This year, Riot Fest will undergo a transformation in to a three-day outdoor festival in Humboldt Park on September 14-16 and join the ranks of other Chicago destination festivals including Lollapalooza, Pitchfork Music Festival and North Coast Music Festival.

The initial lineup for the revamped Riot Fest includes headliners Rise Against, Iggy and the Stooges, The Offspring and Elvis Costello.

Other acts of note are Coheed And Cambria, Descendents, Gogol Bordello, NoFx, The Jesus and Mary Chain, The Promise Ring, Built To Spill, GWAR, Nobunny and Chicago’s own White Mystery. Check out the complete lineup here.

Additionally, here’s a map of what the Humboldt Park grounds will become during the festival:

Three and two day passes are on sale for $90 and $36, respectively, and two-day VIP passes are on sale for $155 now at RiotFest.org.

The festival goes down in Union Park – the same park Pitchfork will take over a few weeks earlier – on Labor Day weekend, which is Friday, August 31, through Sunday, September 2.

The lineup was revealed via a Groupon on early Tuesday morning that offered a three-day pass for only $62 and promptly sold out.

Past lineups have leaned more towards the electronic, hip-hop and jam band territory, and this year so far appears no different.

The lone announced headliner is American electronic artist Pretty Lights. Also included are two DJ/Producers from the Swedish House Mafia trio: Axwell and Steve Angello.

Hip-hop fans should be happy to see Big Boi and Atmosphere included, and so should indie fans as electro poppers Yacht and Dan Deacon will also perform.

Other notables include Chicago roots rockers Van Ghost, New Orleans brass legends the Rebirth Brass Band and The Rapture.

Check out the initial North Coast Music Festival lineup below:

Pretty Lights
Awell
Atmosphere
Big Boi
Steve Aoki
Excision
The Rapture
Alesso
Modestep
Mord Fustang
Felix Da Housecat
YACHT
Dan Deacon
King Khan & the Shrines
Rebirth Brass Band
Van Ghost
Maya Jane Coles
Steve Angello
Com Truise

Headliners include Red Hot Chili Peppers, The Black Keys, Jack White and Black Sabbath. The Chicago Tribune’s Greg Kot reports that C3 promises the full Sabbath lineup even though guitarist Tony Iommi is recovering from lymphoma and drummer Bill Ward isn’t fully signed on yet. Additionally, Kot writes that Swedish DJ Avicii and Justice make the leap to the headliner status and also close out the main stages.

Other notables include a newly reunited At The Drive-In, Florence + the Machine, Sigur Ros, The Afghan Whigs, Bloc Party, tUnE-yArDs, The Shins, M83, Die Antwoord and Childish Gambino.

Unfortunately, the lineup is short on are Chicago acts. The only local representation included is JC Brooks & the Uptown Sound, Empires, Kid Color and Orchard Lounge.

Check out the rest of the lineup after the jump.

One thing to notice is the lack of Perry’s Stage in the line-up page of Lollapalooza’s website, which would confirm Kot’s earlier report that Perry’s Stage would be eliminated and electronic acts would be spread throughout the stages.

Lolla three-day passes are on sale now at Lollapalooza.com for $230 a pop.

As we previously reported, the headliners appear to be car commercial, afro-poppers Vampire Weekend, mellow pop songstress Feist, post-rockers Godspeed you! Black Emperor and British electro-pop outfit Hot Chip.

But today’s new additions are a slew of Pitchfork favorites. The biggest name is obviously Wild Flag followed by Real Estate and Beach House – both very recent P4K Fest alumni. More of the latest adds are post-hardcore outfit Chavez, Atlas Sound, Big K.R.I.T., Nicolas Jaar, Cults, Ty Segall, Oneohtrix Point Never, Youth Lagoon, Thee Oh Sees, King Krule, Lotus Plaza, Dirty Beaches, Lower Dens, Milk Music, the Psychic Paramount and Unknown Mortal Orchestra. Also included, much to our delight, are Chicago’s own Outer Minds and A Lull!

Rounding out the bill are previously announced noise-poppers Sleigh Bells, indie-experimentalists The Dirty Projectors and buzz-DJ Flying Lotus. Other acts added were Danny Brown, Clams Casino, The Olivia Tremor Control, Iceage, The Men, Purity Ring and Schoolboy Q. In terms of locals, windy city metal outfit The Atlas Moth and Chicago’s up-and-coming anti-folker Willis Earl Beal will also be there.

Three-day passes are now sold out, so if you want to hit Union Park this summer, go grab individual day tickets, available for $45, over at PitchforkMusicFestival.com.

Check out the complete line-up along with the day schedule below:

Pitchfork Music Festival 2012

A Lull
AraabMUZIK
Beach House
Chavez
Dirty Beaches
The Field
Iceage
King Krule
Kendrick Lamar
The Men
Milk Music
Thee Oh Sees
Oneohtrix Point Never
Real Estate
Ty Segall
Unknown Mortal Orchestra
Vampire Weekend

And that’s a wrap! Lollapalooza 2011, its 20th anniversary no less, is history. Below is a recap of the the acts that we had a chance to catch on Sunday. Day three winners? The Joy Formidable, The Cool Kids and the Foo Fighters! So sit back, relax and relive on the final day of Lollapalooza 2011.

1:00 p.m.: The Joy Formidable

Sunday was a wet one early on, but thankfully the clouds dispersed and the sun arrived in time for The Joy Formidable. And formidable they were.

This trio form Northern Wales played not as festival openers, but an electric set so engaging that to call it a breakthrough performance would be an understatement. It’s quite remarkable how massive a sound the band is able to get out of one guitar, one bass and drums. But the riffs were hurricane-sized and offered the right amount of bite. Meanwhile, a throttling low-end and rhythm section, in which the double bass pedal was unleashed quite tastefully, made for some breath-taking climaxes.

Add to that, the band acted genuinely excited to be playing to a surprisingly large crowd on the park’s North end. In fact, front woman Ritzy Bryan probably didn’t stop smiling during the entire set.

