Watch Nine Inch Nails Decimate Lollapalooza in 100 Minutes

Entire 22-song performance available to watch online – Enjoy!

August 5 2013, 9:48 AM ET

Nine Inch Nails played their first American show since 2009 at Lollapalooza this past weekend, delivering a stunning 100-minute set that SPIN ranked as the undisputed highlight of the festival’s first day. “The sound was like a minimalist remix molded in their own influences,” SPIN’s Christopher R. Weingarten wrote. “Equal parts Chicago house and Tubeway Army, playing songs like 1989’s ‘Sanctified’ with no guitars and letting Reznor bang a tambourine (!) on his chest for this year’s ‘Came Back Haunted.'” Now, fans who couldn’t make it out to Chicago’s Grant Park can witness the entire show above.

Trent Reznor dusted off several NIN standards (“Closer,” “Hurt,” and “Head Like a Hole”), plus a handful of new tracks (the aforementioned “Came Back Haunted,” “Copy of A”, and “Find My Way”) set to appear on the industrial icons’ upcoming September 3 album, Hesitation Marks. As for the stage show, SPIN noted that “[the] much-ballyhooed light show was actually more of a ‘shadow show,’ blasting the band’s likenesses 20 feet high or letting them move as silhouettes drowned in a screen’s glow. Lights blurted out like machine gun fire during ‘March of the Pigs’ and scrolled like Men in Black eyeball scanners during ‘The Wretched.'” Pretty hate machine, indeed.

Full set list below (via Slicing Up Eyeballs).

Nine Inch Nails @ Lollapalooza 2013 set list:

“Copy of A”
“Came Back Haunted”
“March of the Pigs”
“The Frail”
“The Wretched”
“Terrible Lie”
“Gave Up”
“Help Me I Am in Hell”
“Me, I’m Not”
“Find My Way”
“What If We Could?”
“The Way Out Is Through”
“The Hand That Feeds”
“Head Like a Hole”

Phoenix Close Lollapalooza 2013 With Epic Set

Thomas Mars of Phoenix performs during Lollapalooza 2013 at Grant Park in Chicago.

Thomas Mars of Phoenix performs during Lollapalooza 2013 at Grant Park in Chicago.

Via my beloved Rolling Stone Magazine…

The Cure, Vampire Weekend, Jake Bugg and more play last day

August 5th, 2013

Closing out a festival is no easy task, and Thomas Mars knows it. “Usually on Sunday night people are really tired,” the Phoenix singer told the Lollapalooza crowd last night, kneeling into the front row of a sea of people gathered for the French band’s superb main stage set. “This,” he said to the thousands still hanging on his every word seconds before his band’s ear-candy intro to “1901” kicked in behind him, “is something different.”

By the time Mars and his band took the Bud Light stage around 8:30 p.m., Lollapalooza had oftered up nearly 150 sets over the preceding three days. Phoenix, though, delivered the best performance of the entire weekend. The seeming ease with which the band played their weekend-topping set proved them to be undeniably worthy of the massive stages – and dollars – they now command.

Over a blistering 75 minutes, the Parisian rockers – including guitarists Laurant Brancowitz and Christian Mazzalai and bassist Deck d’Arcy – unleashed a jarring, career-spanning set heavy on material off this year’s Bankrupt!, (“The Real Thing,” “Entertainment”) and their breakout album, 2010’s Wolfgang Amadeus Phoenix (“Rome,” “Armistice”), while mixing in tunes from the band’s first three full-length releases. Mars reveled in the crowd’s palpable passion for his band: during a three-song encore, the mop-topped singer sprinted through the crowd; minutes later, he summoned the fans’ strength as he crowd-surfed his way back to the front.

In this instance, Phoenix’s best-known singles, particularly “Lisztomania” and “1901,” were overshadowed by the way they weaved songs together. One particular head trip of a combination found the band – aided all evening by two backing musicians – peeling off “Bankrupt!” and “Love Like a Sunset I and II,” (collectively known as “Sunskrupt!”) in rapid succession. Later Phoenix rewound time with a rapid-fire combo of “If I Ever Feel Better” and “Funky Squaredance,” off their debut album, 2000’s United.

