We were exhausted, our feet were killing us and even though it only rained Friday, we were equally wet on Saturday and Sunday from our own sweat and the sweat of those around us. So, every time the festival got to be too much, the looming workweek was taunting us, every time we were tempted by another Bud Light Lime, and were beginning to see mirages of clean bathrooms or refreshing swimming pools, we knew there was only one thing to do. So, we'd walk ourselves over to the Bar, order a Red Bull and dance our way to Perry's.

Red Bull provided the wings, Perry's inspired the dance moves. It turned out to be the only way to survive the festival and simultaneously dig out all your body's unexpected energy resources. In our experience at Lollapalooza, here are the best dance parties we rocked out to at Perry's:

1) Diplo - As LA Riots wrapped up their set (props to them, as well), out comes a striking man in a grey three-piece suit. At the slightest movement, even a hint that he might dance along and the crowd went full-throttle with fist pumping. He was like a conductor and we his orchestra. One strong pulsating wave of music after another hit our eardrums and Diplo turned out to be everything we dreamed of. After crafting a stellar and edgy reputation, and more recently releasing a collaboration album with Switch under the pseudonym Major Lazer, we were left enthralled, particularly after his set ended with "Paper Planes".

Diplo

Video by supac8

2) Deadmau5 - I'll admit, I've been weirded out by this DJ ever since I saw photos of the seemingly Epcot-inspired mouse head. Yet, after sauntering over to the stage, I was mesmerized. The lights, the excitement, the neon and the sick, sick beats! And then... he took off the mouse head and put on a baseball cap and I felt better, because well, you're a DJ, this is America so, costume optional. Perhaps I LOVE TECHNO in Belgium would be just the perfect setting for a mouse head, Joel Zimmerman's making me think it might be a good idea...

3) Crookers - The set that Crookers built, sample by sample and beat by beat seemed to crescendo time and time again. Draw any parallels that you will, but generally, that's a wildly positive thing until you're exhausted, which was certainly how the crowd was left as they slid out of the booth. Needless to say, it was so intensely awesome, it had been craving the euro club scene.

Crookers

Video by DJCrossTraffic

4) MSTRKRFT - The duo never disappoints. Either their unique approach to their electronic "craft," the mustaches or their Canadian musk seemed to draw people out of the woodwork to rock to this crew. With tracks sounding like clean techno dragged through Parisian mud and covered in glitter, they weren't to be missed if you wanted to flail around and cop some innocent feels.

5) LA Riots - Some may have viewed this as the calisthenics before the cardio that Diplo required and for good reason. LA Riot demanded jumping, thrusting and nodding all in equal proportions. Dropping remixes of artists playing at Lolla was a bold, yet perfect bold, and the rewards were reaped by an enthusiastic audience.

In the end, Perry's proved to be the perfect, mind-detached-from-body escape from the crowded screaming lyrics and pushing towards the front of the stage. Not to say people didn't shimmy their way towards to front at every opportunity, because who wouldn't want to be in the middle of the action? But the vibe was right, the acts were dead on and the crowd was endlessly enthused, except, it seemed, and quite ironically, at Perry Farrell's own performance. Yes, I dare say it. Overall, the only thing missing at some of the shows was the anonymity of dancing in the darkness with a disorienting strobe light.

Comment if you have other Lolla Dance Party experiences to share! I'd love to know what I missed... sort of...

Photo by hellpanda

Just to clear things up – here are the Six Degrees of Separation game between Maya Arulpragasam and Santi White: Diplo was M.I.A.’s DJ during the tour for her 2005 breakthrough album Arular. Diplo then had a hand in the production of Santigold’s (then Santogold – copyright issues forced the name change in early 2009) début self-titled album.

As a result, the two women’s music tends to turn up in the hands of the same Downtown Records friends and family (whose labels include heavyhitters like Diplo’s Mad Decent, Steve Aoki’s Dim Mak, and A-Trak’s Fool’s Gold). Despite very different beginnings – Santigold a former member of Bad Brains- (yep, the ‘80s D.C. hardcore punk band) helmed band Stiffed, and M.I.A. a London film student and video art enthusiast – their current careers are largely riding on mainstream hits like “Creator” and “Paper Planes”, both bass-heavy, club-ready tracks with obviously marketable “exotic-sounding” aspects.