The set concluded with the fiery “Whirring,” which featured giant blow-up black cats, that may or may not belong to Peter Frampton, on the sides of the stage during the song’s explosive finish.

Here’s betting this isn’t the last time The Joy Formidable take the stage at a Lollapalooza, but probably the last time in the one o’clock time spot.
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2:05 p.m.: Little Hurricane

While moody and damp on record, Little Hurricane’s swampy take on White Stripes-esque electric blues did not translate to the live setting.

For one, their sound lacked impact – either the sound man mixed it too low or just their amps needed to be turned up. The guitars were distant and small, while the drums were too weak.

Aside from their really cool looking guitar amp that was made from an old record cabinet, Little Hurricane still need to work on their live approach before they’d even be considered a big rain shower.
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3:00 p.m.: The Cool Kids

Who new an oversized tent would be the perfect setting for The Cool Kids to show off the minimal digicisms from their quite anticipated new record, When Fish Ride Bicycles?

But that it was when the Chicago hip-hop duo took the stage on Sunday afternoon. Melding choppy, electronic beats with an old-school, verse-swap mentality, The Cool Kids set the packed white shelter ablaze. Adding to the fun, the duo brought local soul outfit The O’mys on stage as their backing band to give their accompaniment that much more bite.

Chuck Inglish and Sir Michael Rocks first reached backward and thrilled the sweat-drenched crowd with the slow grind of “Gold And A Pager.” Later, new songs such as the synthy march of “Bundle Up” and loose, analog cling-clang of “PennyHardaway” offered the energy of hip hop classics.

It was truly a vibrant performance from an extremely talented local duo – one that will resonate with anyone who was lucky enough to catch it.
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4:00 p.m.: The Cars

Looking more like wax figures from Madame Tussauds than rock stars, The Cars lackadaisically played an hour of sloppy hits and a couple new ones no one knew.

Last year’s token new wave nostalgia act, Devo, not only showed evergy but a genuine enthusiasm to be at the festival. The Cars, unfortunately, didn’t show anything – no emotion of any sort.

Obviously, The Cars are quite older, and their are key changes in their sound. The main one being the death of bass played, and vocalist, Benjamin Orr, which caused Ric Ocasek to take over all singing and just forget about the bass altogether.

Sure, it was fun to hear the bouncy ones, “You Might Think” and the throaty-synth driven “Let’s Go.” But even songs the band has played countless times before, “Just What I Needed” and “My Best Friend’s Girl,” were a mess with missed chords and lacked a proper low end.

Despite the effort, at the end of the day, the best way to celebrate the music of The Cars is to listen on your iPod.
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6:20 p.m.: Arctic Monkeys

Minutes before the Arctic Monkeys were to take the stage, the ominous dark clouds that were creeping up on Grant Park all afternoon opened up. And, rain happened. Lots of it.

Of course, this delayed the start of Arctic Monkeys set for about 15 minutes. But when the English indie rockers finally started playing the destroyed and muddied ground was shortly filled to the brim again.

And the band did what they do best, tight, downhearted melodies with thick backbeats. Highlights were songs from their catalog that really fit the rainy theme, which included the wiry guitars of “She’s Thunderstorms” from their latest, Suck It And See, and the dastardly creep of “Crying Lightning.”

Arctic Monkeys were able to complete the entire set, which is fortunate because their noir-rock antics were fitting in the post-storm muck.
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7:30 p.m.: MUD!!!!

Yes, mud.
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8:00 p.m.: Foo Fighters

Finally, Lollapalooza 2011′s coup de grâce. Foo Fighters promptly hit the stage at 8 p.m. and wasted absolutely no time in pummeling the mud-covered crowd with volcanic riffs and swift dynamics.

But what will becoming the lasting moment of Lollapalooza’s twentieth birthday party occurred in only four songs in. When drummer Taylor Hawkinds began the bombastic drums of “My Hero” a torrential downpour hit. And, yes, it was literally torrential. Buckets of water poured from the sky.

And what followed is a testament to not just what Lollapalooza means but to what music means to the thousands that jam pack Grant Pack every August. The audience continued thrusting their firsts in the air, and Dave Grohl and the rest of the band never missed a beat. The show went on, and fast and furious at that. Do I dare call it magical? Maybe in the rock ‘n’ roll sense of the word, magical might just work.

Eventually the rain let up, but Foo Fighters didn’t. From gritty new takes like the Motorhead-influenced, “White Limo” to the stoner sludge of a particularly jammed out “Stacked Actors” that saw Grohl soloing from the crowd and the power-pop of “Monkey Wrench,” it all sounded pretty fantastic.

And in true headliner style, Foo Fighters sheer power and raw energy was something rarely matched all weekend long.

Lollapalooza 2011 Day Two is in the books. Below is a wrap up of the the acts that we had a chance to catch. Friday’s winners? Disappears, The Black Lips and Death From Above 1979. So sit back, relax and catch up on the Lollapalooza Saturday action. We’re doing it all again in an hour or so. Joy!

12:45 p.m.: Disappears

Early on, Saturday looked like a day to forget with morning rain and dark clouds hovering over Grant Park. But, really, it was the perfect weather for Disappears.

The Chicago outfit, featuring Sonic Youth’s Steve Shelley on drums at the moment, unleashed their own sonic storm of hypnotic garage rock.

Led by haunting howls, an uber-tight backbeat, sludge-thick bass lines and extra-crunchy guitars, Disappears were well received by the quaint-sized crowd.

Disappears weren’t extremely active on stage, but instead focused on getstingjagged tones and waves of reverb blaring from their amps. Near the end of the set, the band brought out Chicago psychedelic-noise duo WHITE/LIGHT to help add an extra layer of spaciness to the 10-minute plus, “Revisiting,” from their quite excellent new record Guider.

