• • WBEZ’s Jim DeRogatis has the scoop on the Cook County Board of Commissioner’s recent move to grab control over the amusement tax waiver provided to Lollapalooza. The county estimates that the annual summer festival’s tax exemption adds up to approximately $350,000 a year to the county alone.
• • ‘Soul Train’ creator Don Cornelius tragically passed away last week and Chicago Tribune’s Greg Kot detailed Cornelius’ legacy as a civil rights pioneer and musical tastemaker.
• • Brooklyn Vegan Chicago has the details on Mavis Staples headlining this year’s Chicago Blues Festival in June.
• • Deli Chicago named Mutts its “Emerging Artist of the Year” for 2011. Congrats, guys!
• • Jessica Hopper spoke to Chicago singer-songwriter Ami Saraiya about her new album, due out in April, and how her nursing career inspires her music.

Photo by Drew Reynolds

Disappears, as you may or may not have known, opened for the Arctic Monkeys at the House Of Blues on Saturday, August 6, for one of them Lollapalooza aftershows.

And they played an absolutely killer set.

How do I know? The band posted an incredible sounding board recording from White/Light’s Jeremy Lemos to their Soundcloud.

From the first Steve Shelley snare rattle of “Superstition” to the mesmerizing, psych-jam of “Revisiting,” this may be the best live recording I’ve heard all year. Years? Only time will tell. Anyway, lets this baby rip below:

Whoa. Whoa. Whoa. You didn’t think I was done talking about Lollapalooza, did you? No way. I have one, er, a couple final words to say about the fest. You know, The Rundown?

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

BEST BAND: (TIE) Le Butcherettes & The Joy Formidable

BEST HEADLINER: Foo Fighters

MOST DISAPPOINTING BAND: The Cars

BAND THAT REALLY WANTS TO BE THE WHITE STRIPES: Little Hurricane

BEST NEW TREND: Bro On Bro

WORST KARAOKE PERFORMANCE: Cee Lo

BEST PLACE TO WATCH CEE LO’s PERFORMANCE: The Wine Tent

BEST WAY TO CLEAR THE NORTH SIDE OF GRANT PARK: Ween

WORST CROWD SURFERS: All of them

BEST SIGN BEING PULLED BY AN AIRPLANE:

BEST PLACE TO TAKE ECSTASY: Perry’s Stage

BEST PLACE TO TAKE COKE: Perry’s Stage

BEST PLACE TO TAKE ACID: Perry’s Stage

BEST PLACE TO TAKE A DUMP: Perry’s Stage

BEST VIDEO GAME CHARACTER IN ATTENDANCE: Megaman

BEST PLACE TO TAKE A BATH: Buckingham Fountain

BEST PLACE TO HEAR A SONG ON A SPOTIFY COMMERCIAL: Tinnie Tempah on the Google+ Stage

BEST SONG TO HEAR IN THE POURING RAIN: Foo Fighters’ My Hero

BEST PANDA ON A STICK:

BEST SPECIAL GUEST: Ozzy Osbourne

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.

• • Time Out Chicago spoke with Lollapalooza founder Perry Farrell and we found out about his love of “Sportscenter” and his secret hope that his kids will take over the Lolla family business.
• • Windy City Rock took some time to introduce us to Chicago post-rockers Conductive Alliance.
• • Hey, look at that! Lollapalooza will expand to Brazil next year, according to the Chicago Tribune.
• • This weekend’s sold out Lollapalooza wasn’t just for music lovers, The Chicago Sun-Times discovered that it was also for gate crashing enthusiasts.
• • It wouldn’t be a Lolla news roundup without mentioning Jim DeRogatis. The journo tackles the thorny subject of Lollapalooza’s sweet tax exemption.

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.

The 20th anniversary edition festival will broadcast select acts from all three days of programming via its YouTube channel. The fun starts today at 1:30 p.m. with British indie rockers The Vaccines. Chicago rockers The Smith Westerns will grace your computer screens at 3:30 p.m.

Headliners are a bit light, but they are there. Coldplay, My Morning Jacket and Foo Fighters have all opted to participate in the web broadcast.

Get the full broadcast schedule after the jump.

Friday, August 5

1:30 PM – The Vaccines
1:45 PM – TAB the Band
2:15 PM – Delta Spirit
2:30 PM – Grace Potter & The Nocturnals
3:00 PM – Foster The People
3:30 PM – Smith Westerns
4:00 PM – White Lies
5:00 PM – Two Door Cinema Club
5:30 PM – Mountain Goats
6:00 PM – The Naked and Famous
6:30 PM – Bright Eyes
7:00 PM – The Kills
8:15 PM – Coldplay

Saturday, August 6

1:30 PM – Grouplove
1:45 PM – J. Roddy Walston & the Business
2:15 PM – Walk the Moon
2:30 PM – Fitz & The Tantrums
3:00 PM – Black Lips
3:30 PM – Mayer Hawthorne & The County
4:00 PM – Death From Above 1979
4:30 PM – Big Audio Dynamite
5:30 PM – Local Natives
6:00 PM – Ween
7:00 PM – Beats Antique
8:00 PM – My Morning Jacket

Sunday, August 7

1:30 PM – Imelda May
1:45 PM – The Joy Formidable
2:15 PM – Ryan Bingham & The Dead Horses
2:30 PM – Noah and The Whale
3:00 PM – The Pains of Being Pure at Heart
4:00 PM – The Cars
4:15 PM – Flogging Molly
5:00 PM – Portugal. The Man
5:15 PM – Cage The Elephant
6:00 PM – Arctic Monkeys
6:15 PM – Damian “Jr. Gong” Marley
7:00 PM – Explosions In The Sky
8:00 PM – Foo Fighters