This morning (April 5th) Early Bird tickets for Chicago's Lollapalooza 2011 went on sale, and within an hour they were all sold out. No official line-up for Lolla 2011 has been released, but tens of thousands of music fans took a chance and purchased tickets in hopes of a stellar line-up.
Early Bird Lollapalooza 2011 tickets went on sale today at 10AM, and cost $185, which included all fees. Since those sold out, the current options for buying a festival ticket would be the $215 Regular Price Tickets, the VIP 3-Day Pass for $850, or 3-Night Travel Package for $1129. $90 Single-Day Passes will go on sale this summer, after the line-up is released.
The 20th Anniversary Lollapalooza Lineup will be revealed Tuesday, April 26, but the rumor mill is already churning with who will be playing the Chicago festival this fall. A Perfect Circle released their summer into fall 2011 tour dates, which had no Chicago stop, and an empty gap between August 3rd and August 8th. It is safe to say A Perfect Circle will be playing Lollapalooza 2011.
Lollapalooza 2010 included such heavy hitter acts as Lady Gaga, The Strokes first concert in years, Soundgarden, Green Day, and the current not-so-underground indie band Arcade Fire.
Other possible Lollapalooza 2011 bands that are semi-confirmed either though interviews, leaks, or suspicious touring schedule incclude, Foo Fighters, 30 Seconds To Mars, Incubus, Eminem, Arctic Monkeys, Girl Talk, Muse, Best Coast, Cee-Lo Green, Lykke Li, White Lies, and Mumford and Sons.
http://www.examiner.com/music-industry-in-chicago/lollapalooza-2011-early-bird-tickets-sell-out-under-hour
Lollapalooza Debut in Chile, Speaking Many Tongues
SANTIAGO, Chile — National pride and brand expansion made a happy alliance at Lollapalooza Chile, this country’s first full-scale international rock festival and the first Lollapalooza festival held outside the United States.
For two days and nights, more than 50 acts performed on five stages in O’Higgins Park, Santiago’s equivalent of Central Park.
“Festivals like this one are a window to the world for Chileans,” said Sebastian de la Barra of Lotus Productions, who produced the festival with Lollapalooza’s American founder, Perry Farrell of Jane’s Addiction.
The headliners — Kanye West, the Killers, the Deftones and Jane’s Addiction — were American rockers and rappers on outdoor stages, along with the European disc jockeys Fatboy Slim and Armin van Buuren shaking the park’s indoor arena with dance music.
More than 20 acts were appearing in Chile for the first time. Each day’s 11-hour lineup opened with leading musicians from Chile and across Latin America, including a Chilean rock institution, Los Bunkers, the rapper Ana Tijoux and one of Chile’s newer hitmakers, the songwriter Francisca Valenzuela.
Why Chile? The first Lollapalooza Festival went on tour 20 years ago, and since 2005 Lollapalooza has been an annual event in Chicago. But the franchise had stayed within the United States; Mr. Farrell wanted to expand. “We could have gone into Europe and the U.K. and tried to bust out another festival,” he said, “but they’ve got a thousand festivals over there.”
The partners in Lotus reminded him, he said, of the young promoters of the original Lollapalooza. “They were available and they were desirous, and we were available and we were desirous,” he said. He quoted his own lyrics from “Jane Says,” an early Jane’s Addiction song: “I only want ’em if they want me.”
Mr. Farrell called this the “proof of concept” Lollapalooza Chile. With an audience estimated at 40,000 to 60,000 people a day and a budget, its promoters said, between $8 million and $10 million, it was not expected to break even. Because the festival was scrambling to book acts after deciding to go ahead in November, Mr. Farrell said it had paid premium prices for some performers. The point was to begin establishing Lollapalooza Chile as an annual event and destination; a 2012 festival is already being planned. About 5,000 tickets for each day were sold outside Chile, primarily in Brazil, Argentina and the United States. (CSS, a jokey dance-rock band from Brazil, and Todos Tus Muertos, a politically minded punk-reggae band from Argentina, were among the performers.)
Despite some logistical glitches, including computer-ticketing snags, it was a professional debut for a newly hatched festival. Sound systems were superb and schedules ran largely on time. The biggest problem was that one of the park’s five stages, the Teatro la Cúpula, was far too small for audiences wanting to hear the acts booked inside. At one point mounted police came in to disperse the crowd outside it.