Crossbooked with Glasvegas and playing after – of all people – Robert Earl Keen, Santigold drew an impressive pre-show crowd – one that could throw all of their clothes together and probably open up an Urban Outfitters and at least a couple American Apparels. There were two shirtless, fratty boys from Texas with Bud Lights standing behind me, drawing stares from the waifish girl rolling a joint with her friend whose biggest goal in life probably is to be featured on The Cobrasnake. One of the Texans exclaimed loudly that he didn’t even know who Santigold was as the other’s sweaty, naked stomach pressed against my back (where, unable to move within the packed crowd, it would remain for the next hour). A gay hipster in front of me espoused his wish for Santigold to (somehow?) play N.A.S.A.’s “Gifted”, which would require not only DJ Zegon and Squeak E. Clean, but Lykke Li and, um, Kanye West. Then he surveyed his surrounding group of friends, asking, “Santigold or M.I.A.?”

Santigold came on stage fifteen minutes late, which was annoying but not totally inexcusable, since she only has a repertoire of eleven songs (not counting unreleased tracks like the fabulous “Your Voice”, which you should download immediately if you haven’t already). Still, it’s not like she’s over sixty years old, searching for bifocals, and has possibly forgotten where the stage is (COUGH COUGH LOU REED).

She sort of made up for the lateness, however, with a fantastic outfit – think waitress in the Sahara. Her backup dancers – in ruffled button-ups and gold lame jackets – still remind me of every Wes Anderson movie ever made, since they’re quirky and slightly robotic and clearly there to distinguish the artist’s performance from the mainstream’s.

Santi opened bringing out the big guns – the album’s first single ,“L.E.S. Artistes”, which has to do with affected New York City youngsters, not French painters. She rolled through lesser tracks like “Anne” and “Unstoppable”, did an obligatory-seeming cut from “Brooklyn We Go Hard” (Jay-Z couldn’t make it, either), then played through the latter half of the album, with “Unstoppable” and “Starstruck” – the latter which I think is not only better than “Creator”, but sounds as if it’s already been remixed by her “Crunk Wave” fiancé Trouble Andrew, that’s how many great elements it has going on at once.

Things were soon getting crazy, i.e. security had their hands full with crowd surfers (at Santigold?) and Santi was covering The Cure’s classic “Killing An Arab”. About a dozen people (including a child; a shorter, impressively similarly styled version of Santigold; and the gay hipster, who had brought a handdrawn sign – awesome!) were selected to dance while Santigold closed with, obviously, “Creator”, a song that even the Texas brahs recognized, possibly from the Bud Light with Lime (a good song for a bad idea, I think they would agree) commercials. It’s no “Paper Planes”, but at this point in her career, Santi White has a good chance at solidifying a distinct identity for herself as an artist; to, shall we say, find herself an innovator.

Like peanut butter and jelly, the Hard Rock provided Lollapalooza with the ultimate combination. The hotel provided VIP Concert goers and musicians a haven all weekend long.

Every morning, the festivities would start at 11 with a brunch of soups, sandwiches, wraps, and salads while artists such as Chicago locals, Black Box and Set in Color would take the stage. This was a perfect opportunity for artists, VIPs, and members of the media to recharge before heading down to Grant Park.

Aside from the acoustic performances and lunch, guests were treated to a gifting suite filled with new Dickies jeans, and merchandise. After loading up with jeans, t-shirts, and sunglasses on the second floor of the hotel, the fourth floor would be the next destination.

The fourth floor of the hotel was littered with cameras and tv interviews. However,  that didn’t stop people from getting complimentary hair cuts, messages, facials. and even tattoos! With all of this going on, it was hard to rip yourself away from this haven to endure the rising temperatures of the weekend.  As the weekend progressed, and concert goers became more worn down by heat, drinking, and exhaustion, the Hard Rock was the best option for retreat or shelter from the wild, unpredictable weather. Ironically, the Living Things were even caught sipping on a few cocktails as the rain poured down. The following day, they included their recent single, “Let It Rain”, into their Lolla set list. The Living Things weren’t the only musicians that showed up to enjoy the party.  Andrew Bird, Danny Masterson, and even Lindsay Lohan were spotted partying.

