Though I’d popped in and out of past versions of Lollapalooza thanks to press credentials, last summer’s edition was my first immersion in all three days of this singular sensation. Thanks, I’m sure, in no small part to the best weather the festival’s ever enjoyed and my convenient proximity to Grant Park from my Printers Row home, I had far more fun than my post-post-rock bones had any right to. As befitting a festival with far more musical variety and conflicting options than any one brain can process, we’ve asked a half dozen music writers to share their strategy for the weekend so that you either align yourself with the one who seems to speak your language, or pick and choose, which is what I’ll be doing. Here’s a few more things I expect to do, based on last year. Go early: sure you’re not dying to see the openers, but the best time of the day at Lolla is shortly after the gates open. Crowds are light, attitudes are chill (and mostly sober) and, if you sprawl out over a nice patch of grass, you’ll enjoy a beautiful afternoon in the park. Not to mention a chance to shop the vendors of Green Street (of which Newcity is a partner; see our guide after this section) or check out the progressive charities on site. Challenge yourself: This is not the place to hunt dinosaurs (we have Riot Fest for that), but to discover and enjoy the essence of newness, the once-driving spirit of rock music itself. Think old-school: Lolla started in 1991 and mobile phones and texting seem to work as well as they did back then: not at all. Be flexible: there are two main ends of the festival (north and south), and it can be a hike to get to and from shows at both ends. Unless you really really want to see someone at the other end, you might have more fun just parking at one end for the day. Don’t sweat the headliners, unless you really really must see them. The shows at night demand an early “campout” strategy if you want any chance to see the stage. If a closing act’s your passion, shape your day that way and pitch a tent. But if it’s not, you’ll enjoy a day of freedom and discovery and… summer. (Brian Hieggelke)
True, this year’s Lollapalooza is yet another chapter in the continual poppification of the “alternative rock” landscape, and the headliners bring to mind the clichéd phrase “been there, done that,” but like every year, there are a few quality acts that provide some tough choices to make. Read the rest of this entry »
I’m not huge into Lollapalooza. That might be a weird thing to admit in an issue that’s, you know, about Lollapalooza, but it’s true. It’s too expensive, the lineup is basically the same as every other big-name festival in the country, and—despite being in-shape and good at dressing for the weather—I seem to sweat way more than the average person. But, if there’s one thing I do like about Lolla, it’s the choices it forces you to make. Though innocuous on the surface, these questions actually make you consider deep questions about what’s important to you about culture. In 2011, I chose to see Lady Gaga instead of The Strokes. Gaga was the biggest thing in music that year, and though The Strokes are one of my all-time favorite bands, it seemed somehow more important to see the Fame Monster in her moment. I don’t have enough space to try and unpack the psychology behind this decision, but suffice it to say, I really kind of regret this now. Read the rest of this entry »
I am a loner and a voyeur who attends music festivals like Lollapalooza as a sort of out-of-body experience—the spectacle of them is the drug itself. I typically cling to music because of the company it gives me when I’m alone, so sharing it with tens of thousands of others at once is a startling thing. I must leave my precious head to do it; I laugh and laugh, apropos of very little, when I walk Grant Park’s ever-popular grasses, taking things in as a speck in the crowd, not as the performance’s sole addressee I usually treat myself as. Join me as I become a citizen of the hearing world for a weekend. Read the rest of this entry »
Whether you’re drinking Bud Light at the Samsung Galaxy stage, or checking your Samsung Galaxy phone at the Bud Light stage, Lollapalooza always offers the best in alternative-to-the-mainstream music, just like the festival has since the nineties! Read the rest of this entry »
I’m not headed to Lolla this year, but if I did go, this is what I’d check out. Read the rest of this entry »
I thought I knew a lot about music before I started working at Reckless Records last summer and have since learned that I don’t know that much at all. I am still rusty on some musical timelines and don’t have the superhuman knowledge of some of my coworkers, but I have been introduced to albums and artists that have honestly changed how I see music.
For example, I just listened to “Closer to Home” by Grand Funk Railroad for the first time this week. What was I doing with myself before I heard “Closer to Home”? This kind of thing happens to me on at least a weekly basis. This repeated experience has made my main priority in music enjoying myself. I love whatever really gets to me, but it’s got to have heart.
It’s easy to have a horrible time in a crowded park full of drunk people younger than you in neon shirts in August. There are a lot of bands playing Lollapalooza this year that I’ve never heard of. I’m barely twenty-five years old, but at first glance, this festival feels like it’s for people younger than me. But you know what? Screw that. We all work hard all day and should be able to go HAM when and where we want! This schedule is for everybody who wants to drink steadily all day and have a good time. Here we go. Read the rest of this entry »
Last year, abyssal gaps in scheduling was the theme of these Lollapalooza suggestions, the better for you, the overpaying festival goer, to avail yourself of the one concrete benefit of the festival system—the panoply of sounds which you could select from. Having already pleaded with you to browse the aural buffet, this year the theme—as suggested by the casual shift to the oft-maligned second person perspective—is choose your own adventure. At various points in any schedule, you will be faced with choices, between acts, genres, expressions of same genres, etc., and some of those most difficult decisions will be set here before you. The conflicts, analysis and opinions are mine, but the choice, as always, is yours. Read the rest of this entry »
With the ninth annual Pitchfork Music Festival set to begin on Friday, Kenneth Preski, Keidra Chaney and Robert Loerzel preview the top storylines and debate the must-see acts in advance of their live, weekend-long coverage on music.newcity.com
What’s the most intriguing storyline at this year’s festival?
Preski: This year, only two of the forty-four acts billed at the festival are from Chicago, a number that cuts local representation in half from the past two years. In 2011, the same year the entire Pitchfork editorial staff moved to New York, the festival had just one artist from Chicago. This is in contrast to the formative years in 2006 and 2007, which featured six Chicago acts apiece. To what extent is Pitchfork truly a Chicago company, and how is the city represented during the festival? Read the rest of this entry »
Stand in a room while Jason Adasiewicz is performing and his artistry is self-evident. The rarest musicians are those who are able to overcome the technical standards of their instrument and in turn breathe life into a new playing style; unquestionably unique, a different way of looking at the world. Sometimes that’s what it takes to capture an audience’s attention. Even frequent collaborator and jazz immortal Peter Brötzmann was not a fan of the vibraphone before he heard Jason Adasiewicz. “He actually hates that instrument,” laughs Adasiewicz, sitting with one on his right, a drumkit to his left. That’s because, until now, no one has ever played the vibraphone like he does. Read the rest of this entry »