Crystal Castles' Power Hour

Singer Alice Glass going bonkers onstage is, of course, part of Crystal Castles' mythology: the slight, confrontational punk singer is one of the most compelling people fronting a band this mainstream (a description they'd balk at, but like, rough guestimate is that 40,000 people watched their set—it was a congregation of humans coiling together like a rat king). But it's never a disappointment in part because one never knows what chaos they may rain upon us, the tension within their bright synths endemic to the intensity of Glass's performances. This time, bleached blonde and baby-barretted, she catapulted herself on the ground, into the photopit and, eventually, did something that was technically crowdsurfing but was more like crowd-walking, levitating across outstretched hands like some kind of punk apparition. She also took liberal swigs from a bottle of Jameson, at which point the crowd would inevitably cheer apparently drunk people love nothing better than to watch other people get drunk, glory be.

Chance The Rapper Is Your World

Nothing beats the crowds of a hometown hip-hop hero, but fans of the young Acid Rap purveyor reached a level of fanaticism those outside of Chicago might not have expected (though his popularity clearly got a recent bump thanks to opening dates with college-crowd fave Mac Miller). Whoever booked this dude clearly underestimated his draw. Situated at one of the smallest stages in a tucked-away grove, it was window-to-the-wall packed, and the closest I could get was about half a football field away. (Above are pictures to each side of me to approximate at 360-degree view of what I was dealing with.) Coupled with a too-low sound system, it was hard to hear whether or not he was good, but it almost didn't matter, because every person knew every song, from "Pusha Man" to "Everybody's Something" to "Smoke Again" and "Favorite Song." Like, multiple punk white girls rappin’-ass-rappin’ along to every single word, verse to chorus, in a way I have not seen since the Dipset days of 2005. He seemed great, but I couldn't see him, either. Magazines, free tip, put him on your cover now.

Do Not Throw Stuff At 2 Chainz

It's well-documented that 2 Chainz shows are spry, delightful affairs in which he raps his endless stream of chart-making features and guest verses, as well as a few full-length songs here and there. In this area, he did not disappoint: a good amount of his performance amounted to medley of turn-up anthems, from "All Me" (Drake) to "Beez in the Trap (Nicki Minaj), plus a little "Stressin" and "I Luv Dem Strippers" (2 Chainz). Throughout the set, Chainz as well as DJ E.Sudd reminded us that his sophomore album would be dropping in September; to drive the point home, the set was accompanied by video footage of a stormy sky, clouds roiling into a nighttime star-scape motif, which then provided the backdrop for the words "BOATS II: ME TIME" and "9.10.13" in a space font. But the release date was not his only message. Midway through, after a barrage of festival-standard beach balls were lobbed his way to kick back to the crowd, he crowed, "I don't appreciate people throwing shit at me! It was cute the first time. It's not cute anymore!" Then he played megahit "Spend It," and people still threw shit.

Jessie Ware's Diana Ross Two-Step

Jessie Ware's Devotion was one of the best albums out last year, threading the spirit of the UK pirate underground all the way back to the best early '80s quiet storm. (Between Ware and Solange, the old Jody Watley-fronted soulfunk group Shalamar seems to be having a comeback, influentially speaking.) Ware's a charmer on stage, but the best part was when she truly made her origins known. After beseeching the crowd to do a little two-step during the excellent "Sweet Talk," she gushed, "I love doing that! It makes me feel like I'm at a Diana Ross concert!"

Crafty (And Flagrant) Weed Dealers

People of Lollapalooza: you know you were mad flagrant about purchasing/doing your various substances of choice, right? Sorority pledges grabbing whatever off your hand, we saw you in the trees over there; dudes wearing backpacks on your chest as a cue, your customers were loud, drunk, and a dead giveaway. Which is why you have to give props to the people who didn't even try to hide it: particularly this guy, spotted during the Kendrick Lamar show, whose creative (and pop-culturally cognizant) sales tactic was appreciated even by those not interested in sampling his wares. He clearly put effort into his business, and that does not go unnoticed, like the cabbie who goes the extra mile to offer a clean ride. Nice job, son.