The daytime festivities would wrap up and would reconvene around 10 each night. During the Rock the Vote nights at the Music Lounge, sets were played by Peter Bjorn and John, The Virgins, DJ Momjeans. (Danny Masterson), Santigold, Band of Skulls, and Ra Ra Riot to name a few. There was never a dull moment, or a questionable lack of energy. There is no doubt that the Hard Rock knows how throw a proper party.  From the beginning to the end of the weekend there was not one complaint to be had

For a concert goer who is used to great amenities that large cities have to offer, and who doesn't have the stamina or patience for the constant changing weather, and crowds, the Hard Rock provided a nice get away that I needed. However, when I over slept Saturday and missed my free facial, I did feel guilty for complaining. I was even considering another tattoo, as it seemed that no one was partaking in the more permanent luxuries. The party was inviting, and everyone who worked the event was friendly and helpful. It made it pretty hard to tear away and head down to the park. Why travel and see the bands in the sweltering heat when you could see them at the nightly parties? To be at these parties you knew you had hit the jackpot of all access. Being so close to the fairgrounds, it was so nice to flash a pass and gather yourself.  This is the yearly Lollapalloza party that everyone needs to be at.  

Melissa is a Chicago native and currently resides in New York working in the music industry.

Known for his high expectations of the audience and refusal to play on elevated stages, Dan Deacon came to Lollapalooza and refused to compromise on the former while giving a little on the latter.  The stage was crowded with performers at all times and Dan orchestrated the discordant electronic dance-circus with a deft hand.

The Babylon, New York native graced the stage in a purple t-shirt and a sequin hat with a pair of drummers to match...and another to match them...and a trio of keyboardists and a matching guitar suite...oh, and a marching band to match all of that.  The gang of musicians he had in tow would have outnumbered the audience at the last show I saw him play, and there were a lot of people there.

At the first push of a synth key the crowd surged forward, eliminating any space remaining between bodies.  As the crowd coalesced, so did the music.  Dan's heavily-processed vocals whizzed around like a dragonfly through the maze of sounds his entourage created.  Dancy and chaotic all at once, the noise seemed to cause a quantum shift in the crowd.

Ritualistic head-bobbers found themselves in the jumping camp and fist pumpers found themselves in a rudimentary (and misplaced) mosh pit.  Whoever you were before you walked up to that stage was left behind and you became just another member of the Dan Deacon ensemble.

He engaged in a group therapy for the audience.  Asking everyone to turn and look at one point, put their hands on the head of the person in front of them and rub.  Then put pressure.  Then release this pressure with all of the negative thoughts of the day.  Whether or not that worked is up for discussion, but it was certainly a study in  audience obedience.  They wanted to know “how high?”

A somewhat-failed attempt at his epic London Bridge followed.  But the highlight was likely the interpretive dance lead by their bus driver.  A circle was created and the crowd was challenged to mimic him as he moved around. He moved his arms this way and that, arcing about himself in the ways of the Deacon Tribe.  His offering to the weather gods was trash, sent sailing in the air.  Vitamin Water bottles, beer cans and cigarette packs rained down and the dancing began again.

The marching band joined shortly thereafter, playing a rendition of Crystal Cat as the closing number with the band filling in with the synths, the beat sequencer wrapping it up and serving to to what turned into a raucous this-is-the-last-song rage among those in attendance.  As the speakers vibrated the last note, the crowd was released from their trance to find themselves sweaty and grinning.

Brian Gloede is a Chicago native who moved on to different (notably browner) pastures and he can't give up the trappings of being a tourist in his home town and cramming as much music into his heatstroked head as the festival will allow. He can be found on Twitter at @thatkidthere. Photos by Brian Gloede.

Photo by Richard Giraldi

Considering Jane’s Addiction are from Los Angeles, their closing set at Chicago’s Lollapalooza 2009 was hardly a homecoming. Still, the band was in pure celebration mode with good reason. Not only has lead singer Perry Ferrell successfully created an extremely popular metropolitan summer music destination – this year marked the second straight complete sell out in a row – but the original Jane’s lineup is back including powerhouse bassist Eric Avery.

On Sunday, August 9, Jane’s Addiction stormed the stage at 8:30 p.m. to perform what would be a curtain call for 75,000 plus in attendance for the third consecutive sold out day of Lollapalooza 2009. The band’s set began with a little controversy as Lou Reed, the previous performer on the same Budweiser stage where Jane’s were playing, went about 15 minutes over time. This caused Band of Horses to start and end their set late on the opposite side of Grant Park at the smaller Playstation stage.

