Yet, they represent only one facet of his groundbreaking vision. He's been a pioneer of music video and a tireless crusader for human rights. He was among the first to discover world music and incorporate its rhythms into his work. And his spectacular live shows have long been legendary for their theatricality.

His influence can be heard everywhere. From contemporaries such as former Genesis colleague Phil Collins through Kate Bush and on to the sharp, intelligent, contemporary rock of groups such as Elbow and The Editors, there is hardly anyone who has not in some way been inspired by his creative spirit.

Almost from the start, when he formed Genesis at school in 1967, it was evident that Peter Gabriel was not your average three-chord rock & roller.

It was the era of prog-rock and with Genesis he made some of the most complex, clever and audaciously experimental music of the time. By 1972's Foxtrot, the album that elevated Genesis from underground cult status to mainstream commercial success, Peter Gabriel represented everything that was genuinely progressive about prog-rock.

Albums such as 1973's Selling England by the Pound and 1974's The Lamb Lies Down on Broadway were even bolder affairs, yet at the height of the group's achievements, in 1975 he left to launch a solo career that would prove to be even more successful.

Away from Genesis and under his own name, his songwriting grew more subtle and personal as he continued to embrace fresh influences on his music, adding electronic and world beat textures in a prolific profusion of new ideas on groundbreaking songs such as “Solsbury Hill,” “Biko,” “Here Comes the Flood,” “Shock the Monkey” and many more.

His first four albums were all confusingly eponymously titled but by the time he started giving his releases proper names with 1986's So, they had made him one of the world's biggest-selling solo acts. So became his most successful album to date, driven by such hits “In Your Eyes,” “Big Time” and “Sledgehammer,” the latter blessed with an innovative video that was the most-played clip on MTV for many years.

In recent years, the releases have become less frequent. There was a six-year wait for 1992's Us and then a further decade went by before 2002's Up, an album culled from 150 songs and recorded across four different continents.

By then making records had become only one aspect of realizing his vision.

In 1982, he started the WOMAD festival to give a platform to artists from around the globe. Five years later he launched the Real World Records label with a similar objective.

His work for human rights found him co-headlining two Amnesty International world tours and in 1992 he helped to establish WITNESS, a program to provide activists with video cameras and computers to document civil rights abuses around the world.

His many honors include the Nobel Peace Laureates' "Man of Peace" award and designation as a BMI Icon.

2007 BMI London Awards Song List

Gabriel’s achievements, whether musical, visual or humanitarian, are the work of a true visionary. The co-founder of rock band Genesis, Gabriel left the group in 1975 to begin a critically acclaimed, Grammy Award-winning solo career. Thus far, he has released 11 albums featuring self-penned gems and BMI million-performance songs, including “Big Time,” “Solsbury Hill,” “Sledgehammer” and “In Your Eyes,” and composed soundtracks for numerous films, including Martin Scorsese’s The Last Temptation of Christ. Amongst other bold endeavors, Gabriel founded Real World companies in 1987, housing his recording, publishing, film and multi-media ventures under one progressive roof. An early participant in Human Rights Now! and recipient of the Nobel Peace Laureates’ “Man of Peace” Award, Peter Gabriel founded world human rights advocacy supergroup TheElders.org in July 2007, with Richard Branson and Nelson Mandela.

“Unwritten,” co-penned by Danielle Brisebois and Natasha Bedingfield (PRS), received one of the organization’s highest accolades, the Robert S. Musel Award for Song of the Year. The award, named after the U.S. performing right organization’s longtime consultant to the U.K., annually honors the most-performed song of the year written by a member or members of BMI’s European sister organizations. Published by EMI Music Publishing Ltd. (PRS) and recorded by Bedingfield, “Unwritten” was the title track to Bedingfield’s platinum-selling debut album.

International phenomenon “Crazy,” co-written by GianFranco Reverberi and GianPiero Reverberi (both SIAE), along with Gnarls Barkley’s Cee-Lo Green, earned BMI’s College Song of the Year crown for tallying the most performances on American college radio. Published by Universal Music Publishing Ricordi srl (SIAE) and Warner/Chappell Music Publishing Ltd. (PRS), the award-winning song first leapt to the top of the British charts solely thanks to digital downloads.

