Post Malone Shines On His Own During Lollapalooza Headline Set: 5 Best Moments

Here were the five best moments from Post Malone’s triumphant Lollapalooza headlining set

Post Malone Shines On His Own During Lollapalooza Headline Set: 5 Best Moments

Post Malone’s Lollapalooza headlining set on Saturday night (July 31) inevitably came with some guest-star intrigue. With so many collaborative hits, the pop-rap superstar was sure to bring out some A-listers, just as Miley Cyrus had done on Thursday night at Grant Park in Chicago. Would Young Thug, slated to perform at Lollapalooza the following day, fly in early for “Goodbyes”? How about Swae Lee for “Sunflower,” or even Ozzy Osbourne for “Take What You Want”?

In the end, Post Malone mostly shrugged off the surprise guests — only Tyla Yaweh, out to perform “Tommy Lee,” joined him onstage — and that was more than okay. Post Malone has developed into such a skilled, magnetic live performer that he was more than enough to enthrall a sprawling crowd on Saturday night, tearing through radio hits and fan favorites with a steady hand and goofy grin.

Here were the five best moments from Post Malone’s triumphant Lollapalooza headlining set:

The Opening “Wow.” Factor

One week ahead of Lollapalooza, Post Malone performed at Rolling Loud Miami and kicked off his set with “Saint-Tropez,” one of the highlights of 2019’s Hollywood’s Bleeding. That’s a fine set-starter, but “Wow.,” which introduced his Lollapalooza performance, was more explosive, all coiled hooks and chest-thumping boasts designed to make an audience turn up to a dizzying degree.

It also helped that Post Malone delivered lines like “I know it piss you off to see me winning” while multiple feet above the main stage: when the curtain dropped to reveal the set, he was positioned on a raised platform, prowling the scaffolding for the opening song. In short, Post Malone’s intro juiced up the crowd following a long day of music-watching, and ensured a Saturday night party.

Those Dance Moves

What a wonderful thing it is to watch Post Malone dance onstage. Anyone who’s been to a Post Malone show knows what to expect at this point: the leg dips, the arm extensions, the cheeky hand motions, the head swivels. There’s a level of grace there, but each unabashed movement often works to encourage his onlookers to do away with inhibition and bust their own respective move. Simply put, the man is usually having the time of his life during his show, and Lollapalooza was no different, with each subtle gesture and wild gyration somehow calibrated for maximum audience enjoyment.

The “Circles” Sing-Along

One of the biggest hits of Post Malone’s career became the biggest belt-out anthem of the festival on Saturday, as “Circles” glittered under the night sky and had thousands crooning along. The Hollywood’s Bleeding smash, as well as “Sunflower,” are currently the most surefire moments of audience participation in a Post Malone set, and he smartly edged them towards opposite ends of his Lollapalooza set list, with “Circles” played fifth and “Sunflower” performed third-to-last. Also: “Circles” is not an easy song to sing, and Post Malone nailed its extended syllables under the bright lights. The rest of us will have to keep working on our karaoke games.

The Victorious New Song

“Motley Crew,” Post Malone’s latest track which was released last month, received its live debut one week earlier at Rolling Loud — and by his second performance of the song, it already sounded like a set list gem. While the studio version of “Motley Crew” resembles a workmanlike, rap-leaning Post Malone album cut, the song sounds electric in concert, with the hooks smacking against the beat and causing collective head-knocking. Listening to “Motley Crew” at Lollapalooza demonstrated why Post Malone’s latest top 20 hit might have legs as a Hot 100 staple, following its No. 13 debut last month; it also suggested that, if the follow-up to Hollywood’s Bleeding hits this hard, the superstar will have another best-seller.

The Genuine Emotion

Post Malone has become so omnipresent in popular music that it’s easy to forget that his debut album is less than five years old. He’s been in the spotlight for a relatively short time, yet here he was closing out Saturday night at Lollapalooza — and even though he’s been headlining arenas for years, the magnitude of the moment, particularly considering the history of Lollapalooza and all the headliners that have come before him, was not lost.

Throughout the performance, but especially over the course of the first few songs, Post Malone appeared moved in front of the adoring crowd, and at a loss for words while staring out across Grant Park. As he explained, part of those feelings could be chalked up to the pandemic and how long it had been since these shows had taken place. But as a Lollapalooza headliner, Post Malone was appreciative of the opportunity — and for the fans who helped turn it into a reality.

Source : Billboard More   

What's Your Reaction?


Next Article

Jane And Barton: Too – album review

A brand new album from Jane Lancaster and Edward Barton, and the belated follow-up to their 1983 self-titled debut mini-LP. The post Jane And Barton: Too – album review appeared first on Louder Than War.