If caught in the mid-section of the huge crowd when Jane’s started promptly at half past eight, then you were most likely treated to a garbled mix of high energy LA alt-rock and lush Seattle indie southern-rock. Not to mention the helicopter circling the field shining a search light on the audience, which was a supposed to be a powerful stunt for Jane’s set but didn't seem to garner much attention from the crowd.

Still, Jane’s energy withstood any problems as the band ripped through a practically greatest hits set list. With bassist Avery back in the fold, the band didn’t even touch any material from their lackluster 2003 album “Strays” and instead focused on tracks from their classic albums such as 1988’s Nothing’s Shocking and 1991’s Ritual de lo Habitual.

One aspect that was prominent in Jane’s set that was missing in many other Lollapalooza performances over the weekend was theatrics. Jane’s had it all: female dancers in body suits, a blue light up Chinese dragon in front of the crowd during “Ocean Size” and Perry Farrell’s mid-song chatter about women and booze. There are many bands in which it’s probably best to have the music do the talking, but Jane’s Addiction’s knack for showmanship really enhances their show. It’s over-the-top, yes, but so are their 15-minute epic rock journeys such as “Three Days” or “Ted Just Admit It/Nothing’s Shocking.”

Once again the generational divide was apparent at Jane’s Addiction. While middle aged men in Lollapalooza '94 T-Shirts were head banging and fist-pumping to the music, quite a few younger fans stood in an almost daze seemingly wondering, “Why did I chose this over The Killers?” It’s hard not to feel for them though. Many in attendance at Lollapalooza this year weren’t even born when during the original Lollapalooza era. A few songs – “Mountain Song,” “Stop” and “Jane Says” – did get an equally positive reaction out of everyone, however.

Guitarist Dave Navarro was one of the most impressive performers on the stage that evening. To this day he might be one of the most underrated guitar gods of our era. The man can rip it with the best of them, and he has a gift for playing riffs that perfectly weave in and out of rhythm and lead sections without missing a beat.

On the lower end, drummer Stephen Perkins’ is a machine. The band had to cancel their Australian tour a few weeks back after Perkins got an elbow infection. Farrell proclaimed that Perkins was playing the show against doctor’s orders. Not sure if this was really the case or just a chance to play to the Jane’s Addiction hype. But it didn’t matter in the end. Perkins could play and he did impeccably. The African-tinged, voodoo drum solo at the start of “Ted, Just Admit It/Nothing’s Shocking” was nearly jaw dropping.

At the start of the encore, the band brought out Aerosmith guitarist Joe Perry to help them on “Jane Says.” It was a nice move albeit somewhat random. After the song was completed, Farrell thanked the crowd and plugged Chicago for the 2016 Olympics. Although touching, one can’t help but wonder why he’s plugging it now as the selection committee came months ago.

The show was a spectacle, but the music did most of the talking. Jane’s Addiction was one of the few headliners to use every minute of their set time. The thunderous drums, booming bass and snarling lead guitar was a perfect sonic ending to this new version of Lollapalooza that’s miles away from its old identity as an alt-rock showcase. Now the festival is seeming a cornucopia of today’s top and lesser known indie rock and pop acts. The next biggest challenge will see if Lollapalooza’s Austin-based booking company C3 can once again pull off a third consecutive sell out in 2010. While it may be a challenge, it’s definitely not a long shot.

Setlist: Up the Beach, Mountain Song, Ain't No Right, Three Days, Whores, Been Caught Stealing, Then She Did, Ocean Size, Ted, Just Admit It/Nothing's Shocking, Summertime Rolls, Stop!, Jane Says (w/ Joe Perry)

Richard Giraldi is the founder/editor of Chicago music Web site loudlooppress and is currently obtaining his graduate degree in print journalism from DePaul University.

