Summer is almost here, and that means music festival season is just around the corner. Chicago is home to not one, but two excellent festivals: Lollapalooza and Pitchfork. Lolla is the bigger and more established of the two, the brainchild of Jane’s Addiction lead singer Perry Farrell. While it began as a touring festival in 1991, it found a permanent home in Chicago after it was reestablished in 2005 following a two year break. SInce then, it has featured some of the biggest names in rock and pop, including Kanye West, Radiohead, Arcade Fire, and Lady Gaga among others. Last year’s headliners were uncharacteristically weak, leading me to hope that Farrell would atone for his sins this year.
But after looking at this year’s lineup, I was once again underwhelmed. The Black Keys and Jack White will certainly be able to command the main stages, and Black Sabbath was unquestionably a big draw (though they’re at least 30-40 years past their prime). But the other three headliners (Red Hot Chili Peppers, Avicii, and Justice) are rather uninspired. Red Hot Chili Peppers would have been an excellent choice in the mid-90s, but their output since 1999’s Californication has been boring at best, and needlessly over-indulgent at worst. You can almost hear lead singer Anthony Kiedis checking his watch as he delivers some of the sleepiest vocals I’ve ever heard on snoozefests such as “Snow” and “The Adventures of Rain Dance Maggie”.
As far as the electronic acts are concerned, I appreciate Farrell’s efforts to make Lolla more diverse, but few electronic artists have the clout and stage presence to headline a main stage. Justice’s high energy style would have been a perfect fit for Perry’s (the predominantly electronic stage), where the atmosphere is more frenzied and intimate. Avicii, on the other hand, represents the bland techno that has come to dominate the electronic music scene. The undercard, while not quite as deep as I would have hoped, is more exciting, featuring a healthy array of established acts and promising up and comers.
Though it debuted the same year Lolla found its current home, Pitchfork has always been seen as Lolla’s younger brother, featuring smaller, often more experimental acts. Run by the highly-influential indie taste-making website of the same name, Pitchfork has always had a knack for finding bands just as they break out. The festival really hit its stride during the past two years, grabbing some of the biggest names in independent music (Fleet Foxes, LCD Soundsystem, TV on the Radio, Pavement), and arguably surpassing Lolla in terms of quality. This year seemed like the year Pitchfork would establish itself as a world-class festival, as some very big names circulated on the rumor mill. Pulp? Jeff Mangum? Bon Iver? Maybe (fingers crossed) a full-fledged Neutral Milk Hotel reunion? But my lofty hopes came crashing down in a fiery heap of disappointment when the actual headliners were announced.
Vampire Weekend were a satisfying, if not enthralling pick, but the other two (Feist and Godspeed You! Black Emperor) do not have the type of live shows that warrant a prime slot. Especially considering that there is at least one other band on the lineup (Beach House) who could have easily replaced either Feist or Godspeed. Frankly, I’m confused as to why Pitchfork did not choose The Walkmen (who are playing Lolla instead) to headline, since they’re half-way down the bill for Lolla, and will likely land a mid-afternoon slot unreflective of their considerable talents.
But as has been the case in recent years, Pitchfork’s non-headlining acts are as strong as ever, eclipsing Lolla in terms of quality and depth. From the aforementioned Beach House to Sleigh Bells, Cloud Nothings, and Wild Flag, Pitchfork has proven it can consistently stay on the cutting edge. This is especially true in regard to the hip-hop and electronic acts. Where Lolla’s hip-hop and electronic slate is often more commercially viable (while consistently mediocre), Pitchfork has always been more willing to book more adventurous and ambitious artists. This year alone boasts the likes of Flying Lotus, The Field, Danny Brown, A$AP Rocky, and Nicolas Jaar. Due to the depth of the lineup, I’ll give Pitchfork a pass (this year) for their weak headliners, and a slight edge over Lolla for the second year in a row.
For those of you who choose to attend either or both festivals (and both are certainly worth attending), here are my top four non-headlining acts to check out at each festival (for the record, The Black Keys, Jack White, and Vampire Weekend are far and away my favorite headliners).
Lollapalooza
1. The Walkmen
Easily one of the most under-appreciated bands of the past decade, The Walkmen have maintained a consistency most bands would envy. Their sound, a Smithsesque mixture of 80s alternative and surf rock, feels familiar, but is in reality very distinctive. The interplay between the band members is deceptively skillful, as their messy rapport would indicate otherwise. This could be a recipe for disaster for many bands, yet The Walkmen make it look easy, creating a loose vibe that highlights their incredible chemistry. But what makes them special above all is the unmistakable sense of longing and regret so successfully conveyed on their records.
Take the piano riff on the breakout single from their debut LP, “We’ve Been Had”. Evoking an ice cream truck, carousel, and music box all at once, the sound of that piano not only recalls, but embodies the concept of nostalgia, calling to mind just about every childhood memory you’ve ever had. While technical prowess can certainly bolster a band’s effectiveness, the ability to forge an emotional connection with their audience is what separates good bands from great bands. And The Walkmen are a great band.
