lollapalooza 94 tour dates

Lollapalooza 1994

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Main Stage: The Smashing Pumpkins, Beastie Boys, George Clinton & the P-Funk All Stars, The Breeders, A Tribe Called Quest, Nick Cave and the Bad Seeds, L7, Boredoms

Side Stage: The Flaming Lips, The Verve, The Boo Radleys, The Frogs, Guided By Voices, Lambchop, Girls Against Boys, Rollerskate Skinny, Palace Songs, Stereolab, Fu-Schnickens, The Pharcyde, Shudder to Think, Luscious Jackson, God Lives Underwater, King Kong, Charlie Hunter Trio, Shonen Knife, Blast Off Country Style, Souls of Mischief, Cypress Hill, The Black Crowes

Lollapalooza ’94

This year marks the 27th anniversary of Lollapalooza. So, to celebrate, we dug some photos up from our archives of the 1994 Tinley Park show.

These shots may be from over 20 years ago, but so little has changed. From eccentric people to unique foods and jewelry, the atmosphere and energy of Lollapalooza is strong and has stayed consistent through the decades. As 75% of the Lollapalooza crowd is between ages 21 and 34 (so currently born between ’82 and ’95), this glimpse of the 1994 festival provides a picture of what it was like back when their parents could’ve attended.

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Hard to recognize food

Same rockstar poses

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Funny faces with food

Aliens and such

Well the stores seem less handmade

July 15, 1994 (Tinley Park – Tour) July 28-31, 2016 (Grant Park)

Headliners: 1994 – The Smashing Pumpkins, Beastie Boys, George Clinton and the P-Funk Allstars, The Breeders, A Tribe Called Quest, Nick Cave & The Bad Seeds, L7, and Green Day 2016 – Radiohead, Red Hot Chili Peppers, LCD Soundsystem, Lana Del Rey, J. Cole, Future, Ellie Goulding, and Major Lazer

Ticket Price: 1994 – $28.50 (about $47 today) 2016 – $120-$335 (General Admission)

See the rest of the Lollapalooza 1994 shots below.

If you’re still curious about what Lollapalooza was like in 1994, check out this article from the Chicago Tribune.

Comparatively, this hype video from Lollapalooza 2014 shows just how much the show has grown. People flock to Chicago to take part in the memorable event at Grant Park.

For the 25th anniversary, the festival will last 4 days in Chicago. The art market is set to feature lots of great pieces, and with Lolla Cares, you can do your part to make the world a better place. To get more on this year’s events, check out Lollapalooza’s site and tune in to the  official Spotify playlist to get ready for the show.

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1350 W. Erie st. Chicago IL, 60642

Lollapalooza 1994

Lollapalooza 1994 was the fourth annual Lollapalooza festival and part of The Smashing Pumpkins ' larger Rock Invasion tour . The band had the headlining spot. Originally Nirvana was scheduled to headline, reportedly being offered nearly $10 million to do it. [1] However, Cobain turned it down, and the band officially dropped out of the festival on April 7, 1994. Kurt Cobain 's body was discovered in Seattle the next day. Cobain's widow, Courtney Love , made guest appearances at several shows, usually taking time from The Smashing Pumpkins given to her by Billy Corgan , including the Philadelphia show at FDR Park . [2]

Despite the added pressure on the Pumpkins following Nirvana's backing out of the festival and Cobain's subsequent death, Lollapalooza 1994 turned out to be one of the festival's most successful years, and reassured the Pumpkins' leadership in the rock scene. [3]

• Billy Corgan ( 45 shows )
• D'arcy Wretzky ( 45 shows )
• James Iha ( 45 shows )
• Jimmy Chamberlin ( 45 shows )
• Eric Remschneider ( 43 shows )
• Adam Wade ( 1 show )
• Craig Wedren ( 1 show )
• Seiichi Yamamoto ( 1 show )
• Yamantaka Eye ( 1 show )

Songs performed

Songs teased, references [ edit | edit source ].

• ↑ Grimes, Taylor and Longton, Jeff. "Lollapalooza History Timeline" . Billboard . 2007.
• ↑ https://www.latimes.com/archives/la-xpm-1994-07-09-ca-13528-story.html
• ↑ https://www.spin.com/2018/09/billy-corgan-zane-lowe-darcy-lollapalooza-94/
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Lollapalooza '94

This year's alternative music festival lacks a little Nirvana

Twelve top alternative bands were on the bill at Lollapalooza ’94, which kicked off a summer-long tour at the Sam Boyd Silver Bowl in Las Vegas on July 7. But the real attraction during the 10 blistering hours of 102-degree heat wasn’t sets by the platinum-selling Smashing Pumpkins and Beastie Boys. It was the three standing-room-only Rain Room tents filled with misting water. ”Maybe next year people will bring their own bubble bath and goggles,” quipped Pumpkins guitarist James Iha.