Bestowed on the song with the most hits on BMI-licensed websites, the Internet Award went to James Blunt’s infectious “You’re Beautiful,” co-authored by Blunt, Amanda Ghost and Sacha Skarbek (all PRS), and published by Bucks Music Group Ltd. and EMI Music Publishing Ltd. (both PRS).

The Gorillaz’s “Dare,” co-written by Damon Albarn and Jamie Hewlett (both PRS), took home BMI’s Dance Award. Also published by EMI Music Publishing Ltd. (PRS) and featuring the vocal stylings of Shaun Ryder, “Dare” debuted atop the UK singles chart, officially making it the Gorillaz’s first No. 1 hit in Britain.

Prestigious “Million-Air” certificates were also presented throughout the evening in recognition of those songs that have achieved over three million U.S. radio and television performances — the equivalent of more than 17 years of continuous airplay. The Police’s “Every Breath You Take” topped the list, with a staggering nine-million performance award for songwriter Sting (PRS). Sting was also honored for five-million performance song “Every Little Thing She Does Is Magic.” Living legend Van Morrison (PRS) penned two hits on the list: his classic “Brown Eyed Girl,” which has amassed eight million performances, and four million performance song “Have I Told You Lately That I Love You.” Additional “Million-Air” recipients included Sir Elton John, John Lennon, Sir Mick Jagger, Keith Richards, Sir Trevor Nunn, Lord Lloyd Webber, Shania Twain and Steve Winwood (all PRS).

KT Tunstall (BMI), Harry Gregson-Williams, Rupert Gregson-Williams, Natasha Bedingfield, James Blunt, Pete Townshend, Snow Patrol members Gary Lightbody, Nathan Connolly, Paul Wilson, Tom Simpson and Jonny Quinn (all PRS), along with Alexandre Desplat (SACEM) and Karl Bartos (GEMA), garnered multiple awards in recognition of their songwriting skills: each composed two or more songs on the most-performed Pop, Film, Television, Cable, Emmy, Golden Globe or Urban Award lists. Reflecting music’s increasingly global reach, BMI also honored two Jamaican hitmakers alongside the European songwriters and publishers. Don Corleon, writer of "Break It Off" and "When you Gonna (Give it Up to Me),” and “Break It Off” co-writer Kirk Ford both received their first London Awards.

High-resolution photos from the event will be available to registered users only at bmi.com/press. To request access, please contact mediarelations@bmi.com.

The black-tie, invitation-only gala will be held at the London’s Dorchester Hotel, Park Lane.

The Icon designation is given to BMI songwriters who have had “a unique and indelible influence on generations of music makers.” Gabriel joins an elite list of past honorees that includes multi-genre nobility like Ray Davies, Van Morrison, the Bee Gees, Isaac Hayes, Dolly Parton, James Brown, Paul Simon, Crosby, Stills & Nash, Steve Winwood and more.

Gabriel’s achievements, whether musical, visual or humanitarian, are the work of a true visionary. The co-founder of rock band Genesis, Gabriel left the group in 1975 to begin a critically acclaimed, Grammy Award-winning solo career. Thus far, he has released 11 albums featuring self-penned gems and BMI million-performance songs including “Big Time,” “Solsbury Hill,” “Sledgehammer” and “In Your Eyes,” and composed soundtracks for numerous films, including Martin Scorsese’s The Last Temptation of Christ. Amongst other bold endeavors, Gabriel founded Real World companies in 1987, housing his recording, publishing, film and multi-media ventures under one progressive roof. An early participant in Human Rights Now! and recipient of the Nobel Peace Laureates’ “Man of Peace” Award, Peter Gabriel founded world human rights advocacy supergroup TheElders.org in July 2007, with Richard Branson and Nelson Mandela.

