Intonation Shows Us How It's Done

By Scott Smith in Arts & Entertainment on Jul 18, 2005 3:13PM

The defining moment for Pitchfork’s Intonation Music Festival came just after Toronto’s Broken Social Scene began their Saturday evening set. Taking advantage of a security force that was as laid-back as the attendees, a few concertgoers slipped into the press pit with the same hesitation and excitement you’d see if they were trying to stand next to the prettiest girl in school. At any other show, a struggle would have ensued between drunks rushing the stage and roughnecks trying to throw them out. Instead, each person was met with a tap on the shoulder and with a reluctant nod returned to his or her original spot. It was an acknowledgement by all that the music mattered most and it was best to avoid anything that interfered with the enjoyment of it.

To say the organizers of the first—and hopefully not the last—Intonation fest pulled off the impossible isn’t hyperbole. The city’s attitude towards rock music in public—and even private—spaces has ranged from indifferent to antagonistic. Couple that with the usual concerns when 15,000 people gather in any space on two, 90-degree-plus days and any sane person might decide to stop before he starts. But the same rabid devotion found in Pitchfork’s audience was evident in the planning of this fest and, with a few minor tweaks, may be the example to follow for the future.

As the doors opened with the sun reaching its peak over Union Park, one wouldn’t have guessed events would go so smoothly. Due to lines stretching for three blocks and a decision to open the grounds only 20 minutes before opening band Head of Femur’s set, attendance appeared sparse. There were many more beer vendors than water stations and though sightlines for both stages were plentiful, the heat had most kids running for spots in the shade.

But as The Hideout's co-owner Tim Tuten said in one of his many trademarked introductions, this was “the people’s park” and the people were there to enjoy some of the best indie rock out today, not get drunk and bitch. A modest admission price, Pitchfork’s last-minute decision to allow concertgoers to bring in water, a good sound system that allowed even those in the shade to hear Andrew Bird’s lilting whistle and a variety of vendors and causeheads made for a friendly, easygoing weekend.

Many of the acts delivered good to great sets and were what you’d expect from listening to their records (or reading a Pitchfork review). Head of Femur, Pelican and the M’s each turned in a solid performance and A.C. Newman’s set of solo and New Pornographers material was almost overshadowed by a duo with Andrew Bird. The most inspired sets on the first day came late from Broken Social Scene and Death from Above 1979. The highlight of the evening (and perhaps the fest itself) was delivered courtesy of The Go! Team who made Union Park seem more like WattStax in a bit of improv you won’t see from anyone at next week’s Lollapalooza. As twenty neighborhood kids from behind the fences joined the band onstage to dance and sing, it reminded Chicagoist of why we spend all our money on music and live shows. The people’s park, indeed.

The second (and best) day had the feel of an awesome mix tape made by your coolest friend. With an earlier doors open time, a large, energetic crowd matched the manic performance from Thunderbirds are Now! despite the stifling heat and humidity. Dungen got a little jazzy and made us wish Sweden was closer as the day unfolded with oddness from Xiu Xiu, off-your-ass dance rock from Out Hud, the rough boys post-pub rock of The Hold Steady, the quiet intensity of Andrew Bird and the set-‘em-up-knock-‘em-down trio of The Wrens, Les Savy Fav and The Decemberists ending the day. Argue with the man-out-of-time stylings of the Decemberists if you must, but in a weekend devoid of a traditional headliner, the Decemberists delivered as one.

As expected, organizers learned some lessons for next year. Though security’s presence was minor and thankfully mellow all weekend, we wondered what would happen if a serious incident occurred and one almost did. An aggressive set by Les Savy Fav led to a rare display of pushing and shoving from the audience and security scrambled to clear are at the front of the stage due to safety concerns. After working the crowd into a frenzy, lead singer Tim Harrington seduced the masses into literally sitting down in the field to defuse the situation as organizers announced that police were threatening to shut down the fest if everyone didn’t relax. In addition, some of the beer stations should be flipped into water stations (lines on the second day grew to mammoth proportions), more food vendors will prevent the 30-60 minute wait times, and as much as Intonation isn’t about the money, an additional ATM wouldn’t hurt either.

In short, the Intonation Music Festival had the same kind of fan-grown feel as the Pitchfork website. For a site that caters to a national—if pigeonholed—audience, everything about Intonation felt local. It’s almost common knowledge in rock circles that a positive review on Pitchfork can change the course of a band’s career. Chicagoist hopes the success of Intonation proves the need and the desire for rock music in Chicago’s public spaces and creates a new model for future fests.

Chicagoist will be posting some reviews of individual acts later and interviews as well in the next several days. Tell us what you liked best or least below.