On the opposite end of Grant Park, just shy of one mile from Phoenix’s raucous show, the mood was decidedly more subdued as the Cure played the Red Bull Sound Stage, and a peaceful gothic feeling washed over the audience as Robert Smith and Co. group rolled out one classic after another. The Cure charged out of the gate on Sunday, peppering the first 30 minutes of their set with some of their biggest hits, including “Plainsong” and alt-radio standard “Just Like Heaven.” Smith, a notoriously morose figure, was not entirely depressing: his happier self emerged – however briefly – during “Lullaby” and the ecstatic love song “High.”

In recent years, the Cure have stretched out in concert with a long-form songs, but the band opted for more succinct fare at Lollapalooza, including “Friday I’m in Love” and “The Lovecats.” During Sunday’s set, they also offered up some rather unexpected selections, particularly “Hungry Ghost,” “One Hundred Years” and “Trust.”

Vampire Weekend delivered a decidedly livelier performance earlier in the evening as the sun faded behind the Bud Light stage. The New York band had played in Chicago the previous year at the Pitchfork Music Festival, and frontman Ezra Koenig confessed to the main-stage crowd that he was far more excited this go-round. “Finally we get to play some of these songs in Chicago!” he said, referencing choice selections the band unveiled on Sunday off the foursome’s new album, Modern Vampires of the City.

Vampire Weekend were nothing if not perfectionists during their set; the band’s Lolla gig was a masterwork in technical musicianship. Drummer Chris Tomson landed one of the weekend’s most precise fills on Contra’s “Cousins,” while multi-instrumentalist and songwriter Rostam Batmanglij summoned sprightly synth magic on “Everlasting Arms.”

In addition to reeling out their early hits (“Oxford Comma,” “Cape Cod Kwassa Kwassa,” “A-Punk”), the four-piece proved their new material translates superbly to the stage: standout “Ya Hey” stretched out for nearly five minutes, transitioning between movements like an orchestrated classical piece. The peppy “Diane Young” was easily the set’s most amped-up selection, with Baio unleashing his trademark foot-sliding shuffle.

One of the most anticipated sets of the day – maybe too anticipated, as it turned out – came courtesy of 2 Chainz at the Grove stage. The Atlanta rapper made sure his popoularity was known several times during his set: the artist formerly known as Tity Boi repeatedly informed the hyped-up crowd he is “the hottest artist in the game.” To his credit, though, he often backed it up with heaters like “Birthday Song,” “Own Drugs” and a high-impact rendition of Nicki Minaj’s “Beez in the Trap.”

The gruff-voiced MC offered palpable evidence of his growing fame when, two songs into the set, a female fan threw her bra onto the stage. Chainz enjoyed the gift (“Someone’s been very, very naughty”), but quickly grew annoyed when the stage became littered with audience-thrown goodies. “I don”t appreciate people throwing shit at me,” he warned. “It was cute the first time; stop that shit.”

Wavves weren’t festooned with bras tossed their way onstage, but singer Nathan Williams and his lo-fi rock cohorts were perfectly content serving up crunchy rockers, including “Beat Me Up” and “Paranoid,” from their recent new album Afraid of Heights. Williams and his bandmates prepped for the gig by smoking pot out of an apple. “It’s an everyday thing,” bassist Stephen Pope told Rolling Stone of his fruit-friendly paraphernalia preference. Williams, for his money, says he strongly prefers performing after blazing a bowl or two. Said the singer: “It’s just more fun to play music stoned.”

After playing the Osheaga Festival Friday night and an official Lollapalooza aftershow Saturday night at House of Blues, Two Door Cinema Club shook off any lingering weariness when they took the Bud Light stage at 4:30 on Sunday. Perhaps spurred on by the massive throngs of people gathered, the Northern Ireland band delivered a 14-song set of pure indie-pop pleasure that included “Sleep Alone” and up-tempo gems like “Eat That Up,” “I Can Talk” and “Cigarettes in the Theater.”