Lou Reed may wear a V-neck and boast a DJ (and his keyboardist wears Threadless shirts!), but his Lollapalooza set at the Budweiser stage on Sunday largely remained a draw for attendees born before 1980, a statistic undoubtedly enhanced by Reed’s crossbooking with Deerhunter and Snoop Dogg.  The former Velvet Underground member performed a memorable set which satisfied both the older members of the audience and the younger members – the latter of whom may be too young to remember the 1987 death of Reed’s mentor Andy Warhol, but who are smart enough to at least feel obligated to see the legendary songwriter’s set.  (I imagine this situation in tandem with Iggy Pop and The Stooges’ appearance in 2007, at which most young people around me were just interested in seeing the crazy, crinkly man do something weird.)

Fifteen minutes late, Reed opened with the Velvet Underground’s “Sweet Jane”, which is a great song with which to start a warm summer night.  But fifteen minutes?  Really?? Santigold started fifteen minutes late, but she currently has a one-album repertoire.  Same with Cage the Elephant.  Lou Reed has about twenty albums (not counting, um, 2007’s Hudson River Wind Meditations) and, I don’t know, a couple decades of experience.  Anyway, he went on to play “Senselessly Cruel” and “Dirty Blvd.”, the latter of which is really an homage to New York City, but Reed minded his manners and gave a shoutout to Chicago at the end.  

Somewhere in the middle of “Dirty Blvd.”, however, a tech person ran onstage to adjust some sort of stand holding up a box, containing what was probably a screen for Reed to look at.  That’s right, LOOK AT.  As in, reading.  It is not confirmed, but I suspect that Lou Reed was reading the lyrics, or possibly chords (really not much better) to his songs.  Yes, Reed has been around for a while, and he has quite possibly lost some things along the way, but even Iggy Pop can remember the words to “I Wanna Be Your Dog”.

“Paranoia Key of E” morphed into an odd sort of noise jam session, ranging from the grungy-looking DJ going crazy at the laptops (yep – there were two; their purpose, however, remains unclear); the unkempt, unsmiling bass player looking as if his dog just died while plucking the upright; and the ponytailed electric saxophonist bringing out all the bells and whistles, with super-heavy distortion.  The really high teenagers in front of me appeared to enjoy this part, but the middle-aged couple from Naperville (probably) looked confused and a little stunned.  Seriously, if I had wanted to hear ten minutes of musical cacophony, I would have seen No Age.

After “I’m Waiting For The Man” (another Velvet Underground song) – which was preceded by an awkwardly long lead-in – Reed and his band closed with “Walk On The Wild Side” (the only song played from Transformer), notably omitting the adjectival “colored” when describing the girls who sing doo, de-doo, de-doo.  Also notable is his screwing over Band of Horses by going over the 6:30-7:30 time slot by fifteen minutes.  Band of Horses would go on to force headliners Jane’s Addiction (who I would only see, by the way, to hear “Superhero”, since I’m obsessed with Entourage) to wait ten minutes to start their closing set.  Guess who Perry’s not inviting back next year?

 All photos by Laura Yamasaki.

Laura Yamasaki is a student at the Cornell University School of Hotel Administration in New York, where she is the only true Chicagoan and the only person who listens to decent music. You can find her on Twitter at @LTY5.

All photos by Richard Giraldi

If day one’s running theme was rain, day two was here comes the sun.

Lollapalooza festivalgoers were met with plenty of sunshine and 90 degree temperatures on Saturday, August 8. But the dramatic weather shift didn’t appear to phase many, as there appeared to be another sell out crowd on hand in Grant Park.

After lathering on a few coats of sunscreen, I made my way down to the park. It was indeed hot, but Grant Park’s location created a natural remedy in the lake winds that swept over the sweltering crowds. In the shade and later in the evening, it the winds made the temperature much more tolerable, even enjoyable at times.

Los Campesinos!

I started my bright and warm afternoon with the noisy pop rock of Los Campesinos! (The exclamation mark is part of their name.) This was the Cardiff, Wales group’s second time at Chicago's Lollaplooza. While their time slot was still stuck far before 3 p.m., the band played on the much larger Budweiser stage. Their songs were vibrant and full of energy and meshed quirky-short keyboard lines with angular guitar riffs. However, I don’t understand their decision to have a violinist in the band as the instrument seemed lost in the mix.

It was then time to move on to the south end of Grant Park where Minneapolis rapper Atmosphere played to what looks like an enormous crowd at the Chicago 2016 stage. Atmosphere – who also goes by the name Slug – had clever lines and a tight delivery, but his playing to the crowd plagued much of the set. There were a number of lulls in which he would tell a story or make an inside joke that would fly over the baking audience’s head.