If anything, Disappears showed that Chicago rock ‘n’ roll isn’t only tied to the grungy and alt-rock riffs of Local H and Smashing Pumpkins, respectively. Disappears have the talent and attitude, and it’s just a matter of time before they take their rightful spot as one of Chicago’s top rock acts.
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2:15 p.m.: Maps & Atlases

From one Chicago band to another, Maps & Atlases offer a vastly different approach.

Their debut EP, 2007′s Tree, Swallows, Houses, fit more in the twitchy, math rock genre. But the band’s sound evolved quite a bit into what now could be considered melody-driven indie folk with some fine guitar work.

Songs like “If This Is” from their latest, Perch Patchwork, and older material like “Every Place Is a House” sounded best because they’re powered by the full band. But when the members switched from their primary instrument, such as on “The Charm,” which sees bassist Shiraz Dada take over extra drum duties and guitarist Erin Elders move to keyboard, the band sounds a bit hollow, a bit lacking.

Add to this fact that the sound wasn’t the greatest during their set. The crucial bass line that brings a big dose of funkiness to “Living Decorations,” was far too low in the mix.

However, front man Dave Davison’s deep, scratchy croon carried the band even at the set’s weakest moments. It also grabbed the attention the decent sized audience that packed the front and sides of the Google+ stage as nearly every song was met with a warm ovation at its conclusion.
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3:00 p.m.: The Black Lips

When Black Lips guitarist Ian Saint Pé took the stage and immediately shotgunned a beer, it was obvious a rambunctious time was ahead.

And the Black Lips didn’t disappoint for those looking for something more on the unruly side. The band’s brand of rowdy, throwback garage rock sounds like something that would have been banned in bible belt America in the 1950′s. It’s seedy and dirty and, of course, it worked the crowd into a frenzy.

So much so, that the kids who jam packed the front of the stage weren’t merely satisfied with a mosh pit and launched crowd surfer after crowd surfer over the barricade. And the thought of crowd surfing at the Playstation stage is quite bold seeing how it’s actually Petrillo Music Shell, and one drop means face-to-face with hot, unforgiving concrete.

But the three o’clock party raged on as the band ripped through their most well-known tunes including the winding guitar jangle of “Hippie, Hippie, Hoorah” and bouncy, anthemic punk of “Bad Kids.”

Near the end of the set, Saint Pé tossed out beers to the crowd that may or may not be full of kids under 21 years old. He joked about checking ID’s then simply said for everyone to take a drink and pass it on. It’s proof that the Black Lips might be the weekend’s wildest band as they not only sing about illegal activities, they encourage them too.
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4:00 p.m.: Death From Above 1979

The newly reunited Death From Above 1979 wasted no time in pummeling the crowd with their apocalyptic assault.

After the some foreboding piano strikes, the Toronto drum-n-bass duo erupted in to blazing low end that drives the wicked “Turn it Out.”

The band, which officially broke up in 2006, showed no signs of tension between members. Bassist Jesse F. Keeler spent most of the set wailing on his beautiful white bass, and only took breaks to switch to keyboard or smoke a cigarette during drawn out noise jams.

Meanwhile, drummer Sebastien Grainger, wearing all white to contrast with Keeler’s Johnny Cash-inspired attire, kept the rhythms fast and furious. Additionally, his raspy yells echoed throughout Grant Park’s North side, and sometimes recalled the vocal style of Scott Lucas from Chicago favorites, Local H.

But it should be mentioned that Death From Above 1979 are not in the same category of other bass-n-drum duo Lightning Bolt, who played Pitchfork Fest last year. No, the band is much more concerned with tight structure and occasionally dance-y beats. And this pleased the fans – both those looking to head bang and those looking to go crazy to some fast, punky material.

Though its billed as a reunion, here’s hoping DFA 1979 can make their return permanent as their abrasive groove-rock is quite a ride.
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5:00 p.m.: Deftones

At first the Deftones seemed like a fish out of water. One that seemed like a better fit for a Q101 (RIP) jamboree or the like.

However, following the scorched earth assault of Death From Above 1979, the Deftones’ guttural riffage actually fit in quite well. And a massive crowd packed the front of the Playstation crowd to get a glimpse of front man Chino Moreno & Co.

It must be said it’s probably unfair that the band was grouped into many of the nu-metal acts (Korn, Limp Bizkit) that dominated the MTV Total Request Live landscape in the early 2000′s. The Deftones actually offers a more dynamic metallic blast – one that occasionally breaks down into slow-burning numbers.

And the Deftones delivered the goods. Moreno was a madman on stage, which helped thoroughly excite the audience. The band rolled through a number of heavy hitters, but really showed off their chops with the nearly industrial-tinged, “My Own Summer [Shove It].” Later, the crowd belted out every lyric to the melancholy hit, “Change [In The House of Flies]” from the band’s best known record, 2000′s White Pony.

While maybe not suited for Lollapalooza’s earlier alt-rock focused fests, in 2011 the Deftones not only completely fit in, but surprised a few who had written them off years ago.
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6:00 p.m.: Ween

“Thank you, Bonnaroo…I mean Lollpalooza,” said Ween frontman Gene Ween early in the band’s set.

Sure, it was a bit of unintentional comedy, but Ween being booked after Deftones and before My Morning Jacket played out like an episode of Punked to the fans in attendance under 25. “Who are these old dudes?” asked a young girl to her group of friends.

The thing is that Ween are an extreme-talented band that has a rich history. Melding almost every rock genre under the sun (including experimental, blues, space and yacht rock), Ween showed off their talent, especially Dean Ween who often ripped into face-melting solos. The band’s music is quite eclectic and they illustrated that point with floating synths of “The Mollusk” before the dense, pro-rock journey “Buckingham Green,” both from 1997′s The Mollusk, and even showcased their oddball humor with the Jimmy Buffet-esque number, “Bananas and Blow.”

But as 6:30 p.m. neared and Cee Lo was about to take the stage across the park – Ween’s audience thinned out drastically. Those who wanted a good spot midway through could nearly walk up all the way to the railing.

