Neon Musical Insight

Review by Caitlin Wittlif

If I were forced to pick two words to sum up Lollapalooza 2010, they would have to be crowd surfing. I’ve attended four years of Austin City Limits festivals, and there has certainly been moshing and surfing, but never with the consistency and intensity Chicagoans possessed this past weekend. Kids leapt on top of one another with crazed eyes, like the end of the world was nigh. It was simultaneously terrifying and awe-inspiring, and set the tone for a high-energy weekend filled to the brim with unforgettable performances.

Friday, August 6

Friday was a battle of the female drummers, the most bad-ass of battles. The Ettes played the shady and cool BMI stage bright and early at 12:30, and drummer Poni was a sight to behold. When she rocks out, her full-bodied, curly hair flies all over the place, wildly accompanying her sharp punk beats. Between her and the sassy swagger of lead singer Coco, the band managed to get heads banging early on. They played a mix of songs from all four of their albums, plus some yet-to-be-recorded tunes with their signature lo-fi sound. The set was well-attended, and fans fist-pumped in time as they lip-synched lyrics.

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2009 was undoubtedly a big year in music. Animal Collective kicked off the year with Merriweather Post Pavilion, which was questionably their most accessible album to date. They ventured more into the world of dance and electronics, and created what can only be best described as a sort of “Postmodern Pop”. Dirty Projectors released the widely celebrated Bitte Orca – another album that featured a Brooklyn band delving into the world of pop and catchy melodies — while newcomers the Antlers (also from Brooklyn) chronicled the sad and tragic play out of events that ultimately led to the death of a close one that would make even Plath proud.

For the past decade, Brooklyn has proven to be the epicenter of cultural trendsetting musical outlets, but in 2009, Brooklyn bands made it look like they were the only one’s that mattered.

2009 also seemed like the first year where indie acts were absorbed, and nearly uncontrollably obsessed with the world of hooks and harmonies (at least on a much larger scale), as opposed to shunning them away with post-punk rebellion. Indie music was now being significantly acknowledged by the mainstream world, especially once Jay-Z was sighted at Grizzly Bear show in Brooklyn — with his lovely arm candy Beyoncé close by — in which he afterwards stated:

“What the indie-rock movement is doing right now is very inspiring. It felt like us in the beginning. These concerts, they’re not on the radio, no one hears about them, and there’s 12,000 people in attendance. And the music that they’re making and the connection they’re making to people is really inspiring.”

It felt like 2009 was truly the first year where admiration wasn’t limited to a performers specific genre, and that really, anything were possibile… at least in terms of music. Everything eventually overlaps. Maybe the crash of the music industry won’t turn ot to be so bad after all…

Neon Musical Insight present’s it’s 25 Finest Albums of 2009:

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After receiving international success for their arena pleasing single “Dominos” and an applaudable debut full-length, A History of Love, it only seems natural for the U.K. electro-rock duo to tour the States. Beginning in March, the band will bring their show coast to coast with New York’s A Place to Bury Strangers. Tour dates are below:

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With their hit debut single “Dominos” and  with remixing Lilly Allen’s “22″ earlier this year, it’s become pretty clear that U.K.’ers the Big Pink embrace the light heartedness of pop. Next up, a somber cover of Beyoncé’s generally upbeat “Sweet Dreams”, off of her most recent LP, I Am…Sasha Fierce. It’s interesting to say the least. Check it out below.

Download MP3: The Big Pink – “Sweet Dreams” (Beyonce Cover)

(thanks to Stereogum for the heads up)