Saturday was a time for raucous play and shameless dance parties. Dizzee Rascal, Cut Copy, and Empire of the Sun led the way, attracting the weekend’s highest volume of festival-goers. Chromeo‘s performance was a scene in itself, with outbursts of lust erupting from all directions. No longer reign the days where people care about “sex, drugs, and rock & roll” — our generation instead heralds “sex, drugs, and electronica.” I wonder what the implications of this will be for us as listeners and for the future of the music scene, as Saturday was definitely the day of synths, strobes, and smoke machines. Its lineup consisted mostly of electronic bands, and their popularity — but perhaps not talent — is indisputable.

Sunday was a clear transition from the day before. When the smoke had dissipated and the San Franciscan fog had instead rolled in, the day began with mellow acts like The Antlers and Warpaint. All around, people simply lied on the grass and just listened. St. Vincent was the highlight of the entire weekend, playing a set that still sends chills up my spine. Annie Clark’s talent and imagination, as well as her presence onstage as an artist, went altogether unmatched by any other performer. Beach House followed closely, musing back and forth with the crowd, and the sound of Victoria Legrand’s voice coupled with the setting sun creates a feeling one can only possess in a dream. By evening, the lights of Treasure Island haunted the night like spectres of the moon, and eventually I had to bid farewell to this magical weekend.

- Summer Dunsmore
Contributing Writer

Saturday, October 15th

Geographer – Bridge Stage – 12:00 p.m.

Photo by Ted Maider

Regaled as one of the most anticipated acts of the weekend, Geographer’s performance was a strong beginning for the festival. Highlights included “Verona” and “Kites”, each decorated with building synths and the band’s characteristic drum kicks. “Kites” carried all of the sweeping, melodic vocals of the recorded track, while “Original Sin” was a mellow, electronic interpretation. One of the best songs of the set was a preview from their new album, and it featured a background of aural, haunting vocals speckled with strong bass drum beats. It was a tantalizing treat, making me look forward to their as-of-yet untitled forthcoming LP. With the sight of San Francisco’s crystalline bay to the west, I sat entranced during Geographer’s entire performance, anticipating what the rest of the day would bring.

Aloe Blacc – Tunnel Stage – 12:45 p.m.

Photo by Ted Maider

Dressed in an emerald green button-down shirt, a black cravat, and a tweed newsboy cap, Aloe Blacc looked all the gentlemen. Radiating energy during the entirety of his set, Blacc served as a heady dose of soul, singing his modern brand of blues. During “Good Times”, Blacc instigated a saxophone solo from Regis Molina, which culminated into a back-and-forth session between himself and the audience. “Regis…sing something to them”, Blacc mused; Molina proceeded to play saxophone bits, which the entire audience would then sing back. Moves like this during his performance create an unshakable bond between performer and listener, an action that artists like Dizzee Rascal and Buraka Som Sistema would perfect later that day. “Femme Fatale” was the best song of the set, a classic in itself, and positively hypnotizing when performed live. Aloe Blacc and his six-piece band were a rarity of the weekend, and even of the music scene itself; they represent a true band, constructing the sound as they go, forgoing any reliance on electronics or pre-recorded mixes. It was fun and interactive, and Blacc’s natural propensity for performance was a much-valued treat.

Shabazz Palaces – Bridge Stage – 1:30 p.m.

Photo by Ted Maider

I truly anticipated seeing Shabazz Palaces perform; I am a fan of their recorded work, and expected that they would deliver the same standard live. However, at the end of the set, all I could wonder was: Were they drunk? From the first track, their performance was out of tune, proceeding a step too late. It could be argued that this is the Shabazz way, especially with tracks like “Blastit…” and “Swerve…The Reaping of All That is Worthwhile”, but performed live, these just didn’t click. I felt that they were trying to do too much at once, incorporating strange features like a voice modifier that made the singer sound as if he were underwater, as well as lending an overall psychedelic vibe to the tracks. Shabazz Palaces tried to give San Francisco what they thought we wanted. Instead, we were there to see what makes them a unique component of the modern music scene. Something got lost in translation.

YACHT – Tunnel Stage – 2:15 p.m.

Photo by Ted Maider

How does one explain the vivacity, the dynamism of YACHT’s Claire Evans? A mix of Patti Smith and Bowie, with a pixie cut and all the appropriate androgyny, her and Jona Bechtolt’s performance on Saturday was easily one of the weekend’s best. Their second song of the set, “Summer Song”, was a resplendent hybrid of funk, new wave, and electronica. This song evidences the way that YACHT uses their physical performance — waving their hands, stomping, and actively engaging with the audience — to articulate the crazed fervor of their music. They have the ability to contextualize a song, removing it from its bound, black and white position on a page, and translate it into a live presentation. They take the concepts they explore in their music, such as nihilism, nature, and love, and make them real. This is why YACHT is revolutionary, functioning as a truly integral band in today’s alternative scene. At one point, Evans asked, “Do you guys believe in extraterrestrials?” And doesn’t this describe YACHT perfectly? Their sound is strange, expansive, and fueled by their curiosity.

The Naked & Famous – Bridge Stage – 3:00 p.m.

Photo by Ted Maider

Auckland rockers The Naked & Famous were a stable transition from YACHT’s enigmatic, and still resonant, performance. Their song “Spank” mixed the duplicity of strong percussion and loud electric guitar wails with a soothing blend of vocals from lead signer Alisa Xayalith. Just like many of the tracks from The Naked & Famous, this song builds delicately, focusing on electronics, before exploding in synth and distortion during the chorus. The only unfortunate aspect of the band’s performance was that their reliance on distortion and their shoegaze style often drowned out Xayalith’s voice; overall, the group’s sound is very masculine, what with its reliance on electric guitar and synth, and it tries to integrate femininity as a needed contrast. On their recorded work, they pull it off — but while performing live, her voice gets lost in the midst of fuzzy speakers wracked by distortion.

Battles – Tunnel Stage – 3:45 p.m.

