The second day of Lollapalooza got underway Friday afternoon, with fans streaming into Grant Park at a steady, yet noticeably slower pace than Thursday — with far less pink cowboy hats to show.
The day’s big-draw names include R&B talents SZA and Victoria Monét, K-Pop idols Stray Kids, hip-hop powerhouse Sexyy Red and contemporary pop-jazz artist Laufey, featuring the Chicago Philharmonic Orchestra — all scheduled for evening sets.
A largely clear day brought intense sunshine on festivalgeors, making shade a commodity, unless you were a lucky VIP or GA+ ticketholder with access to the park’s more lush, shaded areas.
Many fans spent the early part of the increasingly sweltering day day waiting — some at stages — to get a good view of a headliner hours later. Others waited in long lines for hydration stations, a makeover at Ulta Beauty’s “House of Joy” pop-up and Tree Hut’s “Self-Care Studio”for skin care products, or a chance to pose with a Lollapalooza prop in front of Buckingham Fountain.
The name of the game for fans was to stay hydrated and enjoy the day to the fullest. — Matt Moore
Geese
The Tito’s Handmade Vodka Stage at Lollapalooza is an unforgiving place. Tucked in the southwest corner of Butler Field, known as the Petrillo Music Shell throughout the rest of the year, anyone attending a midday performance at the stage must stand on sizzling concrete and face the sun head-on.
Maybe that’s dramatic, but it sure was hot Friday afternoon, and things only got hotter when the Brooklyn four-piece Geese kicked into their blistering 11-song set.
Frontman Cameron Winter’s voice soared over the band’s post-punk, rock-and-roll, alternative and new-wave-leaning sound. Winter’s vocal ability shone throughout the set, especially on songs like “I See Myself,” a standout track from their 2023 sophomore album “3D Country” — a record that veers into twangy, indie rock territory while still keeping the band’s alternative roots. Fans embedded in the modest crowd gathered at the stage belted out the chorus along with Winter’s rasp and vibrato, as the singer nodded and said “I see myself in you, Chicago!”
In between songs, Winter shared his musings on Chicago, noting, “You guys have loud trains, loud public transport. It’s good. It snaps me out of my trance and back in the world.”
Drummer Max Bassin and bassist bassist Dominic DiGesu held down the rhythm section with precision, compelling some in the crowd to headbang and start a shortlived mosh pit. Keyboardist Sam Revaz added a vital level of texture, filling out the band’s sound.. Midway through the set, Revaz grabbed what might be the only keytar played this weekend, as Winter pounded on the keyboard. The two would trade keyboard duties for the duration of the set.
In addition to Winter’s freewheeling verses and catchy choruses, Geese’s strength lies in its guitarist Emily Green, who shredded on each song, breaking into guitar solos ranging from tasteful to all-out chaos.
“Thank you for all coming to the Tito’s Vodka Stage — we really hoped we would get this stage so we’re happy it worked out,” Winter said with a slight smile.
The band capped their tight set with another “3D Country” highlight, “St. Elmo,” ending with an in-your-face jam session. — Matt Moore
Wisp
There have been quite a few artists making festival debuts this weekend (not just Lollapalooza debuts) including the DIY shoegaze project of Natalie Lu, who has been the focal point of a ton of chatter on social media over the past year, ever since she released her first single “Your Face” in April 2023 that cascaded into a ton of shares and views — 100,000 overnight and one million in a week.
The rise has been so fast that some online have bizarrely alleged that she has to be an industry plant. Afterall, how could she have more followers than My Bloody Valentine?, they scoff.
The thing about the Wisp is that she’s not only incredibly solid but the 19-year-old is introducing the genre to a whole new generation of impressionable music fans that have never heard of Slowdive, Catherine Wheel or Cocteau Twins.
“I’m so nervous, I can’t lie, but thank you guys for being so supportive,” the meek Lu shared during the set. Not that she should’ve had any doubt. When she prompted the decent-sized crowd about who they were most excited to see on Friday, there was a unanimous chant of “You!”
Her music tracks, like that first single and several others from her debut EP “Pandora” (released April 5 on Interscope), are scene-setting masterwork. Lu’s high-register vocals are given a hazy dreamlike treatment, and they’re paired with a thundering crash of drums and crunchy guitar work that pays homage to shoegaze and dream pop and builds on them; that’s the beauty of a music genre when the gatekeepers step aside.
