful."
The booking philosophy of the first Lollapalooza was considerably looser than subsequent tours.
"It was us in a hotel room with the manager and the band, and everybody could pick one band," Geiger says. "It was the non-scientific, choose-your-kickball-team approach. Dave wanted Siouxsie, because he's a Goth. Perky [Jane's drummer Stephen Perkins] loved Rollins. Perry wanted Ice-T. Eric [Avery, former Jane's bassist] wanted the Butthole Surfers. I wanted Nine Inch Nails and the Pixies. I got one. Living Colour was no one's choice; they were exploding at the time, and we thought they made sense."
"It was all hair metal at that time," Farrell says. "We were fighting against that. We were not pop, and rock had become pop. I don't want to pick on people like Styx and Journey, but you understand they would say they're rock bands. To me, they're pop groups. We didn't want to be that."
Farrell and Gieger also say they wanted those early Lollapaloozas to stay manageable. That '91 show seemed like such a big deal — with nine bands. This weekend's hootenanny in Grant Park showcases 130.
"I have to say, that's what was nice — and, I think, most effective — about those early tours. It wasn't about a million bands. It was a marquee slot, and everyone lobbied to be on it. It was a strategy about breaking your band nationwide," Cirzan says. "Today, it's, what, 150 bands? The average consumer — I mean, how could you even digest more than, say, 20 bands in a day? It doesn't seem that helpful to bands, just the promoters."
"The cool part came later," says Debbie Cohen, an English teacher at Glenbrook South High School. She attended Lollapalooza '91 at the World. "After seeing the bands you'd never heard of and then, after they became huge, you were able to say, 'Wow, I saw that show!' ... It was a whole day of music, and that seemed very cool, but it wasn't so much that it was too much, like today. Plus, at 15 years old, Tinley Park seemed very far away and exotic."
Cohen tagged along with her older brother, who was there "because Jane's Addiction was his favorite band in the whole world." They had tickets on the lawn; she remembers the day being slightly rainy. For Jane's Addiction, they managed to squeeze against the barrier between the lawn and the pavilion, and Cohen was hoisted onto "the shoulders of this 6-foot-4 dreadlocked boy named Todd, so I had the best seat in the house."
Her current students were astonished to learn Lollapalooza had a history.
"They were so excited this year, and I'd never heard of most of the bands. I said, 'You know, I was at the first one.' They looked at me like I was an alien," Cohen says. "I named some of the bands. 'Who's that?!' they said. ... They were totally flabbergasted."
Stephanie Katsaros, a Chicago sustainability consultant now who was 16 at Lollapalooza '91 at the World, got her view by standing on the pavilion armrests, "headbanging and fist-pumping to 'Head Like a Hole' during NIN."
Her experience at the first Lollapalooza was so satisfying and eye-opening, Katsaros says she's been to every one except 2008. The music was great, she says, but the crowd was amazing.
"The scope of the people — it was almost like the high school cafeteria, with punks on one side and preps on the other, had been mixed up," she says. "This mélange of people and ideas. It was the first time I'd seen that kind of movement. ... It started in the parking lot. People had cooler and food and drinks at their cars, just hanging out. It was definitely not a Grateful Dead parking lot scene. I remember black T-shirts and piercings and Mohawks. All these people kind of finding each other. ... We didn't know there was an us!"
Within a few years, the organizers of Lollapalooza began to realize that the scene was as important, if not moreso, than the music. They thought they'd try an experiment — in Chicago.
"They called us up in '95 and said, 'We want you ready to go on sale next week,'" Cirzan says. "I said, 'Well, you've got to tell me who's on the show.' They said, 'Ah, we're not going to announce the artists yet. We just want to see what we've got, and you're the test market.' I'll be damned if we didn't sell out 28,000 tickets with no lineup."
This is now the routine: Lollapalooza passes go on sale, and often sell out, sometimes weeks before a single artist is announced. That this now occurs in Chicago is because of that 1995 venture.
"When I thought about where we would put this as a destination festival, I never forgot that," Farrell says. "Chicago and I have had a love affair for a long time."
That same year, '95, Geiger told the Sun-Times, in response to a question about the festival's scaling back of shows that year: "I think in 2010, people are going to look back and see that we did what we had to in 1995 to ensure that Lollapalooza would still be around. ... It would be nice to be involved with something that lasts that long, given that the trends of the business go so fast."
Just as Lollapalooza came back from the dead, Jane's Addiction also lived, died, lived again and died again, but has reunited once more and is back this week with the first single — perhaps aptly titled "Irresistible Force" — from a new album, "The Great Escape," their first in eight years due in late September.
Oddly, given the perfect timing, Jane's Addiction is not performing at this year's Lollapalooza. As I speak with Perry, he's packing for another gig early this week — in Australia.
"We're going down to do one show at Splendour in the Grass. It's a destination festival!" he says. "We played Lollapalooza there a few years ago. We've got a great lineup this year, they don't need us. Maybe next year. I mean, it looks like this will go on forever, right?"
This post contains my complete running coverage of this annual festival ...
© Chicago Sun-Times
Lollapalooza 2010 starts, rocks and raps with B.o.B.
By Thomas Conner on August 6, 2010 12:23 PM
11:30 a.m. in the sun, and the sixth annual Lollapalooza in Chicago's Grant Park is under way. Already people are lined up at the bars, and the faint breezes are redolent with sun lotion, damp lawns and — there it is — a little marijuana smoke.
The first act of the day is one who doesn't deserve the crappy time slot: B.o.B., a chart-climbing hip-hop newbie with one of the year's best-selling records. He's a double-edged attack — one minute spitting quick, punchy rhymes at the growing crowd, the next playing guitar like an indie rocker, even covering a little of Vampire Weekend's "The Kids Don't Stand a Chance." (There's a cynical joke in there somewhere about the kids about to be assaulted by corporate shilling for three days ...) Atlanta's B.o.B. can deliver something for everyone. "Letter From Vietnam" is a guitar ballad, a '60s — or maybe just Lenny Kravitz-like — protest song. He picked up a guitar for it, then asked permission to keep playing it, as if he were breaking some rules to crossover back and forth. He held up his hip-hop, taunting us with "Past My Shades" and making the women in the crowd smile with "Nothin' on You" ("Beautiful girls / all over the world ..."). He mixed the rock and the rap in "Don't Let Me Fall." Fun, cheery, a good opener to the weekend's smorgasbord.
The fields are filling up, and be warned: They're not completely dry from the rain earlier in the week. Several spots are still squishy, with the potential for turning into complete pudding once the weight of thousands squeezes the water out. Don't wear your favorite shoes.
Lessons in old-school from the Walkmen, Raphael Saadiq
By Thomas Conner on August 6, 2010 3:45 PM
Mid-afternoon Friday in the south field at Lollapalooza was about being old-school.
The Walkmen have been together 10 years. They manage to sound relatively fresh while drawing upon sounds and song styles much older than themselves, namely the squeezing, wheezing Dylanesque singing of Hamilton Leithauser, the 1950s-echoed guitar of Paul Maroon and the eerie cocktail organ of Walter Martin. Here's a band that began — born from the ashes of short-lived but explosive Jonathan Fire*Eater — all about creating certain instrumental tones. But the acquisition of Leithauser wound up deepening not only the sound but the songwriting. The new songs played from the band's upcoming next album, "Lisbon," due Sept. 14, are rich tales of wary living ("You're one of us or you're one of them," Leithauser shouted over and over) and worn romance ("There's a girl that you should know / she's from my not so long ago"). In a white button-down shirt, with sleeves rolled up, and a black tie, he leaned into the microphone, plungering his tenor through the very top of his sinuses for an incredible elongated moment during "All Hands and the Cook." One wonders how he maintains his voice over the course of a tour, but he sounded great here. Looking forward to the next disc.