Photo by Ted Maider

Battles produces an aggrandized notion of music. Transitioning from one crash of the kick drum to the next, with cartoonish, Dan Deacon-esque keyboard intermissions, the sound was a complement to the afternoon mood. Beers in hand, people wanted to be dazed and confused by the sun and the music. Their sound while performing live is messy, but essentially that is where their lure lies — they tempt you to turn your brain off, to let your senses simply react in response to the music. Their performance of “Africastle” was decorated in its imperfections, as the band produced a version more momentous than on Glass Drop. This song served as the set’s climax, as all around one could tell the evening was truly about to begin. People were beginning to flow in from all directions, with flasks in tow and flowers in their hair — though none of us could even remotely expect what Dizzee Rascal had in store.

Dizzee “fuckin” Rascal – Bridge Stage – 4:35 p.m.

Photo by Ted Maider

He started with a remix of “Bubbles”. He ended with “Bonkers”. He is infamous.

Once Dizzee pranced on stage and “let the first drop kick”, Treasure Island immediately erupted into a mass dance party. Imported from the U.K., his unique brand of indie hip hop and electronica is defying previous conceptions about the union between these genres. Integrating dubstep into his renditions of “Road Rage” and “Bounce”, festival-goers dressed like pirates, indians, and aliens danced and thrashed to Dizzee’s mixes. The highlights of the set were definitely “Dance Wiv Me” and “Holiday”, each exhibiting amazing live beats and ensuring Dizzee’s spot as one of the best performers of the weekend.

Buraka Som Sistema – Tunnel Stage – 5:25 p.m.

Photo by Ted Maider

The dancing mood continued with Buraka Som Sistema’s lively performance. During their cut of “Restless”, they lured women on stage, commanding them to “shake their asses”. Rest assured, a somewhat disturbing mix of crotch grabbing and grinding commenced. BSS’ performance of “Sound of Kuduro” exhibited an interesting range of tribal, Caribbean, and electronic beats. I was disappointed that their performance featured already-recorded beats, with the singers simply interjecting at times to rap and hassle the crowd. Despite this, the hassling was effective — after already six hours of festival-going, BSS infused the crowd with energy in time for Chromeo.

Chromeo – Bridge Stage – 6:15 p.m.

Photo by Ted Maider

Perhaps one of the most hyper-sexualized bands in the scene today, Chromeo’s performance on Saturday was the nearest I’ve come to experiencing an orgy firsthand. With women’s legs stemming from their keyboards, Dave-1 and P-Thugg gave an inspiring performance, using a simple mix of synthesizers and electric guitar to create their “porn” pop.

Starting their set with “Fancy Footwork”, they launched into their music’s main theme of exploration: sexuality. Doused in red light and his own narcissism, Dave 1 painted the spirit of Sodom & Gomorrah on stage, much to the thrill and prevail of the crowd. Chromeo proved themselves to be a talented duo, devoted to their music, and they delivered exceptional percussion and keyboard beats live. “Bonafied Lovin’”, “Needy Girl”, and “Mama’s Boy” were essentials, featuring some noticeable improvisation and ending with a combination of drums, keyboard, and guitar. “Night by Night” delivered an epic end to an epic set.

Flying Lotus – Tunnel Stage – 7:05 p.m.

Photo by Ted Maider

Flying Lotus’ set was a spiritual one, tempting the crowd to simply sit back and vibe. He started with “I Feel Like Dying”, a remix of Lil Wayne’s single. Lotus was just rollin’ beats to the chorus of a thousand voices — to the crowd’s own human chorus. He produced an entrancing murmur of synths and bass, simulating nature, while the lights of San Francisco’s ethereal night framed the background to the Tunnel Stage. I felt like I missed some secret during Flying Lotus; like the crowd, in their inebriated state, knew something I didn’t. There was a calm, and then a buzzing, to the audience, as if Flying Lotus was tending to the beehive — but they didn’t want to be calmed. He played “Yonkers” by Tyler, the Creator, which served as a definite highlight to the set, and he ended strongly with “Massage Situation”.

Cut Copy – Bridge Stage – 7:55 p.m.

Photo by Ted Maider

I’ve been looking forward to seeing Cut Copy since they released Zonoscope earlier this year. The album was a game changer, bringing to light Cut Copy’s accessibility, as well as its devotion to a novel range of New Wave sound. The band has been on tour for the past year, with Treasure Island being one of their last stops; however, all this touring has not slowed them down. Starting their set with “Take Me Over” and “Feel the Love”, Cut Copy’s performance was better — and different — than I expected. During their charged performance of “Lights and Music”, frontman Whitford sang that there were “lights and music on my mind” — and at this moment, it was on my mind too. When I closed my eyes, the kaleidoscope of stage lights remained behind, confounding my sight, leaving me dancing blindly. The lights during a Cut Copy show are just as much a feature of the music, making any performance by them a sensory experience. “Saturdays” on Saturday was only befitting, and was one of the best songs of the entire weekend.

Death from Above 1979 – Tunnel Stage – 8:45 p.m.

Photo by Ted Maider

Treasure Island has a band, and a sound, for everyone. DFA 1979 was opposite to bands like Cut Copy before it, forgoing sugary hooks and synths for scissoring, grating electric guitar and a dirty grunge sound. I believe they were higher on the bill Saturday because of their vivid, energetic style of performance, but other than this energy, I wasn’t charmed by their performance. In contrast to their recorded work, they sounded out of tune, like a blend of several different loud noises deemed as “music”. Their performance of “Black History Month”, which held potential to revive grunge in its truest form, simply fell short.

Empire of the Sun – Bridge Stage – 9:35 p.m.

