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Friday @ Lollapalooza: Muse, Girl Talk

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Who was the main headliner Friday night? If you're over 30, you probably thought it was Coldplay. But the biggest stage at Lollapalooza with room for the biggest crowd is on Hutchison Field in the south end of the park, and that's not where Coldplay performed. The bigger stage and crowd went to Muse.

That older demographic has been asking me for weeks, "Who the hell is Muse?" But this wailing trio has been around for 17 years, longer than Coldplay -- long enough that at festivals later this month in their native Britain they'll be performing one of their "classic" albums in its entirety -- and they sold out London's Wembley Stadium before most Yanks had heard of them. Muse has developed a fiercely loyal following around the world of largely younger fans less familiar with the glam- and prog-rock they ape so ably. The band's appearance last year on the latest "Twilight" movie soundtrack put them over the top in the United States.

As if to ingratiate themselves, singer-guitarist Matthew Bellamy slipped in several nods to Americana during the band's nearly two-hour show, threading our National Anthem early in the set and transitioning with "House of the Rising Sun" later. This was between the band's relentless assault of slightly anachronistic, theatrical pomp on the order of everyone from Queen to Def Leppard. This is a band of unrepentant Big Rawk dorks, unafraid to wallow in the hoariest clich├ęs -- and they inspire such moments in their fans. Half the people around me were air guitaring throughout the set with wide smiles, reveling in the gift of a summer concert festival moment -- a free pass for acting silly and letting loose. Songs such as "Resistance" and "United States of Eurasia," along with all the "1984"-meets-"Tron" visuals on stage, are as shallow as most primetime TV (and by hour two, most Muse sounds the same) but the crowd at Hutchinson Field cheered religiously for every hollow agit-pop couplet ("Rise up and take the power back / It's time that the fat cats had a heart attack") and punishing riff all the way to the encore.

Meanwhile, the real action Friday night was in the newly expanded Perry's tent. The festival's annual DJ stage expanded this year to house 15,000 ravers (that's one big tent, lemme tell ya), and Girl Talk overflowed the capacity.

A Chicago favorite, Girl Talk, a k a 29-year-old Pittsburgh biologist Gregg Gillis, returned to Lollapalooza after three years with a much bigger show featuring his wild, live mix of pop music samples. Gillis makes music out of splicing others' together into new creations, and watching him trigger his samples in real time is like seeing a truly mad scientist at work. Dozens of fans from the crowd joined him on stage, throwing streamers, toilet paper and confetti around Gillis as he folded rap into '80s pop and '90s R&B into indie-rock. He snips the "hey ho" out of the Ramones and the "ay ay ay ay" out of Vampire Weekend for use as rhythmic props for Big Boi and General Public. His catholic tastes make for some of the best cross-generational jamming ever, and it certainly got every one of nearly 20,000 people hopping.

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This page contains a single entry by Thomas Conner published on August 6, 2011 12:44 AM.

Friday @ Lollapalooza: Chatting with OK Go was the previous entry in this blog.

On the Scene at Lollapalooza: Friday night is the next entry in this blog.

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