Inflight Magazine of ATA Airlines

IT’S STILL THE BLUES CAPITAL OF THE WORLD. BUT IN THE WINDY CITY, THERE’S MORE THAN ONE WAY TO GET IN THE GROOVE. BY ROD O’CONNOR

Chicago’s reputation as a blues town wasn’t invented to draw tourists, but that doesn’t stop the thousands who pilgrimage there every year to watch legendary guitarists wail away in real-deal blues joints. For many music fans, Chicago will always be synonymous with the electrified version of the blues created in smoky clubs and on South Side street corners. There’s nothing wrong with that-the Windy City’s blues history is as pure as those sweet-sounding notes spilling out from Kingston Mines on North Halsted Street or Buddy Guy’s Legends on South Wabash Avenue. But the blues aren’t the only act on the bill in Chicago-not by a long shot. All summer long, the city hosts outdoor events dedicated to jazz, gospel, country, Latin music and, of course, the blues. In recent years, Chicago has also become a destination for alternative and indie music festivals; it’s home to a revitalized version of the groundbreaking ’90s concert tour Lollapalooza, as well as two cutting-edge music festivals: Intonation and Pitchfork.

If you love music, it’s a great time to visit this city by the lake. Whether you want to listen under the stars or catch an under-the-radar artist at a small club, Chicago truly offers something for every taste. As locals already know, there’s perhaps no other place in the world that boasts so many thriving music scenes.

“Any night, you can go and see blues and jazz, of course. [There’s an] alternative music scene and a DJ culture scene that’s very prominent. And then a rock scene and even a country scene,” says Joe Shanahan, owner of the landmark club Metro. “I’m not even sure if Austin can match that.”

That diversity may surprise those who consider Chicago exclusively a blues town. Interestingly, the foundation was laid in part by the blues artists themselves, when Howlin’ Wolf, Muddy Waters and countless others arrived from the Mississippi Delta from the ‘20s through the ‘50s. These newly urbanized performers learned about showmanship from the flourishing jazz scene; they plugged in their instruments (many having access to electricity for the first time) and created blues ensembles designed to get people dancing.

But it wasn’t just African-Americans who came to Chicago in the period known as the Great Migration. Poor white folks from the Appalachians also hopped the Illinois Central Railroad in search of jobs, bringing what was then known as “hillbilly music” with them. Chicago actually rivaled Nashville as the nation’s country music capital until the late ‘50s, thanks to the wildly popular “National Barn Dance” program broadcast by local radio station WLS-AM.

In fact, one can link that early country scene to Chicago’s folk revival in the ‘60s and ‘70s at places like the still-thriving Old Town School of Folk Music, as well as in the country-tinged sound of Chicago’s current alt-rock heroes, Wilco. And Jon Langford, one of the more prolific “insurgent country” artists on the city’s homegrown Bloodshot record label, is a Welshmen whose music with bands like the Waco Brothers is directly influenced by the honky-tonk first heard on the old “National Barn” Dance program.

“One of the things I think is unique about the city is that it’s known for so many different forms [of music],” says Alison Eisendrath, senior collection manager at the Chicago History Museum. “What’s interesting about the [Great Migration] period is that it brought into contact people who never otherwise would’ve come into contact with one another, influencing each other in really interesting ways.”

In 2005, when Lollapalooza’s creator Perry Farrell and its new producers were seeking a city to host a rebooted, one-stop version of the ‘90s tour known for its musical diversity, Chicago’s central location and picture-perfect lakefront made it an ideal candidate—and the city’s musical heritage added another layer of significance.

“It’s a spiritual crossroad in the heartland of America,” says Farrell, when asked about the intangibles that led the festival to Chicago.

Heading into its third year this August, Chicago’s version of Lollapalooza (now a three-day event) is a near-perfect amalgamation of music and good vibe; it’s well planned and maintains the “lifestyle festival” element of the original by offering art, technology and cause-related booths. In 2006, 65,000 people per day came out to catch more than 130 bands, from Kanye West and Gnarls Barkley to The Flaming Lips and the Red Hot Chili Peppers. This year’s artists include Ben Harper, Daft Punk, Iggy and the Stooges, and Pearl Jam.

