Lilith Fair launches in Vancouver
By JEFF BATEMAN -- Special to JAM! Music
VANCOUVER -- The 100th edition of Lilith Fair
was a largely flawless opener for the festival tour's
third and final trek across North America. After a
month of heavy rain and overcast skies here, the
sun broke through, walk-up traffic was brisk and a
happy, relaxed vibe suggested summer had finally
begun on the west coast.
"What a beautiful sight," said McLachlan while
surveying a rapt, younger-than-usual crowd that
had just roared its approval of set opener
Possession. "What a beautiful day. The goddess
smiled down on us."
Flanked by two towering, silk-screen images of the
Greek muse of music, McLachlan engaged in what
was effectively a love-in with the hometown crowd.
There were mass singalongs (Ice Cream),
outbreaks of sparklers and lighters (Angel) and,
during a set light on surprises, just one genuine
spark of excitement (Sweet Surrender, which gave
her relaxed, hugely professional Mirrorball band a
chance to crank the energy up a few notches).
The evening closed precisely on schedule at 9:55
PST with the day's dozen performers continuing a
Lilith tradition by gathering for a final benediction of
sisterly wisdom and solidarity - this time by
covering the pop standard Put A Little Love In
Your Heart. A little corny, perhaps, but entirely apt
for a day that radiated positivity.
McLachlan had a tough act to follow in Sheryl
Crow. After providing most of the laughs at the first
of this year's round of daily press conferences,
Crow stole the show with an hour of textured, fiery
rock'n'roll. Her set included several decidedly
un-Lilith moments: an Axl Rose cover (Sweet Child
O'Mine off the Big Daddy soundtrack) and the
Sticky Fingers-era Rolling Stones tribute There
Goes The Neighborhood.
The rest of the bill drove home the fact that Lilith
has long since evolved from girls-with-guitars
strumathon into something rather more diverse and
stylistically inclusive. That in itself was a treat to
Vancouverites who the last two years have been
dealt conservative bills that featured repeat
appearances by the Indigo Girls and Paula Cole.
This time there was a definite taste of pop radio's
current passion for R&B. Toronto's Deborah Cox
warbled like a grand soul diva and continues to
position herself as Whitney Houston's heir
apparent; that she felt obliged to repeatedly hype
her latest album and profess her love and gratitude
spoiled the impact somewhat.
American R&B/dance act Mya filled the newshour
slot. Her energetic tap dancing interlude won't give
Leahy pause for concern, but it was just one
entertaining element among many in an all-singing,
all-dancing set worthy of a Vegas showroom.
Opening the main stage bill was Beastie Boy
proteges Luscious Jackson, the day's secret thrill
for many in the audience and the only act here with
the aesthetic range to play both Lollapalooza
(which they did in the mid-90s) and Lilith Fair.
Decked out in red cowboy hat and gingham shirt,
acclaimed U.K. folkie Beth Orton summed up the
frustration of being limited to just 20 minutes on the
second stage: "No time to speak, no time. So I'm
just going to sing." Working under the same
restrictions, homegirl Bif Naked had no problem
generating excitement with a tough, tight band and a
slew of rock radio hits. Being Bif, of course, she
did speak. "Don't let anyone tell you what to do,
girls," she remarked at one point to the kind of
cheers that suggest Lilith's guiding principles of
empowerment and feminine spirit are coming home
to roost. And that really is cause to praise the
goddess.
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