Lollapalooza: Chicago's Rock and Roll Circus

Pearl Jam, Daft Punk lead three-day fest

September 6, 2007
Eddie Vedder and Perry Farrell backstage at Lollapalooza in Grant Park in Chicago.
Eddie Vedder and Perry Farrell backstage at Lollapalooza in Grant Park in Chicago.
Kevin Mazur/WireImage

In 1992, when Lollapalooza was a traveling alt-rock circus, Perry Farrell stood beside the stage and watched Pearl Jam. "They were playing in the afternoon," says Farrell, Lollapalooza's founder. "I remember thinking, 'This band is going to explode!'" Fifteen years later, Pearl Jam closed Lollapalooza – held the first weekend of August in Chicago – with a two-hour set, as fireworks exploded behind the main stage. "It wasn't exactly us who provided them, it was a stadium next door practicing a fireworks show," says Farrell. "But it was nice to imagine Pearl Jam thinking, 'Wow, these guys from Lollapalooza really go all out for us.'" It was an ecstatic ending for the more than 160,000 fans who filtered through Chicago's Grant Park during three hot days highlighted by high-energy sets from Iggy and the Stooges, Daft Punk, Yeah Yeah Yeahs, Modest Mouse, M.I.A., Amy Winehouse and Kings of Leon.

"Coming out onstage and seeing all the people there with the city behind them was just bananas," said Chicago rapper Lupe Fiasco, who performed Sunday afternoon. Fiasco was also stoked by a rare appearance by Daft Punk – who rocked the crowd Friday night with elaborate staging, including a giant illuminated pyramid – while Vedder sat in with Ben Harper for a heavy rendition of Bob Dylan's "Masters of War." On Saturday night, the audience split its attention between the dual headliners, Interpol and the British trio Muse. And on Sunday, Iggy Pop turned his set into a rock & roll orgy, inviting fans onstage during a ripping "No Fun."

Backstage, the performers gulped vodka drinks and cold beer in some much-needed shade. Patti Smith took pictures of her dogs; Kings of Leon hung out with their dad, Leon. Overall, Farrell was pleased with the results. "This year we placed the main stage facing the center of the park," he says. "We used feng shui, and it made the energy flow." He also made a Pearl Jam-style prediction. "I was really impressed with the band Ghostland Observatory – they could be a headliner in years to come." 

Pearl Jam: Censored
Three-fourths of the way through Pearl Jam's Lollapalooza set. Eddie Vedder began singing, "George Bush, leave this world alone!" – but all fans watching via the online stream on AT&T's Blue Room web site got was sixteen seconds of silence. AT&T eventually admitted that Davie Brown Entertainment, the subcontractor AT&T hired to Webcast the festival, pulled the audio when Vedder got political. "We regret that it happened," says AT&T's spokesman. Pearl Jam have since posted the unedited clip on their web site. "I don't believe that a capitalist corporation . . . has the right to subvert the First Amendment of the Constitution," guitarist Mike McCready wrote in a statement. "When one person or company decides what others can hear, that is totalitarian thinking!"

This story is from the September 6th, 2007 issue of Rolling Stone.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Music Main Next

blog comments powered by Disqus
Around the Web
Powered By ZergNet
Daily Newsletter

Get the latest RS news in your inbox.

Sign up to receive the Rolling Stone newsletter and special offers from RS and its
marketing partners.


We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

Song Stories

“San Francisco Mabel Joy”

Mickey Newbury | 1969

A country-folk song of epic proportions, "San Francisco Mabel Joy" tells the tale of a poor Georgia farmboy who wound up in prison after a move to the Bay Area found love turning into tragedy. First released by Mickey Newbury in 1969, it might be more familiar through covers by Waylon Jennings, Joan Baez and Kenny Rogers. "It was a five-minute song written in a two-minute world," Newbury said. "I was told it would never be cut by any artist ... I was told you could not use the term 'redneck' in a song and get it recorded."

More Song Stories entries »