The new Lollapalooza also offers a wider variety of activities than the typical outdoor music fest. For example, the hipster Gen X-ers who dominated the mosh pit in the ‘90s can now bring their little ones to Kidzapalooza, a shady grove with kid-friendly music performances, guitar and drum workshops, and even a rock ‘n’ roll petting zoo.

Festival goers can also take a walk in Farrell’s Mindfield, an interactive experience that’s part guerilla theater, part wacky game show. Along with a stage featuring comedy performances and big screen video gaming, participants receive text message clues that direct them around Grant Park for the chance to win VIP tickets, backstage passes or giveaways from fest sponsors. “It’s all playfulness, and at the same time it’s inspiring because it’s interactive… using telecommunication technology to [help attendees] enjoy the festival and participate,” Farrell says.

But perhaps the greatest thing about Lollapalooza is the location itself. Every year, a kind of rock ‘n’ roll theme park comes to life amid the greenery of Grant Park, one of the most beautiful urban spaces on the planet. While some destination festivals take place in the middle of a desert or on a farm, Lollapalooza happens in bustling downtown Chicago, transforming the third-largest city in the US into a massive lakefront party

“Chicago has restaurants, hotels, nightlife,” says Charlie Walker of festival producers C3 Presents. “We want people to take advantage of everything the city has to offer.”

Earlier this year, it was announced that Chicago would remain home to Lollapalooza through at least 2011. This mutually beneficial relationship hinges on two seemingly strange bedfellows: rock icon Farrell and Chicago Mayor Richard M. Daley.

Both are deeply committed to global responsibility. Lollapalooza not only raises money for city park programs, but the festival also does its part to go green in every possible way, from using biodiesel fuel for the stages and lights to the composting of backstage food waste to a new area called Green Street-where interactive displays coexist with vendors selling recycled organic cotton T-shirts and other sustainable merchandise.

“It’s not just for the three days,” Farrell explains. “We reach out to the city prior and leave behind a legacy. we’re involved in changing the city and beautifying it, going green with it.”

The same year Lollapalooza set up camp in Chicago, the first Intonation Music Festival was held in Union Park just west of Chicago’s Loop. The twoday, 24-band event took place in July 2005 and was curated by influential internet publication Pitchfork Media. The next year, Pitchfork created its own annual event, giving Chicago three cutting-edge summer music festivals that each draw artists and fans from all over the world.

“When we were first starting out with Intonation, we looked at the country and thought there was a huge void here,” says David Singer, co-director of Intonation. “I think a bunch of people had the same idea at the same time, but there’s plenty of room for all of us.”

According to Singer, the difference between Intonation (scheduled for September 2007) and other festivals is Intonation’s commitment to presenting once-in-a-lifetime performances and “putting together super-eclectic lineups that reflect the way people actually listen to music.” Artists from 2006 included Jon Brion, Bloc Party and rapper Ghostface Killah.

Meanwhile, Pitchfork’s 2006 roster, while more focused on indie rock, was equally impressive with up-and-coming bands The National and Band of Horses joining elder statesmen like Yo La Tengo and Silver Jews. In July 2007, Pitchfork will add a third day of programming where legendary artists will perform a benchmark album in its entirety. Among those confirmed is Sonic Youth, which will play its landmark 1988 release Daydream Nation

While summer in Chicago is exciting because of all the outdoor music options, the variety of clubs throughout the city guarantees quality music is available year-round. The list of great venues is long-from altcountry at the Hideout to jazz at the Green Mill-but the Metro in Wrigleyville is the best place to see a rock band just before they take over the world.

Celebrating its 25th anniversary this year, the multi-level Metro has hosted everyone from Nirvana to Chicago’s own OK Go and Smashing Pumpkins (who played their very first gig there); it’s the venue every young band in Chicago strives for. Plus, the basement Smart Bar has been at the epicenter of Chicago’s house music scene for two decades.

“Chicago has this ability to be a little more folksy,” says Shanahan, reflecting on more than two decades as part of the local music scene. “There is a community here. We’re a big city, but it takes on sort of a small-town feel. We have great record companies; we have great bands and musicians who have made Chicago their home; and we have a great network of music venues.

“It has everything. but it also has great blues,” he continues. “You’ve got Buddy Guy-he’s one of the greatest living bluesmen on the planet. I mean guys like Eric Clapton and Keith Richards go to his club to see ‘the man.’ This isn’t a tourist attraction; this is an international treasure. He’s right here in our city, and that’s remarkable.”