Hosted by BMI President & CEO Del Bryant and Senior Executive, BMI Europe Brandon Bakshi, the BMI London Awards will also present the Robert S. Musel Award to the writer and publisher of the most performed song of the year. BMI will bestow “Million-Air” certificates on writers and publishers whose songs have achieved over three million U.S. radio and television performances — the equivalent of more than 17 years of continuous airplay.

Amy Winehouse won Best Contemporary Song for “Rehab,” following up on her 2007 Brit Award for Best British Female Vocalist. She previously won an Ivor for her debut single, “Stronger Than Me,” while her debut album, Frank, was nominated for the prestigious Mercury Prize.

American band The Scissor Sisters showed their immense popularity in England by winning the PRS Most Performed Work award for “I Don’t Feel Like Dancin’,” co-written by Scott Hoffman, Jason Sellards and Sir Elton John.

“A Moment Like This,” written by John Reid and Jorgen Eloffson and performed by Leona Lewis, won Best Selling UK Single, while five-piece band The Feeling won Songwriters of the Year.

The Lifetime Achievement Award went to Peter Gabriel, whose efforts as a vocalist, video artist, songwriter and social activist have won him worldwide fame and critical approval over the course of several decades.

George Fenton (l), winner of the Academy Fellowship, is pictured after the Ivor Novello Awards presentation with BMI's Brandon Bakshi.

The Academy Fellowship was awarded to film-television-theatre composer George Fenton. His film work ranges widely, from Groundhog Day to Ghandi, while his TV work includes the critically praised series The Jewel in the Crown.

2006 Music Industry Trusts' Award recipient Harvey Goldsmith (center) is congratulated by BMI London's Brandon Bakshi and Octopus TV's Andrew Eborn

The Live 8 co-organizer and original Live Aid promoter has been instrumental in developing the live-touring industry in Europe. From acts as diverse as Pavarotti, Queen, Riverdance, The Who, Madonna, Eric Clapton and the Earls Court presentations of Carmen and Aida, Harvey has promoted some of the best loved performers and shows in live music.

The Music Industry Trusts' Award is given each year to an artist or music business professional who has made an outstanding contribution to the British music industry. Previous recipients include Sir Elton John, Beatles' producer George Martin and ex-Genesis singer Peter Gabriel. The ceremony is also a fundraiser for Nordoff-Robbins Music Therapy and the Brit Trust.]]> 2006-11-01T04:00:00-05:00 http://www.bmi.com/events/entry/533585 Artists, Alabama, Assassins, Beatles, The, Bon Mots, The, Catfish Haven, Folds, Ben, Gabriel, Peter, Kill Hannah, Kill Hannah, Lanz, Linkin Park, Makeshifte, Manchester Orchestra, Mayfield, Moses, McLaughlin, Jon, Musical Outfits, Perkins, Elvis, Soltz, Kelley, Sounds, The, St. James, Regions, Chicago, Songwriter / Industry, Showcase, Showcase Templated Lollapalooza invades Chicago's Grant Park again this year August 4-6, and BMI proudly presents a stacked, three-day line-up on its day stage. The only performing right organization with its own stage at the festival, BMI takes advantage of this opportunity to showcase 15 up-and-coming bands from all over the country, including seven buzz bands from the Chicago area.

Friday begins at 11:15 a.m., and features Chicago-based band the Bon Mots-composers of sugar kissed pop music. Often compared to the Byrds and praised for vintage instrumentation, PopMatters.com cheers that the band mixes "witty lyrics and sly nods to the likes of Elvis Costello and Pavement," while AllMusic.com proclaims, "The Bon Mots just may be Chicago's best-kept secret."

12:30 p.m. ushers in another Chicago troupe, Cameron McGill and What Army. McGill's lyrics and melodies embrace the enigmatic and the melancholy, all while categorically maintaining a stark dedication to beauty and self-deprecating humor.

1:45 to 2:30 p.m. will be dominated by Houston's Makeshifte. Makeshifte is not for the faint of heart. The 2005 Texas Buzz Award winners for the "Musicians' Choice" award cite Hoobastank, Linkin Park and Incubus as key influences of their heavy, guitar-driven tunes led by feverish vocals.