After that, as Chicago's Mavis Staples took the stage in the north end of the field, a younger soul icon brought his own lessons in old-school on the main Parkways stage: Raphael Saadiq. Once a pioneer of New Jack Swing (we can now justifiably giggle at that label) in the group Tony! Toni! Tone!, Saadiq now looks like a traveling education in classic soul, complete with almost 12 band members in black Blues Brothers suits. He can lay down smooth, supple grooves, with a band that sounds as if they could back B.B. King later tonight, and talk sexy to the crowd simply singing, "Yeah, yeah, yeah," and then punch it up with a rock 'n' soul hit like "So Lady."
Are we not men? Well, they are still Devo!
By Thomas Conner on August 6, 2010 6:47 PM
Is Devo sympathizing with humanity's plight, or just making fun?
In what was surely the most subversive set at Lollapalooza today — Lady Gaga's still to come, but she seems merely flashy and bawdy rather than really subversive — 1980s icons Devo blasted their modern folk songs about the plight of the working man and the diminishing of humanity in our automated world. Jogging on stage in gray uniforms and "Phantom of the Opera"-like half-masks, these plainly old men seemed to be rolling with the wonderment of being back at Lollapalooza, which they played years ago when it was a traveling festival (and even then were the quaint ol' vets). "It's 2010!" said Bob Casale, midway through a dynamic, multi-media set. "And we're here to f—-ing whip it again!"
Singer Mark Mothersbaugh leapt about the minimalist stage — just a drum set, two synth stands and guitars, spaciously arranged — looking extra robotic, wearing mirrored shades over his mannequin mask. But though their music has the rhythm of machinery, these are songs about the sad and worsening state of man. Even an old hit like "Girl U Want" has Mothersbaugh singing, "Look at you with your mouth watering ... she's just the girl you want." It's a common theme to Devo songs, blippy and innocent as they may appear on the surface. Look at yourself, they say. Be aware of your "Uncontrollable Urge," fight against "Going Under." Pay attention, because Madison Avenue is exploiting your urges and your apathy to make you buy things. And, hey, so are we.
As they sang "What We Do" ("breeding, pumping gas, cheeseburger, cheeseburger, do it again"), silhouetted images of various product icons flashed on the screen behind the stage, icons like the PlayStation controller and other basic "necessities" being hawked several hundred feet behind the crowd amid a forest of logos. It's machine music about reminding ourselves that we are men, not necessarily de-evolving, and it sounds as important today as it did in 1980 when computers and synthesizers were newfangled. After all, as Mothersbaugh sang to close the set — after jumping around with pom-poms, again either cheering this downward slide for our species or trying to empower us to reverse it — "A man is real! Not made of steel!"
Devo was bookended late Friday afternoon in the south end of the field by opposite ends of the energy stream. The Big Pink played beforehand, defining dullness. A limited grayscale instead of a declaration of color, they whined through a short set of electronic drone and drudgery ("fall like dominoes, fall like dominos," zzzzz). After Devo, however, came the perkiest kids in indie-rock: Matt & Kim. Every now and then, one of these coupled drum-and-something duos comes along, but never as relentlessly cheery as Matt Johnson (vocals, keyboards) and Kim Schifino (vocals, drums). Opening with one of several instrumental fanfares they'd play, Johnson asked both Schifino and the crowd, "Are you ready to get wild?" It takes some doing to pump up a festival-size crowd when you're only two strong, but these two have tactics. Schifino smiles so wide and so hard its almost threatening, the kind of unwavering grin you can only learn in realty school or have drilled into you by Sue Sylvester. Johnson doesn't allow the keyboard to hem him in; he jumps, he kicks, he climbs, he strikes Grecian urn poses. He had to catch his breath after only the third song. The songs — "Good Old-Fashioned Nightmare," "5K," "Light Speed" and, yes, "Lessons Learned" (the one with the video of them stripping down in Times Square) — with Johnson's plunky, piano-lesson melodies, don't always live up to the party vibe of the hosts, but they throw a lively one nonetheless.
Lollapalooza centers on Lady Gaga's Broadway bluster
By Thomas Conner on August 6, 2010 11:53 PM
Early this year, Lollapalooza founder Perry Farrell said Lady Gaga's performance would be the "centerpiece" of this summer's sixth annual concert festival in Grant Park. He said $150,000 was spent on the staging for the pop star's Monster Ball Tour theatrics.
In a conversation backstage Friday afternoon, Farrell said, "Did you see how many trucks she has? 18! And one of them is just for her wardrobe."
At this point, after a rise in the pop culture that defines meteoric, Lady Gaga is the centerpiece of any space she inhabits. Her gravity sucked most of the total crowd — estimated by Farrell at 80,000 strong Friday — from Friday's other headliner, the Strokes. The guy standing next to me throughout Gaga's show? Wearing a Strokes T-shirt.
So rock is dead, and somehow Broadway won. Lady Gaga's performance was a highly scripted, bewildering, bedazzled psychological drama, with production values right off the Great White Way.
Her two-hour set played like a jukebox musical — a bunch of Gaga hits strung together with a loose story line about kids in a broken-down car trying to get to the Monster Ball.
Our Lady first appeared in silhouette, singing "Dance in the Dark" in the first of many outlandish costumes fresh off the semi, including enormous shoulder pads, a nun's habit with a see-through plastic suit, a huge fringed lampshade, even the same disco-ball bra she wore when she played a Lollapalooza side stage for a small crowd as an unknown in 2007. She tackled all the hits — "Just Dance," "Love Game," "Poker Face," an encore of "Bad Romance" — from her two albums.
But the songs themselves seemed inconsequential next to Lady Gaga's evangelism. If you've ever been picked on, scorned, denied or in any way counted out, Lady Gaga wants you to know, she understands. Numerous litanies — frequently punctuated with unusually hoarse, throaty, Courtney Love screaming to get her point across — hammered this point, even if the songs only do indirectly. Born Stefani Germanotta, she was picked on in school, which she mentioned four times. Her conquering of pop culture and filling of Grant Park, she seemed to conclude, is vindication and validation. And you can have this, too. Let your freak flag fly with pride and you, too, shall be saved!
Someone's gotta say this to every generation, and it might as well be her this time around. She's just not adding a whole lot to it other than an overload of drama. Girl kinda needs to get over herself.
The attitude behind this is very aggressive, too, and you can see it in the choreography — all punches and thrown elbows and monster claws. Everyone on stage frowns and sneers. The band members flip each other off. The bassist is dressed like a military commando. Gaga's expletive-laced homilies end with screams that say, in essence, "F—- you, world!" She rips her stockings, she smears herself with blood, she's seen in a video dressed in delicate chiffons — and a gas mask. She strives to obliterate every convention of beauty, and she says she's doing it so we can "be FREEEEEEEE!"
"What I really hate," she added, "I hate money." (spit take!) Then the ridiculous scream again: "I don't want your money, I WANT YOUR SOOOOOOUL!" This before she tried to out-sacrilege Madonna (a profane prayer, a bleeding angel statue, comparing herself to Jesus) and added, in possibly her truest statement (despite also explaining that, next to money, she really "hates the truth"): "I don't care who you are or what you believe, all I care about is what you think of me."
What I think of her: She's an incredible talent, but she's buried it in all this showy nonsense that she seems to think has grand, transcendent meaning. When things quieted down and she sat at the piano, alone, she was stunning and truly entertaining, holding the crowd in the palm of her hand with greater power than the dancing and the mugging and the light show. She's got a helluva voice and can control or dish the vibrato with a master's skill. "Speechless" easily leaves a listener just that way, and a new song, "You and I," was a killer ballad with meat on its bones. She sounded like Bonnie Raitt when she sang it, and she certainly left us all something to talk about.
These piano ballads were also the only time we saw a sign of real humanity from Lady Gaga. She smiled. Before and after these two moments, she strutted through her performance with an eerie lack of facial expression, a completely vacant face, even when screaming. Here, she gave a shout-out to her dad. She brought out her former partner, Lady Starlight, for a brief dance routine to Metallica's "Metal Militia." She laughed. As she pounded out "You and I," she looked moved, awestruck, impassioned.
