Lollapalooza Recap - Part One

Let it be known that my perspective on music attempts to work from a historical slant. And yes, I am pretty old. My musical pursuits span over 25 years and my tastes and knowledge goes somewhat beyond. Part of taking that position is to not only put this constant stream of new music and the ever evolving era of the present in its properly authenticated vessel, but to understand that the past it best left an unsullied fond memory. When I first think of Lollapalooza, the three day well organized and corporate stamped steamroller that trundles through Chicago each summer is not my first thought. I remember the first four festivals I attended when in one day all different genres of music were presented on one huge stage and everyone was exposed to something they did not quite expect. That big tent of inclusiveness is what made those first years so eminent, an unparalleled station on the time line of music that will never be seen again. The new millennium Lolla is twenty years and billions of miles away from that instance; these contemporary performances were all about personalized exclusivity. The booking is still surely varied, although big name hip hop and rap artists were oddly omitted. The top headliners were there to draw the mainstream ticket buyer while their opposing big name talent kept the hardcore fans who arrived at noon happily on the grounds. There were the small label breakthroughs pitted next to the major label pet projects. There was your obligatory head nodding hard rock, your neo-hippie safety nets, your fist pumping club DJs and a small handful of bulls-eye accurate niche acts to rope any sub-genre that may have $100 begging to be spent. Lollapalooza is now a slowly chugging journey of specifically planned and targeted moments tailored for today's NOW generation. Instead of a grand symphony of we-are-all-in-this-together fellowship, it is snack-size samplings of arias and hosannas placed on idiosyncratic playlists to make everyone feel like this weekend was planned just for them. The old Lollapalooza could never happen these days and I refuse to be the furrowed contrarian who wants it like it was back in his better years. Not unlike today's hand held devices, The Lollapalooza Experience is now a wonder of technical consideration, beautiful packaging and sly corporate cajoling that is now a irrefutable necessity in need of yearly updating wrapped with a horribly expensive price tag.

Friday

Best Show Of The Day - Devo
Since I was on the south end to see The Big Pink, I figured I would give Devo a chance before scooting off for my New Pornographers set. I never left the area as the sixty-somethings reminded the crowd that they were more than a one-hit wonder in funny tiered hats. Of course "Whip It" was offered with relish, but they also made contact with "Uncontrollable Urge", "Mongoloid" and "Jocko Homo" in a back-to-back-to-back reminder of their innovation and their indelible signpost in music. Their stage presence didn't lack as well with costumes changes, assuring banter and the enthusiasm of a thirty year career being celebrated.

Honorable Mention - The Strokes
I was happy that I opted to miss the more popular option (read below) as The Strokes ripped through their set covering their three albums like it was an overtly excited album launching tour. Without scraping off one the new album whose release date was pushed to next year, they roared like 2001 by opening with b-side New York City Cops as a quick reminder that they are a raging force with a cheeky blend of cynicism. Next came the stomper "The Modern Age" and shuffle of "Hard To Explain" as testaments to their instant classic LP Is This It. In fact nine of their songs (including said b-side) were from the first album, while the others were a cherry picking of crowd pleasers from the later efforts. Their second half kept me rooted with a pre-encore flailing of "I Can't Win", "Reptilia" and "Last Nite" while coming back with hits "Juicebox", "Heart In A Cage" and final stamp "Take It Or Leave It". With this enthusiastic set, The Strokes have placed the bar back up at a lofty height that the new album can wishfully clear.

Standouts included the slick synth-pop stylings of The Big Pink and Hot Chip. While the catchy throb of Big Pink tracks such as "Dominoes" shows promise, they could do for more seasoning and material like grizzled veterans Hot Chip. Their confident bounce and crowd wielding could act as a traveled road for younger acts to follow.

My initial consideration of catching the Gaga spectacle was quickly dashed aside by witnessing the early crowd swell. Reports were that I did not miss much. My favorite comment was that she should change her name to Lady Blah Blah as she as much choreographed scripting as her stilted singing and dancing. She is the physical artist representation of the Lollapalooza festival, a never-ending message of corporate planned sloganeering about today's need for conventional individuality by way of pure spectacle that comfortably speaks to the first generation of Americans who have marketed to since birth.

See you soon for Lollapalooza update Part Two!

Devo - Mongoloid


The Strokes - New York City Cops


Hot Chip - I Feel Better