Day two of Lollapalooza 2022 featured surprise guests and artists paying tribute to others during a stacked lineup that included headliners Dua Lipa, Machine Gun Kelly and Bob Moses. While Friday featured an array of international acts, host city Chicago received props with a dedication to an artist gone too soon, while other acts covered everything from The Beatles (Taipei tube Houston “Eleanor Rigby”), Lily Allen (The Regrettes performed “Smile”), INXS (Bob Moses’ rendition of “Need You Tonight”) and Avril Lavigne, who also made an IRL appearance at the end of the night.
Machine Gun Kelly accepts his pop-punk crown
Before Machine Gun Kelly took the stage, speakers played My Chemical Romance’s “Welcome to the Black Parade,” a melodramatic reintroduction he likely idolizes, given its rap-pop-punk pivot. MGK doubled down on this new character: in a setlist packed with General public sale and Tickets for my fall songs, he sang into a mannequin handheld mic stand near a life-size pink helicopter while making tirades against the internet (“This shit is tearing up your self-esteem”). After releasing Avril Lavigne (“Bois Lie”), Iann Dior (“Fake Love Don’t Last”) and Glaive (“More Than Life”), he looked emotional. For him, it seemed like a headlining dream come true.
Time is a construct for Baby Tate and Jasiah
There was something endearing about a young crowd whose enthusiasm almost exceeded even the performer’s twerk-filled stage exuberance. Such was the case during Baby Tate’s set, where fans patiently waited for her set to start later than expected. It turned out to be a worthwhile delay, as rapper Jasiah worked the crowd from his stage across the pitch, a frenetic unintentional warm-up for Baby Tate which included the rock-loving rapper (who mixed the songs of Killers and System of a Down in the middle of his tunes) jumping into the crowd gathered at the start and excerpts from The Killers and System of a Down. Later, Baby Tate threw the party on her stage, which included her rapping (“Dancing Queen”) and R&B-crooning with equal aplomb as fans clung and sang along to every word, including picking up a unreleased song of which she shared the hook. only a few minutes in advance.
Taipei Houston Are Nepotism Noise Rock at its finest
Nobody knew what to expect from Taipei Houston because until two days ago they had never released a song. With a few opening gigs for Metallica under their belt thanks to nepotism, the noise-rock duo of drummer Myles and vocalist-bassist Layne — the 23 and 21-year-old sons of Metallica drummer Lars Ulrich, respectively — had a knack for melodramatic directing like their father. Taipei Houston charged through a series of fuzzy riffs, their single track “As the Sun Sets” and a hard rock cover of “Eleanor Rigby” with undeniable passion.
Wet leg: there is no secret handshake
Although this is the debut of British buzz group Wet Leg at the US festival on Friday, the duo of Rhian Teasdale and Hester Chambers have made it all so easy. Their casually synchronized spins and on-the-fly post-punk melodies and vocals, to their delivery of songs such as “Wet Dream” and “I Want to Be Abducted (By a UFO)” seemed instinctive. That’s not to say spontaneity wasn’t part of their flirty and fun set: Teasdale dedicated “Ur Mum” to bandmate Josh Mobaraki who wasn’t present, letting out a hilariously bubbly, leaning-back scream of his name where the audience The moment they got closer to “Chaise Longue,” the knowing smiles shared among the bandmates like a secret onstage were contagious to anyone within earshot.
Rolling Blackouts Coastal Fever creates the illusion of guitarists multiplying
Watching Rolling Blackouts Coastal Fever is like watching a colony of ants invade a piece of fruit. The Melbourne-based indie rock band perform most of their songs while pacing the stage, which means their bassist and three guitarists are constantly squirming, wrists scraping rapidly, as if on the edge of a rock. ‘a traffic jam. Almost a decade into their career, that’s part of their charm. This constant movement and accelerated pace meant that the deceptively nuanced singles “The Way It Shatters” and “Cars in Space” sounded as fleshed out as the studio recordings.
Regrets test the crowd
Indie pop bands usually approach festival sets as a way to charm new listeners. The Regrettes, however, wanted to put them to the test. Singer Lydia Night guided her Los Angeles quartet and their massive crowd through a series of engaging activities, from squatting and jumping simultaneously to learning the lyrics to their cover of Lily’s “Smile.” Allen. Live, Regrettes’ hits “California Friends,” “La Di Da,” and “Nowhere” were enjoyable enough, but Night’s determination to orchestrate in-person interactions turned a familiar performance into a blood-pumping festival. .
