Tonight at 8 p.m. CST, Fuse TV will air the best of Lollapalooza 2009. It will air again tomorrow, Sunday, August 16, at 6 p.m. CST.

If you live in the Chicago area, Fuse is channel 279 on Comcast HD.

Photo Credit: 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 – 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 for 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: Women 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 equal 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)

Photo Credit: Richard Giraldi

When Brooklyn art-rockers TV On The Radio hit Lollapalooza’s Budweiser stage in the north end of Chicago’s Grant Park as the sun descended behind the city’s skyline and the lake breeze picked up to put to rest a long day of heat. But as the crowd cooled, TOTR set the festival ablaze with a scorching set of irresistibly funky and vibrant art rock tunes.

TV On The Radio became critical darlings after their 2008 release Dear Science which featured smart and timely lyrics mixed with funk-heavy rock tendencies full of studio enhanced electronic flourishes. For the longest time, TV On The Radio, while successful on record, were sometimes shaky when it came to pulling off their newer songs live without the bells and whistles. They added a horn section, but even during a guest spot on Saturday Night Live earlier this year, sound problems still plagued the band’s live performances.

Well either the band hired a new sound guy or Lollapalooza’s sound system is military-grade, but the band sounded incredible. Every little nuance – from jingle bells to shakers to mini-tambourines – came through loud and clear. Although the Dear Science tracks don’t directly translate to the live setting, they work by leaning heavier on distorted guitar and big, pounding drums. The band was also full of energy as singer Tunde Adebimpe flailed around the stage as guitarist/vocalist Kyp Malone held steady as a cool and collected counter part.

The hour-long set consisted of mostly newer material save for a few tracks from releases Return To Cookie Mountain and their 2004 debut Desperate Youth, Blood Thirsty Babes. Dear Science track “Golden Age” quickly became a crowd favorite with its bass-heavy intro over Kyp Malone’s whispery falsetto as it exploded into a horn-lead melodic chorus. A ferocious version of the 2006 hit “Wolf Like Me,” which put TOTR on the map, brought the crowd to their knees as Tunde Adebimpe’s honest delivery was coupled with a driving beat and noisy guitar squeals. “Crying” featured guitarist David Andrew Sitek’s clever soul guitar antics over dreamy vocal lines and a collage of synthesizers.

The band seemed excited and gracious to be at the event by enticing the crowd several times by yelling “Chicago!” several times over the loud speakers. It was probably the first performance of the weekend where dancing came natural and didn’t seemed forced by the crowd in attendance. TV On The Radio shined and became the band to beat at a festival that has so far had plenty of good but not many truly great performances.

Photo Credit: Richard Giraldi

If day one’s running theme was rain, day two was here comes the sun.

Lollapalooza festivalgoers were met with plenty of sunshine and 90 degree temperatures on Saturday, August 8. But the dramatic weather shift didn’t appear to phase many, as there appeared to be another sell out crowd on hand in Grant Park.

After lathering on a few coats of sunscreen, I made my way down to the park. It was indeed hot, but Grant Park’s location created a natural remedy in the lake winds that swept over the sweltering crowds. In the shade and later in the evening, it the winds made the temperature much more tolerable, even enjoyable at times.

Los Campesinos!

I started my bright and warm afternoon with the noisy pop rock of Los Campesinos! (The exclamation mark is part of their name.) This was the Cardiff, Wales group’s second time at Chicago’s Lollaplooza. While their time slot was still stuck far before 3 p.m., the band played on the much larger Budweiser stage. Their songs were vibrant and full of energy and meshed quirky-short keyboard lines with angular guitar riffs. However, I don’t understand their decision to have a violinist in the band as the instrument seemed lost in the mix.

It was then time to move on to the south end of Grant Park where Minneapolis rapper Atmosphere played to what looks like an enormous crowd at the Chicago 2016 stage. Atmosphere – who also goes by the name Slug – had clever lines and a tight delivery, but his playing to the crowd plagued much of the set. There were a number of lulls in which he would tell a story or make an inside joke that would fly over the baking audience’s head.

After hitting the two largest stages, I settled in at the smaller Citi Stage on Balbo Drive to catch up-and-coming act Chairlift and drum-and-guitar assault duo No Age.