Empire of the Sun was Saturday’s strongest performance, and after St. Vincent, was the best of the weekend. Lending a vivid visual element to their set, including choreographed goblin/alien creatures and a narrated video that simulated traveling through space, EOTS is truly more than just a band. They are one of the most creative, imaginative acts performing today, and are unafraid to push boundaries. Their second song, “Breakdown”, exhibited such a hooky tune that I couldn’t help but dance ecstatically. The next song, “Half Mast”, showed  that EOTS doesn’t want to just perform — they want to tell a story with their music, to play along with the visual elements depicted all around them. Even their name, “Empire of the Sun”, indicates the fantasy world that they have constructed aurally.

This artistic endeavor to be more than just a band, but to also be a concept, brings back the glam rock of the past, refined by artists like David Bowie. This was when music was about presentation, constructing a story, becoming a character. While they played incredible tracks like “We Are the People”, you realize that the best part is that you want to indulge in the facade they have created. Luke Steele’s voice is just too tempting, too alien, to not be intrigued. Ending with “Swordfish Hotkiss Nigh” and “Walking on a Dream”, EOTS concluded a truly incredible day at Treasure Island, one filled with fantasy monsters, creatures, and dreamscapes.

Sunday, October 16th

Weekend – Tunnel Stage – 12:40 p.m.

Photo by Ted Maider

With no holds barred on this chilly Sunday afternoon, Weekend launched into their heavy style of music. Native to the Bay Area, Weekend was formed by Shaun Durkan, Kevin Johnson, and Abe Pedroza, and has been rising to prominence in the San Francisco scene since 2009. They’re a hybrid of New Wave mavens like The Smiths and Aha, but with a grinding, alternative edge that favors electric guitar distortion, rolling kick drums, and ambient, wailing vocal calls. They are shoegaze-New Wave for the modern generation. At Treasure Island, their songs seamlessly flowed together during their set, with live instrumentalization and improvisation being their strongpoints. “Coma Summer” bookmarked the set, serving as an example of why fans are coveting Weekend’s garage band sound.

The Antlers – Bridge Stage – 1:25 p.m.

Photo by Ted Maider

The Antlers have the unique ability to conduct well-orchestrated symphonies with their music. During their performance of “Putting the Dog to Sleep”, singer Peter Silberman’s voice travelled along the tops of the bay’s wind-capped peaks, setting a tone and mood that fit Sunday afternoon. Compared to Saturday, everything from the colors of the crowd had changed, with people more inclined today to wear their grays and browns, to burrow in their scarves to protect themselves against the bay wind, and to just collect for a picnic and listen to the music. Overall, The Antlers show was a rare jewel, and they played some of the most beautifully crafted music heard all weekend.

Warpaint – Tunnel Stage – 2:05 p.m.

Photo by Ted Maider

Fresh off the release of their 2010 debut album, The Fool, and their follow-up EP, Exquisite Corpse, Warpaint already draws thousands of people to its shows, sharing the stage with acts like Death Cab for Cutie. Right as The Antlers ended their set and Warpaint started theirs, the sun decided to shed its light on the Island, embracing this band that could be considered a bit of an underdog. Do not underestimate them or their live performance, however. Playing tracks like “Warpaint” and “Undertow”, their set was strong, reminding one of bands like Mazzy Star before them. And just like St. Vincent, the next band to play on Sunday, Warpaint has the ability to craft feminine anecdotes with their music, appealing to the complexity and the delicacy of the feminine psyche.

St. Vincent – Bridge Stage – 2:50 p.m.

The moment Annie Clark stepped onstage, I was immediately smitten. Hair dark and tousled, dressed like an indie goddess, few artists today exude such radiance and charisma without having to say a word. Opening with a breathtaking version of “Surgeon”, Clark achieved onstage what her music has perfected: expressing the duplicitous nature of a woman’s vulnerability and her strength, of the very nature of femininity. Clark had a visible integration with the music, and you could see from her expression how much she personally pours into her sound and her content. She takes care to write music that expresses exactly what she wants, while also, quite brilliantly, leaving it up for interpretation. Her music is poetry, a maze of metaphors to interpret, deconstruct, and revel in.

Photo by Ted Maider

The second song of the set, “Cheerleader”, is my favorite off the new album, Strange Mercy. This song speaks about competing desires, a need to be taken more seriously in a society that degrades your individuality. Clark integrated and portrayed her subtleties, her reservations, with radiance. The next song, “Save Me From What I Want”, expresses a similar theme, the essence of this feminine vulnerability which is altogether charming. Each song exhibited a sense of disintegration towards its conclusion, getting lost in electric guitar distortion, representing the physical sound of a person breaking down. And yet, with “Actor Out of Work”, Clark debunks these preconceptions of her vulnerability, of her intangibility. Singing “you’re a boxer in the ring, with brass knuckles underneath”, she shows she isn’t as malleable as one would think. This is especially evident given her meteoric rise through the music world, her fearlessness, her history of experimentation; these are proof that Clark is more than willing to take risks and is, in the end, more tough than expected.

Wild Beasts – Tunnel Stage – 3:35 p.m.

Photo by Ted Maider

Originally from England, this foursome are currently on tour in the United States. Expressing that “this is definitely one of the better things we’ve done this tour”, Wild Beasts continued the mellow mood set by bands like Weekend and Warpaint before them. Their rendition of “All the King’s Men” started with tribalistic beats at its offset, supplemented by simple bass guitar and electric guitar. Though their sound was stable and definitely unique, they did not stand out as a distinctly notable band for the weekend.

Stephen Malkmus & the Jicks – Bridge Stage -4:20 p.m.

Photo by Ted Maider

“It’s like when your brain is in a steeple chase…on acid. When there was acid. There wasn’t any at Burning Man. Are we at Burning Man?” And so went Stephen Malkmus’ gesticulations at the beginning of “Brain Gallop”. You can tell that Malkmus has been in the music scene long enough to just have fun with it, to play the role of the “bad boy” of rock and roll. Before “Forever 28″, Malkmus-style banter went as follows: “Anyone 28 and lovin’ it? Single and lovin’ it? Married and kinda lovin’ it?” Lastly, their performance of “Long Hard Book” was the best of the set, a more folk-influenced track which fit the Sunday mood perfectly.