2. tUnE-yArDs
Arguably the breakout artist of last year, Merrill Garbus (who works under the moniker tUnE-yArDs) is one of the most exiting young musicians working today. Her kinetic, exuberant second album, Whokill, garnered significant critical acclaim, pulling a significant upset over Bon Iver and PJ Harvey to take the top spot in the 2011 Pazz and Jop Critics’ Poll. Melding Afropop, folk, and hip-hop, while drawing from influences as diverse as Beck, M.I.A., and Talking Heads, Garbus’ sound is nevertheless uniquely her own, due in no small part to her contagious enthusiasm. She clearly loves making music, and you can hear that joy in her booming yet pliable voice. She received rave reviews for her live shows last year, even being named the best act at last year’s Pitchfork Festival by Tribune music critic Greg Kot. If you’re looking for something a bit off the beaten path this summer, look no further.
3. At the Drive-In
Texas based post-hardcore outfit At the Drive-In broke up at the height of their powers in 2001, fresh off of their landmark album Relationships of Command. Members Cedric Bixler-Zalava and Omar Rodriguez-Lopez split off and formed The Mars Volta while the other members became Sparta. And while both bands achieved some measure of success, neither achieved the acclaim of At the Drive-In. Rumors of a reunion had been floating around for the past few years, though they appeared to be shot down by Rodriguez-Lopez and guitarist Jim Ward in 2009. But the rumors were proven true when ATDI announced a tour at the beginning of this year, including some very high-profile dates at Coachella and Reading.
Their propulsive, high octane, chaotic sound has had a significant impact on the punk and emo scenes since their breakup, though few bands have been able to recreate ATDI’s high wire balancing act with as much finesse and ferocity. Their final two releases (Relationships of Command and Vaya) were particularly successful at recreating the energy of their famed live shows without sounding sloppy or unprofessional. Their Lolla date may be the last time they play in Chicago, so catch them while you still can.
4. Twin Shadow
Evoking the likes of 80s stalwarts Prince and New Order, Twin Shadow mastermind George Lewis Jr’s style is firmly rooted in the past with an unmistakably modern spin. His 2010 debut Forget could serve as a spiritual companion to Destroyer’s masterful 2011 album Kaputt, as it skillfully incorporates components of new wave and synth pop without the cheesiness that plagued many of the artists who inspired him. This guy means business, and his dance-floor ready sound pulls no punches. The seductiveness of his songs makes them alluring and magnetic, drawing you further and further in until you can’t escape their pull. In a lineup heavy with faceless techno and dubstep artists, Twin Shadow should provide a danceable, yet more substantive respite.
Pitchfork
1. Beach House
Brooklyn dream-pop duo Beach House have a remarkable ability to get more with less. Using just a slide guitar, drums, an organ, and Victoria Legrand’s smoky voice, Beach House’s sound is as lush and melodic as any today. This is due to the incredible synergy between Legrand and guitarist Alex Scally. The feeling produced by this combination is similar to what I would imagine it would be like to walk on a cloud. It feels both weightless and triumphant transcending reality for something deeper and more soulful. Simply put (and I don’t use this descriptor lightly) their music is beautiful, a feat accomplished by very few artists in any medium. Their 2010 record Teen Dream is one of the most mesmerizing records of the past decade, and their follow-up Bloom (set to be released May 15, though it has already been leaked online) proves a worthy successor. While their live show is fairly low-key, it should provide the perfect soundtrack to a warm July afternoon.
2. Cloud Nothings
Dylan Baldi’s first two records consisted of pleasant, if forgettable lo-fi garage pop. His goals were fairly modest, and consequently, the results were as well. But in 2011, Baldi felt as if he had hit a creative wall. He wanted a sound that would allow him to experiment and improvise, and he enlisted legendary producer Steve Albini (In Utero, Surfer Rosa) to facilitate this shift. What resulted (Attack on Memory) is a sharper, more abrasive record that still manages to utilize Baldi’s pop tendencies. Though the album is relatively brief (eight songs in thirty-three minutes) its conciseness serves it well; all eight songs are necessary pieces in a greater whole. Baldi’s bold move was one of the biggest surprises of this year, and with such a willingness to reinvent himself, it will be exciting to see where he goes next.
3. Sleigh Bells
For many, Sleigh Bells were the “it” band of 2010. Their hard-hitting debut Treats combined metal, hip-hop, and pop in ways rarely seen before. Reign of Terror, their highly anticipated follow-up dropped in February of this year, to somewhat less enthusiastic reviews. Personally, I prefer Reign of Terror to Treats, as it has a greater sense of craftsmanship and cohesiveness, the work of a more mature band. While Treats was louder and more exciting, there were times when guitarist Derek Miller and lead singer Alexis Krauss sounded as if they were on completely different pages. Reign of Terror flows far better and is more consistent than Treats without sacrificing Sleigh Bells’ genre-bending style. Considering the ear-splitting amounts of noise Sleigh Bells produce, their set at Pitchfork should provide a stark contrast to some of the more mellow acts at the festival.
4. Cults
New York indie-pop duo Cults were responsible for one of the catchiest, most infectious records of last year with their self-titled debut. Full of xylophones, synths, and sunny vocals (courtesy of Madeline Follin), Cults was light enough to be easily digested on first listen, but dynamic enough to warrant repeated visits. The depth of the production fully utilized the diverse instrumentation, giving them an edge over other indie pop acts such as Foster the People. For such a cheery band, Cults are a surprisingly aggressive in a live setting, adding an edge to their easygoing sound. Two near-consecutive years of touring have given Cults a confidence that should allow them to hold their own against some of the more experienced acts on Pitchfork’s bill.
Aural Resonance 
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