But the humanity disappeared once back on script. Then it was little more than cues and costumes and ... fireworks. It was "family night" with the Chicago Bears tonight at Soldier Field. Just as the curtain went up for Gaga's third act, a barrage of fireworks went off directly behind the stage (and over Soldier). A lot of people in the crowd wondered if this was part of Gaga's show — understandable given the aforementioned $150K spent, her obvious penchant for production excess and, hey, the fireworks lasted exactly as long as it took for Gaga & Co. to dance their way through "Monster."
No, they were really just an omen. See those, Stef? See how brightly they burn, and how quickly they fade?
Making it work with Wild Beasts, Stars, Soft Pack
By Thomas Conner on August 7, 2010 5:17 PM
Saturday lunch hour and the north field of Lollapalooza is lurching and leaning into the straightforward rock of the Soft Pack. This San Diego quartet effects nonchalance — "Here's a new song. Whatever." — but plays like they mean it, filling the park, already packed with reddening bodies, with a grinding, fat-bottomed sound. They're the Fall, no, now they're the Hives. Matt Lamkin is as exciting singing lazy "all right's" and "oh yeah's" as he is roaring with conviction that you should "Answer for Yourself." Basic and emboldening, the way a Saturday morning should be.
In the park's Petrillo Band Shell, next came the Wild Beasts. Such nice blokes, these British boys. Not beastly at all, thanking us kindly for our attention and wishing us a wonderful day. And the music, all chiming guitars and soaring vocals. Just beautiful.
Until you start hearing what they're singing about. There are tales of hoodlums running wild in the streets, "scaring the oldies into their dressing gowns." There are serious threats against "any rival who goes for our girls." The title track of the British band's sophomore CD, "Two Dancers," recounts almost "Clockwork Orange"-like violence: "They dragged me by the ankles through the street / They passed me round them like a piece of meat." The disc's opening track, all humming synthesizers and beautiful bass lines and wood-block rhythms, finds singer Hayden Thorpe, sounding like a demented Jimmy Somerville, howling, "This is a booty call ... my boot, my boot, my boot up your ——hole." Alas, there was no one posted to the sign language station for this show; demonstrating those lyrics would've been added entertainment.
But the Mercury Prize-nominated Wild Beasts are a surprisingly great festival band, their cinematic songs and layered effects luring half-interested fans to the sun-baked pavement in front of the band shell. The sun is warm today but not brutal, and occasional relief from clouds add to the dreamlike feeling, especially with the right music. Thorpe sings mostly in an airy falsetto, a rare treat in modern rock, and it's more than a gimmick. It's difficult to imagine this music wrapping around another kind of voice, not with that light, vibrating timbre to the bass, not with that ringing Johnny Marr-ish guitar. Yes, there's the Smiths reference. Listening to the Wild Beasts, it's not unrealistic to trace the family tree of their leering, melodic style back through Gene (the Smiths of the '90s) to the debut of Morrissey, another daring high-scale singer. Bassist Tom Fleming takes occasional lead singing duties, too, alternating between a low bellow and his variation on the upper register as he did on "All the King's Men," from "Two Dancers." Earlier material had more spunk, a livelier step ("Brave Bulging," "The Devil's Crayon"), but the show came to a big, satisfying finish with the new "Hooting and Hollering."
Some bands, though, struggle to present themselves well in the heat of the afternoon sun. Canada's Stars tried to puff up their delicate sound, making themselves seem larger — good advice if encountering a bear in the woods, but as successful if encountering thousands of expectant fans in an urban park. This is a band that crafts intelligent mini-suites about romantic intrigue, led by two singers (Torquil Campbell and Amy Millan) with thin, soft voices. With the tracks carefully separated on CD, it's moving and magical. Live, it's sometimes a challenge, moreso outside of a dark club or theater. The band started slowly on Saturday, moving in slo-mo for some kind of effect and showering the crowd with white roses and the mylar debris of several hand-held confetti cannons. But that couldn't quite fill the void. Millan was sometimes hard to hear, intoning almost at a whisper (on "One More Night"), and Campbell forced his voice a little too hard in an apparent effort to be heard, though often he wasn't, either. When they joined together for "We Don't Want Your Body" — a new song that one of my companions said sounds alarmingly like a Debbie Gibson comeback effort — they at least began to pick up steam, charging to the end of the hourlong set with ripping takes on "I Died So I Could Haunt You," "Take Me to the Riot" and the closer, "Your Ex-Lover Is Dead."
Green Day plays on ... and on and on
By Thomas Conner on August 7, 2010 10:29 PM
Friday night, Lady Gaga enjoyed the surprise addition of fireworks to her show, courtesy of a fortuitously timed barrage from the Bears' family night at Soldier Field directly behind Lollapalooza's main stage in the south end of Hutchinson Field in Chicago's Grant Park. Saturday night, pop-punk trio Green Day brought their own.
In a two-hour-plus set, singer-guitarist Billie Joe Armstrong, bassist Mike Dirnt and drummer Tre Cool filled the stage with good ol' rock 'n' roll stage antics. Here's a band that has actually gone Broadway, creating a stage musical out of their hit concept album, "American Idiot." But instead of loading down their show with scripted theatrics, they relied on the basics — pyro, fireworks, pulling people on stage and endless exhortations to fans to put their hands in the air.
Note to Green Day fans: Want to get close to Billie Joe? Your chances aren't slim. Study the attention-getting tactics of audience members on game shows such as "The Price Is Right" and "Let's Make a Deal," because that's what a Green Day show has become. Armstrong spends much of the show shopping for fans to bring on stage. Five times, in fact, starting with a student from France, Matthew Sauvetre. He'd been waiting against the barricades all day, and he took the stage during "Know Your Enemy" waving a French flag. After that, Billie Joe pulled a young girl (not older than 10, who he then proceeded to ask, "Keira, do you want to start a f—-in' war?!"), an older woman to help him sing "Are We the Waiting," a small crowd of people and, near the end, a young guy to sing the entirety of "Longview."
Classic gimmicks and a program of three-minute rock songs, however, necessitates brevity. Green Day dragged it on and on. Here's to the simple joys of rawk blown up bigger than life, but by the time we crossed the two-hour mark with the same shtick — pop! roar! OK, my hands would like to lay still for a while — it was beyond wearying.
Thirty years ago, in the heyday of the Ramones (whose recording of "Do You Remember Rock and Roll Radio?" played before the show started), we never could have dreamed that a handful of power chords could propel one band to such heights — 65 million records sold, four Grammys, a Broadway show, headlining Lollapalooza before tens of thousands (Saturday's crowd was again estimated at 80,000 total). An inevitable loss of edge occurs at those altitudes. A decent catalog of socially conscious material was presented Saturday night mostly as mere fun, then devolved into time-filling quotations of hard rock hits (from Ozzy to GNR) and, yegods, "Hey Jude." What WAS fun was when Billie Joe ripped through the power-chorded nuggets with abandon, like "Nice Guys Finish Last," which he finished with a quick, self-satisfied grin.
Pack your poncho, and other reading
By Thomas Conner on August 8, 2010 11:33 AM
Uh oh, rain. A swath of light rain stretches form Chicago due west, with storms in northwestern Illinois. It's all drifting to the southeast and might not trouble the bulk of Lollapalooza's afternoon. But it will heat up today, reaching into the 90s for the first time this weekend. So pack your poncho (no umbrellas, please, people behind you want to see the band) and your water bottle, and look for the booths where you can fill your water bottle for free.
Beyond this blog, other reading for today ...
Soundgarden plays tonight, reunited after 13 years. But their first show was Thursday night at the Vic.
An interview with Yoshiki from X Japan, playing at 4 today.
You dudes and your bandanas.