As of now, Wisp has a few more festival dates this year including Outside Lands and Levitation, but there’s no doubt a full-blown tour is coming – the music is just too good to keep locked up. — Selena Fragassi
Qveen Herby
“Oh s – -t! It better not start raining again!” said Nebraska-born singer and rapper Amy Noonan, performing Friday afternoon in her guise as Qveen Herby over the course of one hour on the T-Mobile south main stage. (While rain largely missed the festival Thursday afternoon, it did fall during Hozier’s headlining performance opposite Megan Thee Stallion Thursday night.)
Without a Chappell Roan performance on the docket, Friday’s fest, at least early on, saw smaller crowds but festival grounds remained in decent shape on Grant Park’s south end, with only easily avoidable mud — a minor issue largely negated by the day’s high temps and the proactive use of wood chips and more throughout Hutchinson Field.
“The drama, darling…” mused Qveen Herby on stage.
Noonan performed solo, singing live over a series of instrumental backing tracks during an intricately curated set, which relied as heavily on interactive, physical performance as it did singing, with Qveen Herby invoking props throughout a set heavy on performance art.
Emerging in a hooded, blue cloak, Qveen Herby conjured up a witchy feel early, invoking that word frequently throughout a set from which themes like self-empowerment and transformation quickly emerged.
As the sound of a phone ringing rang out across Grant Park, the artist ran to answer one on stage, a small part of the cinematic feel that largely drove the impressive performance. “Hello, it’s your dream life calling!” she exclaimed, setting up “Housewife,” a saccharine sweet pop track driven by an uber-catchy beat.
Later, ducking behind an onstage curtain, Qveen Herby suddenly appeared on the massive video screen flanking the main stage, blowing a kiss to the crowd before reappearing on stage in a new costume for “Mission,” with a spooky, organ-fueled track soon giving way to pounding drums.
“Anybody know anybody toxic?” asked the singer, setting up “Chakras.” “I’ve got some instructions!” she joked, with the crowd soon providing the bulk of the lead vocas l on “Sade in the 90s,” presumably the weekend’s only on-stage shoutout to both orange soda and author Deepak Chopra.
“I want you to know something. You mean the world to me,” Qveen Herby late in the set. “That I can exist as an independent artist out here being all witchy and s–t? That’s you. And I thank you.” — Jim Ryan
Ava Maybee
First impressions are everything for up-and-coming artists, and Ava Maybee didn’t waste her opportunity, adding in her very own “You Oughta Know” moment at the BMI Stage Friday afternoon.
Introducing her song “Colors,” the singer-songwriter noted it was about a “s – – -ty a- – ex,” but then took it one step further.
“He’s actually in the audience right now, so scream the lyrics so he gets it in his head!,” said the jovial talent, whose vibrant energy and charismatic stage presence are as contagious as her catchy lyrics.
When she wasn’t dishing out her own originals like the alt rock “Self Doubt” or the pop punk gem “Puke,” she had the crowd engaging in another round of Chappell Roan’s “Hot To Go!” dance routine and then dished out a cover of Katy Perry’s “I Kissed A Girl,” teasing a “very special guest.” But not the one most were thinking of.
Seriously though, collaborating with her dad, Red Hot Chili Peppers’ Chad Smith, on that song would have been totally uncouth; instead, Ryan Santiago of Royal & the Serpent was a solid pick for the vocal duet.
Maybee didn’t need Smith’s presence to bring attention to her set anyway. The budding talent brought her own level of star wattage and a sizable league of fans who likely saw her make it through to the finals on “American Idol” a couple years ago.
“I was here one year ago supporting my friends in Beauty School Dropout on this stage and now I get to play it, which is f- – – – – g crazy,” said Maybee, echoing the relatability factor that became a strong theme of her set. “If you’re in the back, can you come up front? We don’t bite!” she added.
With a promise to release more music soon, Maybee offered a small sliver with the new track “Pinch Myself,” perhaps evocative of this latest milestone in her career, though more are likely coming soon. — Selena Fragassi
Sexyy Red
Before Sexyy Red even appeared on the Bud Light stage, fans were asked to take a few steps back to avoid chaos.
To welcome the St. Louis rapper to the stage, her DJ threw on a few tracks to warm up the audience: one from Chicago drill legend Chief Keef, and others from Travis Scott and Drake.