Still, Ween pressed on and, despite a few minor screw-ups (even though the Bonnaroo thing was hilarious), they performed with an undeniable classic rock swagger.
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8:00 p.m.: My Morning Jacket

While word that an enormous crowd had gather on the South side of the park for Eminem, My Morning Jacket headlined Saturday night to a sizable but enthusiastic bunch on Grant Park’s North side.

My Morning Jacket are actually Lollapalooza veterans having opened for Pearl Jam in 2007. That opening spot must have done some good for the band as they have definitely picked up a few pointers on headliner etiquette and delivery.

The band swung fists of big, southern rock fueled anthems that hit the crowd directly in the jaw with its joyous melodies and edgy riffs. Even front man Jim James resembled Eddie Vedder’s 1990′s look with long, curly brown locks often hiding his face. But most impressive was how his powerful, country croon enveloped everything near the Bud Light stage.

From the shuffling “Circuital” that builds into an riveting solo to the low-key riff that powers crowd sing-a-long “I’m Amazed” to the chunky guitars of “Lay Low,” My Morning Jacket delighted fans who chose comfort and warm-heated rock ‘n’ roll.

With their performance, My Morning Jacket not only won over the curious, but definitely confirmed to the doubters that they’re headliner worthy.

Lollapalooza 2011 Day One is in the books. Below is a wrap up of the the acts that we had a chance to catch. Friday’s winners? Le Butcherettes, The Kills and Ratatat. So sit back, relax and catch up on the Lollapalooza Friday action. We’re doing it all again in a few hours. Joy!

2:30 p.m.: Grace Potter and the Nocturnals

Lollapalooza 2011 started off fast and furious. By early afternoon, Grant Park saw massive crowds at the main stages, many of whom were enthralled by Grace Potter and the Nocturnals.

The Vermont (really.) outfit plays the kind of southern-tinged roots rock that’s completely harmless but powerful. And the crowd felt it’s power as most latched onto every twangy riff, trembling organ line and sultry vocals. It was a Rock ‘n’ Roll revival of pleasantness.

But it wasn’t just the music, the band had presence. They performed with a ton of arena rock energy, and Potter, well, she played the part of steamy-front-woman-with-huge-vocals to a tee with her short white dress and voice that’s unstoppable.

In that sense, Grace Potter and the Nocturnals played a high energy set of good ol’ power-blues that had the crowd wrapped in a warm, familiar blanket.
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3:30 p.m.: Le Butcherettes

While it’s a tough truth to swallow for unwavering Perry Farrell supporters, not many bands on the schedule for this current edition of Lollapalooza really embody the spirit that made its 1990′s verion such a success.

However, one band that proved it truly does is Le Butcherettes.

Hailing from Guadalajara, Mexico, Le Butcherettes goes for a kind of twisted, arty punk rock. And as odd as it sounds, it totally works, and mainly because of the incomparable energy from front woman Teri Gender Bender.

Teri took command of the crowd early on with her wild antics. She transformed into a demented rambling lunatic when she rattles off “Bang!” from their latest Sin Sin Sin, and later she would cartwheel and tumble around the stage as the band rolled on like an unwieldy avalanche of noise.

With one song remaining on the setlist, drummer Gabe Serbian announces he has to puke. Then wasting approximately 0.00010 seconds, he stands up and hurls a good three or four times into an empty photographer pit below the stage – literally a few inches from fans in the front row. Then quietly sits back behind his kit and barrels through the final song.

So after 20 years, Le Butcherettes have created a new memorable moment that will become a part of the festival’s rich lore. But the fact that this incident still doesn’t outshine their incredible set no doubt makes Le Butcherettes one of the weekend’s top winners.
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4:30 p.m.: The Kills

For a duo with no drummer, The Kills hit hard and heavy.

Members Alison Mosshart and Jamie Hince tortured their guitars into stoner blues riffs while dark, mechanical grooves are held by the piped-in beats. The riffs are bold, but the songs float bye on crooked rhythms that are quite intoxicating.

Then there’s Mosshart whose commanding stage presence with no only The Kills but Dead Weather make her rock’s top front women.

To match her wild side, Jamie Hince plays cool, collected guitar player. He rarely addressed the crowd and didn’t do much else besides squeezing tight, dark melodies from his axe.

Who knew that a guy and girl with electric guitars with no drummer could be such a force? But The Kills showed that it’s quite possibly to have a Zeppelin-like swagger without a John Bonham of any sort.
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5:30 p.m.: The Mountain Goats

After a vivacious afternoon, The Mountain Goats offer more laid-back, acoustic sounds.

Dressed in dapper black suits and led by John Darnielle, The Mountain Goats performed lyrically-driven indie folk that was sometimes bouncy or sometimes quirky.

But Darnielle seemed to have fond memories of Chicago and told the crowd, “The first time we played in Chicago, there were about 30 people at the Empty Bottle. So, thank you for being here.” Then he launched into “Cubs In Five,” which features the line, “and the chicago cubs will beat every team in the league.”

And like the actual Cubs games, the the middle of their set, the audience seemed to thin out significantly. It’s not that The Mountain Goats sounded bad, it’s that for many, it was bathroom and food time before staking out a spot for Coldplay and/or Muse.

Still, The Mountain Goats played with their hearts on their sleeves to the interested fans that remained.
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6:30 p.m.: Bright Eyes

After Bright Eyes released their 2002 record, Lifted, Conor O’Berst became a hero every shy indie kid away at college.

Since then, the band’s sound has evolved from album to album, and the live incarnation became something more rooted in edgy alt-rock than their indie-folk past. “Lover I Don’t Have To Love” became less of the doomed lover’s lament and more a melancholy anthem featuring, of all things, a trumpet driven jam during the song’s bridge.

But it was still O’Berst’s narrative-driven lyrics that the crowd truly enjoyed. His voice quivered during the opening of “Landlock Blues” until the song reached its apex before evolving into a noise-filled jam. And later, fans sang every up and down note on the “Ode To Joy”-borrowing opus from 2005′s I’m Wide Awake, It’s Morning, “Road To Joy.”