Lollapalooza takes over Grant Park, so tourists visiting Chicago this weekend are denied seeing one of our most famous landmarks: Buckingham Fountain.
Which, of course, means that when it heats up today, we can jump in it.
Plus: more food options!
It's the Cribs, not the Smiths
By Thomas Conner on August 8, 2010 3:48 PM
How did the Smiths' Johnny Marr become indie-rock's hired gun?
Since the dissolution of the Smiths, Marr has played with a lengthy list of other stars — from the Pretenders and Neil Finn to Modest Mouse and now the Cribs. They don't seem to pick him as much as he picks them up, sidling up to them like a swinger and telling them how much he loves their music. His cred — the ringing, complex guitar he contributed to the Smiths, not his proximity to Morrissey — makes them salivate and, voila!, Marr stays employed.
His work with the Cribs in their early-afternoon set Sunday at Lollapalooza sure seemed like that: work. It's not like he's adding much more than muscle to this band, a trio of brothers before Marr joined a couple of years ago — no distinctive Rickenbacker, no skipping "This Charming Man" kinds of melodies. Just good, hard grinding with the other Jarman boys (singer-guitarist Gary, bassist-singer Ryan and drummer Ross). Which is no complaint; he holds the line solidly — doing his bit on the side of the stage with confidence and a general lack of expression — while Gary and Ryan are free to caterwaul and fling themselves (and their melodies) all over the stage. His chords underneath the desperate squeals of "Cheat on Me" certainly sounded like the Marr we (older fans, that is) could easily recognize, and then finished with use of the whammy bar and a slide. But as the last song disintegrated in feedback, with Gary and Ryan rubbing their instruments on their amps for maximum noise, Marr was putting his jacket back on. Shift's over.
A focus on Marr, however, is just another tragic result of a Gen-X Smiths fan at the helm of this particular report — an unjust diversion from a perfectly good, punkish rock band. The front Jarmans are the real entertainment, Ryan of the bowl haircut and spit-out lyrics, Gary of the pigeon-toed, neck-straining leaps toward the mic. For "Men's Needs," Ryan leapt to a lower platform, pricking a brief solo before the girls in front (wearing Smiths T-shirts). The Cribs lash out at their own songs, yelp-singing and thrashing around, knocking over mic stands without a hint of script. A labored "Be Safe," with jagged video accompaniment of some guy whining about "the complacent ones" (eye rolling here), completely stalled the band's momentum midway through the set, but they rallied.
Arcade Fire brings the heat at the end
By Thomas Conner on August 8, 2010 11:15 PM
Twitter, if you haven't learned this by now, is full of lies. Sunday night, for instance, the Twitterverse was full of cruel rumors aimed at festivalgoers at either end of the park during this final night of Lollapalooza 2010. First, news spread that Eddie Vedder was in town. The mind reeled — maybe we'd get an appearance with south-field headliners Soundgarden, maybe a duet with Chris Cornell on "Hunger Strike"? Nothing happened. Then came word that David Bowie was going to appear with Arcade Fire, headlining the park's north side. He's done it before, albeit a few years ago. Again, alas, nothing doing.
But who needs Bowie? Arcade Fire emerged onto the stage from a bath of amber lights, underneath a video screen showing sunsets, horizons, billowing clouds. Then they launched into "Ready to Start," a song from their acclaimed new CD "The Suburbs." The band's return to Lollapalooza could be likened to Lady Gaga's — once on a smaller stage (in 2005), they now return as triumphant, headlining scenesters. Sunday's performance proved it was no fluke.
Arcade Fire lays down bombastic hootenannies, squeezing every ounce of drama from its dense, epic arrangements and lyrics of challenge and hope. Win Butler, grandson of lounge-era bandleader Alvino Rey, and Regine Chassagne led the large ensemble through an hour of what the Waterboys used to call "the Big Music." An hour and a half set built slowly, full of little pop suites that crept around the stage and eventually exploded with the propulsive force of, um, the band's fiddles, accordions and hand percussion.
From the machine-gun rhythms of "No Cars Go" to the encore of "Wake Up" (what was, in previous years, the Bowie moment), the band cemented its updated art-rock thesis, attributing the previous work of Talking Heads and Mercury Rev but also more mainstream bluster like Springsteen and, especially when Butler sang "Rococo," Neil Young. Somehow, Arcade Fire gets away with everything, no matter how high the moon they're shooting for, and Sunday night's set ended with a distinct ring of validation.
Before Arcade Fire, the National filled the north end of Lollapalooza with its stark but gently applied folk-rock. Sounding like U2 on a bender, or pretty much every American Music Club album, the band was joined early on by Arcade Fire's Richard Parry (introduced as "Richie from Soundgarden") on "Anyone's Ghost." National singer Matt Berninger (right, photo by AP) is a surprising rock star, sheepish, doting, poking his deep voice into mushy staccato singing, while the band hums and plods behind him in its abrasive drone. It all built to a studied squawking and yowling before Berninger plunged himself into the crowd. Despite the racket, though, there's a lot going on in this band; they'd benefit from a more focused showcase here, like (hint, hint) a Millennium Park show.
X Japan makes U.S. debut, wins converts
By Thomas Conner on August 9, 2010 12:20 AM
The other night, referring to the small crowd for the Strokes and the triumph of Lady Gaga, I quipped that rock is dead. I stand corrected.
Making its U.S. debut — after forming in 1982 and re-forming in 2007, with massive popularity in its home country — X Japan took to the Lollapalooza main stage Sunday afternoon and delivered a spectacular, almost operatic performance of big ballads and speed metal.
Given the circumstances of the premiere, a small knot of hardcore fans clustered down front for the show, some of whom traveled from all over the country for this event, dressed to the nines in X Japan's glam-anime style called "visual kei." But by the end of the show, even the mildly curious were won over by the infectious rock drama. Fists were pumping, guys were playing air guitar, people were chuckling at themselves while following suit, making the X Japan sign by crossing forearms in the air. One guy in front of me was so involved in his air guitar, he sloshed beer all over nearby fans.
X Japan only played six songs, but the theater — on the same stage where 36 hours earlier Lady Gaga had brought her bawdy Broadway peep show — was captivating. Bursting to life with plumes of pyro, the quintet launched into "Rusty Nail" with a driving rock melody that dissolved into synthesized strings. Such is the duality of X Japan, moving between hard rock and classical structures sometimes within the same measure. A new song, "Jade," opens with a kind of rumbling guitar attack that would make Metallica take notice, then it's a lumbering power ballad, then it's chugging at a breakneck pace, finally erupting into a guitars vs. drums battle. All the while singer Toshi Deyama — he looks like Roy Orbison and sings with a pinched high tenor like Steve Perry — wails away unlike a man who'd been virtually out of commission for a decade before the group re-formed.
The band's late guitarist, Hide, was able to make the debut, too, several years after his suspicious death. He appeared on the video screens while Toshi sang a slice of "Kurenai." The heart of the band, composer and drummer Yoshiki Hayashi, pounded and rolled his drums (wearing a neck brace to protect himself following drumming-related back surgery) and occasionally moved to a see-through grand piano for transitional music or to kickstart top-heavy ballads like "I.V."
At the end, Toshi asked, "Are you ready to rock?!" But the question wasn't too late, because the crowd, swept up in the frenzy, finally had an answer. "We are!" band members began shouting. The answer was to cross your forearms, marking the sign of X Japan. Over and over, this call and response continued. Once he realized he'd converted the Lollapalooza throng, Toshi changed the chant to "You are!" And we were.
Company of Thieves and other final notes
By Thomas Conner on August 9, 2010 9:45 AM
Some bands from the last loose pages of the notebooks ...