The Head and the Heart – Tunnel Stage – 5:10 p.m.

Photo by Ted Maider

Sounding like 60′s folk pioneers before them, The Head and the Heart delivered their own brand of retro pop-folk on Sunday. Their musical influences, which range from Bob Dylan to Iron & Wine, give them a truly accessible sound, enjoyable for anyone who is not familiar with their music. The best song of their set, “Down in the Valley”, was executed by The Head and the Heart’s six-person band, which is comprised of two singers, one violinist, one guitarist, one keyboard player, and a drum player. Even given this large range of orchestration and reliance on live instruments, which would confound many other bands, their set was executed well.

Beach House – Bridge Stage – 6:00 p.m.

Photo by Ted Maider

When I saw Beach House’s Victoria Legrand backstage prior to their performance, she seemed visibly perplexed. And though it seemed that something was still bothering her during the set, she and Alex Scally seamlessly delivered the dream pop that their albums promise. This is what makes them the creators of their dark sound — they have a truly innate connection to their music. The way they transcribe their moods, their resentments, their happiness, and their aspirations are woven in the fabric of their music.

Early set inclusions “Gila” and “Walk in the Park” evidenced how the complexity of Beach House’s sound is actually crafted with simplicity — from only a modest mix of keyboard, tambourine, drums, and electric guitar. Set highlight “Norway” showcased Legrand’s voice, retaining all of its haunting melancholy. And later on, during “Used to Be”, Legrand was doused in red stage lights from overhead, while the audience was touched by the rays of the dying sun — the moment was dusty romanticism, magic, and more.

Friendly Fires – Tunnel Stage – 6:50 p.m.

Photo by Ted Maider

With every detail of the San Francisco skyline arched behind the Tunnel Stage, Friendly Fires gladly welcomed the night. One of the first songs of the set, “Skeleton Boy”, was an invigorating mix of New Wave vocals, synth, and electric guitar. Friendly Fires produced an exhilarating live performance, while at this time yesterday, Flying Lotus was dazing the crowd, luring us into a hazed stupor. Instead, Friendly Fires tempted you to dance during tracks like “Hawaiian Air”, off Fires’ new album Pala. Lead singer Ed Macfarlane delivered a passionate, energetic series of vocals, while dancing wildly to the tune of the music. Their enthusiasm and spirit onstage made Fires’ set one of Sunday’s best.

Explosions in the Sky – Bridge Stage – 7:40 p.m.

Photo by Ted Maider

Explosions in the Sky’s set on Sunday was about standing in reverent awe of the transitions of sound and space culminating onstage. Composed of three electric guitars and a drum kit, the band is capable of weaving symphonies with their instruments, of forming narratives and creating emotions with the complexity of their delivery. Their performance Sunday featured all ranges of sound, erupting at times in a scathing series of electric guitar wails, and then transitioning back to the tender delicacy of fingerpicking. At their live shows, they are capable of using instruments to simulate the sounds of nature, of a leaf dropping, a wave crashing — making any performance by them an unforgettably transcendent one.

The Hold Steady – Tunnel Stage – 8:30 p.m.

Photo by Ted Maider

Like Stephen Malkmus & the Jicks before them, The Hold Steady lent a more alternative sound to the festival’s lineup. “Magazines” cracked open the set, and then came bar rocker “Sequestered in Memphis”. Lyrically, The Hold Steady have trademarked tracks about moody girls and one-night stands. Some might consider that a one-way ticket to becoming obsolete. But, judging from the sea of fans gathered in front, it’s clear these Brooklyn-Minneapolis rockers have little to fret about for the future.

Death Cab for Cutie – Bridge Stage – 9:20 p.m.

A fan of past albums such as 2003′s  Transatlanticism and 2005′s Plans, I had high expectations for the Seattle foursome. However, their live performance lacked the punch of Saturday headliners Empire of the Sun, making it an altogether disappointing set.

Starting with “I Will Possess Your Heart”, the extended jogger off their 2008 effort Narrow Stairs, I remember thinking, “This is okay.” I wanted to be blown away immediately, to feel the same effect I did from other bands that weekend. Perhaps my expectations were too high? I kept waiting for a punch, a rigor, a passion, an energy that never came.

Playing “Crooked Teeth” next, I found myself more mesmerized by the San Franscisco skyline than by Ben Gibbard & Co. The sad part is that this band does not lack talent — far from it. They have produced some of the most poignant and innovative indie rock of the past decade. However, their concert performance was indeed lacking. Even when playing more hits, such as “The New Year” and “Grapevine Fires”, I found myself unconvinced. It was an unfortunate end to the festival, but many of the other artists, as well as the series of California sunsets and the people-watching, made it a spectacular and memorable weekend for music.

The Culture of Treasure Island

Gallery by Ted Maider

San Francisco’s Treasure Island Music Festival returns for its fifth go-around from October 15th to 16th at the breath-taking Treasure Island. As has been the case throughout the festival’s history, the bill mixes the best of indie rock and electronic, with Death Cab for Cutie, Empire of the Sun, Cut Copy, Chromeo, and Death From Above 1979 heading the bill.

The festival’s first day leans toward the electronic side. Joining Empire of the Sun, Cut Copy, Chromeo, and DFA 1979 are Battles, Flying Lotus, Buraka Som Sistema, YACHT, The Naked and Famous, Dizzee Rascal, Shabazz Palaces, Aloe Blacc, and Geographer.

The indie-rific day two features Death Cab For Cutie along with Explosions in the Sky, Beach House, The Hold Steady, Stephen Malkmus & the Jicks, St. Vincent, Friendly Fires, The Head and the Heart, Warpaint, Wild Beasts, The Antlers, Thee Oh Sees, and Weekend.

A limited number of early bird two-day passes will go on sale for $99.00 on Wednesday, July 27 at 1:00 pm EST. When that quantity sells out, two-day advance tickets will be available for $115.00, followed by two-day regular tickets for $125.00. Single day ($69.50) and VIP packages will also be available. You can find complete ticketing information at the festival website.