Back to the Future of Tinashe’s R&B Between the 90s and Now
Singer-actor-dancer… add “best kept secret” to Tinashe’s accolades. Not that she needed reminding him, after so many years on the periphery of an industry that just didn’t know what to do with her. Well, Tinashe is done waiting. With a team of tightly choreographed dancers backing her up she killed it, her brand of ’90s R&B boom-bap with a contemporary sheen is perhaps best suited to dark clubs, but was more than effective with the sun. acting as a spotlight. Even the slow jams were slamming.
Cordae talks about family values
Cordae had plenty of fan favorites in his arsenal that he dropped during his set – “Have Mercy” and his headbutt delivered “Broke As Fuck” among them – but he also invited the crowd to “vibe”. with him as family for some more chill numbers and time to pay tribute to the late Chicago rapper Juice Wrld. “He was my real brother,” he said, explaining that his first big stage appearances came when Juice Wrld opened, and he swore he’d never hit another stage without pay tribute to him before delivering “Lucid Dreams” to a grateful crowd. .
The stars align for King Princess
Mikaela Straus, aka King Princess, was in a particularly festive mood on Friday, and for good reason: not only her second album, Hold on baby, just dropped the day before, but a huge pile of people had gravitated towards its corner of the festival. While Straus let loose with the likes of crowd-pleasing “Pussy is God,” many songs focused on darker subject matter, with audiences hooked on every cathartic word of “Cursed” and especially “Change the Locks”.
The Glass Animals’ Long Rise Pays Off Josh
Whether through alchemy or algorithm, Glass Animals seem to have cracked the pop code, their modest beats, humble pop hooks and singer Dave Bayley’s falsetto is slowly but surely conquering the charts. (Indeed, “Heat Waves” reportedly broke an American record for the longest stretch to reach number one). Live, the band from Oxford, England, aimed to please the giddy competition winners, eagerly delivering songs such as “Space Ghost Coast to Coast” and “Your Love (Déjà Vu)” with a corny charm.
David Solomon makes bass drops for investment bank
There’s nothing money can’t buy, including an electronic alter-ego. Goldman Sachs CEO David Solomon previously called himself DJ D-Sol for doing generic club remixes, and in 2018 founded his label Payback Records. Now, under his real name, Solomon has created remixes of ABBA, Walk the Moon and Queen for a sea of nightclub-starved sports jerseys. After blowing up excessive plumes of fog, he invited OneRepublic singer Ryan Tedder onto the stage to perform “Counting Stars.” There was no explanation before or after. On the bright side, all proceeds from Solomon’s appearance will be would have donated for charities.
Girl in red goes her own way
A true DIY success story, the Norwegian singer and LGBTQ icon Marie Ulven, better known as Girl in Red, straddles the line between cult and mainstream success, and given her popular rise, it’s hard to believe she’ll achieve even greater things. great with less than his own terms. Catching her breath between her honest love stories lost and found, she sometimes seemed a bit overwhelmed by her budding stardom, jokingly it was quite a “Do It Till You Do It,” though the enthusiastic reaction to “We Fell In Love In October,” “Serotonin,” and “Girls” proved she was doing just fine on her way to glory.
Bob Moses awards festival explorers
Sacrificed to the gods of headlining counterprogramming, Canadian synth-rock duo Jim Vallance and Tom Howie, who play the role of Bob Moses, have snuck into a surprisingly solid set nestled in one of the most small corners of the festival. The space was barely crowded, but the band wowed the enthusiastic audience with a big, arena-ready sound, seamlessly merging dark and elegant minor-key house music, 80s pop and guitars. strategically deployed in an evocative confection best exemplified by the closer “Love Brand New.”
Dua Lipa levitating from side stage to main stage
Dua Lipa has been here before, but not like this. By the time the superstar took to the main stage for her headlining set, the pitch was a tight sea of humans all clamoring to see her. Her previous turns were on smaller stages and she thanked those who supported her on her way up. She also noted that she hadn’t played in the United States since March, before the overthrow of Roe vs. Wade. “Stand up for women’s rights, stand up against racial injustice,” she told the audience. “Stand up for the LGBTQ community, stand up for each other, and I’m here to stand up for you any way I can, I promise.” Dressed in a shimmering, tattoo-like, shimmering bodysuit that seemed to change color with the lights, she and her entourage – which included a band, backing vocalists and dancers – rocked the crowd with Dua’s hits made for the dancefloor, including “Physical”, “New Rules”, “Levitating” and his collaboration with Elton John, “Cold Heart”. She ended with “Don’t start now”.