Projekt Revolution 2004
Linkin Park - Korn - Snoop - Less Than
Jake - The Used
Many of the rock acts were fun but forgettable. Less Than Jake
opened the main stage blasting out catchy pop punk with horns. The
Used swirled metal and punk together, inspiring singalongs and fist
pumping on new tunes as well as the better-known "Blue and Yellow"
and "Take It Away."
Back on the main stage, Snoop Dogg deserved credit for including
nine musicians in his Snoopadelics band. They brought dynamics and
rhythmic muscle to hits like "Murder Was the Case," "Beautiful" and
his 50 Cent collaboration "P.I.M.P." Still, Snoop couldn't have been
more cartoonish as he arrived on stage smoking, held aloft his "Gin
and Juice" during said song and had an array of characters randomly
walking, biking and dancing about his set. Snoop bragged that he was
"getting as high as a [m-fer]" and was liable to "do anything," but
"anything" turned out to be shtick.
Korn dropped a 65-minute set as night fell, their music dark
enough to fit the occasion. Fans shouted along or cheered at singer
Jonathan Davis's every exhortation, but it was difficult at times to
believe that they could do so straight-faced. The sight of Davis
clad in his black leather kilt, blowing into distorted-sounding,
barely distinguishable bagpipes as an introduction to "Shoots and
Ladders ," which largely cribs the lyrics to nursery favorites like
"This Old Man," was an unintended hoot. So too were covers of
Cameo's '80s funk hit "Word Up" and a suite of songs from Pink
Floyd's "The Wall." Davis said he felt "serious Korn love" from the
crowd, and why not, as his band played mostly songs likely to be on
the greatest hits disc Korn pushed in a video message at set's end.
Linkin Park were really the only act allowing "rock and hip-hop
[to] collaborate" as they rapped in "Step Up." While some of their
songs and onstage videos featured a generally anti-authoritarian
theme, most explored identity issues ("Numb," "Figure .09") or
relationships ("Don't Stay," "From The Inside"). Linkin Park's songs
never really explored life's dark or blurry edges the way the best
hip-hop does, nor rocked with any true authority or menace.
Most fans should know by now that if you're looking for a musical
revolution, you're far more likely to find it in an out-of-the-way
club or basement than in a concert shed built for mass-marketed acts
and audiences of 20,000.