A list of 12 long, this year’s nominees include both much hyped newcomers (The xx, Mumford & Sons, Villagers) as well as some familiar faces (Paul Weller, Laura Marling, Foals). Also up for contention is Dizee Rascal, Biffy Clyro, Corinne Bailey Rae, I Am Kloot, Wild Beasts, and Villagers.

The winner will be announced at a ceremony at London’s Grosvenor Park Hotel on September 7th. In addition to the inevitable boost in album sales, said winner will also take home £20,000.

A complete list of the Mercury Prize 2010 contenders and the respective name of their albums is as followed:

Biffy Clyro – Only Revolutions
Corinne Bailey Rae – The Sea
Dizzee Rascal – Tongue N’ Cheek
Kit Downes Trio – Golden
Foals – Total Life Forever
I Am Kloot – Sky At Night
Laura Marling – I Speak Because I Can
Mumford & Sons – Sigh No More
Paul Weller – Wake Up the Nation
Villagers – Becoming A Jackal
Wild Beasts – Two Dancers
The xx – xx

If you can think of an artist who is somehow involved with rap music or dance/house in even the most absurdly insignificant way, then they’re on this list. From the aforementioned big three to the hip-hop stylings of 2 Pac, 50 Cent, and BlakRoc, to the electro majesty of Basement Jaxx, Daft Punk, or Tiësto, to the old school stylings of Grandmaster Flash & The Furious Five, Sam Cooke, and Walter Murphy, you will quite literally have it with this game. Other notable names include The Notorious B.I.G., Eminem, Gorillaz, M.I.A., Lil Wayne, Metallica, RZA, Kid Cudi, Dizzee Rascal, and even Soulja Boy himself. Seriously, do yourself a favor and peep the whole list below.

Stay tuned for more announcements regarding the game. Here’s hoping for the sake of our carpal tunnel that this list doesn’t grow any further.

DJ Hero 2 Artist List:
2Pac
50 Cent
Adamski
Afrika Bambaataa & The Soul Sonic Force
Armand Van Helden
A-Trak
B.o.B.
Basement Jaxx
BlakRoc
Bobby Womack
Bruno Mars
Busta Rhymes
Calvin Harris
Chamillionaire
Chic
Chris Willis
Clinton Sparks
Colby O’Donis
Daft Punk
Damian Marley
David Guetta
Deadmau5
Deee-Lite
Dillinja
Diplo
Dizzee Rascal
DJ Shadow
Donna Summer
Dr. Dre
Drake
Edwin Starr
Eminem
Estelle
Flo Rida
Gorillaz
Grandmaster Flash & The Furious Five
Harold Faltermeyer
House Of Pain
Iyaz
Jackson 5
Janet Jackson
Justice
Kanye West
Kaskade
Kelis
Keri Hilson
Kid Cudi
Kool & The Gang
Lady Gaga
Lil Jon
Lil Wayne
LL Cool J
M.I.A.
M|A|R|R|S
Major Lazer
Malcolm McLaren
Mase
Melle Mel & Duke Bootee
Metallica
Missy Elliott
Mos Def
MSTRKRFT
N.O.R.E.
Nas
Nate Dogg
Naughty By Nature
Nelly
New Boyz
New Order
Newcleus
Nightcrawlers
Orbita
Pharoahe Monch
Pirate Soundsystem
Pitbull
Puff Daddy
Pussycat Dolls
Rihanna
Robin S.
RZA
Salt N Pepa
Sam Cooke
Sam Sparro
Sean Paul
Skibadee
Sneaky Sound System
Snoop Dogg
Snow
Soulja Boy Tell Em
Sparfunk & D-Code
Static Major
Stevie Wonder
Talib Kweli
The Chemical Brothers
The Crystal Method
The Egg
The Notorious B.I.G.
The Prodigy
Tiësto
Tiga
Timbaland
Tweet
Walter Murphy
Warren G
Wayne Smith
Will.I.Am
Yeah Yeah Yeahs
Young Jeezy

– According to Contact Music, Coldplay has already been approached by the festival and is said to be considering the offer. Glastonbury founder Michael Eavis previously stated Chris Martin and Co. would be returning to the festival in 2011.

– When asked about the possibility of Led Zeppelin replacing U2, former guitarist Jimmy Page told Gigwise.com that “I never rule anything out.” It should be noted that none of the former Led Zeppelin members have anything scheduled during the Glastonbury weekend.

– UK rapper Dizzee Rascal, who is already scheduled to performer at Glastonbury on Friday, is believed to be another candidate to replace U2.

– The Chemical Brothers are already widely rumored to be making a special guest appearance at this year’s festival.

– Pulp already saved Glastonbury’s ass once (replacing The Stone Roses in 1995). Would Jarvis Cocker and co. be into the idea again?

We’ll let you know when a decision is made. In the meantime, keep up to date with all the latest Glastonbury updates here.

Topping the bill will be the previously announced likes of U2, Muse, Stevie Wonder, and Jack Johnson, as well as Vampire Weekend, Orbital, Pet Shop Boys, LCD Soundsystem, The Flaming Lips, Phoenix, Ray Davies, Faithless, Snoop Dogg, Fatboy Slim, and Willie Nelson.

Other acts set to perform at the festival, which takes place from June 24-27, include Norah Jones, Slash, Femi Kuti, Hot Chip, The National, MGMT, Grizzly Bear, Groove Armada, Coheed and Cambria, Broken Social Scene, The Gaslight Anthem, The Magic Numbers, The Black Keys, Broken Bells, The xx, Julian Casablancas, Mumford & Sons, The Hold Steady, Mos Def (w/ full live band), Rodrigo Y Gabriela, Dirty Projectors, Simian Mobile Disco, Os Mutantes, and George Clinton with Parliament / Funkadelic.