After hitting the two largest stages, I settled in at the smaller Citi Stage on Balbo Drive to catch up-and-coming act Chairlift and drum-and-guitar assault duo No Age.

Chairlift’s claim to fame is that really catch tune from that old iPod Nano commercial. You know the one. Well the audience must have because it was really the only song of their hour-long set that got any kind of reception. Still, the band didn’t help their own cause. They went on ten minutes late and encountered a hoard of sound problems. Sometimes the vocals were two loud and the drums were too low and vice versa and etc. etc. Finally 20 minutes into their set did, the songs finally came together. The group has an eerie electronic pop sensibility to them that occasional recalled an ‘80s-vide that wouldn’t be out of place in a John Hughes film.

No Age

Following Chairlift on the same stage was Los Angeles melodic noise-punk duo No Age consisting of guitarist Randy Randall and drummer Dean Allen Spunt. Before the band started, a fold out chair on stage with a guitar leaning on it raised a few eyebrows. When the band took the stage, it was confirmed that Randall has suffered a dislocated shoulder the night before. Still, the band took to the stage and delivered a relentless 25-minute assault on the crowd’s eardrums.

Their songs are punk in speed with the drums and guitar pounding away at a rapid pace, but the guitar riffs are unusually melodic. Probably more melodic than what the sound system could handle as occasionally the sounds drifted in and out of muddiness. However, the band plowed through nearly 20 songs in a short time and ending 20 minute early. The set was ferocious and one of the Lolla day two's little rock n’ roll gems.

One act that was nowhere near subdued was the Brooklyn art-rockers TV On The Radio. You can read a full review of TV On The Radio’s Lollapalooza 2009 performance on loudlooppress.com right now.

After a short stop at the tedious Animal Collective – honestly I liked the last album, but still don’t get them live – it was time to get a decent spot for Tool. I was one of the many sorely disappointed, but understanding, of the Beastie Boys’ cancellation. So having seen the Yeah Yeah Yeahs at Chicago’s Aragon Ballroom a little over three months ago, I decided to check out Tool.

I was a big Tool fan years ago, but I can say with assurance that I am not a fan of 10,000 Days. So much so, that I really stopped paying attention to Tool altogether. However, I might be alone on this. When Tool took the stage at 8:30 p.m. the crowd was enthralled like no other. Fists were in the air; people were crowd surfing and were moshing. It was mayhem. Good ol’ fashion progressive metal mayhem. But really Tool fans, it’s 90 degrees. Why the jeans?

Anyway, Tool’s set was culled mostly from 10,000 days material and a few select cuts from Aenima and 2001’s prog behemoth Lateralus. The crowd reacted the same regardless of songs and screamed every lyric. Honestly, by the third song my interest had waned, but you have to hand it to Tool by keeping an incredibly intense fan base after not releasing any new material for years at a time. It’s brilliant marketing, really. Well, on to day three.

Photo by Richard Giraldi

When Brooklyn art-rockers TV On The Radio hit Lollapalooza’s Budweiser stage in the north end of Chicago’s Grant Park as the sun descended behind the city’s skyline and the lake breeze picked up to put to rest a long day of heat. But as the crowd cooled, TOTR set the festival ablaze with a scorching set of irresistibly funky and vibrant art rock.

TV On The Radio became critical darlings after their 2008 release Dear Science which featured smart and timely lyrics mixed with funk-heavy art rock full of studio enhanced electronic flourishes. For the longest time, TV On The Radio, while successful on record, were sometimes shaky when it came to pulling off their newer songs live without the bells and whistles. They added a horn section, but even during a guest spot on Saturday Night Live earlier this year, sound problems still plagued the band’s live performances.

Well, either the band hired a new sound guy or Lollapalooza’s sound system is military-grade, but the band sounded incredible. Every little nuance – from jingle bells to shakers to mini-tambourines – came through loud and clear. Although the Dear Science tracks don’t directly translated to the live setting, they work by leaning heavier on distorted guitar and big, pounding drums. The band was also full of energy as singer Tunde Adebimpe flailed around the stage as guitarist/vocalist Kyp Malone held steady as a cool and collected counter part.