Sunday morning was surprisingly delightful and refreshing for several reasons, which were focused in one area of the park. Rain showers and breezes cooled things down briefly, the Sony Bloggie Stage benefited from this more than most because of its tree-lined, green surroundings, and one of the first acts to grace this stage was Chicago's Company of Thieves. Playing to a remarkably full crowd at this small side stage, the Company played hard. With her band giving its all behind her, singer Genevieve Schatz danced all over the stage, wailing with abandon — throaty in her range, breathy above it, never stopping to think about which was which, just going for it. This isn't a complex band, they play pretty basic pop-rock, but they were certainly spirited Sunday morning, closing with "Oscar Wilde," a popular download from their latest album, "Ordinary Riches." They were joined on the final number by pirouetting youngsters from Framework Dance Chicago; it was a little "Fame," but fun. When the show wrapped, the people around me gave it three "wow's" and a "holy crap." I heartily agreed.
Company of Thieves was on "Live From Daryl's House" once. Some other pals of Hall & Oates, Chromeo, played in the south field Friday evening just before Lady Gaga. Hearing this gig, I wouldn't put them next to Hall & Oates, though. Klymaxx, maybe, or Rick James, Sylvester, certain corners of the Prince catalog. This Montreal duo gets a not-quite-disco groove on, but it never builds a full head of steam. Even the duo's last song, their new single, "Don't Turn the Lights On," sounded like warm-up music on the PA.
Sort of like Switchfoot, ick. The Christian-mainstream band's early Sunday set didn't sound like a live band, just a modern-rock radio station cranked really loud, all pinched and compressed. "Can you hear me? / This is the sound of the desperation bound," they sang in their penultimate song. Yep.
Dawes, midday Saturday on the Bloggie stage, is a curious new artifact. An L.A. quartet of young bucks, they play a dusty genre of country rock harking back to the 1970s Laurel Canyon days (Jackson Browne, CSN, etc.). Their debut disc is called "North Hills." It's bizarre: here's an up-and-coming indie-rock band — young ones, no one's older than 25 — plying a style of music redolent of some of the industry's most bloated corporate-rock indulgences. Just further proof that everything comes back to us. Dawes is good at refreshing this sound, though, a meaty band with a guitarist, singer Taylor Goldsmith, who knows how to punch and pull his lines (just what the world needs, a new Waddy Wachtel). When they harmonize on "Love Is All I Am," they sound not like Crosby, Stills and Nash or Fleetwood Mac but the branch of country music that listened to them. After moseying through "When My Time Comes," I expected an encore of "Magnet and Steel."
Biggest crowd, plus no sitting on the fence at Lollapalooza
By Thomas Conner on August 9, 2010 2:20 PM
Lollapalooza's attendance for 2010 marks its biggest yet in Chicago: 240,000 — that's 80K each day — filled Grant Park this weekend, topping last year's three-day record of 225,000 for the weekend.
The extra bodies had extra room, too. The festival grew 35 acres this year, filling 115 acres. This allowed for significantly easier traffic flow north and south, turning Columbus Drive into a mile-long sidewalk, and avoiding the bottleneck around Buckingham Fountain that caused so many missed sets in previous years. Perry's Stage, for DJs and electronic acts, grew considerably, as did the food area.
Still, the increased space allowed for up to 95,000 participants a day. Festival organizers C3 Productions said they capped attendance at 80,000 this year to "focus on flow and room for the patrons" in the new layout, according to C3 spokeswoman Shelby Meade.
Bigger space also meant more fenceline to patrol — and more opportunity for jumpers who don't want to pay admission.
We watched this happen all weekend long. Anders Smith Lindall reported on one breach involving 30 to 60 jumpers; he got photos of others.
Saturday evening, three young guys rolled over a fence and seemed startled to find themselves behind a bar. They scattered, and security personnel went after them. I saw one apprehended, a teenage boy in a black-and-white checked shirt. He was handcuffed and led out of the fence by security. More than a dozen jumped over the fence Sunday night into the media area. Security later said 15 had been rounded up from that breach. They then sat down and compared wounds — a cut hand for one, bruised leg for another. They chalked it up to "kids being kids."
That said, as of Sunday morning, Chicago Police said they had made just 27 Lolla-related arrests, most of them for fence-jumping.
The extra bodies also mean more money for Chicago's parks.With three-day passes costing $215 this year, the added capacity was expected to bring more revenue to the parks, which get 10.25 percent of receipts.
Last year that meant about $1.9 million for the district's fund-raising partner, Parkways Foundation. The money helped pay for everything from repairs to Buckingham Fountain to scholarships for some of the city's neediest kids to go to park district camps, said Brenda Palm, Parkways' executive director.
By Thomas Conner
© Chicago Sun-Times
Lady Gaga isn't known for subtlety or subdued performances, and when she headlines the first night of Lollapalooza 2010 next weekend, she'll no doubt deliver an earful and an eyeful.
Lollapalooza founder Perry Farrell already has admitted to spending up to $150,000 for the production of this single, two-hour performance. Lady Gaga's current Monster Ball tour features 15 over-the-top costume changes, plus a giant gyrosphere, a flaming piano, a neon car, a series of skits and an enormous squid attacking her onstage.
It's a long way from a clunky synthesizer and a disco-ball bra.
Lady Gaga performed three years ago on a side stage at Lollapalooza, long before she conquered the pop-culture world. She wasn't even blond yet.
It was Aug. 4, 2007, day two of the festival in Chicago's Grant Park. A small crowd of about 500 gathered to watch a brunette Lady Gaga, then 20, take the BMI Stage with her partner, DJ Lady Starlight, in the middle of the afternoon. During a 45-minute set, the Ladies played synth-driven dance-pop, including the songs "Boys Boys Boys," "Dirty Ice Cream" and "Disco Heaven."
Lady Gaga strutted across the small stage, singing, dancing, occasionally jabbing at a synthesizer, which she had set up just low enough so she'd have to lean over — flashing her cleavage — to operate it. She wore a black bikini, the top of which was adorned with chains (which she made herself), with high black stockings and heels. Her one costume change consisted of swapping the black bikini top for a mirrored one that turned her breasts into disco balls.
"I wouldn't say she was terrible," says Jake Malooley, now an editor at Time Out Chicago, who wrote a short review of Lady Gaga's appearance for the magazine's blog. (Critics from the Sun-Times and other local papers did not mention the performance.) "It just didn't seem like a Lollapalooza-worthy performance. She was doing this dance-pop sort of thing where she had a DJ, and she would poke a keyboard every now and then. ... It didn't seem very well put together, more about the spectacle than the music itself — dancing and being silly. She didn't seem to know how to play her synthesizer. She had to stop a song and get the engineer to show her how to program a certain sound."
His review that weekend concluded: "But no one's going to accuse Gaga of being a musician, and I think she's aware of that. 'In my day job, I'm a go-go dancer,' she said jokingly. Well, at least I thought it was a joke until midway through the next song she shimmied over to stage left, wrapped her legs around the scaffolding and began twirling while giving the metal pole a few aggressive pelvic thrusts. Very ladylike, indeed."
The revealing clothes even earned Lady Gaga some hassle by The Man. While later strolling the park offstage, wearing very short shorts, Lady Gaga was cited by a Chicago police officer for indecent exposure.
"I was wearing very short hot pants and a police officer told me to put my ass up against the fence because I was not appropriately attired to be seen by children," she told the New York Post last year. "I told him I was an artist, but he didn't care. Where I come from, they were just normal hot pants, but in Chicago they were indecent."
The outfit got Farrell's attention, though.
"I remember ... she's got dark-brown hair, she's in a bikini and she's wearing thigh-highs, and she's sweating because she was on at around 3 o'clock," he told MTV in June. "Her music was cool, her show was kind of cool."
The Lady in waiting
From that Lollapalooza to this one — from a few hundred bucks for a stage show to $150,000 — Lady Gaga's career trajectory has defined "meteoric rise."