As in Lollapalooza’s three previous incarnations, the $28 ticket includes a traveling mall of Gen-MTV enticements: Booths dispense multicultural eats, crafts, and souvenirs (including ”Grunge on a Stick,” a 25-cent flannel flag); techno-dweebs can fondle interactive TVs and CD-ROMS in the Electric Carnival tent; and aspiring poets can mouth off in the Revival tent’s Poetry Slams.

At the Vegas show, a tiny audience of more adventurous souls checked out obscurer acts at the Second Stage, uninvitingly plopped at one end of the hellishly hot parking lot. But the mostly white crowd of 15,000 teenagers were here to mosh to the stars. Main Stage highlights included L7’s revved-up sludge rock, George Clinton’s three-ring circus of freaky funk, the Beastie Boys’ raging hardcore and obnoxious-amusing rap, and the Pumpkins, who finessed the shifting dynamics of their swirling psychedelia despite muffled sound. The Breeders suffered from having to play during the hottest part of the day: Their subtler pop fell flat in the half-filled stadium.

The biggest surprise: a normally nocturnal Nick Cave (with his band, the Bad Seeds) delivering his songs of sin and salvation under a bright sun. ”Who is this Nick Cage guy?” asked a kid too young to remember the Australian singer’s late-’80s heyday. ”He sucks.” In fact, Cave’s set was a reality check for the supposedly alternative festival. This year’s slate may be the most diverse yet — with more women (L7, The Breeders) and African-Americans (A Tribe Called Quest, Clinton’s P-Funk All Stars) — but only Cave’s impressively sinister set packed the shock of the different.

”If a [fan] doesn’t care about music, then it’s the dumbest thing in the world to stand in the middle of the desert for 10 hours,” said Iha shortly before the Pumpkins’ festival-closing set. ”But for someone who thinks music is an art, or a way of life, it’s godhead.” Perhaps. But what was painfully clear by day’s end was the absence of anything approaching musical passion or bliss. What was missing was Nirvana. When the late Kurt Cobain’s overdose in Rome forced his band to drop from the Lollapalooza roster back in March, the festival didn’t just lose a headliner. Neither the Pumpkins nor the Beasties seemed able to connect with an audience as deeply as Nirvana did. The festival organizers would like Lollapalooza to be more than the sum of its parts, but without a Nirvana, this year’s edition is just a random gathering of good bands.

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POP REVIEW; Lollapalooza '94 Opens in Las Vegas

By Jon Pareles

• July 9, 1994

The Smashing Pumpkins had a perfect arena-rock moment in the finale of their set on Thursday night at Lollapalooza 1994, the alternative-rock extravaganza, which began its summer tour here at the Sam Boyd Silver Bowl. As D'Arcy Westrey's bass tolled octaves, Billy Corgan sang "I gave my life away/And I feel no pain," followed by sustained wordless notes. The video screen behind the band showed a ballroom full of waltzing couples; a rippling guitar motif seemed to suspend time, holding the audience rapt. The effect was inseparable from the magnitude of the sound and image. It was rock for a big audience in a huge space.

Alternative rock and its forebear, punk, were once hostile to arena-rock, which was seen as an impersonal, commodified version of the real thing. But that was before Nirvana and before Lollapalooza itself, which made alternative-rockers realize that their audience was far larger than they expected. Lollapalooza, packaged as a daylong excursion into the underground, has been a consistent concert draw every summer since 1991. Since then, it has scrambled to retain some element of abrasive surprise, even as it booked Top 10 groups to fill arenas.

Lollapalooza 1994 includes the Beastie Boys, George Clinton, the Breeders, a Tribe Called Quest, Nick Cave, L7 and the Boredoms (to be replaced halfway through the tour by Green Day). The 10-hour, 12-band show will be attended by more than a million people during its national tour. Although the Las Vegas stop drew about 11,000 people to a stadium that holds 30,000, it was an exception; 37 of the tour's 41 stops are sold out, including its New York City shows on Aug. 5 and 6 at Downing Stadium on Randalls Island.

The Lollapalooza formula includes a second stage where lesser-known bands perform. Here, those four bands were the Flaming Lips, the Verve, Rollerskate Skinny and the Frogs; the lineup changes through the tour. Next to the second stage is Lollapalooza's version of a state fair: a midway of food and crafts vendors and political groups, and a hands-on exhibition of computer and video gadgets.