San Francisco's Kelley Soltz follows Makeshifte at 3:00 until 3:45 p.m. Stoltz is capable of channeling Carl Wilson to sinful perfection, then swings over and nods to the Beatles, refusing to adopt any one monotonous sound or voice. A master of several instruments, Stoltz waves fondly to past icons while planting his feet firmly in 21st century pop.

4:15 to 5:00 p.m. brings Anderson, Indiana's Jon McLaughlin. A classically trained pianist, McLaughlin relishes in the sounds of Billy Joel and Ben Folds, and melds spirited keys with crooner-inspired vocals. The result jumps vigorously between genres like jazz, funk, rock and ragtime.

Chicago's Musical Outfits kick things off Saturday at 11:15 a.m. These four young musicians have created quite a buzz thanks in large part to the group's dynamic live show. Their 2005 debut album, Left Here, garnered spins on popular Chicago radio stations 93.1 WXRT, WLUW and Q101.

12:30 to 1:15 p.m. sees Austin, Texas, band St. James take the stage. The trio's buoyant harmonies are layered copiously over exquisite strings and the occasional piano, creating a moody feast for the ears well-worth revisiting.

New York rapper Lanz takes over at 1:45 p.m. Sixteen-year-old Lanz originally embraced the sounds of Jay Z, Tupac and Nas as an escape from the hardships that greeted her at an early age. Lanz has poured her arduous experiences into her lyrics, resulting in mature reflections in spite of her youth.

From 3:00 to 3:45 p.m., Rhode Island's Elvis Perkins holds down the fort. Dreamy melodies and stories dominate Perkins' music, which draws thoughtfully from folk rock and relies heavily on guitar and occasional fiddle mastery paired with emotive percussion.

At 4:15, Chicago's Kill Hannah wraps up Saturday's day stage. The Atlantic Records recording artists have created a fresh British-inspired rock / electronica hybrid best savored live. BMI proudly offers the opportunity to witness the band Billy Corgan called "the future of Chicago rock."

From 11:15 a.m. to noon Sunday morning, Chicago's Katie Todd Band will pleasantly awaken the crowd. Three albums deep into a promising career, the band is buoyed by Todd's sweet vocals that hint provocatively at the jagged edge buried just beneath the surface.

Chicago's Catfish Haven takes the stage at 12:30 p.m. The band's rustic sound achieves notoriety thanks to soulful lead singer George Hunter's gravelly vocal delivery. Named for the trailer park Hunter called home in his youth, the troupe's authentic grittiness seeps into every corner of their sound.

1:45 p.m. brings Atlanta's Manchester Orchestra to Chicago. The young pop band displays an innate understanding of balancing emotional depths with radio-friendly hooks that often evades artists twice their age. Manchester Orchestra is sauntering down a golden path, prompting Paste Magazine to proclaim, "When experience matriculates into that pre-existing talent, great music will spring from this simply good music."

Birmingham, Alabama's Moses Mayfield hits the stage from 3:00 to 3:45 p.m. Epic Recording artists who claim influences ranging from Pearl Jam to Peter Gabriel, Moses Mayfield delivers an insightful rock punch that somehow prompts both introspection and unbridled head-banging.

Chicago's Assassins wrap up BMI's Lollapalooza day stage from 4:15 to 4:45 p.m. The group's unique approach to composition and songwriting itself results in experimental layers of electro-rock bearing the distinct thumbprint of each one of the six members.

London Awards Event Photos

Ray Davies: BMI Icon Feature Story

London Awards Song List

Davies is co-founder, lead singer and rhythm guitarist of the Kinks, one of the most long-lived and influential rock groups of the British Invasion. As the band's chief songwriter, he is the pen behind such Kinks classics as "You Really Got Me," "All Day and All of the Night," "A Well Respected Man," "Waterloo Sunset," "Tired of Waiting For You," "Sunny Afternoon," "Lola" and "Come Dancing."

In a written tribute to Davies that was read at the event, Who guitarist Pete Townshend called Davies "the true laureate of British popular music." In addition to Townshend, who credits his sound to the 40-plus year music vet, artists as diverse as Morrissey, Blur and Oasis also claim Davies as their main influence.