Things were hardly slowing down for them after their show: Two Door were set to DJ a private afterparty later that night. But as guitarist Sam Halliday told Rolling Stone pre-performance, the band is always amped to be as productive as possible when they come to the U.S. “If you’re here you might as well do as much as you can,” he offered.

Jake Bugg can relate. The 19-year-old U.K. singer-songwriter, whose debut album is one of the year’s best so far, arrived in Chicago early Sunday, got one hour of sleep and then played a stunning 45-minute early-afternoon set. The singer, clad in a leather jacket despite the midday heat, and supported by a bassist and drummer, performed a handful of new songs, including the bluesy “Slumville” and foot-stomping “You and Me,” complementing crisp takes on album standouts “Speed Bump City,” “Lightning Bolt” and the genteel acoustic mediation “Broken.” An especially noteworthy moment came later in the set when Bugg put a fiery spin on the Neil Young classic “Hey Hey, My My (Into the Black).”

“It’s tiring, man,” Bugg said backstage of his manic touring lifestyle as he dragged every so often on a cigarette. “But I’m living my dream. The least I can do, no matter how much sleep I’ve gotten, is play a few songs.”

Glad it’s over 🙂 AA
Additional reporting by Steve Baltin

Lollapalooza 2013 day 1 review (Nine Inch Nails, New Order, Father John Misty, Ghost B.C. & more)

Nine Inch Nails @ Lollapalooza 2013

Nine Inch Nails @ Lollapalooza 2013

And there goes Friday. Despite ominous reports all week, the torrential rain never came to Grant Park, only a smidgen in the afternoon, and yet that was just enough to turn the fields into a gushy mess. Sandals floated around like sunken wreckage, while free spirits walked to and from the stages barefoot; it was heavenly gross. But that scene is expected for any festival, no less the mile-long Lollapalooza, where 80,000 brave souls are nudged, pummeled, and cracked over three days. It’s some wild shit.

Gardening aside, Friday played out fairly straightforward. The heavies camped north, while the pop savvy holed up south, and those with a heart for adventure scattered about with ADHD — it wasn’t by choice. The BMI Stage went from Hey Marseilles to Chance the Rapper, while The Grove stitched Frightened Rabbit between Disclosure and Lana Del Rey. This scheduled eclecticism worked to everyone’s benefit (that is, if you’re a glass half full-type), offering a change of scenery and a wider opportunity to catch newer sounds.

There were probably more, but here are some of the best moments we caught on Day One.

Lollapalooza 2013 began on Friday (8/2) in Grant Park with performances by Nine Inch Nails, New Order, Queens of the Stone Age, Father John Misty, Ghost B.C., and many others. You’ve already seen one set of Day 1 pictures (more soon to come), and here’s our review…

Garage rock duo Deap Vally played a great set at the Petrillo Stage, rocking the early-afternoon crowd. All it took was a drum set and a single guitar; it goes to show you that sometimes less really is more. Their bluesy output was a nice kick-off to the day.

I had no idea what I was in for on the way to catch Ghost B.C. at the Northernmost side of the festival. I’d heard that they were a Swedish metal band that liked to wear costumes on stage and were secretive of their true identities, but my knowledge ended there. Once I got to their stage I was greeted by a group of hooded and masked musicians that looked more like members of a pagan cult than a band. If it wasn’t for the setting and the instruments in their hands I would have thought otherwise. The band played an intense set of Gothic doom metal that had fans nodding their heads vigorously. How they managed to keep playing in their costumes in the summer heat, however, was beyond me. Styled after what looked like an undead bishop priest, the Ghost B.C. frontman sauntered across the stage oozing confidence. His voice was equally as impressive as his costume. The band’s aesthetic may have been a little at odds with the bright sunshine (maybe give them an evening slot next year?) but it definitely helped them stand out, and on top of that they played an impressive set that won me over.