This year's "Electric Carnival" is a tent full of video monitors and keyboards, suggesting that the future will be entirely televised, limited by the options of computer programs. By midafternoon, many of the exhibits had overheated in the 101-degree desert sun. Lollapalooza 1994 also includes a third stage for spoken-word performances. A wandering camera crew collected faces and data for a "video dating" service; among other things, the computerized questionnaire asked if people had piercings or tattoos.

But music is still Lollapalooza's main attraction, and this year's lineup is uneven. There are more women leading bands (L7 and the Breeders), more hip-hop (a Tribe Called Quest and the Beastie Boys), more psychedelia (Smashing Pumpkins, the Verve and, in some ways, the Flaming Lips and George Clinton), more punk-rock (L7, the Boredoms, part of the Beastie Boys' set) and no Seattle grunge or machine-driven industrial rock. Newness is no longer a decisive factor; Mr. Clinton has been recording since the 1960's, the Beastie Boys and Nick Cave since the early 1980's, the Flaming Lips since 1985.

Still, some of the music should carry Lollapalooza 1994 through any potential identity crisis. Smashing Pumpkins fuse primal whining -- "I'm all by myself, as I've always been" -- with the drive and majesty of psychedelia: barreling drums, Hendrix-style low guitar riffs and spiraling hard-rock solos. Onstage, standing in front of a pulsating psychedelic light show, the band traded the meticulously detailed production of its second album, "Siamese Dream" (Virgin), for scrabbling guitars. Billy Corgan, the group's songwriter and guitarist, has a raw, nasal voice to top the band's perfect contradiction: as he sang about being a helpless child, all alone, the music exulted in its communal power.

The Breeders played a virtually perfect set of intelligently warped pop-rock. Kim Deal sings with airy nonchalance about simple pleasures and complicated relationships, over her sister Kelly Deal's lean guitar hooks and Josephine Wiggins's swaggering bass lines. The songs allude to surf-rock, punk, girl groups and country, and they often break off early rather than overstay. The music was blithe and knowing, backed by muscle.

George Clinton and the P-Funk All-Stars filled the stage with almost two dozen people: singers, guitarists, percussionists, a horn section and stray extras, all wandering around in costumes from a wedding gown to a diaper (both worn by men). The 45-minute set tried to compress the All-Stars' usual four-hour jams, and mostly succeeded despite a middling rap. It mixed old, deep-bottomed funk and chants from 1970's Parliament and Funkadelic hits with newer material, sometimes simultaneously; Mr. Clinton likes his songs multi-leveled. His creed is that funk binds body and mind together; his funk does.

The Beastie Boys tried their own eclecticism. Backed by a disk jockey, they jumped around and shouted the bratty, nattering raps that made them million-sellers. Playing their own guitar, bass and sometimes drums, they shouted hard-core punk-rock songs from their pre-rap days. Those were fun, but the Beastie Boys also played some funk instrumentals that sounded even more mediocre after P-Funk.

A Tribe Called Quest brought bare-bones rap, with easy-rolling, jazz-tinged bass lines and a mixture of unhurried boasting and plugs for self-esteem. To end the set, the group asked the audience to raise a fist in the air and shout "I love myself!"

L7 is a straightforward punk-rock band, singing about sexual harassment and troublesome men. The spirit is strong, but too many of L7's songs move predictably from sneer to snarl.

Nick Cave writes about despair and existential loneliness, setting his low baritone croon in homages to soul and blues; even with a forceful band, the Bad Seeds, most of the set sounded like a mope-rock lounge act, though things improved when the songs sped up to punk tempos. And the Boredoms, from Japan, offered scrambled, manic, semi-translated punk, with two screaming and gibbering vocalists and songs that moved in fits and starts. There were glimmers of order behind the anarchic noise.

Two of the bands on the second stage showed there's still life in the standard alternative-rock recipe: rocking tunes plus noise. The Flaming Lips, from Oklahoma, have an exuberant, post-punk sloppiness that doesn't obscure catchy guitar lines; Wayne Coyne's frazzled vocals fit the band's absurd sense of humor. Rollerskate Skinny, from Ireland, is more earnest and more eerie; distortion and echoes, floating falsetto "doot-doot's" and overlapping guitar patterns carry songs to zones of sonic pleasure and mystery. Verve, by contrast, played warmed-over psychedelia, as if repeatedly trying to rewrite Pink Floyd's "Nile Song."