A humongous red hat with the words “Make American Sexyy Again” was the only prop on stage, and fans everywhere wore similar hats and T-shirts, merch from her ongoing Sexyy Red 4 President Tour. Though she’s recently distanced herself from supporting the Republican presidential nominee, she’s certainly taken notes from Donald Trump’s merch and marketing team.
When the rapper finally came on stage, the crowd erupted and sang every word to “Bow Bow Bow (F My Baby Dad).” Backup dancers added to the vibe as they twerked and bounced around her during “Hood Rats.”
Though her iconic red locks were replaced by a cute pair of space buns for this performance, she called out all the dreadheads in the audience before starting “Shake Yo Dreads,” which got fans shaking their heads and bopping around even more.
It very quickly became a cheeky performance, with lots of twerking and provocative dancing from Sexyy Red. Her dancers were swapped out with what appeared to be a few of her good girlfriends, who joined in the on-stage hype.
“Alright, let’s party with Sexyy,” the rapper said, now switching up the atmosphere by performing a heartfelt cover of “We Are Young” by the band fun. The crowd sang along as Sexyy Red and her friends giggled and genuinely appeared to be having a blast.
The celebratory vibes continued with a cover of “Party in the USA” by Miley Cyrus and “Swag Surfin’” by Fast Life Yungstaz. Attendees were on their feet to do the swag surf dance to this crowd-favorite song, which is characterized by lunging left and right to the beat.
Sexyy Red’s singing is a bit off-key, but she embraces it on “U My Everything,” a song she shares with Drake on her May album “In Sexyy We Trust.”
At least three times throughout her set, she thanked the audience for “f—– with a real b—-,” acknowledging all her fans, from front to the back and all along the sides of the stage. “Thank you everybody. I appreciate you. I can see everybody,” she said.
The performance wouldn’t have been complete without “SkeeYee,” “Hands On Ya Knees” and the rapper’s personal favorite, “Get It Sexyy,” before she departed the stage showing Chicago how to walk off with “Sexyy Walk.”
Her retreat was temporary, though; her DJ asked the crowd to chant her name to get her out again, wherein she obliged and did an encore of “Get It Sexyy.” — Ambar Colón
Sexyy Red Lollapalooza set list:
- Bow Bow Bow (F My Baby Dad)
- Hood Rats
- Shake Yo Dreads
- No Panties
- DAMN SHORTY
- It’s My Birthday
- SLUT ME OUT
- Bow Bow Bow (F My Baby Dad) reprise
- I Don’t Wanna Be Saved
- FTCU (SLEEZEMIX) verse
- We Are Young cover
- Party in the USA cover
- U My Everything
- Peaches & Eggplants verse
- Hellcat
- SkeeYee
- Hands On Ya Knees
- Get It Sexyy
- Pound Town
- Sexyy Walk
- Get It Sexyy (encore)
Victoria Monét
Clad in a bedazzled pinstripe overcoat and fedora, R&B chanteuse Victoria Monét sauntered onto the T-Mobile main stage to the beginning bars of her song “Alright.” Joined by four backup dancers, Monét broke into smooth, precise choreography, never missing a beat or note while singing — a feat she maintained throughout her showstopping set. Also backing Monét was a four-piece band, comprised of a guitarist, keyboard player, drummer and bassist — adding an exciting energy to her set list.
Gently assisted by a backing track, Monét’s voice shone through, sounding heavenly over lush instrumentation. The mic was on no doubt, and you’d be hard-pressed to find an off note.
One highlight in a set full of many was “Smoke.” By this point, Monét shed her coat to reveal a burnt orange two-piece, chaps and sneakers she put to use, as she and her dancers continued to show off impressive choreography. Before the song, Monét encouraged the crowd to light up, and heavy smoke wafted from the large crowd gathered.
For nearly 15 years Monét, 35, has cut her teeth in the music industry, writing hit songs for the likes of Ariana Grande, Brandy, Blackpink and more, while refining her solo music along the way. Her hard work culminated in the release of 2023’s “JAGUAR II,” which netted her multiple Grammy awards, including best new artist — a puzzling title considering that Monét is anything but new to this.
Monét drew heavily from “JAGUAR II” for her set Friday, with another standout moment coming during her performance of “Party Girls,” which started with a sample of Sister Nancy’s “Bam Bam.” When she eased into “Jaguar,” the title track of her 2020 album, the crowd cheered loudly, as Monét soon reached her final song, her hit 2023 single, “On My Mama.” Fans danced as Monét and her dancers hit the combo seen in the song’s music video, sporting a big smile with each move.
