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.