In scrambling for something with a jolt, the organizers chose the Frogs, whose entertaining costumes -- silver-lame batwings and a pink feather boa for the guitarist -- didn't make up for smarmy, pointlessly repulsive lyrics. There are better ways to engage the underground, and maybe next year Lollapalooza will find them.

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Lollapalooza 1994 Setlists

Date Thursday, July 14, 1994

So far, there are setlists of 13 gigs in one venue .

Artists (A-Z)

• Marcus Amphitheater, Milwaukee, WI, USA

Thursday, July 14, 1994

5 attendees

22 attendees

8 attendees

20 attendees

11 attendees

4 attendees

18 attendees

12 attendees

6 attendees

21 attendees

2 attendees

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27 festival people went.

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Lollapalooza Timeline

1994 marks the 2nd festival ( 4 total). Incorrect?

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Concert Review: Lollapalooza

One week before Woodstock '94 commenced in upstate New York, Lollapalooza '94 rolled through our area. Held at the Charleston Racetrack in scenic (barren) West Virginia, this festival proved to be better than ever in its third year.

Lollapalooza's founder, Perry Farrell, is the singer for Porno for Pyros and the now-defunct Jane's Addiction. Unlike Woodstock, this party was put on by our peers, and it showed. For thirty bucks you got nine main-stage bands and seven side-stage ones. There was also ethnic and vegetarian food, spoken-word readings, a virtual reality ride, computer dating, Rain Rooms, shade tents, and free parking!

Before the festivities began, the Tibetan Monks of the Dalai Lama's Monastery chanted away on stage to a somewhat confused-looking crowd. Soon after, Green Day pounced on stage and kicked off the jam. Their punk rock and insults were followed by the noisy guitars of L7, sing-a-longs with the Breeders, a mellow set by Nick Cave and the Bad Seeds, not enough songs from A Tribe Called Quest, funkification from George Clinton, and predictable antics of the Beastie Boys. Finally, nightfall brought a somber end with the Smashing Pumpkins. Phew!

Luckily, weather was beautiful and security guards were "mosher-friendly" (many of them familiar faces from D.C.'s 9:30 Club). The bands rolled on down to North Carolina after the show and fans drove home eager for showers and bed. Hopefully, same time, same place, and different bands next year!

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Pop Music Review : Lollapalooza ’94 Finds Its Balance at Finale

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Inside Cal State Dominguez Hills on Sunday, fans pogoed happily in front of Lollapalooza ‘94’s second stage, cheering to the pop songs of Japan’s Shonen Knife, while yards away at the main stage, giant mosh pits surged to the aggressive chants of L7.

In between the two stages, carnival rides spun, poets pontificated, interactive computers interacted and dozens of booths filled with political paraphernalia, food and retail booths bustled. It was virtually an eclectic rock and rap carnival.

Yes, Lollapalooza mastermind Perry Farrell’s dream has finally come true.

The Porno for Pyros frontman has always referred to the summer tour--now in its fourth year--as a traveling show with a carnival appeal, but until this year, his dream only took a vague or lopsided shape.

In the past, either the main stage lineup far outweighed the smaller second stage fare, or the non-musical events were too sparse, or both.

But as the two-month 1994 edition wound up last weekend, Lollapalooza seems to have finally hit a pinnacle where all elements balanced.

The multitude of bands (mostly good) on the two stages and non-musical events (mostly fun) gave more than 30,000 fans so many things to choose from on Sunday that it was overwhelming--just as any good carnival should be.

Quite naturally, the reviews from the early shows in the two-month tour stressed acts on the main stage--which meant most of the media attention has been on headliners Smashing Pumpkins and the Beastie Boys, both of which turned in strong sets Sunday.

This emphasis on the main stage was reinforced when the tour opened at the Sam Boyd Silver Bowl in Las Vegas because the second stage was relegated to a small corner of the facility, and the non-musical elements were limited.

At Cal State Dominguez Hills, where the tour was scheduled to end Monday, the second stage was given far more prominence and the non-musical aspects were greatly expanded. The result was that these elements offered strong, constant competition to the main stage lineup.

In one of the best sets of the day, Cypress Hill packed the second stage, booming laid-back hip-hop tunes and serving up more odes to the almighty weed, while the audience jumped up and down en masse.

Lesser known bands like England’s Stereolab, which plays a mutation of ‘60s cocktail music, and local jazzy hip-hopsters Pharcyde also held large audiences, even though they competed with the likes of the Breeders and Green Day, whose sets ran simultaneously on the main stage.

Stereolab’s intricacies may not have come across quite as well outdoors as in clubs, but the surreal-sounding band compensated by playing more straightforward versions of songs.