What was thought to be an introspective, folk-laden hour from Bright Eyes turned out to be one of Friday’s more rambunctious displays in melodic rock.
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7:30 p.m.: OK Go

Like a fellow Illinois band in Cheap Trick, Chicago’s OK Go play unabashed power pop. However, they do so in style.

Known for their highly creative music videos, featuring treadmills and dogs among other stuff, OK Go bring a quirkiness to their live show. Each band member dressed in a different color suit, they played a song with hand bells and were generally the ball of fun that you’d imagine them to be.

And even those not exactly bowled over by their head-boppin’ jukebox riffs might have eased up with their high-level delivery. Yes, the band lives up to those riffs with a highly entertaining stage personality.

Near the set’s conclusion, lead singer Damian Kulash got the audience to sing the hook of “This Too Shall Pass” by riling up them with comments that Glastonberry and Coachella crowds sounded better. But it was said in such a light hearted tone and in between uber-catchy pop tunes that it was down right cute.

OK Go proved that classic Midwestern power pop lives on and shows no signs on slowing down.
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8:45 p.m.: Ratatat

Yes, out of the headliner packed – Coldplay, Muse and Girl Talk – I went with possibly the least known of the three, Ratatat.

A Brooklyn duo, Ratatat fuses electronic dance rock with guitar virtuosity. Their guitar lines weave in and out over thumping drum machines and dense atmospherics to create something equally as danceable as it is technically proficient.

It’s obvious that their songs take cues from the movements of classical music. The projection screen backdrop occasionally would flash images of a chamber orchestra or a Ludwig Van Beethoven bust. But the foundation of Ratatat’s music is more electronic and sample-based. This gives their pieces a very club-ready appeal but without the pop music fat.

And the crowd, which was very substantial when noting the other headlining options, danced and crowd-surfed like Ratatat were the only band there. Even though they started nearly 10 minutes late, the cool evening breeze made the North side of Grant Park very enjoyable and was enough to keep the crowd dancing minutes passed the band’s end time.

Some reports of stage bleed into the Coldplay surfaced later in the evening, but if any band could maybe use a remix from some the best electro-rockers around, it’s probably Chris Martin and Co.

Lollapalooza is back with a line-up that’s full of up-and-coming local acts, legitimate buzz bands, arena rockers and a few head scratchers. So, we here at Loud Loop figured you might need some help deciding which bands to check out and which to avoid. And of course you know the headliners, so we won’t waste your time on those. Instead, these are our picks for can’t-miss acts those other eight hours this Friday, Saturday and Sunday…

www.youtube.com/watch?v=9bxwB_a37co

The most impressive thing about Le Butcherettes’ latest, Sin Sin Sin, is how their brand of crooked art-rock is completely accessible. While the Guadalajara, Mexico, trio do toss off crunchy power chords (“Bang!”), they also dabble in minimal synth play (“Tonight”). And it works because the band is concise in their experimental side as few songs make it to the four-minute mark. Le Butcherettes are a little twisted but a lot focused on kicking your ass. (Richard Giraldi)

THE KILLS Bud Light stage, 4:30 p.m.

www.youtube.com/watch?v=hniPVDz12bc

Moody garage rocking duo Alison Mosshart and Jamie Hince create some heavy, full-bodied rock compositions that are anchored by Mosshart’s sultry blues vocals. The Kills latest album Blood Pressures is far removed from the group’s gritty, lo-fi debut Keep on Your Mean Side, but the heartbeat behind it remains underneath Blood Pressures’s slick production. The Kills are still doing what they do, only fancier these days. (Audrey Leon)

CULTS Google+, 4:45 p.m.

www.youtube.com/watch?v=9i1MXHGB8g0

Sometimes a band just comes out of nowhere and everyone’s falling in line to promote them as something of a no-brainer. Cults, the New York-based indie pop duo consisting of Brian Oblivion and Madeline Follin, had that kind of instant popular adoption. Forming in 2010, their single “Go Outside” was simply posted to a Bandcamp page and suddenly they were darlings of Pitchfork and playing every relevant music festival. By the time their self-titled LP was released in June it was virtually guaranteed to be a smash. For me, they entered the popular sphere at a good juncture. With Broadcast no longer in commission (RIP Trish Keenan), Cults have stepped in to filter the sounds of 60s, psychedelic pop through modern distortions. Hopefully, their trajectory will mirror Broadcast and Stereolab with darker twists in the future. (Joseph Montes)

CRYSTAL CASTLES Sony stage, 7:15 p.m

www.youtube.com/watch?v=0vO6eehIPIs

We’ve had a while now to let Crystal Castles gestate. Since 2008 when we danced our ass off to “Crimewave” and their self-titled debut to last year’s deeper “Crystal Castles II,” the band has shown us that they are plenty capable of continuing to deliver compelling music. Whether they’ll be any good at Lolla, however, is a different story. I saw Crystal Castles at the Congress Theater on Halloween in 2009 and they blew it. Glass drunkenly screamed nonsense over a wall of equally disjointed electronic sounds — it was a bad performance parading as performance art. I’d probably never pay to see this band again but if you knocked me out and dragged me to Lolla this year, they’d be a must-see act for me. Yes, I know that makes no sense but such is the strange magnetism of Crystal Castles. (Joseph Montes)

