Twenty years into its punk-rock-carnival experiment, Riot Fest stands as Chicago’s largest, longest-running independent music festival. From its humble beginnings in the since-shuttered Congress Theater, to brief adventures in both Colorado and Philadelphia, the vision of founders “Riot Mike” Petryshyn and the late Sean McKeough remains steadfast in charting its own lane in the music festival landscape — celebrating musical genres and influential though often unsung artists who draw generations of outsiders, weirdos, goths, freaks and geeks.
And, finally, John Stamos.
Marrying aspects of vaudevillian sideshows — at one time even showcasing motorcycle stunt performers suspended above guests — fair games and rides with the festival’s usual suspects of food, merchandise and alcohol vendors, Riot Fest has experimented with what live entertainment can look like. With the introduction of the Riot Fest Wedding Chapel in 2021 and Riot Land in 2024, it continues to evolve without an oversaturation of VIP viewing cabanas that obstruct sightlines, or influencer culture. Overcoming community protests, park district disputes and a near-move to SeatGeek Stadium in Bridgeview, the festival appears to be charging ahead on all cylinders.
This year’s anniversary edition opened Friday in Douglass Park, with a lineup that continues through the weekend with headliners Weezer and The Damned on Saturday and Green Day on Sunday.
That said, the energy around Day 1’s kickoff felt more lamb than lion, despite a lineup that exalted breakthrough hardcore acts like Knocked Loose — who rocked a major timeslot opposite “Weird Al” Yankovic — and The Barbarians of California, in addition to Stiff Little Fingers, Senses Fail, The Hold Steady, Alkaline Trio, and headliners Blink 182 and The Pogues. Though truthfully, if you’ve seen Blink once, you’ve seen them a thousand times.
While the sentiment of “more chill” was shared by multiple attendees the Tribune spoke to Friday, no one seemed to mind. If anything, the civility and shared understanding of being there to simply enjoy was embraced.
Still, there were sets to see.
Rapper Rico Nasty, who has put on some of the fieriest sets I’ve seen in recent memory, seemed not entirely herself despite her latest synth-laced, alluring release “Lethal” giving way to a stellar NPR Tiny Desk delivery a few months back, and brash, fists-up persona she’s built over the last 10 years carrying her to internet cult-queen status.
Nasty — flanked by her DJ and a live guitarist (whose distorted drop-tuning did a lot of heavy lifting to keep the crowd engaged) — was dependent on her backing track as she stomped back and forth in her patent leather, stiletto boots. The usual confidence in her skate-punk-coded irreverence appeared shaken for whatever reason, even on her signature tracks “Smack a (expletive)” and verse on Doja Cat’s “Tia Tamera.” Where glimpses of her mischievous spirit and full-throat, guttural screams sprinkled throughout the end of her set elicited more hyped responses from her audience, the display definitely spoke to the vibes being somewhat off.
The most fun was being had on Weird Al’s “Weird World” Stage (hosted by comedian Emo Philips and known the rest of the weekend as the Rise Stage), which also boasted acts including Mac Sabbath, Puddles Pity Party, and Sparks — who arguably had the set of the day.
Helmed by brothers Russell and Ron Mael, they’ve released 28 albums since 1972, exploring and exploding genre and inspiring fellow subversives like Devo and Bjork, as well as today’s baroque avant-rock of bands like The Last Dinner Party. But even the Mael Brothers’ crowd, while sizable, was pretty mellow. Singer Russell had enough energy for everyone, bouncing across the stage in a mustard colored suit fronting a sea of black, and sounding pristine as his voice tumbled up and down. Songs like “The Girl is Crying in her Latte” and “Beat the Clock” take on an urgent sort of pulsing live, roughing up the edges of their technically-sound gloss (“Number One Song in Heaven” – which included a Ron Mael dance moment, free from behind the keyboard). The fever-pitch build of “This Town Ain’t Big Enough for the Both of Us” sounded arena-sized and was easily one of the day’s highlights on its own.
Ending with the prescient “Please Don’t (expletive) My World” — written when they thought things “couldn’t get any worse,” according to Russell Mael, Sparks left the people wanting more. As any great festival set should.
