Intonation Festival 2006 - Union Park, Chicago

On Sunday, June 25th, 2006, I attended day 2 of the Intonation Music Festival at Chicago's Union Park. My reasons for going to Intonation this year can be counted on one hand. Concerning bands, I wanted to see Bloc Party and Jon Brion. Other than that, it was a chance to start helping the Chicago Innerview magazine with their street team.

I arrived at Union Park (via bus, since mass transit is one of the only things I enjoy about Chicago) around 2 pm on Sunday. Union Park was an excellent location for the festival. Two stages were set up (for quick set changes), and people had ample space to watch the shows, throw a frisbee around, or lay in the grass under a tree. The line-up for my time at the festival was The Constantines, Rhymefest, Annie, Lupe Fiasco, The Sword, Blue Cheer, Jon Brion, Robert Pollard, Dead Prez, and Bloc Party. The Constantines were, in comparison to many acts I would later witness, respectable. After reading that they're from Guelph, Ontario, Canada, I have more respect for them. Guelph is an extremely boring place, and their music is decidedly entertaining with that in mind. Rhymefest and Lupe Fiasco were both bling rap acts, which in my mind is no different than seeing Backstreet Boys or any other mindless trash. In fact the only difference is the crowd, for a Backstreet Boys crowd would have been a rather enjoyable gathering of teenage girls.

Moving on, Annie was a dull Norwegian, The Sword was Pantera-like southern metal, and Blue Cheer was (according to Chicago Innerview) a supposedly important band from the early seventies (although their live show provided no proof of this claim). At least during these sets I could pass the time handing out the Innerview as people entered the festival grounds.

Finally Jon Brion took the stage around 6:30 pm. Before the set, I didn’t know exactly what to expect. I did know that Brion had created the soundtrack for Eternal Sunshine of the Spotless Mind, I Heart Huckabees, and other movies, as well as worked with many up and coming artists such as Fiona Apple. Brion began simply by playing electric guitar and singing and captured the audience attention after a single song. He then set out to employ the “trouble” installed on stage, by which he meant loopers attached to drums, keyboard, and guitar. Instantly he became a one-man band. He created a drum track, then a keyboard track, and finally played guitar and sang. By the time people figured out what he had done, they were completely hooked. Wilco drummer Glenn Kotch joined Brion for a few songs, including a cover of the Beatles’ song “Baby You’re A Rich Man.” Brion finished with another one-man song, complete with scorching guitar solo. Watching him, it’s obvious that you’re in the presence of a musical genius. I feel fortunate to have seen him live.

After Brion’s hour long set Robert Pollard, ex-Guided by Voices player, took the stage. His hour on stage was unexciting, so I sat in the grass and relaxed for a while. Next was Dead Prez, the third bling rap act of the day. Don’t get me wrong. I can appreciate any music with talent and creativity. I like alternative hip hop groups like Jurassic 5, MF Doom, and even Aesop Rock (who will be gracing the stage at the Pitchfork Music Festival in July). Dead Prez consisted of 4-6 guys on stage, talking more than rapping, with an entourage of 20 or so men standing around them at the back of the stage. It was pompous and deranged. One song proclaimed that you “Can’t Sell Dope Fo Eva.” This was truly a wasted hour of my life, except that while some idiots watched them perform I was able to acquire a great viewing spot for Bloc Party’s set.

When Bloc Party finally went on stage around 9:30 pm, it was completely dark out and everyone at the festival had turned their attention at the stage. When they started playing, I immediately knew that the wait had been worthwhile. They were just as explosive and captivating as on their album, Silent Alarm. Some bands can’t overcome the hype attached to them, but Bloc Party meets and surpasses all hype. They opened with “So Here We Are,” a spacey track that slowly builds to a beautiful wall of sound. Next they played “Positive Tension,” my favorite song of theirs. The angular structure tightens up until the full release of fiery energy. Other song highlights were “Banquet” and “This Modern Love,” but the whole set was excellent.

My thoughts leaving the festival were that I should have researched more of the bands before coming. Nonetheless, Jon Brion and Bloc Party were worth the $20 admission. Now, I have a month to carefully prepare for the Pitchfork Music Festival, taking place at the same park on July 28 and 29. I’ll be sure to let you know how it goes.