Chairlift

Chairlift’s claim to fame is that really catch tune from that old iPod Nano commercial. You know the one. Well the audience must have because it was really the only song of their hour-long set that got any kind of reception. Still, the band didn’t help their own cause. They went on ten minutes late and encountered a hoard of sound problems. Sometimes the vocals were two loud and the drums were too low and vice versa and etc. etc. Finally 20 minutes into their set did, the songs finally came together. The group has an eerie electronic pop sensibility to them that occasional recalled an ‘80s-vide that wouldn’t be out of place in a John Hughes film.

No Age

Following Chairlift on the same stage was Los Angeles melodic noise-punk duo No Age consisting of guitarist Randy Randall and drummer Dean Allen Spunt. Before the band started, a fold out chair on stage with a guitar leaning on it raised a few eyebrows. When the band took the stage, it was confirmed that Randall has suffered a dislocated shoulder the night before. Still, the band took to the stage and delivered a relentless 25-minute assault on the crowd’s eardrums.

No Age -- Live at Lollapalooza 20

Their songs are punk in speed with the drums and guitar pounding away at a rapid pace, but the guitar riffs are unusually melodic. Probably more melodic than what the sound system could handle as occasionally the sounds drifted in and out of muddiness. However, the band plowed through nearly 20 songs in a short time and ending 20 minute early. The set was ferocious and one of the Lolla day two’s little rock n’ roll gems.

TV On The Radio

One act that was nowhere near subdued was the Brooklyn art-rockers TV On The Radio. You can read a full review of TV On The Radio’s Lollapalooza 2009 performance on loudlooppress.com right now.

Animal Collective

After a short stop at the tedious Animal Collective – honestly I liked the last album, but still don’t get them live – it was time to get a decent spot for Tool. I was one of the many sorely disappointed, but understanding, of the Beastie Boys’ cancellation. So having seen the Yeah Yeah Yeahs at Chicago’s Aragon Ballroom a little over three months ago, I decided to check out Tool.

Fans waiting for Tool

I was a big Tool fan years ago, but I can say with assurance that I am not a fan of 10,000 Days. So much so, that I really stopped paying attention to Tool altogether. However, I might be alone on this. When Tool took the stage at 8:30 p.m. the crowd was enthralled like no other. Fists were in the air; people were crowd surfing and were moshing. It was mayhem. Good ol’ fashion progressive metal mayhem. But really Tool fans, it’s 90 degrees. Why the jeans?

Anyway, Tool’s set was culled mostly from 10,000 days material and a few select cuts from Aenima and 2001’s prog behemoth Lateralus. The crowd reacted the same regardless of songs and screamed every lyric. Honestly, by the third song my interest had waned, but you have to hand it to Tool by keeping an incredibly intense fan base after not releasing any new material for years at a time. It’s brilliant marketing, really. Well, on to day three.

Photo Credit: Richard Giraldi

“Whoa…I’m about to see Depeche Mode! I feel like I’m 35!” an 18 year-old fan yelled.

After a few weary looks and sarcastic eye-rolls from a number of festivalgoers around him, a bearded older gentleman turned to the youth and said, “What’s so funny about that?”

It was this generational divide among the Depeche Mode crowd on Lollapalooza day one that made their performance so peculiar yet immensely entertaining.

Depeche Mode are nearing their 30th year of existence. They’re also a band that would have never been booked at Lollapalooza in its early ‘90s heyday as the alt-rock destination. But that didn’t stop them from putting on an exciting, provocative and eye-catching performance in Grant Park on Friday, August 6, to a nearly sold out crowd of 75,000.

The group opened with three cuts off their latest album Sounds of the Universe. These songs are a bit darker in sound and in delivery. Album opener “In Chains” began with a screeching synthesizer line until a funkified wah-pedal guitar riffs keeps it moving. The single, “Wrong,” was the first song, and one of the few, of the night where fans both young and old sang passionately, perhaps because the quick hitting drum machines and rubbery synthesizer lines are comparable to newer Nine Inch Nails material.

However, the show didn’t hit full stride until the band delved into their older and better-known material. Songs off the 1990 classic Violator such as “Policy of Truth” and “Enjoy the Silence” were instant crowd pleasers. While the band’s electronic flourishes and sleek guitar breaks on older songs may occasionally sounded dated, the quirky and odd visuals – multi-colored gum balls or band members dressed as giant astronauts staring into the crowd – offered a more lighthearted approach than an ‘80s act taking themselves too seriously. “Walking In My Shoes” off the 1993 album Songs of Faith and Devotion may not come off as precise as the studio version, but the song succeeds if only for showcasing Dave Gahan’s sultry vocals.

