Intonation 2006: The Final Word
By Scott Smith in Arts & Entertainment on Jun 27, 2006 9:44PM
Now that we’ve fully recovered from Intonation this weekend, we’re stepping back to try and answer two questions: did the organizers create a brand separate from the Pitchfork Media juggernaut and is Chicago ready for a fest that brings together rockers and rappers with b-boys and badasses?
We can’t find any fault with Intonation’s eclectic combination of musical artists. Some turned in performances that underwhelmed, while others could fairly be called historic (Roky Erickson) or destined for a best of 2006 list (Tyrades, Jon Brion and Lady Sovereign). While some might prefer an entire fest of artists in a similar genre, this was an event with some of the best from several styles of music and its existence might be unimaginable elsewhere.
But music festivals are a lot like mix tapes: the best ones have a definite vibe. And the difference at Intonation could be felt between the fest's first and second days.
Whereas Saturday whiplashed between folk, rap, ambient noise rock, and hip hop, Sunday had segues that Rob Gordon types sweat hard to produce, transitioning smoothly from punk and modern rock acts to hip hop and dance then into some bluesier traditional sounds before wrapping it all up with more hip hop. Not helping matters were the "stars" of the Windy City Heat film, who provided between-set banter on Day One. It was a horribly misguided attempt by New York-based curators Vice to bring in some local flavor but it felt so foreign, they might as well have been speaking Cantonese. The second day's costumed, non-sequitor-goofiness featuring Vice co-founder Gavin McInnes was a welcome relief from the cut-rate-Kinison antics of the first day.
Onstage performances lend a lot to a show, but the audience is a big part of the equation too. Last year, Intonation concertgoers were lined up around the block when the gates opened. In an effort to thwart scalpers by having most people pick up their tickets on-site, the 2005 fest inadvertently created an instant energy thanks to swarms of people who flocked to find their favorite space in the shade or grass. This year, that energy came in smaller doses, but was definitely there in defining sets by Lady Sovereign, Ghostface Killah, Rhymefest and Bloc Party.
While the diversity onstage could not be beat, the audience didn’t reflect it. It’s been ignorantly suggested that only white kids listen to rap nowadays, but looking at the audiences for Lupe Fiasco and Rhymefest (who both proved that Chicago hip-hop isn’t suffering with Kanye and Common on the coasts) would lead you to believe it. Fantastic metal sets by both The Sword and High On Fire were played to mostly indifferent crowds thanks to a scant few metalheads in the crowd. Perhaps next year it will be easier for fans of both of these genres to know that this is the place to find up-and-coming artists in two oft-neglected styles of music.
In many respects, Intonation was back at square one again this year, but with two ambitious goals to meet. While early reviews were sounding the death knell for having two separate “indie” music summer fests in Chicago, Intonation’s Day Two was one of the best fest days of any outdoor festival we’ve ever experienced (due in some small part to the elimination of last year’s interminable 30 minute waits for food). Chicago is lucky enough to have three excellent multi-day summer festivals. Perhaps next year, Intonation organizers can build upon their successes instead of having to re-invent the wheel.