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The Tool Page: An Article

Publication: Rolling Stone

Date: August, 1997

Transcribed by
Ryan Grace (toolmaster@hotmail.com)


  page: 38
 title: Performance/ Lollapalooza/ June 25, 1997, West Palm Beach, FL
author: Robert Levine

     Judging from Lollapalooza's West Palm beach, Fla. debut, it's going
to be a cruel, cruel summer fot Perry Farrell's traveling circus.  The
year after festival organizers were criticized for courting the mainstream
masses with a metalfest anchored by Metallica and Soundgarden, Farrell has
recruited a slightly more daring lineup- Bob Marley offspring Julien and
Damian Marley, etheral Brit- poppers James, the funk metal band Korn,
trip-hop pioneer Tricky, rapper Snoop Doggy Dogg, moody industrial rocker
s Tool and the techno group Orbital- that is having trouble filling
venues.  And despite the presence of a few innovative acts, Lollapalooza's
first 1997 date seemed as stale as a '70s- survivers package tour and
almost as predictable. 
     The Marleys opened with a pleasant but rote reggae set to an almost
empty house.  Next on were James, whose layered, sophisticated pop failed
to reach an audience that seemed interested mostly in moshing in the sun. 
Korn followed with more success, jumping around like a low-rent version of
the Red Hot Chili Peppers and driving the crowd into a frenzy. 
     Thanks in part to the absence of the spicy rap outfit Dr. Octagon,
the second-stage lineup wasn't much more compelling (main stage act Jon
Spencer Blues Explosion canceled as well).  Lollapalooza's nonmusical
alternative-culture attractions also have lost steam: A performance by
Porno for Pyros' exotic dancers on the grassy festival midway was lost on
one drunken lout, who tried to slip one of the dancers a dollar. 
     Even an apperence by one of Lollapalooza's founding fathers, Farrell
, didn't generate much heat.  Performing with a stripped-down version of
Porno for Pyros' both in the Brainforest tent and on the second stage,
Farrell streched out catchy songs from Good God's Urge into meandering
acoustic jams that went nowhere fast. 
     Back on the main stage, some seats ripped out by rabid Korn fans were
probably missed by the crowd during Tricky's frustrating set, most of
which featured the avant-B-boy with his back turned to the audience. 
Snoop Doggy Dog on the other hand worked the crowd so well that an
impromptu mosh pit formed during "Nuthin' but a G thang."  Despite their
plodding sound and fury, Tool seemed down-right tame by comparison, going
through their industrial-rock motions without offering anything new. 
     The most innovative set of the night was delivered by show closers
Orbital- unfortunately, as they went on, many concert-goers were heading
for the exits.  Those fans missed some engaging beats, not to mention a
rewired version of the group's song "Halcyon," which included samples of
Belinda Carlisle's "Heaven Is a Place on Earth" and Bon Jovi's "You Give
Love a Bad Name."  Only then, and during parts of Snoop Doggy Dogg's set,
did Lollapalooza seem like the varied, vital music it was meant to be.  As
far as the rest of the festival went, it could have passed for Ozzy
Osbourne's summer tour, with a busy body-piercing booth. 


Posted to t.d.n: 08/07/97 22:17:43