"Listen to Your Heart," written by Per Gessle and Mats Persson, and published by Jimmy Fun Music (all STIM), was named Song of the Year and received one of the organization's highest accolades, the Robert S. Musel Award. Recorded by Belgium-based duo D.H.T., the song was originally a No. 1 hit for Roxette in 1989 and received the BMI Dance Award at last year's ceremony.

"Feel Good Inc.," co-written by Gorillaz members Damon Albarn and Jamie Hewlett (both PRS), along with De La Soul's David Jolicoeur, was named BMI's College Song of the Year for tallying the most performances on American college radio. The Grammy Award-winning hit is from the Gorillaz' Demon Days CD, which went double platinum in the U.S. and triple platinum in the U.K.

The BMI Dance Award went to "Everytime We Touch," written by Stuart MacKillop, Maggie Reilly (both PRS) and Peter Risavy (GEMA), and published by Mambo/Sony/ATV Music Publishing Germany (GEMA). The infectious tune by Euro-dance trio Cascada was a worldwide smash, including in America, where it topped the dance charts and made it into the Top Ten of the pop charts.

"Million-Air" certificates were also presented throughout the evening in recognition of those songs that have achieved over three million U.S. radio and television performances - or the equivalent of more than 17 years of continuous airplay. Topping the list was the theme to Mondo Cane, "More," which earned a seven million performance award for songwriters Marcello Ciorciolini (SIAE), Norman Newell (PRS), Nino Oliviero (SIAE) and Riz Ortolani (SIAE). "You're Still the One," written and recorded by 2004 BMI London Awards Song of the Year winner Shania Twain (PRS), reached the six million performance plateau. Other "Million-Air" recipients included Sir Elton John, Eric Clapton, the Bee Gees, Sting, Seal, Pink Floyd's Roger Waters, Peter Gabriel and Paul Rodgers of Free (all PRS).]]> 2006-10-03T05:00:00-05:00 http://www.bmi.com/musicworld/entry/533499 Artists, 3 Doors Down, AFI, Fall Out Boy, Gabriel, Peter, Kill Hannah, Kill Hannah, My Chemical Romance, Sounds, The, Musical Styles, Rock, Musicworld, On The Scene Mat Devine (vocals, guitar)

Dan Wiese (guitars)

Jon Radtke (guitars)

Greg Corner (bass)

“And I’m not running anymore, I’ll stand to face it all, I’ll fight for every breath/Until there’s nothing left of us“

“Believer” by Kill Hannah

A title could not be more apropos. Until There’s Nothing Left of Us, the latest offering from Kill Hannah, defines the blue-collar work ethic of this unique band, whose American spin on British modern rock reaches its apotheosis on their sensational new release. 

After touring relentlessly through the two years that followed their 2003 Atlantic debut, For Never & Ever (which featured the smash single “Kennedy"), the band dedicated six months to conceptualizing their sophomore effort with intense songwriting and constant demoing. After having a lifetime to write their first album, it was, admittedly, a challenge. But they’ve beaten the odds before.

No one sounded or looked like them when they first broke free from their art school roots, peddled their independently produced records at shows and local stores, conquered skeptics and built a loyal fan base. Their sound had no precedent in their hometown of Chicago, yet its influence would launch a subculture there and spread far beyond to others that would follow their musical and visual leads. Back then, they had a ferocious DIY-mentality, creating their own merchandise, passing out fliers in the snow, maintaining their heavily trafficked website and more. They still do.

With the final mixes for Until There’s Nothing Left of Us, they knew they had given all they had to this music.

And you can hear it - in the passion and poetry, the candor of their lyrics, the physical impact of their beats … all the elements that prompted Billy Corgan to hail them as “the future of Chicago rock” resonate here. Easily described as the bridge between the Killers, AFI, Fall Out Boy and My Chemical Romance, this band owns John Hughes movies, worn out mix tapes and a comprehensive understanding of what came before them. Their sound is at once familiar and refreshingly original, showing undeniable growth by taking chances in a world where most art is being played safe.

