Riot Fest, where the punk comes in all sizes and generations

Transcription

9/19/2014
Riot Fest review; Riot Fest in Humboldt Park reviewed - Chicago Tribune
Riot Fest, where the punk comes in all sizes and generations
Greg Kot
CHICAGO TRIBUNE
greg
@gregkot.com
SEPTEMBER 14, 2014, 10:10 PM
SHOW CAPTION x
H
1 / 47
undreds of fans stood shivering in the rain for 75 minutes to listen to two Russian women speak about
how they came to be imprisoned for participating in a feminist protest.
The scene played out at Riot Fest, which celebrated its 10th year over the weekend in Humboldt Park with more
than 130 bands spread across seven stages. The rainsoaked panel discussion featuring Riot Fest’s Russian guests,
Pussy Riot’s Nadya Tolokonnikova and Masha Alekhina, summarized the festival’s reason for being. Tolokonnikova and Akekhina spent more than 20 months in prison for staging a protest in a Russian church in
2012. They say they did not expect to be imprisoned but noted that the line between democracy and dictatorship is
thin and slippery, and Pussy Riot became an international cause celebre that embarrassed and enraged Russian
President Vladimir Putin. Women in particular are under scrutiny in Russia, they said through a translator, for
trying to speak out or even assert that they have rights equal to men. “That’s why we like irony,” Tolokonnikova
said, and shouted out to the American feminist punk band Bikini Kill.
The women were treated like freedom fighters by a panel that represented a loose time line of punk history in
America, including Black Flag’s Henry Rollins, Bad Religion’s Greg Graffin and Rise Against’s Tim McIlrath, plus
feminist journalist Marcelle Karp. Rollins occasionally threatened to dominate the panel at the expense of his
guests, but asserted persuasively that punk is a social movement as much as a musical genre that connects
outsiders across all kinds of borders: spiritual, social, political, geographic. http://www.chicagotribune.com/entertainment/music/chi-riot-fest-review-20140914-column.html
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A similar time line played out at Riot Fest over the weekend: punkpoet Patti Smith, Brits the Buzzcocks and
Ireland’s Stiff Little Fingers from the ‘70s, on through ‘80s giants Social Distortion and the Descendents, Superchunk and the Offspring in the ‘90s, to newcomers such as the Orwells. There were a few tangents, including
a rare hiphop booking in the mighty WuTang Clan, plus headliners such as the Cure, Weezer and the National
that represent the mainstreaming of underground rock more than they do any kind of punk sensibility. But there
was no doubt about the festival’s core.
Riot Fest was cofounded a decade ago by Michael Petryshyn and Sean McKeough, a couple of Humboldt Park
residents. Back then, it hosted a few dozen bands in a variety of clubs, before moving to the park three years ago,
where it has expanded its scope. But punk and its close brethren – ska, garagerock, metal – remain the lifeblood
of the festival. After Naked Raygun romped through its 1984 debut “Throb Throb” Sunday, Petryshyn took the
stage to publically thank the Chicago quartet: "I owe everything to these guys. We wouldn't be here without them."
His festival drew a record 160,000 fans over three days, including sellouts of 55,000 each on Saturday and
Sunday, and has positioned itself as a clear alternative to other big Chicago music gatherings such as Lollapalooza
in Grant Park and the Pitchfork Music Festival in Union Park.
Riot Fest is unabashedly all about the rock in its bookings – if it doesn’t have a guitar, Petryshyn probably doesn’t
want to know about you – in contrast to the electronic music that has come to increasingly dominate Lollapalooza.
It’s the festival to find graying, bearded middleage punks wearing faded Naked Raygun Tshirts, and to see mini
skirted Goths sporting fluorescent mohawks. The number of tattoos rivaled the number of beers and cigarettes
consumed. It’s also the festival where nostalgia mingles with a mix of new bands who 15 years ago would have
been on a multiact local bill playing an allages show at the Fireside Bowl on Fullerton.
It’s a festival for connoisseurs; fans could not only see poppunk progenitors the Descendents but their more
obscure offshoots, All, and throatily sing along to both bands while enjoying the interplay of veteran guitarist
Stephen Egerton, bassist Karl Alvarez and drummer Bill Stevenson. The enthusiasm was mirrored by the
audiences for Stiff Little Fingers and Superchunk, in large measure because the ringleaders of both bands still act
like they’re playing their first gig. Stiff Little Fingers’ Jake Burns sounds as boyishly enthusiastic as he did when he
first performed the band’s anthem “Alternative Ulster” in the ‘70s, and it closed the band’s set Friday. On Sunday,
Superchunk’s Mac McCaughan pogohopped as though he were still playing at the Czar Bar just a few blocks away
in 1990.
Patti Smith reminisced about being walked through Humboldt Park by her mother after she was born in Chicago
in 1946, and dedicated her set Sunday to her late husband and former MC5 guitarist Fred “Sonic” Smith on his
birthday. But the poet’s sentimentality was balanced by another message: her assertion that the only thing that
can save the planet from war, ecological meltdown and corporate greed is the people themselves. "A new world's
comin' and you will create it," she snarled after a galvanizing “Pissing in a River.” Her voice shook and so did her
fist. After “People Have the Power,” there was another reminder that sounded like a demand: “Don’t forget it, use
your voice.” It’s been a recurring theme in Smith’s work throughout the decades. Obviously, Pussy Riot got the message.
[email protected]
Copyright © 2014, Chicago Tribune
http://www.chicagotribune.com/entertainment/music/chi-riot-fest-review-20140914-column.html
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Riot Fest, where the punk comes in all sizes and generations

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