Jane And Barton: Too – album review

Jane And Barton: Too

(Cherry Red Records)


Released 6 August 2021

A brand new album from Jane Lancaster and Edward Barton, and the belated follow-up to their 1983 self-titled debut mini-LP, which was also released by Cherry Red Records. The duo are probably best known for the acapella It’s A Fine Day, which was treated to a danced-up hit cover version by Opus III in 1992. Too comprises of eleven new offerings composed by Edward and sung by Jane. Ian Canty ponders the prospects for a sunny 24 hours…

Nearly forty years separate the first and second Jane And Barton albums, but it feels exactly right that they pop their heads above the parapet at just this time. The seven-track debut came out back in 1983 and even in the dying days of post-punk it was an oddity, but certainly one to savour. It’s A Fine Day and I Want To Be With You were extracted as singles in the same year, but apart from the Lovely And Chicken 12-inch at the end of the 80s, nothing much else was heard from them as a duo.

Of course, they have busied themselves in other ways since then, with Jane later acting on television and Edward writing hits for Lost Witness among others, plus developing his dual career as a musician and poet. Over time, their most well-known number, It’s A Fine Day, also took on a life all of its own. Dance act, Opus III had a big hit with their cover in the 1990s and Edward nipped in with a credit from no less than Kylie Minogue with her single Confide In Me, which borrowed from It’s A Fine Day.

Which brings us to Too, an all-new album from the pairing. Given the huge gap between Jane And Barton’s activities, one may ask what has changed in their approach. The answer is, ‘not much’ and that is something we should be very grateful for. Jane still fronts Edward’s extraordinary capacity for imagery with the same sense of innocence and wonder, fused with hints of deadpan comedy.

The sound they end up producing is one that is difficult to describe. It is kind of like a mix between the mighty Young Marble Giants and The Marine Girls, with Syd Barrett supplying the songs, with a splash of St Etienne’s downbeat electro-disco thrown in for good measure.

Too is set in motion by the touching Late At Night, a sparse sound with a ringing organ that is perfectly voiced. A sample of Edward’s abundant skill with phraseology displayed on this tune is, “I take my loneliness for a walk.” For me, that encompasses a familiar feeling so well and accessibly. Added to that, he’s not afraid to use the word ‘wazzing’ when referring to rainfall either.

Stella takes things on a little more playfully, with percussion joining the keys and giving it a bouncing momentum. Edward’s voice joins Jane’s on backing vocals on a family story attuned to the more cynical, changing times we currently inhabit, tersely summed up in the line, “But now honesty doesn’t work.”

Propelled by an electro pulse, Hey! It’s The Twenty Twenties again concerns itself with the present, but also people’s preoccupation with the past. “Just enough is plenty” looms out of the song lyrics, something a lot of folk could do with considering in 2021. Next comes Shushy Time, to all intents and purposes a delicate and charming modern lullaby. Some might start at such wilful wistfulness, but I felt a lump in my throat and a tear in my eye. It’s truly beautiful.

A pretty, music-box sound heralds Give Your Mum A Kiss. The sadness of time passing and life are vividly brought into focus here in a simple but thoroughly genuine way. Daisys (their spelling) And Buttercups again touches on lullabies, in an acapella number that softly tells someone who is disturbing the rest of the song’s principal character to gently shove off!

Gradual forgiveness is granted: “Make me toast, I’ll let you live.” The words are so skilfully put together on Too and Jane always strikes just the correct note. Plus it is difficult for me not to love a song that poses the question, “Can you fit chips in an intravenous drip?”

Sexy Guy Sex Girl has a touch of late-night electro-dance and soul/jazz, with Jane’s voice wavering coolly and the simple organ riff providing the link between acid house and John Shuttleworth. The following Once Around The Lake clicks rhythmically, with the vocal almost a whisper. A walk in the park is the subject, but the ducks in the pond come off second best, “Cuz bread is bad for ducks.” They do, however, get some sustenance from cut-up lettuce and the remains of Jane’s flapjack…

Clicking along with a faint bossa nova, Walking Back From Town is a tale from Edward’s world of reflection and pinpoint observation, brought to life by another of Jane’s sensitive readings. Then He’s Not Arsed has a melody built for the more electronica end of the dancefloor – a story of a floundering relationship, with Edward again vocally in the background. The lively application of electronic percussion, a core strength on much of Too, is key here.

Finally, we reach Moon, a voice-only item, which has haunting echoes of It’s A Fine Day. The final words on this LP are, “I’ve got the words all wrong,” but nothing could be further from the truth. This is a really beautiful end to an alluring record, a really deep pleasure on many levels. It has all the hope, insight and sheer poetry one could wish for, added to a winning way with low-key, but killer tunes.

Going by their track record, we’re not going to get the chance of too many more Jane And Barton collections, which definitely makes Too one to treasure. It is almost too on the nose to say this album is full of great songs, delicately applied instrumentation and the kind of unique but naturalistic wordplay that probably wouldn’t even occur to anyone other than Edward Barton. But that is what it is. We won’t get too (sorry) much better in 2021. Let us embrace it.

Edward Barton is on Facebook here and his website is here.


All words by Ian Canty – see his author profile here.

The post Jane And Barton: Too – album review appeared first on Louder Than War.

Source : Louder Than War More   

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.