When we’re not at festivals, we spend our time reading about them. And there were no shortage of opinions for Chicago’s annual freakfest known as Lollapalooza. Here are a few that caught our eye.
If there’s anything quantifiable about Perry Farrell and the evolution of Lollapalooza is that the dude, and the festival, is destined for a crown in weirdness. Even if it was his point from the get-go in ’91, disguised as a farewell tour for Jane’s Addiction. [via Paste Magazine]
Another Lollapalooza is in the books. This year’s festival had its highlights and lowlights, just like any other year. Some headliners mailed it in. Some bands you’ve never heard of blew minds at 1PM. 99% of the audience were good people. The other 1% were a nightmare. (That doesn’t even include all the people from California who couldn’t wait to tell you how much better Coachella is, or those still wearing Bonnaroo wristbands like a trophy.) [via Gapers Block]
Filling in for the Beastie Boys, the Yeah Yeah Yeahs had a tall task, winning over the crowd with songs from their latest effort It’s Blitz! and frontwoman Karen O’s one-of-a-kind dance moves. They also honored the B-Boys by playing a snippet of “So Whatcha Want.” [via FMQB]
Speaking of a really good show, the Killers did not disappoint. They played all of their hits (you name it, they played it), and they played them all well. Yes, it was a little annoying to sit through Storytime With Brandon Flowers, but the crowd left completely satisfied, encore and all. We got to hear Mr. Brightside, Jenny Was a Friend of Mine, Smile Like You Mean It, Spaceman, and Somebody Told Me, to name a few. All in all, it was a fantastic headliner performance, and for once during this weekend, the choice was easy for me. [via Entertainment Weekly]
Danish duo the Raveonettes, too, generally excel in the evening. Their revved-up motorcycle rock has all the menace of an underlit B-grade noir film, but their stoicism and snarling guitars worked just fine on Sunday afternoon. Sune Wagner threaded silvery guitars across the center of songs like Dead Sound, making them slink and slither. [via Rolling Stone]