RATATAT Google+ stage, 8:45 p.m

www.youtube.com/watch?v=Fk8qcGOtBFw

Like if Daft Punk were a couple of stoners from New York City with guitars and a sampler, Ratatat excel at finding the tightest groove and the sharpest tones. It goes without saying that pulling off intriguing instrumental pieces is difficult, but Ratatat honestly succeed. Sometimes their slowly evolving rhythms are powered by jagged riffs (“Desert Eagle”), while at others dense melodies are balanced by off-kilter dynamics (“Mirando”). Add to the equation that it’s just dance-y as hell? That’s a winner. (Richard Giraldi)

www.youtube.com/watch?v=eTQTszb51BI

Experimental Chicago rockers Disappears have had quite a year. The quartet released a powerful, droning jam of a rocker entitled Guider in early January. After absorbing the magic power structure that is Sonic Youth percussionist Steve Shelley, and then whisking him away on tour, the group has garnered considerable praise and buzz from the music community at home and abroad. Disappears uses distortion much like bakers use frosting on cakes, it’s just another element the band can utilize to warp a song into submission and make it their own. And it’s priceless. (Audrey Leon)

MAPS & ATLASES Google+ stage, 2:15 p.m.

www.youtube.com/watch?v=XrvOXjFiD7k

While not as frenzied as their 2006 EP, Trees, Swallows, Houses, Maps & Atlases have developed a keen ability to piece melodies together. The result is last year’s Perch Patchwork, which has a more organic feel that is mostly grounded in melancholy folk-pop. It shows that these Chicago rockers are both technically proficient and clever composers. (Richard Giraldi)

DEATH FROM ABOVE 1979 Bud Light stage, 4:00 p.m.

www.youtube.com/watch?v=8Bo4h7kuUpo

For a band that simultaneously bashed-in the doors of dance and metal music with earth-shattering results, news about the reunion of Death From Above 1979, which first appeared in blurbs about this year’s Coachella’s lineup, was remarkably understated. After a no-bones announcement about not getting along when they broke up 5 years ago, only a short blog post marked their return: “Why not say yes? Why not say yes to Coachella?” DFA was back, but why? It’s all I could think about before they took the stage at Camp Bisco X in Albany, NY in July. But when the opening chords of “Dead Womb” kicked in, it didn’t matter anymore. DFA was back and, yeah, why the fuck not? Maybe its all just a money-grab (zero new songs) but who cares? When it’s good, it’s good. Just slam your head and try not to think so much. (Joseph Montes)

DEFTONES Playstation stage, 5:00 p.m.

www.youtube.com/watch?v=fLqsfwRvYtU

As someone who loves to ‘OD on 90s nostalgia as much as I do, it’s a no brainer that I’d highlight Deftones. The group’s first three albums 1995’s Adrenaline, 1997’s Around the Fur and 1999’s White Pony taught me all I need to know about the sweet, but deadly dynamic of raw power vocals that rush from hushed, beautiful tones and moans to excited guttural screams. Vocalist Chino Moreno’s voice set that exquisite high standard of tension building and breaking. There is no doubt in my mind, Deftones will bring plenty of precision hard rock style to the Lolla stage this weekend. (Audrey Leon)

CEE LO Music Unlimited stage, 6:30 p.m.

www.youtube.com/watch?v=CAV0XrbEwNc

So, Cee Lo Green is one talented singer, game show host, etc. But, yes, he’s not the best tweeter. Still, the man has brought us some of the most soulful, funky tunes in the last couple of years. His Gnarls Barkley hit, “Crazy,” which took the summer of 2006 by storm, and his latest solo LP, 2010′s The Lady Killer, has the irresistible “Fuck You” (“Forget You” for radio listeners), which is possibly the catchiest song about a miserable break-up ever. Yeah, Cee Lo’s not perfect, but who is? All I know is that throngs of people singing, “See you driving ’round town with the girl I love / I’m like Fuck You” in unison should be damn cool. (Richard Giraldi)

www.youtube.com/watch?v=QgSsL0Gz874

If Lollapalooza wasn’t taking place during the height of summer, I would dare to say that Chicago pop darlings Gold Motel would bring plenty of sunlight and warmth just by being there. The quintet fronted by The Hush Sound’s Greta Morgan aren’t shiny happy people, but a group of people who came together to create infectiously perky pop jams that defy you to stay moping in a dark corner. Come out and play, screams Gold Motel’s album Summer House. Morgan’s smoky vocals take us to good vibes island and we never want to look back. (Audrey Leon)

THE JOY FORMIDABLE Bud Light stage, 1:00 p.m.

www.youtube.com/watch?v=9kNQeDlgBoc

When you really think about it, The Joy Formidable is the absolute perfect name for this English trio. Their sound is a intense one with it’s chugging fuzz riffs, but the music is played with a joyful energy. “Whirring,” from their 2010′ LP The Big Roar, grabs the listener with its uber-melodic, sweeping hook, and then scrambles minds with a spacey shoegaze jam. It’s the just the right amount of edge and energy needed to jump start Lollapalooza 2011′s final day. (Richard Giraldi)

THE COOL KIDS Perry’s stage, 3:05 p.m.

www.youtube.com/watch?v=pH_TaZ5n8gA

What separates The Cool Kids from many other “indie” hip-hop acts is that their sound is very recognizable. The Chicago duo have seemingly cornered the market with jams powered by minimal, digitized beats. Granted, while their latest and much anticipated debut LP, When Fish Ride Bicycles lacks energy in a couple of spots, it does perfectly meld eccentric beats with Chuck Inglish and Mickey Rocks’ old-school style. And expect the beats to hit especially hard in the tented, and enlarged Perry’s stage. (Richard Giraldi)

THE CARS Music Unlimited stage, 4:00 p.m.

www.youtube.com/watch?v=fpJQWGA1O8s

In the grand tradition of breaking up, reunited years later with a different singer (at least it was Todd Rundgren and not a Cars tribute band singer), having that not work too well, then actually reuniting, hey look it’s The Cars. Odds are you like The Cars whether you know it or not. I’d like to think I’m too cool to like them. Eighties pop music is not my bag but there’s something about their a little new wave-y and slight icy coldness that works for me. They wrote good tunes and merely dressed them up in 80′s Well, there’s a new album, Move Like This, so you’ll hear songs from that. But mostly, you’ll just hear hit after frickin’ hit. (Ross Meyerson)

EXPLOSIONS IN THE SKY Sony stage, 7:00 p.m.

www.youtube.com/watch?v=2UNj5Oqs29g

I had an inner debate with myself on whether Explosions in the Sky is the kind of band you want to see at an outdoor festival in the middle of the summer. On the one hand, the group’s lush instrumentals would be perfect for a more intimate and darkened club, but on the other hand, look at that set time. Explosions in the Sky takes the Lolla stage around 7 p.m., which means the sun will set and the sky will fill with crazy hues of purple and orange. I can’t think of any better setting to witness the Austin, Texas quartet finger pick some gorgeous, yet booming post-rock melodies. (Audrey Leon)

AND DON’T FORGET:

Loud Loop Press will have festival coverage all weekend long! We’ll have a daily recap of Friday, Saturday and Sunday the morning after so if you just want to find out about what you missed or can’t make it and want to check out what’s going on, we’ll have video, words and possibly more.

