THE LAUNCHING OF LILITH FAIR (2010)
This article is authored by CARYN BROOKS at ROLLING STONE
LILITH FAIR’S U.S. kickoff at Portland Oregon’s Sleep Country Amphitheater on Friday night was as meteorologically troubled as the fest itself.
It was rainy and so cold, fans huddled under GoreTex and blankets. SHERYL CROW’S bare arms nearly turned blue.
But while the weather matched the dismal state of sales for this reborn “celebration of women in music,” attendees were undeterred in turning the day into a Hot Tub Time Machine moment, blissfully dancing in the aisles and partying like it was 1999, the last time Lilith came to town before going on hiatus.
Lilith has announced 11 city cancellations in July alone due to poor sales, which the tour team ascribes to soft economics all around. But some question if that’s skirting the issue of whether the cultural vein Lilith tapped went dry around the end of the last millennium.
The truth probably lies somewhere in between: ticket prices ($41.50 – $252) could conceivably be a problematic hurdle in today’s economy and an avant garde movement led by LADY GAGA has kidnapped its share of Lilith’s kids.
But the Portland show seemed reasonably full, although reports of Live Nation unloading $10 seats last minute may have come into play.
The resurrected Lilith retains some of the main components that flavoured its three year run in the 90s: local and national charities receive a portion of ticket sales, a multistage village showcases up and coming female acts (MARIE DIGBY, GRACE POTTER & THE NOCTURNALS and A FINE FRENZY held up the B Stage in Portland) and large corporations ply their wares to a parsed out demographic.
While the demographically correct COLBIE CAILLAT opened the main event, the wild card was country duo SUGARLAND, which had the most to gain in front of an audience of potential new fans who may have never paused on a country radio station before.
Sugarland came to win, putting on a thrilling, full throttle performance that ranged from twang (Settlin’) to pop (All I Want To Do) to, uh, steam punk (The Incredible Machine) which is the theme of their new record, also called The Incredible Machine, out in October.
Frontperson Jennifer Nettles blended a big Broadway voice with sassy down home charm, realizing Sarah McLachlan’s Lilith dream of knighting the next generation of female performers: she won a contest to play a small Lilith stage in 1999 and in the decade since has become a platinum selling, GRAMMY winning performer.
ERYKAH BADU came out sporting what looked like a 50 gallon cowboy hat that matched her large echoing voice. Eleven musicians rocked a lush orchestral backdrop and a well tapped flute master led her four song set into a JETHRO TULLian funk fantasia.
ERYKA seamlessly ran through extended versions of her biggest hits, such as Certainly and On & On. Her stay seemed too short and at the end, she injected a bit of Lilith style self empowerment: “Raise up your hands and shout out your own damn name,” she commanded.
SHERYL CROW’S mellow rock had middle aged women (and some younger ones, too), bouncing joyously to well loved tunes like EVERY DAY IS A WINDING ROAD and IF IT MAKES YOU HAPPY.
She opened her set with OUR LOVE IS FADING off her soon to be released 100 MILES FROM MEMPHIS, which signals a visit to blue eyed soul town. The only time SHERYL appeared to really let loose was when she joined SUGARLAND on stage to merrily dance about to that band’s hyper catchy All I Want To Do. (Not to be confused with SHERYL’S also catchy ALL I WANNA DO.)
When the night was at its darkest, the stage literally shone its brightest, flooding with white light when Sarah McLachlan appeared, as if descending from the mothership.
Sarah’s power is undeniable in concert: her voice so clear and beautiful, her melodies so rich and meandering, her lyrics so dungeons and dragons. The Lilith founder recently released her first original material in seven years, Laws Of Illusion and is taking the risk of touring her new record on the festival circuit.
She smartly stuck mostly to the old favourites — Building a Mystery, I Will Remember You, Ice Cream — while judiciously dropping in a few new songs like Loving You Is Easy and Out Of Tune, which didn’t sound like new songs at all.
Despite the sharp transition from Sugarland’s rowdy set to Sarah’s moody meditations, there was a sense of being home when the Lilith founder hit the stage.
As per Lilith tradition, the pack of festival performers gathered to do a final encore.
It was BECAUSE THE NIGHT, a track synonymous with PATTI SMITH, a female singer who has historically bowed out of sisterhood clans in favor of androgyny and a special boys’ club pass.
Like so many things about Lilith, it was hard to tell if this was convenience or commentary.