They warmed the huge crowd up with a several favorites off their fantastic debut, Tourist History , including the glistening "Undercover Martyn". The gooey guitar and caffeinated beat left the bass in the distance a bit, revealing a recurring issue with the more twee sounding bands on the Sony stage.
Though Perry's is pushed off in the distance, the killer sound system and the bass heavy music made it easy to occasionally still hear the music there a bit too clearly despite being only fifty feet behind the sound booth for the Sony stage.
It did not seem to bother those dancing happily close to the stage, but anyone not there right at the start of the set was at a bit of a disadvantage at times. With the bass cranked up in the mix a bit, "This Is The Life" sounded fantastic before the jabbing "Kids". Their affinity for slithering guitar over dance beats shined on "Something Good Can Work".
The band tried out the new "Sleeps Alone", with a sound far more reliant on shimmering guitar than the synth and a more grounded vocal that leaves you curious as to where they will go with their sophomore album. Regardless, the danceable indie pop shimmer of Two Door Cinema club was a welcome bit of energetic goodness on Friday.
That was outside of his control, but what was not was the lame five minute pop mix to pump up the already excited crowd. It was not needed, and burned five minutes he could have spent performing.
When Temaph did hit the stage, he proved worth the wait. The live band setup, with drummer, guitar, bass, keys, and a DJ created a nice organic sound to "Frisky", sending the crowd wild. Tempah proved a crisp rapper live, with a nice sense of musicianship allowing his guitar player to deliver a nice solo on "Wonderman". There were no surprise guests to be had, despite Ellie Goulding playing the next day, leaving Tempah to deliver the Wiz Khalifa rap on "Till I'm Gone".
He did a nice job hitting the US bonus tracks off his debut, Disc-Overy , hard, including the acoustic gem "Love Suicide". The organic vibe of the live band wisely left the DJ to hype the crowd and pipe in the sung hooks. Tempah's energetic performance of "Miami 2 Ibiza" would have made it easy to stick around for more if Bright Eyes were not about to start.
The wonderfully winding lap steel of "Old Soul Song" worked great with the emotional warble in Oberst's vocals, with trombone and fiddle filling the song out. Casually stomping sexed-up rocker "Take It Easy Love Nothing " made good use of the band's two drummer setup with a wonderfully layered beat.
The band finally got around to The People's Key with the itchy guitar of "Jejune Stars", sounding fiery and melodic at once thanks to the punch of the band and Oberst's frustrated vocals.
The creaky keyboard and organ melody of "Lover I Don't Have To Love" and the manic determination in the vocals worked brilliantly. Oberst dedicated "Shell Games" to the 'phonies in the crowd' before jokingly admitting that there were a few on stage too. As amazing as the band was, the solo acoustic first half of "Land Locked Blues" showed Oberst to be a commanding performer all on his own.
Perhaps sensing the dilemma, Matt Bellamy and crew delivered a set that was front loaded with hits. They slammed through stomping anthem "Uprising", with thick bass groove and Bellamy's soaring vocals, and dance-happy falsetto winner "Supermassive Black Hole" right out of the gate. The large hive shaped video screens above the stage played stylized videos intermixed with the performance for a cool effect. The towering sound of the trio is made for giant outdoor stages.
The sleepy, dramatic "Guiding Light" gave many of the concertgoers curious about Coldplay a chance to head across the park. The band made up for the bland tune by dipping into Origin Of Symmetry for stormy rocker "Citizen Erased". The skyward vocals of Bellamy and the giant wall of sound they can create on their heavier rock tracks make the high drama of piano-infused cuts like "United States Of Eurasia" feel like a waste of time live that the few fiery instrumentals, like "Helsinki Jam", do not make up for.
There is a lot to love about Muse live, but with the wealth of material to pull from, there were moments that left you wishing they would keep the foot on the gas. Their catchy guitar driven sound on "Do What You Want" was enough to put their September debut on any indie fan's most anticipated list. The stuttering vocals and feel-good guitar sway of "Colours" was the kind of uplifting, infectious performance that all but assures they will never have to play this early in the day again.
The sweeping grungy riffs to the crisp "Postcards" made them sound like the kind of band you definitely want to hear more from on album, but they are not quite a special live act at this point.
The quiet open to "Little Lungs" proved a little too sleepy, and did not quite motivate you to stick around even when it did wake up some with its distorted wash of riffs and repetitive hook. As great as the duo has sounded in the past, the live drummer made a marked improvement in their set, adding a killer layered beat to songs like grinding "Turn It Off".
Announcing a new EP is coming next month, the duo played a handful of new tracks in the set, including the set opener that found Barthel stalking the stage with mic in hand like a seasoned pro; leaving you wondering if they should unshackle her from the keyboards more often. Barthel's innocent, soulful vocals and Carter's speckled guitar on "Let Me Go" sounded fantastic, while the synth flickering through "Bloody Palms" felt wonderfully reimagined with more guitar looped through the airy tune.