For the full schedule and for more information about Lollapalooza, visit: Lollapalooza.com.

Whoa. Whoa. Whoa. You didn’t think I was done talking about Pitchfork 2011, did you? No way. I have one, er, a couple final words to say about the fest. In fact, it’s something brand new: The Rundown.

Here’s my two cents on the best, worst and most intriguing things at Pitchfork Music Festival 2011…

BEST BAND: OFF!

WORST BAND: (TIE) Destroyer & Ariel Pink

BEST BET TO BECOME A FESTIVAL STAPLE: Cut Copy

BAND THAT NEEDS SOME WORK: (TIE) Yuck & Thurston Moore solo

BAND MOST LIKELY TO BE PLAYING LOLLAPALOOZA 2012: Pitchfork 2011 Schedule

BEST SLOGAN ON AN OLD DUDE’S TSHIRT:

BEST OFFENSIVE, CAST-WEARING HIP-HOP GROUP: Odd Future

BEST IMPRESSION OF HELL ON EARTH: Pitchfork Fest 2011 Porta Potties on Sunday afternoon

BAND PITCHFORK CAN ALWAYS FALL BACK ON WHEN THEY CAN’T BOOK JEFF MANGUM: Animal Collective

BAND MOST LIKELY TO DIE OF HEATSTROKE: Cold Cave

BEST USE OF A THEREMIN:

BEST DANCERS IN THE VIP SECTION: White Mystery

BEST PLACE TO HANG OUT WITH YOUR BROS: Heineken tent

BEST VEGAN CORN DOG: Chicago Diner

WORST AREA FOR BOTTLE NECKS: Entry way to Blue stage

MOST INDIE ROCK SODA:

WORST STAGE PROP FAIL: DJ Shadow’s white sphere

BEST DJ SET: DJ Shadow

BEST EXCUSE FOR OLD DUDES TO SMOKE JOINTS IN PUBLIC: Superchunk

BAND MOST LIKELY TO TEACH THESE DARN KIDS A THING OR TWO ABOUT ROCK ‘N’ ROLL: Guided By Voices

BEST GUEST APPEARANCE:

Photo Credit: Craig Shimala - craigshimala.com

And that’s a wrap on Pitchfork Music Festival 2011! Below is a recap of the day three acts we had a chance to catch. Sunday’s winners? Definitely Kylesa, Cut Copy and TV On The Radio. So sit back, relax and catch up on what went down on the third and final day of Pitchfork Musical Festival 2011.

1:00 p.m.: The Fresh & Onlys

It took until the third and final day for Pitchfork to open with some zest thanks to San Francisco’s The Fresh & Onlys. While their jangly, reverbed guitar rock wasn’t original in the least, it was peppy and very uptempo. And it got the early arrivers to move and sway in the harsh summer sun – which is an accomplishment in itself.
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1:45 p.m.: Yuck

Possibly the biggest disappointment of the weekend, guitar-heavy alt-rockers Yuck could never seem to match the energy of the crunchy melodies that saturate their buzz worthy debut. Their set started with volume at an annoyingly low level.

When the third song rolled around, the sound was slightly adjusted for the better, but the band decided to focus more on their slow-burning ballads than the chugging rockers. Add to it that the heat really started to bare down on Union Park, and it was hard for Yuck to rebound. In the last few minutes, it finally seemed as though Yuck had caught their stride and would leave on a high-note. However, lead guitarist Max Bloom had equipment problems that caused them to abort their riffy romp “Operation” after only a minute or so.

The band did end strong with the quicksand fuzz of “Rubber,” but it wasn’t enough to save the set. Yuck’s set proved that while many bands these days get propelled very high and very quickly, some aren’t ready for the festival circuit. As a fan of their latest LP, here’s hoping Yuck just needs a bit more seasoning on the club circuit (and a better sound guy).
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2:30 p.m.: Kurt Vile and the Violators

My topsy turvey relationship with Kurt Vile took another unexpected turn on Sunday afternoon.

Before his set, I told a colleague to prepare for disappointment. Then Kurt and his Violators tore through their set with the reckless abandon that the day’s previous guitar worshipers, Yuck, lacked. The flowing hair and shredding solos made Vile’s average songwriting really flourish. Go figure, I’m back on the bandwagon. (Ross Meyerson)
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3:20 p.m.: OFWGKTA

For months a lot had been said and written about Los Angeles hip-hop outfit OFWGKTA (Odd Future Wolfgang Kill Them All), and their violent, misogynistic and homophobic lyrics.

So, it was quite humorous when the group blasted Bob Marley’s “One Love” and Black Eyed Peas’ “Where is the Love” before they took the stage. The band knew of the local commotion (the group rarely receives this type of reaction and publicity when they play other cities), which is also why they presented cupcakes to the anti-violence society who were at Pitchfork to raise awareness of their often hate-filled attitude.

And when they finally took the stage? No riots, no murders, no swarm of locusts. Instead, Odd Future (including leader Tyler, The Creator in a foot cast) put on a lackluster hip-hop performance that featured obnoxious and forgettable backing beats.

