Lollapalooza 2012, Day One: M83, Black Sabbath, Die Antwoord, Afghan Whigs, TEED

Photo by Erik Hess
See also "Fashion Freakouts at Lollapalooza 2012" -- plus "Day Two: Frank Ocean, The Weeknd, Twin Shadow, and Others" and "Day Three: Jack White, Sigur Ros, Florence + The Machine, and Others."

The first of three days of music in the hot cauldron of Grant Park in Chicago is now one for the history books.

Black Sabbath (or at least three-quarters of them) got back together; M83 lit up the skies and our hearts; and the lines at the water stations got as long as the list of broken hearts that Afghan Whigs frontman Greg Dulli has in his diary.

From our tight-knit team of writers, here are some of the best musical moments from Friday night at Lollapalooza 2012.

Photo by Erik Hess
When M83 decides to unleash their biggest singles, it's hard not to get caught up in the swirl of neon-bright pop. Daft Punk cover "Fall" boasts a wonderfully gigantic vocal hook which roused the crowd out of a late-day fatigue. Likewise, "Midnight City" is one of the last year's most infectious singles, and the crowd response was suitably large with fists being raised in drunken unison.

Unfortunately, the band's biggest tracks weren't followed up by past triumphs like "Kim & Jessie" or "Don't Save Us From The Flames," but by the expansive pomp of "My Tears Are Becoming A Sea." "Outro" did its best to end the set with some much-needed steam, but the crowd started leaving in droves once the familiar strains of "Midnight City" had stopped. -- Ian Traas

The Afghan Whigs
Red Bull Soundstage
The Afghan Whigs' performance was literally hotter than the mid-afternoon heat. When you have an mood curator like Greg Dulli, the banter to get us started is "How you doing, Grant Park? How you doing, Grant Hart? Is he here?" Dressed in all black, but with all-white amplifiers, the Ohio soul punk troupe dealt stabbingly (and occasionally cello-enhanced) songs primarily from Black Love, Gentlemen, and 1966. Don't worry, "Miles Iz Ded" too. Add to that a steely blue version of Frank Ocean's "LoveCrimes," a recent revamp of "See and Don't See" by Marie Queenie Lyons, and the opening verse from Prince's "Little Red Corvette" that got dropped into the middle of "Somethin' Hot." Suddenly, a hay fever-ish field felt like a smoke-filled ballroom with a velvet curtain hanging behind the stage. All of this was intense while Dulli wore sunglasses, but when he took them off and started making eye contact ... Whoa, brother. -- Reed Fischer

Photo by Erik Hess
Black Sabbath
Evaluating a 63-year-old rock star's performance shouldn't just be answering the question: Do they still have it? On a half-dozen occasions, he bellowed "I can't fucking hear you." Part of this statement is intended to get the crowd to scream, and part of it could've simply been the truth.

Ozzy doused himself with water several times, and it kept his long hair in sloppy tendrils around his face. When singing "My name is Lucifer, please take my hand" amidst "N.I.B." he was not some guy who once asked what a Bieber was, nor was he attempting to reclaim the way the song would've been performed 40 years ago. He was his 63-year-old wailing self -- warts, blackness and all. -- Reed Fischer

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