Before she began turning heads in 2007, she was Stefani Joanne Angelina Germanotta, daughter of two technology executives and a student at an Upper West Side private Catholic school, with classmates Paris and Nicky Hilton. (In classic, Bowie-esque coyness, she now refuses to acknowledge her real name. "She's not here anymore," she said of her birth name in an interview a week after Lollapalooza 2007. "She's covered in sequins.") Her stage name was derived, she claims, from the Queen hit in 1984, years before she was born.
She grew up playing piano and began writing songs as a teenager, even sneaking out at night to perform at coffeehouses — more Fiona Apple or Tori Amos than the flashy vixen she is now — but 2007 was the year folks began to take notice.
Performing as Lady Gaga and the Starlight Revue, with DJ Lady Starlight (aka Gaga pal and makeup artist Colleen Martin), the duo attracted the attention of producer Rob Fusari, a music-biz svengali who has worked with Destiny's Child and Whitney Houston. He had some advice. "I had read an article about women in rock," Fusari told the New York Post in January, "and how it was getting very difficult for women to break through in the rock genre, how Nelly Furtado had moved into more of a dance thing." The Starlight Revue, he said, wasn't "going in the right direction. It wasn't something kids could relate to." (Earlier this year, Fusari filed a $30.5 million lawsuit against Lady Gaga, claiming she shut him out of proper compensation for crafting her persona and music.)
So Lady Gaga and Lady Starlight began weaving dance beats and Europop into their songs. The gambit worked, sort of. Lady Gaga landed a recording contract with hip-hop label Def Jam. But nothing happened. A debut album was scheduled for May 2007, but the label dropped her after three months.
Enter up-and-coming R&B darling Akon, who took Lady Gaga under his wing and signed her to his own Kon Live imprint at Interscope Records. "I was like, 'Yo, I want to sign that right there. She needs to be under my umbrella,'" Akon told the Huffington Post earlier this year. "She just blossomed into a super megastar, man." And made Akon very rich, he admits. "She's pretty much retired me."
Initially, Lady Gaga worked for Interscope as an in-house songwriter. She crafted songs for the Pussycat Dolls and New Kids on the Block (with whom she toured). Two months ago, a recording made the gossip rounds on the Internet — allegedly of Britney Spears' singing a demo of Lady Gaga's "Telephone," which Spears declined to record for her "Circus" album. Lady Gaga recorded it herself, teamed with Beyonce, and made it a No. 1 hit this spring.
Fame comes quickly
Meanwhile, Lady Gaga was creating her own music and trying it out on any audience she could find. Her first major single, "Just Dance," was released in April 2008. By June, she returned to Chicago, not yet at the arena level; she performed at the finals of the Windy City Gay Idol talent contest at Circuit on North Halsted.
This was also the time when she began experimenting with outlandish stage antics to get a wavering audience's attention. "I remember one show I played where nobody was paying attention to me," she told the New York Post in April 2009. "It was really late, so I took my clothes off. I started playing in my underwear at the piano and I remember everyone was all of a sudden like 'Whoa!' And I said, 'Yeah, you're looking at me now, huh?'"
The natural brunette also bleached her hair blond, allegedly because she was weary of being mistaken for Amy Winehouse.
One of her best friends wrote a piece about Lady Gaga for the May 2010 edition of Esquire. He recalled: "Back in the summer of 2007, there was a night when she popped out of a cake and sang 'Happy Birthday, Mr. President' for my then boss, the owner of Beauty Bar in Manhattan. It was fitting, somehow — the Marilyn reference. I'll quote something she said to me one day around that time as directly as I can: 'No one in the world knows who I am, but they are going to want to know who I am. My first time ever on TV I want to be on a huge show where I play one song. I'm going to come out onstage in my underwear and show the world that here I am and I don't give a f--- what anyone thinks of me."
That same month, Time magazine listed Lady Gaga in its annual run-down of the world's 100 most influential people.
"The Fame," her debut album, finally appeared in the fall of 2008. Over the course of the next year and a half, Lady Gaga would score six consecutive No. 1 singles and sell 8 million records — 35 million singles worldwide.
"Just Dance" was a big hit in the clubs, and it reached No. 1 in January 2009. The next single, "Poker Face," was even bigger, topping charts around the world. "The Fame" earned six Grammy nominations, and won for best electronic/dance album and best dance recording. A pattern was set. The follow-up album wasn't even supposed to be an album. "The Fame Monster" was supposed to be a bonus disc for the debut, but a few extra tracks made it a full-fledged new album last November, just to feed the hungry masses.
The center of attention
Lady Gaga is such a spectacle now, not only is she one of two headliners this Friday (the Strokes are scheduled on the opposite stage at 8:30 p.m.), Farrell says she's the evening's "centerpiece." He just hopes the elaborate theatrics don't overshadow her songs.
"Her presentation is so overwhelming that some may overlook the music," Farrell told MTV Radio two weeks ago. "But the truth is, her music to me is right where music should be. It's on the cutting edge, but it's [also] in the crosshairs of where every musician is aiming these days. She's this hybrid of Yoko Ono, sort of the Plastic Ono Band meets Madonna meets Elton John. She's this beautiful crossing of those things every musician is looking to find. Everyone's looking for that sound, and I think she really hits it.
"The production of her music, the people she's surrounded herself with, the development of her stage show — it's something that, when I think about Lollapalooza, in that gorgeous setting of Grant Park, with the amazing buildings all around us, lit up, I see her and her show as being a centerpiece to the evening."
By Thomas Conner
© Chicago Sun-Times
Which band in this year’s Lollapalooza lineup has accomplished all of the following?
— Sold out a 55,000-seat arena — 18 times.
— Created and popularized its own form of glam.
— Sold 30 million albums.
— Recorded a classical album with Beatles producer George Martin.
It ain’t Lady Gaga.
The band is X Japan, the biggest rock band in Japanese history. The quintet came together in 1982 (originally called just X, but John Doe had something to say about it), disbanded in 1997 and re-formed in 2007. They started as a speed metal band with delusions of grandeur and evolved into a power-ballad powerhouse. Their shows are equal parts Anthrax and Celine Dion.
In their homeland, their presence still creates Beatlesque hysteria, with screaming fans and impenetrable throngs. When the founding guitarist, Hideto “Hide” Matsumoto, died in 1998, nearly 50,000 weeping mourners crowded the funeral; last May almost twice that number mobbed a memorial service marking the 12th anniversary of his death.
But thus far, only Asian fans have had these opportunities to go wild for X Japan — because the 4 p.m. Aug. 8 performance at Lollapalooza in Chicago’s Grant Park will be X Japan’s U.S. debut.
“Yes, we’re a huge band in Japan, but that doesn’t mean anything here,” says Yoshiki Hayashi, usually known only by his first name. Yoshiki is the band’s drummer, songwriter and core idea man. He’s also a classically trained pianist. “We feel like a new band again, trying to make it. It’s a very pure feeling. It feels like it did when we started, which is good.”
Fitzgerald wrote that there are no second acts in American lives, but America has given plenty of second chances to foreign acts. Yoshiki — who now lives in Los Angeles, where he’s wrapping up X Japan’s first new studio album in 14 years, due this fall — hopes X Japan will live and thrive again on these shores. When he speaks, he struggles with his English, but his ambition is clear.
So is his realism. After Lollapalooza, X Japan will launch its first U.S. tour, hitting 10-15 cities. They won’t be selling out or even playing arenas like they do at home.
And that’s OK with Yoshiki.
“We’d like to play clubs or small venues. We cannot do that in Japan anymore,” he says, noticeably excited by the prospect, and maybe a little relieved. He misses the old days, pre-mobs, pre-stadiums. “When we were an indie band, right after we graduated high school, we were performing for 50 people, maybe 200. That was a great moment. By the time we were signed to Sony [in 1988], we were already performing for 10,000 people or bigger. … We weren’t supposed to make it big, you know? We were — how do I say? — the black sheep of the family. The Japanese scene was very poppy. We were playing speed metal. Nobody thought we could be mainstream. Then it got very, very big.”