The group seemed harmless as they paced back and forth across the stage spouting obscenities. Sure, they did the occasional stage dive, but all-in-all Odd Future didn’t seem to be doing that much different than their earlier hip-hop luminaries (in this case: Wu-Tang Clan, N.W.A). Well, actually, they just did it worse.

But a great deal of the crowd loved every minute of it. Drenched in sweat, they latched on to every snarling “F*ck,” “Sh*t” and “B*itch” in “Tron Cat” and shouted the chorus of “Radical,” “Kill People / Burn Sh*t / F*ck School,” in unison as if it were a Bears game.

Then, just as the set began, it ended. No, Odd Future did not bring about the end of the world and the death of modern society. But now the group might become targets due to their weak beats and lazy live show.
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4:15 p.m.: Ariel Pink’s Haunted Graffiti

Photo Credit: Craig Shimala

Honestly, I’m a bit upset I wasted a lovely Futurama YouTube clip on Destroyer’s god awful yacht rock set on Saturday. Because Ariel Pink’s set might have been worse. Scratch that, it was worse.

The set was a disheveled mess of crooked, synthy indie-pop. During this, Ariel Pink (born Ariel Marcus Rosenberg, who for some reason is sometimes referred to as the “godfather of chillwave,” would sing through a tiny microphone that would constantly crackle and cut out.

Well, the heat must have gotten to Pink because at one point he simply sat down in the middle of the stage and let out obnoxious hoots, hollers and howls.

And, with over 15 minutes left in the set, Pink got up and walked off stage. The band tried to coax him into coming back to play more songs, but instead he berated them and went backstage. A band member had to tell the crowd, “I think we’re done here. Thanks” to which a smattering of boos erupted from the crowd.

This isn’t the first time Ariel Pink has had an onstage, for lack of a better word, meltdown, but it should be his last.
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5:15 p.m.: Superchunk

Comparing Superchunk to Odd Future, who performed on the very same stage about an hour earlier, would be like comparing any single-A affiliate to the New York Yankees.

Seasoned indie rock vets, North Carolina’s Superchunk wasted no time showing kids and nostalgic non-kids how it’s done. Their uber-melodic power-pop was a non-stop ball of energy from the get go as lead singer and guitarist Mac McCaughan literally pogoed around the stage. Literally.

It was the anti-Odd Future. Good-natured, non-stop fun that grabbed ahold with the first jumpy power chord of “My Gap Feels Weird.”

Speaking of said song, the band started fast and furious with a number of tunes from their most recent, 2010′s Majesty Shredding. But though the tempo slightly dropped, an instant highlight was the opening notes to “Like A Fool,” off ’94s Foolish, as a thick breeze rolled in.

It sounded as poignant as it did it did 17 years ago. And so did Superchunk, whose sound (and faces) are as tight as ever.
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6:00 p.m.: Kylesa

It’s difficult to really rate Kylesa in the Pitchfork festival context. Not only were the Georgia metal outfit the heaviest, most brutal sounding band of the entire weekend, but their live show is hard rock catnip.

Anyone who loves menacing, orange-powered riff couldn’t possibly get enough of it. Add to that the band’s ridiculously unnecessary but unbelievably cool double drummer attack. It’s especially mesmerizing when a solid groove would get locked-in such as on the prog-metal opus, “Spiral Shadow.”

It’s not only the fact Kylesa was heavy and abrasive, it’s that it was different. Quite different in a festival setting that is littered with synths, saxes and mandolins.

From my vantage point, the crowd seemed to be enjoying themselves without getting too out of hand and rowdy. Maybe Pitchfork will get the message and sprinkle some additional metal and heavy rock in next year – something the Fest desperately needs.
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7:25 p.m.: Cut Copy

Photo Credit: Craig Shimala

As the sun finally dipped behind the Union Park trees, Cut Copy heated things right back up.

A club-worthy dance party erupted as they delighted with elastic, disco-wave romps. Plus, the Australian dance-rockers do it with gusto.

The band, possibly the most clean cut of the weekend decked out in collared shirts and dress slacks, had the moxie of festival veterans.

Lead singer Dan Whitford played the role of not only frontman, but hypeman as he lead the crowd in singalongs, clap-a-longs and booty-shaking madness. Meanwhile, Tim Hoey twisted tones out of his guitar and took to using a mic stand as a drumstick on a defenseless cymbal. Plus, their hooks were ever so catchy: “With hearts on fire, I reach out to you tonight.” In addition to the Euro-flavored beats and swirling melodies.

If they keep this up they could make the leap…to an hour later and headline the festival next year. But for now, expect them in a late afternoon early evening slot at Lollapalooza 2012.
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8:30 p.m.: TV On The Radio

Photo Credit: Craig Shimala

TV On The Radio’s set began on a rather odd note. Frontman Tunde Adebimpe asked the crowd if everyone was having fun, and if they had a good day. To which he responded with, “That’s good to hear. It was a pretty bad day from my point of view.”

Uh, what? If this was TV On The Radio on a bad day, then a good day might be too much to handle.

Playing by far one of the tightest, most efficient sets of their careers, the band rattled ribs and massaged ear drums with their funk-ified, digitized art rock.

Things started off with a bang via a two-song, Dear Science-punch of “Halfway Home” and “Dancing Choose.” Later, it was newer songs, Nine Types of Light, that demanded attention. “New Cannonball Blues” delivered a electro-sex low end and “Repetition” was played with a punk-like urgency.

Most of the activity on stage came from Tunde Adebimpe, whose body twitched and arms waved wildly. Meanwhile, guitarist Kyp Malone played straight man – standing firm rarely moving other than back and forth from the microphone. And lead guitarist and sound guru Dave Sitek worked the tones in the background while the breeze worked the wind chimes hanging from the head of his telecaster.

TV On The Radio was so impressive, their cover of Fugazi’s “Waiting Room” is easily forgivable.

In a fest that lacked big names – bands had to rise to the occasion. And TV On The Radio might have risen even further.