The next act I caught was the absolutely hilarious Father John Misty over at the Lake Shore Stage. Misty and co. ran through cuts from last year’s highly-enjoyable Fear Fun, when the frontman wasn’t busy telling the Platinum Pass holders they could eat sushi off of him later on. His banter wasn’t time wasted though and served to add some context to his somewhat bizarre lyrics (see “I’m Writing A Novel”).

The last time I saw Crystal Castles was at Lollapalooza 2010 which was right in between their first two albums. I was curious to see how the band had changed since then, especially now that they’ve got a third album under their belt. Alice Glass and co. appeared on stage right on schedule. Just like last time, Glass brought along a bottle of booze which she took a sip of before starting the show, but she didn’t share it with the audience this time around. The band played “Baptism” during their their set with strobe lights blaring and blue lights shooting beams through the smoke. Glass even crowd surfed a bit and got up close and personal with a few fans. Unfortunately her mic seemed to get tangled up and her vocals didn’t come through for the last bit of the song. This however didn’t stop her from screaming the lyrics to those around her. Ethan Kathe stuck with a large red synth while Alice messed around with a drum pad and microKORG, later hanging herself with her own mic cable like a human puppet. Never a dull moment with them.

Too good to be pigeonholed as EDM and be placed on Perry’s Stage, house music revivalists Disclosure were given the shaded Grove Stage instead. With only a handful of EPs and a brand new debut LP out they gathered one of the more sizable crowds of the day. Curious onlookers who had come for a song or two seemed to have a hard time leaving their fun set. I also left early to go catch New Order and nearly got tackled by the influx of folks running in to see these guys. That should tell you enough.

New Order did not disappoint. They played a solid set that went over their mandatory classics including the famous “Blue Monday,” which got people dancing arm in arm in a large mud pit on the right side of the stage. The band were tight and no one seemed to miss Peter Hook too much; his replacement filled in just fine. Frontman Bernard Sumner mentioned that Chicago was one of the few cities to remind him of his band’s beloved hometown Manchester, adding that the only noticeable difference was better weather. Those who stuck until the end of the set were in for a surprise. Having enough time to perform a few more songs, the band played a trio of Joy Division classics – “Transmission,” “Love Will Tear Us Apart,” and the ode to Ian Curtis called “Atmosphere.”

It was tough, but I also managed to catch a bit of Queens of the Stone Age’s set on the very opposite side of the park. Josh Homme and co. kicked things off in a big way with Songs for the Deaf’s “Millionaire” and “No One Knows” into newer scorcher “My God is the Sun.” The group were polished to all hell and really got the crowd going. It was one of the most exciting sets of the day.

I had eagerly been awaiting Nine Inch Nails’ return for four years, and thought I had found the perfect vantage point to see the band, until a couple of tall middle aged fans came out of nowhere and completely blocked my line of site. Trent Reznor and co. hit the stage 8:15PM sharp backed by some high tech panels that digitally manipulated and projected their shadows. The band sounded astounding and followed their intro with a heavily redone version of “Sanctified.” Unfortunately I saw very little of the actual band for the first few songs due to the aforementioned tall fans. Luckily the crowd moved slightly during the set a giving me enough room to find a better spot where I could actually see them. Reznor played many of his hits including the sexually charged “Closer” which received a huge response from the crowd. Other singles followed including “March of the Pigs” (to which fans eagerly sang the refrain of). Reznor also mixed it up a bit by switching to piano for a few moody instrumental ballads. Exhausted and sunburned, I originally planned to leave the show at 9:30 to avoid the exit stampede, but the second half of the set ended up keeping me around until the very end .The last half included more recent tracks from the band’s discography including “Only,” “Hand That Feeds,” “Survivalism,” and a few tracks from Broken. The band also played a new song that will most likely be featured on the upcoming Hesitation Marks (Halo 28 for you longtime NIN fans). Reznor closed the show with the brutal and moving “Hurt” that sent chills through the crowd. He once said in an interview that the Johnny Cash cover was so good that he felt like the song wasn’t his anymore. Last night he reclaimed it as his own.

Day 2 of Lollapalooza 2013 is currently underway. Stay tuned for our reviews from the rest of the weekend.