After the first day of Lollapalooza, I was in pretty rough shape. Not following my own advice, I didn’t sit down for about 12 hours straight, and that’s definitely not a pleasant experience for the human body. So I made it a point on Saturday to be smarter and look out for my own well being a little bit more. After all, I needed to power through the full three days. And so the chronicle continues, with a recap of all the music that I saw on Saturday:
Following Friday’s lengthy fiasco that took about 45 minutes to get into the gates due to heavy security, Saturday was light by comparison. This time it only took 15 minutes, either because I went to a different gate or because security wasn’t being as thorough. Either way, it was a benefit, and one that allowed me to see the final 10 minutes of Benjamin Booker‘s set. And oh what a final 10 minutes they were. Having never seen Booker before and only being familiar with a couple of his songs (his debut album comes out in about two weeks), I was immediately struck by his passion. He positively attacked the final three songs of his set, singing his heart out with that sandpaper voice of his, and playing guitar riffs like his life depended on it. Rarely do I witness a live show where I repeat the word “Wow” over and over again just completely impressed by everything happening on stage, but this was one of those times. At the very end of his set, Booker removed his guitar and proceeded to smash it on stage, Pete Townshend style. I’m a total sucker for moves like that, which in turn immediately made me want to declare the set one of the festival’s very best. For all I know the first 20 minutes of his set could have been a total trainwreck, but somehow I sincerely doubt they were. At the very least, Booker has quickly become someone to watch very closely.
From one guitar virtuoso to three, following up Benjamin Booker’s set I walked to the nearby Palladia Stage for the start of Parquet Courts‘ set. I saw them live for the first time last summer, and went in with such low expectations that I wound up being completely shocked by their wild attack dog style of performing. They’re pretty unassuming guys who you might think are slackers with sloppy playing styles, but the delightful surprise is that they’re none of those things. When they get going on high energy numbers like “Borrowed Time,” not only are they pushing forward like there’s something to prove, but know all the right ways to add frills like excessive distortion to push things beyond what you might hear on record. The set list was ordered a bit like a rollercoaster or a wave, building in speed and vigor until a peak is reached, then plateauing out for some slower cuts before racing towards the finish again on the downslope. The band does it all very well, though the quicker numbers that turn the crowd into a frenzied mosh pit can feel particularly special.
Kate Nash has become an increasingly reliable live act over the last few years, thanks in no small part to her embrace of louder and more visceral rock sounds. Nobody is going to confuse her with a hardcore punk or heavier alt-rock artist, though she does seem to be taking notes from the riot grrrl movement and innovative bands like Bikini Kill or The Runaways. She may have had multi-colored balloons all over the stage and she and her band may have worn dresses, but they made it very clear that rock and roll was priority number one. Along the way, Nash screamed, wailed, shredded and ran around the edges of the stage barricades giving the fans a more up-close and personal thrill. She brought a bunch more fans up on stage to dance and have fun for a few songs as well. And towards the end, she encouraged all the females in the audience to pick an instrument and start playing, because the music industry needs more women. If those women turn out anything like Nash, I completely agree.
I wasn’t particularly psyched about seeing the John Butler Trio perform, but I do enjoy a handful of their songs and decided it might be enjoyable if I were to sit down somewhere and relax while listening to their set. That turned out to be a wise decision, as my legs needed rest and my body needed shade. While I did stand and watch a couple of songs, the band wasn’t really doing much on stage so sitting down and listening didn’t change much. Ultimately what I heard and partly saw was a halfway decent, if unremarkable set. They performed the songs almost exactly as they were on record, and sounded pretty good doing so. I only wound up sticking around for about half of their set, as I was soon being beckoned by friends to join them on the other side of the park.
On the other side of the park, Fitz & the Tantrums were performing on the big stage. They’ve become a much bigger, more popular band over the last couple of years thanks to their most recent record, which has spawned at least two hit singles so far. The band treated their set like a gigantic party, keeping the energy very high and encouraging the crowd to participate by clapping or singing along to various parts. It seemed like a show I’d seen before, done by better bands who didn’t seem like they were trying as hard. Shortly after their set, I tweeted that Fitz & the Tantrums are the Dave Matthews Band of funk and soul these days. It’s a statement I stand by, as they had a huge crowd of devoted fans, but very little of the band’s performance could be described as much more than hollow platitudes. A friend of mine would tell me later that day it was her favorite set, and I totally understand why some people might feel that way. In many respects they’ve had the proverbial wool pulled over their eyes (and ears).