Back to basics
The American shows will be stripped down. X Japan fills arenas like the Tokyo Dome with massive productions — lights, lasers, pyrotechnics, enormous stages with catwalks, lots of running around and dramatic performance. Yoshiki has played several times on a drum riser that not only rises above the stage, it takes off and flies around the arena, trailing smoke and neon lights.
And, oh, the costumes. X Japan pioneered a style of presentation now known as “visual kei,” meaning flamboyant outfits and hairstyles, many of which resembled Kool-Aid fountains. In other words: glam rock, hair metal.
For the U.S. jaunt, Yoshiki says X Japan will be “back to basics.”
“The bigger we got, the bigger our personalities,” he says. “We just want to go back and focus on the rock. Either way, you know, you don’t see good rock shows anymore. Rock doesn’t sound mainstream these days. We’d like to contribute something to help bring rock back. Rock doesn’t have enough drama now. Rap, R&B, dance music has taken that. Our band wants to be a part of bringing that back to rock.” He laughs. “But our band has enough drama.”
Yoshiki and X Japan’s singer, Toshimitsu “Toshi” Deyama, have known each other since kindergarten. When Toshi left the band in 1997, it wasn’t amicably. Yoshiki says the two didn’t speak for up to eight years. When Hide committed suicide, Yoshiki thought X Japan was dead, too.
But in that time, the Internet flourished. X Japan’s music — and especially its videos — went viral. The band that’s still only performed two concerts outside of Japan (last year in Hong Kong and Taipei) now has fans from China to France.
Meanwhile, Yoshiki pursued solo interests. He recorded a best-selling classical album in Japan, the double-CD “Eternal Melody” in 1993, co-produced and arranged by George Martin. The next year, he contributed a symphonic version of “Black Diamond” to a classical Kiss tribute record. He composed and performed a piano concerto for Japan’s emperor. And he cashed in. There’s a Yoshiki line of jewelry, a Yoshiki wine, a Yoshiki racing team, even a Yoshikitty — the only time Hello Kitty has combined another name with its famous toy brand.
Still, he missed his childhood friend.
“It’s weird, when you have that vocalist next to you all the time for many years, you take for granted how great he was,” Yoshiki says of Toshi, who spent the intervening years performing spiritually minded acoustic concerts of what he called “eco rock.” “When we started talking again, he said the same thing about me. We discovered these fans around the world, and they were demanding a return from us. It made me — I still feel like I’m dreaming. I never thought we would reunite this band. And we can’t completely.”
Coming to America
At the first X Japan reunion shows in 2008, the band performed its 29-minute opus “Art of Life” — during which Yoshiki collapsed from the exertion — and featured a floating hologram of the late Hide playing his guitar parts. (There you go, William Gibson fans: Rei Toei lives!)
“That was too much for me,” Yoshiki says, assuring the band will not continue the stunt. “That was so real. It brought me to tears.”
But are there fans in the United States? Lollapalooza may be the band’s first ticketed performance, but on Jan. 9 X Japan filmed four new videos on the roof of Hollywood’s Kodak Theatre. Thousands crammed the streets to get a glimpse, fans who’d driven from Texas and Chicago for the occasion.
“Their music is a cross link of my generation,” says Chicago photographer and fan Nobuyoshi Fuzikawa, 38. “That’s why I’m so excited they’re still playing for a major audience after all these years. It’s inspiring, and makes me want to try new challenges. … Lollapalooza is [a] well-known concert around the world, so I will be happy to see a Japanese performer have a presence there.”
Takeshi Tsukawaki, 24, will be driving to Chicago from New York just for the Lollapalooza show. He’s a younger fan who discovered the band during its hiatus.
“I have two older brothers. They were always listening to X Japan,” he said. “I didn’t know they were such a big band in Asia. I just listen to them again and again. … I have no idea what a show will be like. Maybe they can’t play very well like before, or maybe they’re better and more powerful. I never expected to be able to see them, so I’m coming. There are lots of people coming.”
This post contains my complete running coverage of this annual festival ...
© Tulsa World
Faces in the Crowd
By Thomas Conner 08/04/1995
Sen. Orrin Hatch was introduced by a young man who advised the
audience which over-the-counter pain remedies effectively simulate
a heroin high. The senator — an actor, of course — stepped up to
the third stage and began auctioning off the national parks and the
public school system to indifferent bidders in the crowd. His
ranting was interrupted by protesters from the Elf Liberation Front.
And the simulated high hadn't even kicked in yet.
So you can see that Lollapalooza is more than just a music
festival. Oh, so much more. Lollapalooza is a sampling of
contemporary youth culture, or at least a parade of those masks the
kids are allowed to rent.
The ticket price alone can be earned by just watching the
people go by at one particular sidewalk. You'll see every fashion
mistake since the first World War out there. This is an age group
that grew up parroting Billy Crystal's Fernando Lamas catch phrase,
“It is better to look good than to feel good.'' They mean it; on
July 10 at the Kansas City show, kids trudged through the
near-100-degree swelter in wool stocking caps, flannel shirts and
Other dedicated followers of fashion sport 'do rags, pierced
noses, pierced ears, pierced navels, pierced lips (watch them try
to eat the stir fry), toe rings, Brady Bunch striped T-shirts, jean
jackets with anarchy symbols emblazoned with permanent marker,
T-shirts that say “Kansas Zen Society'' (the oxymoron of the day),
tie-dyed shirts, ballcaps in every direction, Dr. Suess hats, Tommy
Hilfiger Golf Team shirts, postal uniforms, Stars and Stripes
bikinis, every landscape of facial hair one can conceive, and
tattoos tattoos tattoos!
But not everyone in the crowd is a young'un. Fred Coombs, 38,
of Olathe, Kan., stood out like a sore thumb in his button-down
shirt and Dockers shorts at the Kansas City show.
“I'm like that director on the old Dave Letterman show --
the blue shirt, the tan chinos, the brown shoes,'' Coombs said. “I
just discovered that I had too strong a parental instinct to let my
son come to this madness by himself.''
Coombs' 13-year-old son, Jay, said he was having fun despite
having his dad around.
“He's a pretty good sport,'' Jay said.
This conversation took place in the shadow of a giant condom,
mind you. An AIDS awareness group had, er, erected the 12-foot
device over its information table. That was next to the Planned
Parenthood table, where you can get free goodies if you hop on one
leg while saying the Pledge of Allegiance.
Lolla Land: A Self-Help Guide
By Thomas Conner 08/04/1995
Whatever you do, don't forget the tanning lotion. And here are some
other factoids and tips for the Lollapalooza virgin:
— “Lollapalooza'' is an actual word defined in Webster's
College Dictionary as “Slang. an extraordinary
or unusual thing, person, or event; an exceptional example or
— The festival began in 1991 as the farewell tour for Jane's
Addiction, the influential band fronted by the festival organizer,
Perry Farrell. He wanted to do something special to honor the band
on its final go-round, so he hooked up with agents Marc Geiger and
Don Muller, added seven bands to the bill as well as food, vendors
and art displays, and pulled off an extravaganza unlike any
promotion ever attempted before. Still going ...
— Number of people who attended the festival last year:
— Water, water everywhere: Most venues will allow one bottle
of water per ticketholder through the gate. You'll want to ration
it when you see that a cup of ice water costs $3 at the concession
stands, but be sure to get your proper fill of nature's lifeblood.
Number of people treated last year for heat-related illness: 203.
Near some restrooms there will be showerheads for public dousing,
and the festival sets up Rain Rooms for your relief — tents full
of water spray through which you are herded like cattle through a
car wash. Number of gallons used in last year's Rain Rooms: 154,801.
— Plan for the shopping. The cheapest T-shirt for a
main-stage act is $20. A meal from one of the worldwide food
vendors will average around $5. And the vendors!
— Number of pounds of carrots consumed by artists during
last year's festival: 2,365.