The sweet vocals of Barthel on "Mouthful Of Diamonds" and coolly floating guitar enveloped the crowd before the deep bass rumble and trembling guitar of, new song, "Don't Move" as a bit of rain started. The new track had more of an electro-pop slant, without losing their effervescent dance cool.
Barthel teased the soggy patrons, "We knew you guys were hot, so we asked God to pour some rain down to cool you off. You're welcome. If the new songs, like the tribal beat of thick "Make A Fist", are any sign, they will have plenty of opportunities to play the festival in the future.
Grey started the show on a quiet note, but her solid vocals were almost completely buried by Friendly Fires, on the Bud Light stage, for those not right up at the stage. It was a major oversight that derailed a handful of sets on the weekend, including Grey's. Her Dido-ish blend of soul, rock, and pop worked well on the twinkling guitar and marching beat of "Monster" and "Beautiful Nightmare", but the sonic disaster, similar to the band vs. Backed by a rich, vibrant band, featuring flute and saxophone, the charismatic singers sold you within a few seconds on their sound.
With Fitzpatrick possessing a more soulful version of the manic intensity of Talking Heads' David Byrne and Scaggs having a more forceful, powerhouse vocal, the pair sounded fantastic together. The funky psychedelic organ and horn section filled in the beat well on a more frantic version of "Rich Girls", before they delivered a lively horn-fuelled cover of The Raconteur's "Steady As She Goes" and later burping horn and harmonized take on Eurythmics' "Sweet Dreams".
The jangling piano and sax driving "Dear Mr. President" and grinding organ and shuffling beat of "L. With between song banter sounding like Fitzpatrick is a crazed preacher on a bender and an energetic stage presence; they are an excellent, instantly loveable band worth catching if only to hear the jabbing piano and killer soul hook of "MoneyGrabber" live.
Ex-Fall Out Boy front man, Patrick Stump's band hit the stage twelve-minutes late, following issues with mic cables that should have been found in sound check.
After hitting the stage late, the band still gave a few minutes of jazzy instrumental before Stump appeared. Once things got going, Stump seemed to rush through the neon synth-pop of "Spotlight" a bit too quickly, while the jittery "Lose You" felt like sloppy mess reminiscent of a poppier, more manic Panic!
At The Disco. There was a noticeable contingent of fans leaving the stage after the third song, and it was hard to argue with the decision. The twinkling keys and light synth-pop bounce of the music matched her thin vocals, but it unfortunately felt ill suited for the outdoor venue. The shrill, waifish vocals of "Under The Sheets" evaporated quickly. She picked up an acoustic to play along with the band for "This Love", but the lack of strumming made it seem more for looks than function.
In a small club, she might be fine, but it did not work well outdoors. On a day of disappointments and a lot of other options, it was easy to have a quick trigger on leaving Goulding's set in favor of Cee-Lo. Wearing the studded Thunderdome-inspired shoulder pads from his performance on The Voice, he took the stage to perform a cover of Danzig's "Mother" but either the singer was screaming too directly into the mic or the mic was malfunctioning to the point all the speakers sounded blown when he belted out the vocals.
Check out more of what Grant Park and the surrounding area has to offer. RealTime Weather forecast for Monday, Oct. Chicago News. Chicago Weather: Most Locations To Remain Dry Overnight The storm system responsible for a wet and windy Monday, has moved out of the area allowing for the winds to relax and the rain to end.
Chicago School Closings. Nevertheless, the band had attracted a surprisingly large crowd and offered a very satisfying, melody-driven set in what they said was their first-ever Chicago appearance. The song "Mexican Mavis" was one particular standout. During storm: And then it all came pouring down. Just before Bethany Cosentino, a. Best Coast , launched into her surprisingly aggressive set, the rain began, soaking even those who had the forethought to bring an umbrella for the day.
Not among that crowd myself, I buddied up with a fellow media buddy thanks, Marcus Gilmer! As far as I can recall amidst the muddy collective panic, Cosentino was spot-on in the performance of her '60s-styled, summery garage pop hits. Post-storm: The rain eventually cleared and I can't imagine an act more appropriate than Damian "Jr. Though their set sailed along triumphantly, I began to feel defeated by the three days of festivities and I called it a Lolla after chowing down on an overpriced piece of lukewarm pizza -- by far the least impressive grub of an otherwise tasty selection of treats, thanks to Graham Elliot.
Watching parts of the Foo Fighters ' night-ending set which took place amid a second round of heavy rain from the comforts of the couch via YouTube, I was struck by Dave Grohl's defiant, frenzied, fully amped-up presence.
He's become, over years of hard work, what so many of the talented musicians who took to the stage over the long weekend at Lolla dream about each night as they drift to sleep in a minivan after playing at that night's hole-in-the-wall. The man is a titan. Though I can't say I was necessarily a Foo fan before their show, I just might have to change that fact now.
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