You might have heard by now that Chappell Roan has become known as “your favorite artist’s favorite artist.” But anyone who attended Victoria Monét’s barn burner of a set Friday can testify — there is clearly another Lollapalooza artist who also deserves to share that title. Our only complaint is that Monét’s 45-minute set was not longer. — Matt Moore
Laufey, with the Chicago Philharmonic Orchestra
In the 20th year of Lollapalooza, the event is still finding ways to keep things fresh and original — no more so than allowing modern-jazz-pop chanteuse Laufey to take the stage with the Chicago Philharmonic orchestra for a late-day set on Friday.
“Welcome to the symphony!” Laufey declared to start the festivities, a total vision of elegance and grace in a floor-length, tulle-sleeved gown.
The unique collaboration is the first time the festival has had a full orchestra on a stage and is also notable for being the largest single audience in Chicago Philharmonic history, coming as the organization celebrates its 35th anniversary.
With a 50-piece ensemble and the 24-year-old Icelandic-Chinese singer and instrumentalist in a ballgown, it would normally be the stuff of the Symphony Center across the street from Lollapalooza. Yet bringing it within the confines of the park gave the two teams plenty of liberty to play with the crossover concept while also bringing classical compositions to plenty more ears than might typically take in a concert at Orchestra Hall.
Laufey is the mastermind behind it all, one of the most intriguing music figures in the last few years who has reinvigorated jazz for Gen Zers and millennials by combining traditional musicianship (she alone moves from electric cello to guitar to a Steinway piano) with the confessional, lyrical style of a Billie Eilish or Taylor Swift. The payoff was seen in the massive crowd who gathered for the one-off set, totally transfixed by the spectacle and applauding at the first notes from the horn section on opener “Dreamer.”
Laufey admitted the whole concept of blending her music on songs like “California and Me” and “From the Start” with a full symphony had been a pipe dream since she first started making music. The logistics needed to pull off all of this in a festival setting is mindboggling.
“I never ever thought I’d get to play with an orchestra at Lollapalooza, it’s truly the most wonderful thing. … Thank you for supporting me and making my dreams come true,” Laufey shared to a round of loud applause.
The once-in-a-lifetime air continued as she brought out a fellow festival performer for a brief duet. “My favorite part of events like these is getting to see my favorite artists; there’s one in particular I saw playing and was like, ‘You like jazz don’t you?’”
U.K. singer Raye then emerged, in her own long, black ballgown as the two traded parts on a cover of songbook standard “It Could Happen To You.” As the two singers joined hands and danced a little waltz to the song, it evoked an air of Broadway and the fairytale that so many hoped this performance would be. — Selena Fragassi
Lola Young
Sound issues did Lola Young terribly wrong at the start of the vocal phenomenon’s set Friday night with her microphone cutting in and out of the first few songs and threatening to cut short her set.
But hell hath no fury like a straight-talking Brit who’s been scorned. Once the kinks were worked out, the snafu actually worked in Young’s favor by further rousing up the incredibly spirited performer, one who beats her chest as she sings some tracks and goes nearly hoarse on others while trying to get her words across.
“I’m very upset my mic is not working, I’m very very sorry my loves. Thanks for coming to see me, it means the world to me,” Young offered, trying her best to save the day. “But someone is getting fired.”
Whether her next song, the ballsy “Wish You Were Dead,” was already cued up in her set or she reworked things on the fly, the message was loud and clear. That’s the beauty of Young, she’s known for being an unfiltered vocal fountain that’s often compared to Adele and Amy Winehouse (in fact, she has the same manager as the late songbird). The parallels are being drawn not just for her raspy retro style, but also for her bravado.
There’s also a bit of punk rock grit and edge to her on songs like “Messy” and “Big Brown Eyes” that translates into a unique blend of outspokenness and candidness, especially for causes she’s close to, such as female empowerment and mental health advocacy.
Young’s style and impressive pipes have turned many heads since the 23-year-old was a teen, soon leading to a nomination for the Brit Award for Rising Star in 2021. Fellow U.K. talent Romy (aka Romy Croft) was seen taking in Young’s set just a day ahead of her own Lolla performance, but the great news is that more Americans are catching on to the thrilling import now thanks to viral tracks like “Don’t Hate Me.” And that hopefully means we’ll be seeing — and hearing — more from her soon. — Selena Fragassi
Check back later for more reviews.