— Dollars donated to charity from last year's festival
alone: 856,437. Tour planners hope this year's charity hat will
push the five-year festival total over $2 million.
— Number of kids who crowd-surfed to the front of the main
stage last year: 6,533.
— Number of bottles of Evian consumed backstage during last
year's tour: 25,800.
— The Starplex can be Mosquito Central around dusk. Throw a
bottle of Muskol or some kind of insect repellent in your hip pack.
Sonic Youth - Thurston Moore and Kim Gordon - and Courtney Love's Hole Head a Truly Ensemble Lollaplooza
By Thomas Conner 08/04/1995
Beck bounced off the Lollapalooza stage like Tigger just out of
rehab. He bounded over to two humble Midwestern journalists eager
to interview the artist — about his work, his schemetic aural
creations, his interpretation of the sociopolitical state of modern
rock music — and he grabbed them by the shoulders.
“Yes. No. Maybe. Never. Only after meals, and I refuse to
answer that one on the grounds that it's too damn hot,'' he said in
a frightening, Pee-Wee-on-meth crescendo. He then dropped his water
bottle, cursed, and skipped away to a waiting, air-conditioned bus.
It was that kind of day.
The Tulsa World attended the Kansas City date for
Lollapalooza, July 10, in order to experience the madness and thus
warn those of you making the trek to the Dallas show on Aug. 10.
And for those of you waffling on whether or not to make the
journey, we feel it necessary to — right here, in front of your
boss — testify to your weakening condition, how we have heard that
raspy cough, how pale you've been looking (i.e., call in sick and
hit the road!).
Now ensconced as an annual institution, Lollapalooza lumbers
around the country this summer with its fifth and best bill ever.
The Kansas City show nearly sold out the Sandstone Amphitheater in
the suburb of Bonner Springs, Kan. The Dallas show, at the
Starplex, is expected to sell out, at least by showtime. (The
reserved seating is gone, but early this week Ticket Master still
had general admission available at $31.25 a ticket. Call (212)
373-8000, and expect a lengthy hold.)
This year, the Lollapalooza name may be as big a draw as the
headliners, who get a rare chance to play for a filled arena. The
festival's founding philosophy of showcasing new talent has been
relegated to the second and third stages this year, which actually
is more conducive to the tastes of the most diverse crowd you'll
ever see. Many acts on the main stage have been around for a while
— the main headliner act, Sonic Youth, has a greatest hits
album out, for instance — but this is still a
cutting-edge festival, a chance for an urban and college-town
culture to visit the suburbs and spread the freak power far and
The day on the main stage begins with the Mighty Mighty
Bosstones, a ska-punk act with a social conscience that wound up
stealing some of the day in Kansas City. The first and last slots
on the bill are the worst for bands; everyone's arriving and
getting settled in during the first band, and a lot of goobers pack
up to beat the traffic during the last band. The Bosstones,
however, opened the festival with a roar and wound up reprising
their set on the second stage late in the evening. Frontman Dicky
Barrett sweats all over the stage, leading the band in a frenetic
swing that inevitably catches up the crowd.
Jesus Lizard is next. Here's some advice: Get there early,
drop your stuff, enjoy the Bosstones, then do your settling in
during Jesus Lizard. This band fuses whiny rants onto hard-rock
riffs and has been doing so for six years without making any
impact. Vocalist David Yow announced in Kansas City, “I have sort
of an upset tummy,'' then launched into a song about his urine.
Ex-Scratch Acid guitarist David Wm. Sims wields his axe like an
assault weapon, but this is still a great opportunity to scout
better seats and grab a smoothie.
The bouncy Beck takes the stage in third place. More
appropriate for a sizzling street corner than a sizzling arena,
Beck's Juice-O-Matic approach to music doesn't wilt in the heat.
With a '60s-vintage effects box and vocals that sound like Tom
Waits transmitting from Jupiter, Beck screeches all over the stage
and swings like few blond kids in knit caps can swing.
In Kansas City, his hometown, he played “Pay No Mind''
“heartland style,'' and he previewed two eerie pieces from his
next disc, including a slow grinder called “Black Hole.'' And yes,
he satisfied all the frat boys who were there to see “that guy who
sings `Loser.' '' For that hit, he was joined onstage by the S7Ws,
two men in sailor suits who stood guard at the corners of the stage
like Public Enemy's X Men. “Take it easy,'' he said before
bounding off stage, “and have a good picnic.''
The fourth act in Dallas will be Elastica, a hot new pop
group from the other side of the pond. They take the place of
Sinead O'Connor, who left the lineup because she's pregnant and the
heat was a bit too much. It's a tragic loss; she was the turning
point of the Kansas City show. Her fans were rabid, screaming like
banshees when she came on stage and not stopping until the last
chords of “Fire on Babylon'' were off to the stratosphere. The
pregnancy explains why she was so subdued, walking around the stage
barefoot, looking comfortable and laid back like Michelle Shocked
or Carly Simon.
Elastica started filling clubs in and around London two years
ago. Leader Justine Frischmann left Suede before that band hit it
big. The band's self-titled U.S. debut (another Geffen band on the
bill!) collects 16 short-but-sweet tracks from independently
released EPs. “This is music to be brave to,'' Frischmann has
said. Their sing-song squelch should fit right into the festival.
The coolest new band on the bill is Pavement, a band of
upstarts who offer a refreshing — gasp, even melodic — pop
sensibility amid the dissonant lineup. Bringing its crooked reign
on stage, Pavement prefers to sound as if its songs just fell
together — melodies are there but tentative. Lead goofball Steve
Malkmus shifts between sleepy-eyed cool to yelping exasperation
while wearing silly hats.
The bulk of the Kansas City crowd just didn't quite get
Pavement, though. The band ambled on, coughed, tuned up, joked
among themselves and plowed into herky-jerky numbers like “Father
to a Sister of a Thought'' and pop gems like “Kennel District''
and “Range Life'' while dazed breadbasket babies stared blankly at
the stage and applauded politely. Ah well, gotta pay those dues
before you pay the rent.
When Pavement modestly leaves the stage, the stage managers
go into high gear. For Cypress Hill, they hustle out a giant gong,
a giant bong, DJ posts flanked by towering (simulated, surely)
marijuana plants, and a 20-foot gold Buddha with a pot leaf on his
belly. So begins this one trick pony's act — endless pro-marijuana
They certainly have guts. Before “I Want to Get High,'' lead
rapper B-Real lights a joint on stage for the screaming glee of the
crowd. He slides along with his annoying voice — like Bill Cosby
imitating his children — and rants about the virtues of marijuana
legalization. Despite the thinness of the group's one-topic set and
B-Real's habit of calling everyone in the audience “mother
f—-ers,'' Cypress Hill does get the crowd on its feet — a
surprising hunk of which came especially to see them.
Holding to the festival tradition of foul language and her
own knack for tastelessness, Courtney Love stepped out onto the
Kansas City stage next to sneer, “I'm going to abuse you because
you deserve it, you f—-ing sh—s.'' The widow Cobain then lead her
band, Hole, through some of the tightest and well-built pop of the
day, over which she warbled like a drowsy sheep. Most of the band's
latest album, “Live Through This,'' was covered, with sharp
interpretations of “Gutless'' and “Softer Softest.''
Wearing a stark white dress and made-up like she was bruised
and battered, she picked fights with anyone she could see in the
crowd who wore a Pearl Jam T-shirts. Many of her stage antics are
just a little too difficult to attempt to explain in a wholesome
Finally, Sonic Youth held everyone into the
head-for-the-parking-lot timeslot with the expected confidence of
the only band to transcend the typical underground,
art-or-popularity quandary. Drawing on a history stretching back to
1982, Thurston Moore matter-of-factly introduced the songs, many of
which were unrecorded ones. His lyrics were more audible, which is
a real plus and reflects the heightening of that awareness on the
band's remastered greatest hits package out last spring,
“Screaming Fields of Sonic Love.''
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.