Pharcyde hypnotized the audience into a blissful groove with its hip-hop meltdowns, while Shonen Knife delivered irresistibly pure pop. But not everything on the second stage was as glorious. Shudder to Think’s set was bogged down in melodramatic vocals and unfocused tunes, while the Boo Radleys came across as simply sappy.

When the second stage shut down just before sunset, all attention was again focused on the main stage, where the Beastie Boys had already began churning out its hyperactive blend of hip-hop and hard-core rock with bouncy stage moves and high-strung raps.

Smashing Pumpkins closed the show triumphantly with an hour of bittersweet sounds--from waves of reeling guitar to lulls of contemplative simplicity--that are so smartly crafted yet spontaneous and soulful, reflecting the whole tone of Lollapalooza ’94.

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Lolla: The Story of Lollapalooza Reveals Why Kurt Cobain Pulled Nirvana's Slot in 1994: It Was a 'Sellout Moment'

'Lolla: The Story of Lollapalooza,' which explores how the popular music festival came to be, premiered Thursday at Sundance

Michel Linssen/Redferns

In 1994, Nirvana was set to headline Lollapalooza in its third-ever iteration. Then, in fear of "selling out," Kurt Cobain backed out.

In Lolla: The Story of Lollapalooza , premiering Thursday at Sundance Film Festival, viewers will get an in-depth look at the music and culture that started the beloved music festival.

In the summer of '91, what started as a farewell tour for Jane's Addiction turned into a cultural movement that changed the landscape for music festivals going forward. Those first few years provided a stage for iconic acts like Ice-T , Pearl Jam , Rage Against the Machine and Green Day .

The second episode of the three-part docuseries, which was directed by Michael John Warren and produced by James Lee Hernandez and Brian Lazarte, reveals that Nirvana was set to play alongside the Beastie Boys , Smashing Pumpkins and Patti Smith in the summer of '94.

“We were planning the festival and Nirvana thought about it but decided that they couldn’t do it. Kurt couldn’t do it," Don Muller, co-founder of Lollapalooza, says.

Tim Mosenfelder/Getty 

"Kurt was terrified of selling out and Lolla was a sellout moment I think for them. He very clearly at that point was talking about how he looked in the audience and he saw all of the people that were beating him up in school — and me too, right?" John Rubeli, second stage booker for Lollapalooza from '93-'95 adds.

He concludes, "Nirvana was everything to us. When you’re alongside something that once in a generation, once in a lifetime, it just fulfills you in every way."

That same year, Cobain died by suicide at age 27 in his Seattle home. Perry Farrell, frontman for Jane's Addiction, remembers the days leading up to his death in the docuseries.

“I had heard that Kurt escaped from a rehab and they were actually wondering if I knew where he was," Farrell, 64, says. "I did not know where he was and then a few days later they told me that he had shot himself."

Bill Tompkins/Getty

L7's Donita Sparks adds, "When Kurt died… it was the end of an era.”

Warren, the director, was only 17 years old when he attended the inaugural Lollapalooza and he remembers it as an "incredible day."

"I'm just 17 years old. I haven't seen the world. I haven't gone to college. I've done almost nothing. The day felt dangerous to me," he tells PEOPLE. "Henry Rollins opens the day. The Butthole Surfers are firing shotguns off over the audience. Nine Inch Nails is just absolutely ferocious and unlike anything I had seen. Living Colour, I was a huge Living Colour fan, and I got a high five from Corey Glover, the lead singer of that band and I almost passed out."

"Ice-T was totally mind-blowing. He was doing a split set," Warren recalls. "I loved his rap music when I was a kid. So the first half of his set was rap, and then he brought out Body Count, and they do 'Cop Killer.' And I was like, holy s---, I can't even believe you can say or do that on stage."

Most importantly, this docuseries is meant to serve as a message for Gen Z, depicting the similarities in what they're living now — and what Gen X lived then.

KMazur/WireImage

"When I was a 17-year-old kid growing up in suburbia America in the early '90s as a teenager, I felt sort of like... We'd seen a lot happen in the world, and my generation was pretty pissed off about a lot of things, frankly, that were going on."

"I think a lot of those same themes and a lot of the frustrations of Gen Z right now are not completely different from what Gen X was feeling back in the day," Warren says. "There are things to learn from what Gen X did and what Gen X failed at. And now Gen Z's in that same position we were in back then."

A release date for the docuseries, which will air on Paramount+, is yet to be announced, though the first two episodes will premiere at the upcoming 2024 Sundance Film Festival, taking place Jan. 18-28 in Salt Lake City and Park City, Utah.

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