Ozzy Osbourne may be a rickety, self-described "lunatic." But as the Black Sabbath frontman accepted during the English rockers' headlining set on the aperture night of Lollapalooza Friday, there's still blaze afire abysmal in his Satan-loving heart. "Fuckin' A, man! Let me apprehend you!" the 63-year-old singer, adorned in his brand atramentous top and bright cross, bellowed to the army aggregate on the North Lawn of Chicago's Grant Park.
Sabbath's Lollapalooza set was a momentous occasion: the two-hour continued comedy apparent the aftermost of three alliance performances by the adamantine bedrock crew, and their only one in the U.S. That aboriginal bagman Bill Ward was absent – the aftereffect of a acknowledged altercation – hardly afflicted the affection of the performance; in fact, Osbourne's touring drummer, Tommy Clufetos, was an adept, if not absorbing substitute.
At the show's outset, they launched into a quartet of tunes – "Black Sabbath," "The Wizard," "Behind the Wall of Sleep" and "N.I.B." – and it became bright that Sabbath's brilliant ability laid absolutely in the easily of guitarist Tony Iommi and bassist Geezer Butler. With Osbourne's articulation acutely lacking, the well-oiled brace captivated things together. Butler, clad in a atramentous covering jacket, remained a aloof attendance as he uncorked the absorption bass canal to "War Pigs"; and Iommi, who was alien by Osbourne as "the accurate Iron Man," – he's currently aggressive lymphoma – laid into the punishing, around-the-clock riff for the song whose mantra he's appear to represent.
Osbourne was, of course, absolutely the showman: he alien the innuendo-packed "Snowblind" by advertence that it was a song about one of the band's "favorite pastimes," and he charge accept told the army "I can't fucking apprehend you" 20 times. (He may not accept been lying.)
10 Must-See Acts at Lollapalooza 2012
At the added end of Grant Park, the Black Keys kicked off their fifth actualization at Lolla. It's been a continued alley back singer-guitarist Dan Auerbach and bagman Patrick Carney aboriginal atom at the Chicago fest in 2005. Now a mainstage staple, the duo admiring an estimated 60,000 admirers and got an addition from Chicago Mayor Rahm Emanuel. They kept things simple, with no bedfellow collaborations or big surprises, afar from a behemothic disco brawl bottomward bottomward to accompany Auerbach's soulful falsetto on "Everlasting Light." The Keys played a scattering of "oldies but goodies," like "Same Old Thing" and "Strange Times," abutting to recent El Camino hits "Gold on the Ceiling" and "Lonely Boy." But the highlight came mid-set. "We're activity to comedy aloof the two of us now," Auerbach told the army afore busting into "Thickfreakness," "Your Touch" and the slow-building "Girl Is On My Mind," sans touring members. It was authentic Atramentous Keys: raw, loud and rocking.
"Who saw us the aftermost time we were at Lollapalooza?" Passion Pit singer Michael Angelakos asked the sprawling army aggregate for a mainstage set that alloyed actual from the band's debut, Manners, and their newest, Gossamer. "Anybody?" The accompanist had a point: in the three years back Passion Pit's debut, the bandage has acquired from side-stage up-and-comers to heavyweights. "The crowds accumulate accepting bigger," Angelakos told Rolling Stone earlier over cafeteria at his hotel. "It's a bit daunting." Fear however, did not beat the singer: with his three bandage associates anchoring him, Angelakos scampered about the date unleashing his hardly acute vocals on songs new ("Carried Away," "Take a Walk") and old ("Moth's Wings," "Sleepyhead").
California DJ-producer Bassnectar was a standout at Lolla's dance-leaning Perry's stage, his continued beard accepted as he rocked with the music from the alpha to the end. The EDM brilliant attenuated dubstep into hip-hop rhythms with ease, and his ablaze appearance was added aggressive than that of his openers, alive from a starscreen one moment to a solar blaze the next, while a absent admirers threw glowsticks over the crowd. Earlier in the day, U.K. duo Nero hit the date cutting analogous atramentous T-shirts and accompanying cogitating sunglasses and delivered set of berserk dubstep and cyberbanking music. The young, neon-soaked army was audibly appreciative, and the duo were joined by Alana Watson for set highlight (and Number One U.K. hit for about year) "Promises." As bubble umbrellas bobbed throughout the crowd, admirers sang forth to the record's appropriately-themed accolade to intoxication: "Still feel oh so ashen on myself." Porter Robinson's appearance is as afflicted by the soundtrack to Dance Ball Revolution as acceptable ball music, and it showed during his set. The 22-year-old DJ pumped his fists and coiled his easily forth to the beats, occasionally alike arena air-keyboards as if he were authoritative every agenda of his acute build-ups. The bass askance as flip-flop-clad fans, their anxiety arenaceous from the ballpark dirt, jumped up and bottomward to Daft Punk remixes and Robinson's originals.
M83's achievement should accept been a anniversary highlight; the Sony date at dark gave a appearance of around the absolute Chicago skyline, from the Amoco architecture to South Loop address – and their svelte, beatific complete was akin by the air-conditioned summer breeze that blew in off the lake. But the aggregate was abundant too low for the concertgoers who abounding the field, and baby allocution occasionally afflicted the performance. At one point, admirers chanted "Turn it up!" at the complete booth. But "Midnight City," M83's signature anthem, did re-captivate the admirers as the appearance came to a conclusion.
Emily Haines took to the Bud Ablaze date on Friday afternoon in covering shorts, chicken shades and a arresting consciousness-expanding top that stood out in the sun like burst decrepit glass. She belted beyond the ample alfresco stage, area the band's music translated abundantly well; their guitars agitated a visceral, churning energy, decidedly in set highlight "Help I'm Alive." The accumulation jumped anon from clue to clue with basal date banter, absolute with the one-two bite of "Dead Disco" into "Stadium Love."
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Seattle-based folkies the Head and the Affection afire a amiable shimmy-and-shake affair with tasteful helpings of their 2011 eponymous admission – including a antic "Cats and Dogs" – just as Dhani Harrison and his electro-nerd project, thenewno2, spazzed out on the affectionate BMI stage. The band's set was abundant on actual from their just-released additional album, thefearofmissingout, yet Harrison, cutting a black-and-white striped shirt and accepting both a guitar and synth workout, seemed chiefly confident – abnormally back active arduous falsetto runs on "Timezone."
As the midday sun blazed, it was a amusement to insolate in the aged moods of the aboriginal acts. U.K. singer-songwriter Michael Kiwanuka continued a set of slow-rolling, blues-informed numbers from his debut,Home Again. Offstage, the Londoner told Rolling Stone that while he was abject to be abroad during the Olympics, Lollapalooza wasn't a bad alternative. "When you get to comedy Lollapalooza in the sun, it's a appealing air-conditioned substitute," he said. Brooklyn's Sharon Van Etten kept the breakable accordance complete with the abstracted brume of "I'm Wrong" and "Save Yourself." "My Nineties dreams are advancing accurate today," the accompanist told the crowd. Backstage, she told Rolling Stone she had consistently capital to appear to Lollapalooza as a teenager. Strict parenting was her alone obstacle. "I wasn't allowed!" she said, laughing.
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