[Chicago's Union Park]

What a difference a day can make. Closing the doors on Intonation was going to take a miracle after my disappointed with the prior day's events.  Add to this the swelling storm I awoke to and I felt I was in for somewhat of a disaster filled day.  I yearned for the first year's highlights like Go! Team bringing up the neighborhood kids on stage but instead had dastardly visions of Ghostface Killah brining up scantly dressed women to grind with. I started debating the need for Pitchfork's publicity - now gone from this year's Intonation Festival in order to pursue their own music machine in July.  I wanted to stay in bed.

I won't beat around it, nor fib,  Intonation's first days lineup was somewhat of a disappointment when viewed overall.  Acts were rough, polished only to the level of bar performances, and had no character save a few evening events. But, where it lacked in flavor and performance, I'm pleased to report the second and final day more than delivered on all fronts.  While artists were unable to connect or even find their sound during the first day's festivities, lesser known acts triumphed on the second day to prove that there is life in this indie festival.  And while it still has some ground to cover for next years incarnation, simply put, it was an amazing day.

Opening acts like Tyrades, Bill Dolan, and the Panthers had the misfortune of rain delaying their potential fan base.  But in my opinion, there is no more perfect an environment than the soiled ground and crowd for the sound of punk heavy Tyrades as they tore through their simple yet catchy songs as the storm gathered.  I'd watch them to see if they can make the leap to defining themselves a bit  more in their sound but they are definitely maturing at a rapid rate. 

The Constantines rolled out rocking their ever changing sound.  What once was a Nirvana meets Pete Yorn sound with screams and melodies, respectively, has now matriculated into something far more original and compelling.  Gone are the yelps, but they still show up as dabbles in some songs.  Instead, the act simply throws down vocal rock that finally has the nurtured sound to back it up now that lead Bryan Webb has toned it down.  Their most recent release, Tournament of Hearts was the focal point during their set and rightfully so as it was great to hear the band make the leap from studio to stage so well with newer material.  Of course, three years on the road can hone any blurred sounds rather quickly.

Constantines have matured into something all their own

Rhymefest simply blew the doors open and destroyed the naysayers that he was simply a "Kanye knock-off."  I am going on the record: He is better than Kanye in ways that matter in the long run.  He's not arrogant, connects in seconds with the crowd, doesn't rely on samples nor baby vocals, and elates a less glamorous image and persona.  He free-styled with the crowd; one of his signature sounds, he rapped from the heart about war and misguided America in 'Bullitt' and had feverish energy that activated the crowd beyond all previous acts and most to follow.  Most wrote him off the moment he passed on long time friend Kanye's proposal to sign with his label for fear of always being in his shadow instead opting for producer/DJ Mark Ronson help.  And while most at Pensatos agree that this was the high road and wise choice we now feel vindicated for our brat-like stance for the past few months after hearing a sample of his work.  Chris Brown lent his youth vocals over Rhymefest's switch-hop words with amazing results.  His oft-delayed debut, Blue Collar will finally hit stores in July.  Don't say we didn't warn you of the next-big-thing.

Rhymefest and Chris Brown destroy the competition early

Maybe it was the feel good vibe I left the stage with after Rhymefest, or maybe it was the 3rd Spark I was on - but I wanted to keep going.  Unfortunately, Annie hit the stage.  And while her baby-tart lyrics and flirtatious dance beats are well liked, she had the misfortune of following arguably the best of the afternoon's events. She lacked the intensity some of her works have given off in the past, most notably her stint with Madonna and Royksopp. Annie and the Anniemals (I'm dead serious too) have a knack for creeping into your head with her fantastic penmanship and sweet voice.  And while her jazzercise energy was compelling, her music simply brought me crashing down... or was that the sugar high wearing off.

Lupe Fiasco came on stage to prove one thing; Chicago has an unpicked goldmine of hip hop acts and he's the claim to own. He roused the crowd with an outstanding 'Kick Push' with the aid of skater friend and song inspiration Jackson tricking it on stage with his board.   He even performed his Kanye shared song 'Sky High' of which we saw no need for West's help any longer.  Lupe Fiasco is headed into the mainstream and today proved he is ready and able.

Lupe Fiasco performed a mean 'Kick Push'

Heavy metal thrashers The Sword riled the crowd up with its hard hitting rock and guitar anthems while sixties classic natives Blue Cheer performed on stage for the first time in Chicago since their drug possession and incarceration in 1969. 

Jon Brion was a treat for all.  Here's a guy who is most known for his works behind the glass in a studio aiding the sounds of Kanye West (isn't there a 3 West rule in affect for this article?) and Rufus Wainwright.  He's scored the soundtrack for Magnolia and Eternal Sunshine of the Spotless Mind.  Most recently, his production work with Fiona Apple for the original Extraordinary Machine - the one that leaked to the internet months before the original and eventual alternate release at the hands of another producer - is seen as a far superior version. But forget that.  This guy is a one man show in the same likes as Ben Folds without the arrogance.  His witty humor was abundant as he spastically darted around the stage, looping guitar solos atop drum beats, and piano measures all of which were played on the fly before he came back to the mic and synced it up to jam with.  Even Wilco drummer and oft-solo project bound Glen Kotche joined in to help jam.  It was nothing short of amazing and a true pleasure to see one of today's most creative minds experiment on stage.

Brion showed his stage presence and musical panache

Veteran indie scriber Robert Pollard showed his ability to perform catchy perfectly timed cuts from his insanely large catalogue of songs.  Superchunk drummer Jon Wurster aided his efforts in showing a young crowd the original garage rock.

Dead Prez, with their well documented political urban rap and vicious lyrics about society and the need to revitalize the African American community took stage but stuttered along the way.  This is no longer the Dead Prez we knew.  They now are with commercial friendly Columbia and it shows.  Politics have been replaced with words of gun play and cars.  I guess this is what you get when you work with Jay-Z on an album and kicking it with scantly clad ladies instead of sticking to your roots of redefining heritage and changing society.  And while they still rhyme from the heart, their heads and performances are noticeably misplaced.

Dead Prez rhymed about urban issues but forgot their intellectual sides

It was a smoke filled stage that British darlings Bloc Party played upon as they closed the two day event in style.  Fan favorites 'Like Eating Glass' and 'Helicopter' showed their perfected presence in such a short time.  Frontman Kele Okereke trialed new material from thier long awaited follow up to last years amazing Silent Alarm entitled 'Uniform' which started simple enough but before long it had the hairs along my arm standing on edge as it grew into a grand finale not unlike 'Blue Light'.

Bloc Party delivered a stunning performance

As the rain fell down on the final hour's festivities, I couldn't help but notice how it was a kind parallel to my entire outlook for the festival.  What started as a rather simple showcase of indie music - a second rate festival that felt limp with the loss of last years more inspiring acts was all but washed away with the help of Rhymefest, Lupe Fiasco, and Bloc Party.  It was a grand display of talent and a precursor to most of the day's acts inevitable nationwide recognition.  And while many of the festivities felt more like a neighborhood gathering than a true festival of part political charge and music awareness, it provided some of the best music outside major label backing.  In part, I enjoyed the atmosphere when compared to the cluster cattle that are most music festivals in Chicago.  Don't go by the nay-sayers numbers; attendance was down but not noticed.  The crowd was full of musical respect and it shined throughout the two day event.  I for one am certain that next years eminent follow-up will correct some issues and become a beast all it's own and out of the shadows cast by larger entities.