Couple Tom Kalowski, 55, and Reseda Westbrook, 56, of Avondale suggested the scheduling of acts like Sparks back-to-back with critical darlings Rilo Kiley are part of what makes Riot Fest special. Attending together every year, they agreed the blend of artists as well as stronger, intergenerational support is its continued lure.
“I’d say I go to over 100 shows a year, but Riot Fest is the only festival we go to,” said Westbrook. “It’s family friendly, and it shouldn’t be but it is. That’s what’s cool about it. They’re not going out of their way to make it for kids. It’s not for kids, it’s for adults, but bringing the kids here. You’re passing down music, and live music, to make sure it stays around.”
“It’s great Riot Fest was able to come to North Lawndale and stay, even though some folks in the neighborhood might still not want it. I don’t think people understand yet how important neighborhood festivals are. Maybe they are now. I will say, so many people have said ‘Excuse me’ today. I think the weight of the world, the week it’s been, people just want everyone to have a good time.”
A reformed, reinvigorated Rilo Kiley was actually what was needed at sunset. Oh, how the girls have missed this one. The gentility of Jenny Lewis’s voice still cushions the most biting quips (“Silver Lining”) and harshest realities (“With Arms Outstretched”). The sexy strut of the guitar on “Moneymaker” sounds even dirtier live, with Lewis having fun throwing a little grit in her vocal. I’m still reeling and telling myself they didn’t play “Does He Love You?” to devastate me, personally.
Still, it was a winning day of curation specifically for Yankovic and company, later referred to as “America’s only respected comedic songwriter” in a sizzle reel that played during costume changes within his performance.
Which was unabashedly joyous and goofy — and so smart. Transcending parody, Yankovic is the rare type of artist who draws you in with silliness as a kid and stuns you with astute observation and societal witticisms as an adult — and is finally getting his due. Bringing his most beloved song rewrites and vivid music videos to life (as much as he and his wildly talented band could on a smaller stage) from “Like a Surgeon” and “Fat” to “Amish Paradise” and “The Saga Begins,” it’s hard to believe this wasn’t a mainstage production. To echo many in attendance, and admittedly I had no idea about the fervor of the fandom, it should’ve been.
“I thought (the ‘Weird Al’ Stage) was really fun and a unique aspect to this year’s fest,” said photographer Laurie Fanelli, who’s been shooting the festival since 2014. “Emo Philips had everyone laughing during his introductions and Shohen Knife, Puddles, and Mac Sabbath were all incredibly entertaining in different ways. Weird Al was definitely the star. His performance of ‘Smells Like Nirvana’ was hilarious, nostalgic, and one of the best moments of the day for me.”
Approaching the end of Day 1, Blink-182 opened with the fitting “Rock Show” before commenting on how many “good-looking ladies” were in attendance. Compared to English-Celtic rockers The Pogues closing down the adjacent Rebel Stage, Blink had the larger nostalgia pull for the majority demographic of arrested development millennials and Y2k-obsessed Gen Z. One concertgoer asked if maneuvering through the crowd was as bad as it was for My Chemical Romance in 2022.
“Nothing will ever be as bad as that,” their friend replied.
But the band was on autopilot for much for its 90 minute set despite guest appearances from the city’s suburban son Matt Skiba — who Tom DeLonge credited with “keeping (Blink-182) alive” during his hiatus before launching into “Bored to Death” alongside the Alkaline Trio frontman — and Descendants’ guitarist Stephen Egerton joining for a cover of the band’s “Hope.”
Luckily for them, but more importantly the fans, sticking to their routine doesn’t tarnish the charm of adopting a DeLonge-exaggeration when singing along to “I Miss You,” or fun of belting “Feeling This,” “All the Small Things,” and “What’s My Age Again?”
“I just love Blink,” Miguel Ybarra, 23, said, while smiling at the Riot Stage with several friends around. “I love that Riot Fest always jokes about not booking what people want, but books exactly what these people want. At least the people who sold it out this year. Doing that for 20 years has to be hard, but keep it up. There’s two more days, Green Day on Sunday, man — and the next 20 years to go.”
Let’s just hope the weekend brings a jolt of adrenaline instead of rain.
Jessi Roti is a freelance writer.