Pitchfork 2010: Free Energy and Titus Andronicus manage to rouse the heat-stroked crowds and Raekwon bounces back from boos and technical difficulties

Day 2, Part 1, July 17, in Chicago

By Selena Fragassi & Sarah Collins
Published: July 18th, 2010 | 10:20am

Free Energy's intro music was depressingly apt. The heat was, in fact, on, just like the Glen Frey song. But Free Energy bested the early start time and the 90-degree weather. They came out looking every bit like hippies, down to the flowing shirt, scarf, and cut-offs. Guitarist Scott Wells even had a feather in his guitar, which apparently imbued it with the power to pull off '70s rock solos without sounding cheesy. They drew quite a crowd for the set, and kept them dancing and clapping through songs like "Free Energy" and "Dream City". Lead singer Paul Sprangers dances a lot like I do when I'm trying to make someone laugh. It gave the set an easy fun, a good complement to the friendly rock-pop. They even managed a sing-along for "Bang Pop," a feat for band whose record only came out two months ago. But when LCD Soundsystem's James Murphy produces your record, I guess it comes with a certain amount of built-in fans.

Sonny and the Sunsetsdidn't have quite the fanbase, but they used their oddball folk-pop to get the crowd swaying, if not fully bouncing. Their sound reveals their San Fran-roots, a laid-back pop with a '60s vibe. Songs like "Death Cream" and "Young to Burn" got the crowd swaying, if not fully bouncing. Tahlia Harbour added a cute retro vibe to the band with maracas and a tambourine to punctuate the folk songs. Mellow songs like "Mondrian" offered a nice respite from the heat and movement of other stages. Most of the audience seemed accidental, those seeking shade and a place for Dam-Funk, but the happy tunes got through, giving the B Stage a pleasant air.

Titus Andronicus had an attentive audience well before they started, creating an awkward staring contest between band and fans while everyone waited for Delorean to finish. When they did, Titus kicked into one of the greatest songs of the year, "A More Perfect Union." They attacked it with admirable intensity, even though feedback kept some of it from the audience, who didn't seem to notice. The crowd clapped and fist-pumped along throughout the set. But clapping wasn't enough. "Titus Andronicus" had the whole crowd screaming "you will always be a loser" while frontman Patrick Stickles came up to and over the barricade, crowd-surfing through the mob. Amy Klein wailed on her guitar so hard she had to pull her top back up-not a major inconvenience judging by her open-mouthed grin. Even slow-burning songs like "Four Score and Seven," with string, horn, and keyboard accompaniments from tourmates Hallelujah the Hills, had a passion rippling through their quietest parts that exploded into the chorus. The energy was infectious, and easily pushed them into the best set of the fest slot. [Sarah Collins]

It was a culture clash when Delorean took the stage early on Saturday afternoon. The Spanish quartet superbly blended their native Balearic house beats with loose leaves of coastal indie pop potpourri that made them stand out like the happy little umbrella in a tropical mix of sun and sweat that plagued the crowd for a second straight day. Although the band has waged a successful recording mission since the dawn of 2004, the invite to the dance party didn't hit American audiences until last year when Pitchfork awarded the group a lauded best new music ribbon and, later, a punchy performance at CMJ solidified their scenester status.

Released in March, the band's latest effort Subiza (True Panther) was on display at the Aluminum Stage, including standout tracks like "Stay Close" and "Real Love" that proved Spaniards clearly are on top of the world right now, from soccer championships to sonic victories. Delorean's music is a passport into a world genre that's easily translatable and adoptable by the masses. It's just unfortunate theirs was such an early slot, because there will be many who will give themselves a swift field kick for missing the day's clear highlight.

Peeking out underneath a shaggy mop of hair was Kurt Vile who made an honest man of the Balance Stage on the other side of the park. Recently copped to being Kim Gordon's music crush, the Philadelphia crooner brought the best from his recent Matador release Childish Prodigy and was easy like a Sunday (or in this case, Saturday) morning. Perfect for long drives or cue-to-the-intent-pause/made-for-TV moments, Vile brought out the big guns and even bigger harps for his performance, most notably on track "Freeway," with a spit-shine delivery for the trophy often awarded to the track as one of the best of 2009.

The first (and maybe only) boos of the day were for rapper Raekwon whose sound snafus made a hot and bothered crowd even more cranky after a 20-minute delay that had people baking like rotisserie chickens in anticipation for the spitfire emcee. But when he finally appeared from stage left flanked by a DJ and compatriots hooded by white towels, Raekwon, aka Corey Woods, quite literally brought the invisible house down.

"If you love real hip hop, put your hands in the air where I can see you," he said to a now engaged crowd. The Wu-Tanger then ripped into a couple of classics including the Clan's "C.R.E.A.M.," before again growing frustrated by technical difficulties. "It's pissing me off. It's not us, it's the sound system," he vented before warning to vast applause "I may have to do this freestyle." He eventually regained steam and merged past and present including tracks from his highly regarded Only Built 4 Cuban Linx series (H2O/EMI), interpreted by a cast of pint size break-dancers. [Selena Fragassi]

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Read up on Pitchfork Day 1: Part 1 and Part 2

Read up on Pitchfork Day 2: Part 1 and Part 2

Read up on Pitchfork Day 3: Part 1 and Part 2