While Kill Hannah had cut Forever Never & Ever far from home in sunny Los Angeles, Until There’s Nothing Left of Us was conceived and created back home in Chicago during the dead of winter. That, according to Devine, stamps every second of the album with a distinctive energy.

“Everything came from the stimulation I get from this place,” he insists. “I live in view of the entire skyline; the trains literally circle me. It’s almost like the city itself envelops me. Like any metropolis, it can be dark at times, but super romantic too. From nine to five, it’s absolute chaos, and then after six o’clock it’s completely desolate. At the lakeshore it might be totally placid and serene, and in the next minute these crazy waves crash in and freeze as massive piles of jagged ice. In a way, our music is like that too. From track to track on this record, and even within each song, we have moments of triumph and then we have moments of creepy romance.”

As the countdown for delivering Until There’s Nothing Left of Us began, Devine set off alone, exploring his city and finding magic in places that had somehow escaped his attention – a tiny Gothic church, for example, amidst the towers that loom over Michigan Avenue. Each detail stirred ideas – word paintings, a snippet of melody – that he’d record on his voicemail.

Soon the band gathered at friend/local drummer Garrett Hammond’s home studio and began taking all of their demos apart. “We’d rehearse and develop and record every single part,” recalls guitarist Dan Wiese. “Every note and every word got re-evaluated several times before everyone was satisfied.”

After wrapping up their intense pre-production, they hit the studio with Chicago native Johnny K. With a catalog that includes producing bands like Disturbed and 3 Doors Down, he seemed like an unusual choice for Kill Hannah. “But we wanted to experiment,” Devine explains. “My personal tastes lean toward European and 80s influences, and Johnny is known for doing straight-ahead rock or metal. In Chicago terms, it’s like we’re North Side and Johnny is, as he calls himself, a ‘South Side knucklehead’.” It was, of course, a perfect match.

They began by finding common ground as Johnny seconded their enthusiasm for the Cure, Peter Gabriel and the Psychedelic Furs. The plan, then, was to at once expand and refine their sound without losing the primal instincts that have driven Kill Hannah from the start.

“We love our first album and stand by it, but we also know that the most consistent criticism it received was that it didn’t have the raw energy that we have when we play live,” Devine says. “On the new album, we’ve got the harmonized vocals and electronics and sophistication that are so much a part of what we are, but Johnny’s perspective helped us to also bring that dynamic side of our show to the table too.”

If you’re lucky enough to have seen them live on tours with the Sounds and H.I.M., or headlining their now legendary shows at the Metro and across the country this summer, you’ll know immediately what all of this means.

From the album’s triumphant, instrumental opening, “Life in the Arctic,” which defines the context for the epic tracks that follow, through the siren-like riff that drives “Believer,” the drum and bass-inspired beats and delicate chimes that surge into waves of massive guitars on “The Songs That Saved My Life,” the seductive blend of emotive melody and body-slamming beat on the anthemic, lead single “Lips Like Morphine,” whose chorus fans began chanting at shows within days of the song’s appearance on the band’s MySpace page (myspace.com/killhannah). This is how Kill Hannah sounds onstage when they play with a strength only achieved by feeding from the energy of their fans and serving it back with immeasurable intensity.

Mat Devine’s lyrics for “Love You to Death” reflect his familiarity with that place where tragedy and romance unite, a Shakespearean vision that’s conveyed powerfully in classic pop song format. “Scream” pays tribute to their hometown, whose grandeur and intensity are critical elements of Kill Hannah’s style. And “Sleep Tight,” improbably intimate, provides the perfect coda.

Until There’s Nothing Left of Us is everything that the band and the legions that follow them could have wished for. But it’s only the start of the next exciting chapter for Kill Hannah.

Website: www.killhannah.com

Friday begins at 11:15 a.m., and features Chicago-based band the Bon Mots-composers of sugar kissed pop music. Often compared to the Byrds and praised for vintage instrumentation, PopMatters.com cheers that the band mixes "witty lyrics and sly nods to the likes of Elvis Costello and Pavement," while AllMusic.com proclaims, "The Bon Mots just may be Chicago's best-kept secret."