But wait, there’s even more! Also expect to see Ash, Dizzee Rascal, Florence and the Machine, La Roux, Kate Nash, We Are Scientists, The Temper Trap,  Holy Fuck, Frightened Rabbit, Foals, Delphic, Tegan & Sara, Imogen Heap, Devendra Banhart, Empire Of The Sun, Midlake, The Big Pink, Local Natives, Beach House, Crystal Castles, Gomez, Fake Blood, and Here We Go Magic. Plus, there are many more “special guests” still yet to be announced.

You can find the full lineup here or at our Festival Outlook. Sadly, Vanilla Ice didn’t make the cut.

And yes, tickets are currently soldout. So, if you want in, well, perhaps you should sell your kidneys…

For its 18th edition, Australia’s largest outdoor music event has tapped the likes of Muse, The Decemberists, The Mars Volta, the newly unretired Lily Allen, Peaches, Rise Against, Mastodon, Kasabian, Dizzee Rascal, Powderfinger, Ladyhawke, the Horrors, and Girl Talk.

However, as Undercover reports, David Bowie, who had been heavily rumored to be participating in this year’s event, is missing from the initial lineup. Good thing initial only means initial, eh?

Big Day Out kicks off on January 15th in Auckland, New Zealand, before hitting the Gold Coast, Sydney, Melbourne, Adelaide and concluding in Perth on January 31st. Tickets, ranging from $132 – $140, are available via bigdayout.com.

“I’m really looking forward to playing these special shows — I’m a massive fan of what Dizzee does,” Allen said (via NME), while Dizzee Rascal commented: “Lily and I have both worked well in the past so it’s no doubt these shows will be nights to remember.”

Maybe I missed something, but I don’t see any mention above regarding last week’s comments, you know, the ones that went something like this: “The days of me making money from recording music have been and gone as far as I’m concerned, so I don’t (at this point) stand to profit from legislation [from the government regarding file-sharing]. Except future purchases of previously recorded material (which won’t be much).”

So, did you change your mind? Or have you ended what quite possibly would be the shortest retirement ever (three days!)? Then again, you could have just been pulling our legs the whole time! LOL for realz!

Either way, we’re really looking forward to your two-disc deluxe edition of It’s Not Me, It’s You that you also just announced. It’s good to have you back. Seriously.

Lily Allen (TOTALLY NOT RETIRED!) 2009/2010 Tour Dates:
10/22 – Paris, FR @ Zenith
10/23 – Antwerp, BE @ Lotto Arena
10/25 – Amsterdam, NL @ Heineken Music Hall
10/28 – Milan, IT @ Alcatraz
10/29 – Munich, DE @ Theaterfabrik
10/30 – Prague, CZ @ Club Sasazu
10/31 – Hamburg, DE @ Docks
11/03 – Berlin, DE @ Astra
11/16 – Sheffield, UK @ O2 Academy
11/17 – Manchester, UK @ Apollo
11/18 – Manchester, UK @ Apollo
11/20 – Bournemouth, UK @ Bournemouth IC
11/21 – Plymouth, UK @ Plymouth Pavilions
11/22 – Swindon, UK @ Oasis
11/24 – Birmingham, UK @ NIA
11/25 – Glasgow, UK @ SEC
11/27 – London, UK @ Brixton Academy
11/28 – London, UK @ Brixton Academy
12/08 – Dublin, IE @ O2
12/09 – Liverpool, UK @ Echo Arena
12/10 – Nottingham, UK @ FM Arena
12/11 – Cardiff, UK @ CIA
12/13 – Brighton, UK @ Brighton Centre
12/15 – London, UK @ Brixton Academy
12/17 – Brixton, UK @ O2
03/05 – Manchester, UK @ MEN Arena *
03/07 – London, UK @ O2 Arena *

* = w/ Dizzee Rascal

Due out September 21st, Tongue “N” Cheek contains both of Rascal’s No. 1 hits “Dance Wiv Me” and “Bonkers”. The album, with tracks produced by UK electro act Calvin Harris, is also his first album to be released on Rascal’s Dirtee Stank label, which he’s run since 2005.

Rascal’s hopes for this album seem to be downright cavalier. In an interview with Angry Ape, The Boy In The Corner said he isn’t concerned with having any more No. 1 singles, saying:

“I’m the first British artist to have two successive number ones on his own independent label. I never need to have another one again, though don’t get me wrong… it would be nice to.”

The album’s first single, “Holiday”, will be released on August 24th. Those of you in the Jolly Old England can check out Rascal’s trip through the UK as he plays several large scale shows on what is arguably his biggest tour to date.

Tongue “N” Cheek Tracklist:
01. Bonkers
02. Road Rage
03. Dance Wiv Me
04. Freaky Freaky
05. Can’t Tek No More
06. Chillin’ Wiv Da Man Dem
07. Dirtee Cash
08. Money Money Money
09. Leisure
10. Holiday
11. Bad Behaviour

Dizzee Rascal 2009 Tour Dates:
10/04 – Edinburgh, UK @ Picture House
10/05 – Glasgow, UK @ O2 Academy
10/06 – Newcastle, UK @ O2 Academy
10/07 – Manchester, UK @ Apollo
10/09 – Cambridge, UK @ Corn Exchange
10/10 – Exeter University, UK @ Great Hall
10/11 – Bristol, UK@ O2 Academy
10/13 – Nottingham, UK @ Rock City
10/16 – Norwich, UK @ UEA
10/17 – Birmingham< UK @ O2 Academy
10/22 – London, UK @ O2 Brixton Academy
10/24 – Liverpool, UK @ University
10/25 – Sheffield, UK @ O2 Academy
10/26 – Leeds, UK @ O2 Academy
10/27 – Brighton, UK @ Dome
10/30 – Swindon, UK @ Oasis
10/31 – Preston, UK @ 53 Degrees
11/01 – Southend, UK @ Cliffs Pavillion
11/02 – Lincoln, UK @ Engine Shed

If you remember, Cook, perhaps best known for his work as Fatboy Slim, decided to drop the alter ego last May in favor of a new project, entitled The Brighton Port Authority. As we know by now, work soon began on the aforementioned album over the summer, eventually resulting into a guest-heavy, dance-friendly 12-track effort. In addition to Byrne and Rascal’s appearance on “Toe Jam”, the album’s lead single, I Think We’re Gonna Need A Bigger Boat‘s also features the talents of Martha Wainwright, Emmy The Great, and Iggy Pop among others.