Like Lollapalooza in Chicago, the festival had one stage dedicated to shows for children, a Tibetan-style garden for relaxation and a determined effort at recycling, with hundreds of fresh-faced volunteers collecting plastic and cans.
By design or not, the lineup contrasted angst-laden Anglos with chipper Latin Americans. Mr. West’s forceful, tireless set of arena-scale hip-hop, the festival’s finale, was a cautionary tale in reverse. He started with recent songs — flipping between defensive arrogance and confessional self-consciousness — about what a “monster” fame has made him, then turned to his early, happier raps celebrating the triumph of his first successes, then moved into Auto-Tuned songs about betrayal and heartache. He did acknowledge, at concert’s end, that other people had hardships of their own. Jane’s Addiction and the Deftones both played riveting, muscular sets, grappling with mortality and self-destruction in songs that veered between bleak dirges and furious hard-rock exorcisms.
The National and the Killers placed surging rock behind thoughts of troubled romance and self-doubt. Performing in the theater to a small but rapt audience, Cat Power (a k a Chan Marshall) sang in her breathy reverie about love, loss and death as her band built gradual and then overwhelming crescendos.
Lollapalooza Chile wisely booked some bilingual American acts: the marijuana-loving Latino rap group Cypress Hill and Devendra Banhart, who grew up in Venezuela and whose psychedelic folk-rock has lately been infused with Brazilian tropicalia and other Latin rock. (Backstage, Mr. Banhart said that he was planning to visit the stadium in Santiago that is now named after one of his idols, Victor Jara. He was a songwriter and activist who was tortured and executed in that stadium as a political prisoner in 1973, during the first days of the dictatorship of Augusto Pinochet.)
There was outlandish, glittery and sometimes inexplicable spectacle from the New York band Fischerspooner, the Australian band Empire of the Sun and the Oklahoma band the Flaming Lips; there was reggae from Sublime With Rome and from the English band Steel Pulse, who were joined onstage by Chile’s leading reggae singer, Quique Neira, with his knee-length dreadlocks.
Unlike their Anglo colleagues, the Latin American bands didn’t indulge themselves in self-pity. The Chilean group Chico Trujillo, an overwhelming local favorite, revealed itself as a world-class party band. Its songs revved up the cumbia beat that has variations across Latin America with quick-tongued lyrics and punchy, skalike horns; for variety, it sometimes switched into fast rumbas. Fans shouted along as Aldo Asenjo sang about the mishaps of love and life and the determination to struggle onward, with the music underlining a sense of comedy and resilience. Ms. Valenzuela, also backed with a horn section, sang her upbeat tunes about how love can go wrong and right, smiling her way toward a woman’s hardheaded prerogatives. Los Bunkers balanced their sometimes downhearted lyrics with tuneful new wave and Merseybeat.
The Latin bands also had a strong streak of social consciousness. Two forthright hip-hop performers, Ms. Tijoux — born in France to Chilean expatriates — and Mala Rodríguez from Spain, mixed rapping and singing to mingle boasting with larger issues. Ms. Tijoux, propelled by funk and jazz vamps, had a long list of issues in “Protesto, Manifiesto” (“I Protest, I Manifest”); Ms. Rodríguez, driven by rock guitar or hip-hop samples, flaunted her own determination as an example of how people, particularly women, should seize control of their lives. Bomba Estéreo, from Colombia, merged various dance grooves — some electronic, some guitar-driven, often drawing on Afro-Colombian rhythms like champeta — with lyrics about a wide-open, multicultural identity. Electronica producers from Chile — DJ Raff, Latin Bitman and Matanza — mingled international club beats with local ones.
The promise for Lollapalooza Chile is not solely as another export market for English-speaking rock and pop; there is already plenty of it on Chilean radio, and audiences here knew just when to shout lyrics for Mr. West and the Killers. The festival might also spur its Anglo visitors to look beyond their own borders.
http://www.nytimes.com/2011/04/05/arts/music/kanye-west-the-killers-and-los-bunkers-at-lollapalooza-debut-in-chile.html?src=twrhp
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