Speaking of Dave Gahan, the man is practically a force of nature. He oozed sexual energy as he strutted around the stage shirtless only dawning a black leather vest. The 47-year-old front man utilized his arsenal of signature rock n’ roll moves such as microphone stand twirls or the occasional crotch grab.

By the time Depeche Mode erupted in to the much-anticipated classic “Personal Jesus,” the band had won over a crowd both mature and wise and young and curious. Their highly energetic two hour set was pure electric sex and a fitting way to kick off Lollapalooza 2009.

Anyway, technical difficulties have kept me from updating our twitter – @loudlooppress.

So for today, you can see my live tweets at twitter.com/rgiraldi – my personal twitter account. – complete with pictures!

Thanks for reading loudlooppress!

UPDATE: Back home from Lolla Day 1. Will have a wrap up post along with a full Depeche Mode review up soon. Also, @loudlooppress should work tomorrow as I’ve configured it to work with Twitpic. However, for some reason my normal Twitter device texts aren’t going though. Weird, huh? Anyway, stay tuned.

Yes, it’s time again for the Chicago music event of the summer. Be sure to follow us on twitter at @loudlooppress. We’ll be tweeting live from Lollapalooza all weekend long. Then tune right here for day-after wrap ups and then a complete post-Lolla review.

Still want more? Head to Lollapaloozablog.windycitizen.com to find our coverage and even more in-depth Lolla stories.

This year’s event is an odd hodgepodge of new and old acts. Headliners include Depeche Mode and Kings of Leon who’ll play on Friday night, Yeah Yeah Yeahs and Tool who’ll take the stage on Saturday night, and The Killers and Jane’s Addiction will close the festival on Sunday.

But I’m sure most music fans know at least something about the headliners. What about all those bands playing earlier in the day and on the small stages? There are like 180-or something bands playing, you know.

So this year, we present you with a preview of can’t miss acts that you probably didn’t plan on seeing. Lets do this.

Friday, August 7

Manchester Orchestra -- Budweiser Stage, 12:15 -- 1:00 p.m.

Without taking a listen to Manchester Orchestra you might think they are a classical music playing brood from England that only your grandparents would like. Lucky for you, however, this couldn’t be farther from the truth (sorry classical music fans). The name does have some loose ties to England though. A Georgia grown crude, emotional and urgent indie rock band as showcased on their latest release Mean Everything To Nothing. Singer Andy Hull started the band while listening to a lot of Morrissey and the Smiths, thereby becoming fascinated with Manchester, England, and apparently thinking it was a good idea to incorporate it into the band name. But where did the orchestra part come from, you ask? Hull started the band with all intentions of it being a solo project with guest appearances by friends. He was to be the conductor of an “orchestra” of friends. Get it? It didn’t exactly work out that way but I love the name nonetheless. -- Shelby Blitz

Gringo Star -- BMI Stage, 12:30 -- 1:15 p.m.

Too indie for Southern rock? Too old school for indie rock? Don’t worry. The slight chuckle inducing-named Gringo Star have what you desire. This Atlanta band, whose old name was the far less funny A Fir-Ju Well according to allmusic.com, dabbles in lofi antics with edgy melodic vocal lines. Their 2008 release All Y’all features an extremely poppy title track complete with hand claps, but it’s their gritty tunes that really shine. Band members, brothers Nick Furgiuele and Peter Furgiuele, Pete Delorenzo and Matt McCalvin, are all muli-instrumentalists. So expect a highly active show with much instrument switching. -- Richard Giraldi

The Knux -- Citi Stage, 1:00 -- 1:45 p.m.

While indie rock is represented with full force at this year’s Lollapalooza, Hip hop seems to be lacking somewhat. Well there is one can’t miss Hip hop act this year, and it’s not Snoop Dogg. New Orleans Katrina refugees The Knux, who have since moved to Los Angeles, are one of the most creative duos in the scene right now. They can rap, sing and play their own instruments. Consisting of MC’s Rah Almillio and Krispy Kream, The Knux have garnered much attention for crafting tunes with a more pop-like song structure complete with choruses. Their debut Remind Me in 3 Days has been praised for it’s funky, electronic and occasional rock flourishes. This has the potential to be a break out performance. -- Richard Giraldi