Ahead of the February 2nd physical release date, the album has been made available as a digital download exclusively via Amazon.com.

While there is no word on whether Cook plans to tour in support of the release, he will make one final live appearance as Fatboy Slim on January 22nd at The End in London.

“Toe Jam” (feat. David Byrne & Dizzee Rascal)

I Think We’re Gonna Need A Bigger Boat Tracklist:
01. He’s Frank (Slight Return) (feat. Iggy Pop)
02. Dirty Sheets (feat. Pete York)
03. Jumps The Fence (feat. Connan Mockasin)
04. Should I Stay Or Should I Blow (feat. Ashley Beedle)
05. Island (feat. Justin Robertson)
06. Local Town (feat. Jamie T)
07. Seattle (feat. Emmy The Great)
08. Spade (feat. Martha Wainwright)
09. Superman (feat. Simon Thornton)
10. Superlover (feat. Cagedbaby)
11. Toe Jam (feat. David Byrne and Dizzee Rascal)
12. So It Goes (feat. Olly Hite)

This past weekend, the rising media conglomerate brought its own flavor to Union Park, just outside of downtown Chicago, and nearby enough industrial palaces to kick back that ol’ blue collar indie credibility. With such a roll call of bands (Public Enemy, Fleet Foxes, and Dinosaur Jr. to name a few), Chicagoans came in waves… “sold out” waves, as the festival promoters would like you to know. It felt that way, however, as thousands of hipsters mindlessly walked together from stage to stage. Some were so hellbent on either sticking together or going with the flow that they missed the three other ticketing entrances to the festival, which meant there was an unnecessarily long line from the gate to the Green Line Ashland stop. My initial thoughts? Someone get these kids some damn Fuze drinks!

Saturday, the 19th

Having missed Friday (lack of sleep + early morning shift + The Dark Knight midnight screening = heavy, drowsy body), I made a vain attempt to take in as much as I could for Saturday. Things started a little rough, unfortunately. The slow train ride and chugging walk to the festival brought me to the closing song of Titus Andronicus‘s set. My blood boiled tenfold when they walked off stage. The New Jersey rockers’ debut is without a doubt one of this year’s finest and the energy on disc seemed paramount on stage. Oh well, fingers crossed for a Metro show in the near future.

Despite the unhappy weather, the misty rain felt nice. Summer festivals are usually tedious when it comes to heat, but the precipitation allowed for some London chills that kept everyone cool… and muddy. I don’t know if most of Chicago just skipped Bonnaroo, but many “got their jollies off” by rolling around in baseball diamond mud and sliding through festival goers. I even saw some girls wade in shin high rainwater. Enjoy the tapeworm come Monday, fools!

Pitchfork’s darling Jay Reatard came out for a short, thirty minute stint. The “aggressive” punk act swept through a dozen or so songs, and vocalist/guitarist Jay Lindsey had the time of his life with the microphone. It was nice to open with something that had adrenaline and pizzaz. These are acts that make outdoor festival experiences worth while. As the rain came down hard, Lindsey rollicked through a few closing songs before twisting and contorting one last time. Across the field and next door, sound technicians were having some technical difficulties (mainly with a keyboard), which delayed Caribou‘s set. Once the rain had subsided, singer/songwriter Daniel Snaith jump started his indie act into some cuts mainly off of last year’s Andorra. Snaith shared drumming duties with his touring drummer, which peaked at the opening track “Melody Day.” Altogether a tight set, after about twenty minutes, it all seemed the same.

One act everyone seemed excited to see was Fleet Foxes. Mist drifted over the audience as Robin Pecknold, clutching an acoustic and taking a seat by the microphone, played most, if not all, of the songs from their fantastic self-titled debut. Even if the set seemed more appropriate for an intimate setting, the four part harmonies resonated well with a very well behaved audience, who only applauded or spoke after each song. Pecknold’s stage presence isn’t exactly something to write home about, but his musicianship is, playing songs like “White Winter Hymnal”, which sounded perfect, clean, and yet brass. Considering the wide audience that stayed from beginning to end, one should keep a close eye on this Seattle quintet.

For many, the festival started with UK rapper Dizzee Rascal (above right), who came on the Connector stage, which is just one of three stages in the park. With a fly attitude and a smile on his face, he brought out some of the best moods of any hipster. Dancing and swaying, clapping and howling, people were moving. It all seemed fitting that halfway through his set, the sun broke through and any signs of bad weather disappeared altogether. On the downside, the heat turned up.

Halfway to the food stands, I came across some more “mud people”, a name we likened them to, who were asking passerby’s for spit, so they could continue shaping their mud mound. One “mud man” had a few white, smallpox-like fissions on his face, and as he walked up to others, many shied away… and with good reason. It didn’t make the situation for them any better that they were gathering up mud next to the Port-a-Potties. Gross, right? God, I’d never make it through Bonnaroo.

For those hungry at Pitchfork, they’re in luck. While certainly not as expanse as the Taste of Chicago (I mean, c’mon), it’s a step ahead of Lollapalooza. Vegans, vegetarians, and carnivores alike can enjoy everything from Chicago deli foods, Thai cuisine, spices of the South, and even finger licking BBQ. Saturday was packed, but the lines managed to squeeze by without much loss of time. The prices weren’t too shabby, either.