The hour-long set consisted of mostly newer material save for a few tracks from releases Return To Cookie Mountain and their 2004 debut Desperate Youth, Blood Thirsty Babes. Dear Science track “Golden Age” quickly became a crowd favorite with its bass-heavy intro over Kyp Malone’s whispery falsetto as it exploded into a horn-lead melodic chorus. A ferocious version of the 2006 hit “Wolf Like Me,” which put TOTR on the map, brought the crowd to their knees as Tunde Adebimpe's honest delivery was coupled with a driving beat and noisy guitar squeals. “Crying” featured guitarist David Andrew Sitek’s clever soul guitar antics over dreamy vocal lines and a collage of synthesizers.

The band seemed excited and gracious to be at the event by enticing the crowd several times by yelling “Chicago!” several times over the loud speakers. It was probably the first performance of the weekend where dancing came natural and didn’t seemed forced by the crowd in attendance. TV On The Radio shined and became the band to beat at a festival that has so far had plenty of good but not many truly great performances.

The weather was perfect, and the mud from the day before had dried up to a consistency firm enough to stand on without sinking into. I was halfway through the crowd and waiting to see a band who I first saw at last year's Pitchfork Festival when Animal Collective took the Vitamin Water stage a few minutes after 7:30 on day two of Lollapalooza.

Animal Collective's genre is hard to pinpoint — they are eclectic. Their music is trance-like in the sense that when you hear them time is lost. Crushed up in the crowd, you're only really aware of your surroundings when you're looking out for crowd surfers.

When they began their set with their new single “Blue Sky” I felt as if an IV had been inserted into my vein to absorb the music faster. I was hooked to the experience from the beginning. It was tight in the crowd, but everyone had enough room to dance and jump and have a great time. I didn't see nearly as much beer as I did on day one, but that doesn't mean there wasn't a shortage of mind-altering substances. A familiar smell wafted over the crowd when the wind would cool us.

Animal Collective played for a little over an hour, not pausing once between songs. The band was in top shape, not missing a beat. The screen to the right of the stage wasn't showing what was happening on stage, but instead it showed some amazing visuals of what the music would create if bass lines could paint. The sun started to go down during this set which enhanced the on stage lighting as well as the screen. It was a beautiful thing to be a part of this experience with so many people.

The songs they played came from a mix of their albums, and there really wasn't a distinctive song that the crowd was into more than the others. The high point for me in the performance was when they played “Fireworks.” I don't think I stopped moving the entire show. I can remember many times in my car when I've just hit the repeat button while “Fireworks” was on. It's not just a song that sinks into your mind, it's a song that echoes throughout your soul. Seeing it live was quite amazing and felt surreal, everything about it was perfect.

Animal Collective is such an intense but relaxing band to hear. Their performing style is one of no-frills — they play and use lighting and graphics to convey what their songs feel like. They don't talk incessantly between each song, they don't need it. Their songs show more than any small talk could tell. Their performances are nothing short of sensual and surreal.

Photo by LollapaloozaFest

Hi, I’m Quinn Sullivan!  My experience at Lollapalooza was really, really cool.  It was super hot but I didn’t really mind.  We rode around in golf carts to get to the stage, which I’ve done before but was still fun.  Buddy Guy, who is one of my closest friends, came with us to the show and we hung out before my set.  There were a lot of people around.  I did some interviews and took pictures with people.

I actually played at Buddy’s club Legends the night before Lollapalooza. I got to do my whole set there with Tom Hambridge, who is working on my album and produced Buddy’s last CD Skin Deep, and his band The Rattlesnakes. They came in from Nashville to play with me Friday night and during my performance at Lollapalooza on Saturday, which was awesome. 

As soon as I went on stage at Lollapalooza, it started to get really, really crowded.  I was so happy that the crowd was huge; it was awesome.  Then, for my last song Buddy came up with me to jam a little bit and the crowd went wild!  It was great.

Photo by LollapaloozaFest

After the show, we went to the Hard Rock Hotel artist lounge where I got a lot of cool stuff from Dickies and a Ben Sherman hat. I did some more interviews there.  I even got to play on a sweet Gibson guitar in one of the lounges.  I totally felt like a rock star. People recognized me there from my set and other shows I played in Chicago, which was really cool.

I had such a great time at Lollapalooza and I really hope I get to play there again next year!