Dog Blood Breaks The Rave

The concept of Dog Blood is almost too bananas: Skrillex and Boys Noize team up to form an unstoppable supergroup powered by bass and drops. But look beyond the ravey starpower and you'll find a duo that's making the depressingly samey landscape that is "EDM" interesting again, bringing nuance and singular flair to the fist-pumping party crowd. Individually, you've got maybe the best festival DJ of all time, Skrillex, playing his smart dub-to-dubstep selections and tracks, plus one of techno's deftest DJs, who makes and plays only the smartest of the oonce. They each brought a bit of their singular flavor, but together they explored the funktified realms of breaks and a bit of jungle folding in just a touch of pop culture, like acid interpolations of Uncle Luke saying "POP" (as in "...That Pussy") with throwback smiley face visuals on the screen behind them. And lest anyone have any "bro-step" concerns, Skrillex stopped the set to check that no one in the front row was being crushed. "There's a lot of ladies here! Let's make sure the ladies are okay!"

New Order & The Cure Kick It 1983 Style

There's always a lot of fear involved with re-experiencing something you loved in your youth years later as an adult, whether movies, music, or Count Chocula. The main concern being: is this going to suck? With bands that have been kicking around for 30 years, especially; nobody wants to ride the nostalgia train and find the destination a wan and/or barren imitation of its plumper, more youthful self. But two of the festival's biggest draws—and main throwback acts—proved it doesn't have to feel so bad, and both sounded perfectly pristine. In fact, Bernard Sumner and Robert Smith's voices have changed so little since they originally recorded their hits you might assume they've been giving their vocal cords daily eucalyptus steam baths since the mid-'80s. New Order slayed even without Peter Hook, playing hits like "Temptation," "Perfect Kiss," "Blue Monday" and, yes, "Love Will Tear Us Apart"; their old-timey synths sounded wonderfully modern, and fresh air from the EDM stage a field over. The Cure, who closed out the fest, played for two hours straight, playing ALMOST ALL THE HITS from Disintegration, Wish, Kiss Me Kiss Me Kiss Me, and Head on the Door. What song do you play last when you've had a career as storied as theirs? The answer, of course, was "Boys Don't Cry," with Smith actually deepening the song from its original recording: his voice was tender and sweet. Clearly he's learned a thing or two since, you know, 1979. Biggest disappointments were lack of "Six Different Ways" and that one song from The Crow soundtrack, but everything else? They made the case for not killing yr idols.

Supreme Cuts Replaced By JODY & Kit

Situated against HAIM (replacing Death Grips), Dada Life, and the Lumineers, local boys Supreme Cuts didn't command a huge crowd, which was fortunate since something wild happened with the breakers and their computers busted on stage right there in front of us. After several awkward minutes, though, they brought out their friends to fill in, who presented one of the most magical—and definitely most Chicago—sets of the weekend. Jody, an R&B trio produced by Brandon of The-Drum, rolled out with Jodeci-influenced beats and baby-oiled, off-kilter harmonies, and fairly phenomenal dance moves. Their rapping compatriot KIT joined them onstage for collabo track "My Bad Bitch," from KIT's recent mixtape New Wavey—which about sums up this blue-lit, body rubdown set.

Kendrick Lamar Stops Concert For Wheelchair Crowd-Surfers

Towards the end of the set, the stadium cams zoomed in on a guy in a wheelchair who was crowd surfing to the front. He made it to the photopit, where he presumably had a much better view, and his feat inspired another dude in a wheelchair to crowdsurf HIMself to the front. Once that started, Kendrick stopped the set, speechless, and stared out into the audience of tens of thousands, who were chanting something (that might have been "wheelchair!"). He made it to the front, too, and Kendrick, obviously choked up, said, "That was a 10, what y'all did. Since he had the energy to get all the way up here, I'm taking this shit to a motherfucking 15!" The dudes in wheelchairs in the pit were busy giving high-fives to everyone in the front row, though. Amazing.

Ellie Goulding's Wild Abandon

Gilded-voiced UK powerhouse Ellie Goulding makes pop music, to be sure, but at times it's seemed like stateside, the pop audience hasn't quite caught up to her, despite ubiquitous songs like "Lights." If Lolla was any indication, though, no more: her show was a madhouse, her florid trills and drama inspiring surprising amounts of fluid interpretive dance from the crowd (including, during "Lights," two ladies performing impassioned somersaults. You go, ladies). She performed all the singles from Halcyon, "old" song "Starry-Eyed," and new track "Burn" with raw power, but her stage banter betrayed her emotion at the sheer mass of people. "It's been a little overwhelming for me, but, uh..." she paused. "Thank you. I'm speechless. Sorry." Get used to it, sis. Also, please next time play that awesome new song from the Skins soundtrack, thanks.