Towards the evening, everyone at the festival crowded the Aluminum stage, where New York’s “new thing”, Vampire Weekend, pleased ears and eyes galore. Singer and guitarist Ezra Koenig seemed comfortable with the crowd, which should come as no surprise after they’ve played Coachella, several international festivals, and the entire nation to boot. Although judging on comparison to their show here last April, the band seemed relatively tired and bored with the material (“Walcott” didn’t have the umph it once had), hinting that some much needed recording time and jamming is in store for them… or maybe just some sleep?

California dance rockers !!! ignited the crowd, playing a wealth of songs from last year’s Myth Takes. The pop eccentric group rallied through song after song, giving frontman Nic Offer little time to flirt with the crowd, but all the energy to grace the stage. Offer, in short shorts and a tight shirt, looked more or less like Nick Swarsden’s Terry of Reno 911, and even basing any opinion off of this performance, it’s clear he knows how to work a crowd. Immediately following, The Hold Steady blistered through “Constructive Summer”, off of this summer’s Stay Positive. Vocalist and guitarist Craig Finn is a little sloppy on stage, but it makes for an excellent show, where he borrows more from Paul Westerberg live, than his Springsteen-like ethics on record. The mixing left much for improvement (keyboardist Franz Nicolay was literally nonexistent throughout the set), but the band carried the best stage presence of any act that day. When Finn belted out “Sequestered in Memphis”, fans went wild, throwing beach balls around and jumping about madly. It was just non stop fun.

With an exhaustive girlfriend at my side and a setting sun in the distance, the idea of home with self made tacos and some Natalie Portman-Clive Owen movie sounded too good to pass up. I know, I know. One day I’ll regret missing out on Animal Collective or Jarvis Cocker, but not this weekend.

Sunday, the 20th

Things started late on the Sabbath, er Sunday, at least for me. New York City idiosyncratic’s Les Savy Fav made a mess out of the Connector stage. When vocalist Tim Harrington wasn’t doing imitations of Oscar the Grouch (complete with trash can), he was smearing war paint on nearby childrens’ faces. A friend of mine summed him up best: “a friendly, peaceful GG Allin.” On the whole, Les Savy Fav played a quaintly messy set, managing to hit wide range of their four studio releases. There was some time to be killed, so I got creative.

There’s always something to do at this festival, or so it seemed. If one’s not sold on the music acts, the trendsetters made sure you could continue all your irregular daily rituals, including thrift store shopping and other fun, sporty activities. The Chicago Independent Radio Project put together a nice little record shoppe, while dozens of homemade products were for sale in a separate tent. Tied in with the flavors of food, as mentioned before, the festival showed its guns.

Over at the Balance stage, which is south of the two main stages, I caught a bit of the Occidental Brothers Dance Band International. For a jam band-type sound, the local Chicago act kept up a tight, powerful set and reeled in a decent size crowd, though most were waiting patiently for Ghostface Killah and Raekwon, both of whom took the stage a good twenty minutes earlier than expected. The two Wu-Tang members’ set seemed moreover a nostalgic, “feeling the years” sort of show than an actual solo performance. Songs “C.R.E.A.M.” and even ODB’s “Shimmy Shimmy Ya” were played in snippets, with only a few songs of their own respected releases played in full. It was somewhat of a disappointment.

Without a doubt, however, the festival’s greatest performance was from UK act, Spiritualized. Just as the sun dwindled down, the psychedelic soul act took hold of an audience that continued to grow more and more. The alluring blend of classic rock blues and modern atmospherics really sounded refreshing. Songwriter Jason Pierce, or Spaceman to fans, chiseled through his guitar, coagulating both shoegaze and bluesgrass at once. When Tim Lewis, or Thighpaulsandra, took to his organ on several songs, the crowd went absolutely nuts. It was a perfect hour, with no sound technicalities and some of the best musicianship of the weekend. One can only hope they stay in the States for some time.

Of course, the weekend wouldn’t be as prolific if it weren’t for J. Mascis and friends, Dinosaur Jr (below right). The ancient act dusted off a stage that had been corroded from dozens of indie, prepubescent acts with its distortion and ear piercing solos. Songs “Almost Ready” and “Pick Me Up” (sporting an almost five minute solo) were blessings in disguise, reiterated from last year’s smile-making, come back album, Beyond. The band even cleared room for former singles “Feel the Pain” and “Out There.” Playing without a shirt, drummer Murph played a tight drum, while bassist Lou Barlow had his share at a couple of songs. All in all, the aging grunge rockers revealed they still have a few decades under their belt before they’re officially deaf.

Things disintegrated towards the end as headliner Spoon took stage. They opened with Kill the Moonlight‘s first track, “Small Stakes”, before heading into more recent material. One thing I noticed offhand was that vocalist and guitarist Britt Daniel has really improved his chops as a frontman for the band, inviting more energy onstage and an accelerated rhythm in movement. New material off of last year’s Ga Ga Ga Ga Ga sounded ready and crisp, especially the trolling repetition of “The Ghost of You Lingers.” Is it a surprise that Gimme Fiction material still sells itself readily? “My Mathematical Mind” and “I Turn My Kamera On” were easily highlights of an agreeable closer. It all kind of makes me want to watch that Will Ferrell film released a couple years back… and oddly enough, filmed in Chicago.

On the way back into town, someone talking on a cell phone mentioned to a friend, “Hey, we’re heading back, leaving hipster fest.” I laughed a bit at that comment, feeling as if I’m not alone in my sentiments. When one watches teens bask in the sun, wearing tight, tight Tron shirts and skinny, skinny female jeans, all the while asking for heat exhaustion, you can’t help but scoff. In the end, however, Pitchfork comes through, creating a humble festival for more or less a non-humble crowd, surrounded by industrial factories and sprinkled with less fortunate people asking fairly wealthy concertgoers for a helping hand. The sad twist? Despite all the “go green” nonsense, the efforts towards volunteering, and the peaceful mantras that go into half the acts that performed, people walked by, eager to get back to their lives and iPods. And sadly and rather self deprecatingly, I’m one of them.

In a way, that’s probably the best example of the brute real world yet.

*w/ various photo support by Art Pena