Manchester Orchestra is a band that I was passionate about for a hot minute around seven years ago, and haven’t thought about much since. They’ve continued releasing a steady stream of music, and have even performed at Lollapalooza a few times, though I’ve only seen them live once before at a non-festival show back in 2007. As I recall, they put on a pretty decent show back then. The Manchester Orchestra of 2014 still puts on a pretty good, possibly even great show. In a world where the genre of alternative rock has shifted in meaning a bit, they remain one of the true holdouts by still unleashing pummeling guitar work and vocals that require a good scream every now and then. Sure, there are other bands doing the same thing, but very few of them get late afternoon slots at a massive music festival like this one. I suppose what helps separate this band from the pack is their passion and precision. They appear to love what they do, and it shows. Their crowd wasn’t very large – probably one of the smaller ones of the day – but those that stuck around hopefully walked away with a greater appreciation for Manchester Orchestra than they had going in. I know that I did.
Unlike Fitz & the Tantrums’ set from an hour earlier, Foster the People appear to know the secret formula to an exciting live show. What is that secret exactly? I’m not entirely sure – earnestness, maybe? Whatever it was, it worked. The reason I’m comparing Fitz & Foster is partly because they were on the same stage, but also partly because I like both bands almost equally and view them as more hit single oriented than brilliant full album oriented. Whereas Fitz & the Tantrums may have been trying a little too hard to engage with the crowd during their Lolla set, Foster the People found the right vibe, played it cool and stuck with it. Singles were spread generously through the half of the set that I saw, and Mark Foster danced around the stage like he was just there to have a good time and play music for some fans who just happened to number in the thousands. Though I was having a good time, about 30 minutes in I decided it was time to venture back to the other side of the park.
Having seen Spoon headline an aftershow on Friday night, I wasn’t too concerned about seeing their full festival set on Saturday. They’re such a great live band though I wanted to see at least a little bit of it. To my partial surprise and actual excitement, the portion of Spoon’s set that I did wind up seeing was largely different than what I’d seen the night before. Songs like “Jonathon Fisk” and “My Mathematical Mind” are favorites I was hoping to hear, and suddenly my wish was granted. Beyond that, it was a pretty strong show overall. Maybe not quite as amazing as their full set in a smaller venue, but still great. My singular gripe with Spoon at the moment concerns their hit single “The Underdog,” which they’re obliged to play at every show from here throughout eternity. They’ve done away with any actual horns (which is an essential part of the track) and replaced them with artificial keyboard horns. It makes the track sound dinky compared to the muscular recorded version. If they could get just one band member to play trumpet for that song it’d make a world of difference. While I loved Spoon’s set, it’s worth noting a friend told me he was disappointed, claiming they “sound much rawer on record.”
If there was one set on Saturday I was most excited for, Jenny Lewis‘ would probably be it. I’ve been a fan of hers for many years, but had never seen her perform solo until now. It was a long time coming, and ultimately a delight. She didn’t attract a huge crowd thanks to her time slot facing off against The Head and The Heart along with the beginning of Outkast, but it made those of us who were there feel that we were witnessing something a little more special and intimate. About half of her set focused on the new album The Voyager, and the rest pulled from her previous two solo efforts along with a couple of tracks from the Rilo Kiley catalog. Dressed in a lovely and colorful airbrushed suit and with her now signature airbrushed acoustic guitar, people danced and sang along for the full 45 minute duration. What more could you ask for?
Part of me had serious gripes about going to see Outkast. I love most of their records, but this whole reunion thing is essentially a huge cash-in, and they perform the exact same set list at every single show. The sheer lack of spontaneity and the clear dislike that Andre 3000 and Big Boi share towards one another have left me apathetic about Outkast. Yet with a 30 minute window between the end of Jenny Lewis’ set and the start of Cut Copy’s, I decided it might be nice to see the hip hop duo do at least a couple of songs. That side of the park had an absolutely massive crowd that was probably the biggest all weekend. People were shouting and rapping/singing along with their favorite tracks the whole time, which I’m sure was great for them but served as a distraction. In the 20 minutes I spent watching the set from very far away, I got to hear “Ms. Jackson” set to Soldier Field fireworks, plus “The Way You Move,” among other things. It was okay, and then I left.
Officially closing out my night would be Cut Copy, who were performing on the small Grove stage sandwiched in between Calvin Harris and Outkast. There was so much noise coming from those two big stages, you couldn’t really hear Cut Copy until you got pretty close by. But wow, what a great set. Over the course of an hour, they plowed through almost all the highlights in their catalog, including old favorites like “Hearts on Fire,” and new favorites like “We Are Explorers.” A decent sized crowd danced like crazy for the duration, and the band peppered their performance with some really eye popping visuals that only enhanced the overall experience. They closed things out with “Lights and Music,” and everyone went absolutely nuts. My body may have been extremely tired from spending all day on my feet at a music festival, but suddenly I forgot about all of it and just wanted to move my body. When it was all over, the crowd chanted for one more song, and for a brief minute it seemed like the band might come back out and oblige. Sadly, it was 10 p.m. and the noise curfew was officially in effect so nothing happened. I exited Grant Park on a serious high, and primed to do it all again on Sunday.