12:30 p.m. ushers in another Chicago troupe, Cameron McGill and What Army. McGill's lyrics and melodies embrace the enigmatic and the melancholy, all while categorically maintaining a stark dedication to beauty and self-deprecating humor.

1:45 to 2:30 p.m. will be dominated by Houston's Makeshifte. Makeshifte is not for the faint of heart. The 2005 Texas Buzz Award winners for the "Musicians' Choice" award cite Hoobastank, Linkin Park and Incubus as key influences of their heavy, guitar-driven tunes led by feverish vocals.

San Francisco's Kelley Soltz follows Makeshifte at 3:00 until 3:45 p.m. Stoltz is capable of channeling Carl Wilson to sinful perfection, then swings over and nods to the Beatles, refusing to adopt any one monotonous sound or voice. A master of several instruments, Stoltz waves fondly to past icons while planting his feet firmly in 21st century pop.

4:15 to 5:00 p.m. brings Anderson, Indiana's Jon McLaughlin. A classically trained pianist, McLaughlin relishes in the sounds of Billy Joel and Ben Folds, and melds spirited keys with crooner-inspired vocals. The result jumps vigorously between genres like jazz, funk, rock and ragtime.

Chicago's Musical Outfits kick things off Saturday at 11:15 a.m. These four young musicians have created quite a buzz thanks in large part to the group's dynamic live show. Their 2005 debut album, Left Here, garnered spins on popular Chicago radio stations 93.1 WXRT, WLUW and Q101.

12:30 to 1:15 p.m. sees Austin, Texas, band St. James take the stage. The trio's buoyant harmonies are layered copiously over exquisite strings and the occasional piano, creating a moody feast for the ears well-worth revisiting.

New York rapper Lanz takes over at 1:45 p.m. Sixteen-year-old Lanz originally embraced the sounds of Jay Z, Tupac and Nas as an escape from the hardships that greeted her at an early age. Lanz has poured her arduous experiences into her lyrics, resulting in mature reflections in spite of her youth.

From 3:00 to 3:45 p.m., Rhode Island's Elvis Perkins holds down the fort. Dreamy melodies and stories dominate Perkins' music, which draws thoughtfully from folk rock and relies heavily on guitar and occasional fiddle mastery paired with emotive percussion.

At 4:15, Chicago's Kill Hannah wraps up Saturday's day stage. The Atlantic Records recording artists have created a fresh British-inspired rock / electronica hybrid best savored live. BMI proudly offers the opportunity to witness the band Billy Corgan called "the future of Chicago rock."

From 11:15 a.m. to noon Sunday morning, Chicago's Katie Todd Band will pleasantly awaken the crowd. Three albums deep into a promising career, the band is buoyed by Todd's sweet vocals that hint provocatively at the jagged edge buried just beneath the surface.

Chicago's Catfish Haven takes the stage at 12:30 p.m. The band's rustic sound achieves notoriety thanks to soulful lead singer George Hunter's gravelly vocal delivery. Named for the trailer park Hunter called home in his youth, the troupe's authentic grittiness seeps into every corner of their sound.

1:45 p.m. brings Atlanta's Manchester Orchestra to Chicago. The young pop band displays an innate understanding of balancing emotional depths with radio-friendly hooks that often evades artists twice their age. Manchester Orchestra is sauntering down a golden path, prompting Paste Magazine to proclaim, "When experience matriculates into that pre-existing talent, great music will spring from this simply good music."

Birmingham, Alabama's Moses Mayfield hits the stage from 3:00 to 3:45 p.m. Epic Recording artists who claim influences ranging from Pearl Jam to Peter Gabriel, Moses Mayfield delivers an insightful rock punch that somehow prompts both introspection and unbridled head-banging.

Chicago's Assassins wrap up BMI's Lollapalooza day stage from 4:15 to 4:45 p.m. The group's unique approach to composition and songwriting itself results in experimental layers of electro-rock bearing the distinct thumbprint of each one of the six members.