Pearl Jam
8 p.m., AT&T stage
Unlike Pearl Jam's fan club gig at the Vic Theatre Thursday, the band's headlining Lollapalooza set shied away from rarities and leaned heavily towards the familiar. Given the audience's varying levels of fervency, the decision was a safe bet confirmed by the sing-a-long dynamic of "Why Go" and "Corduroy." But it wasn't just the verbatim versions as first displayed on album, which in the case of the supercharged "World Wide Suicide" and the sped up "Daughter," kept up an unpredictable flow. Though a free spirit also permeated "Evenflow," the extended version was bogged down by self-indulgent jamming and several long winded solos. Grunge-era warhorse "Alive" steered in a leaner, more productive direction, simultaneously earning an electricity doused facelift. A lengthy encore included the acoustic/electric weaving of "Better Man," an explosive take on Victoria Williams' "Crazy Mary" and some of Eddie Vedder's anti-war preaching. But he and surprise guest Ben Harper let the music do the talking with the rootsy rally cry "No More War" and the fitting finale of Neil Young's "Rockin' in the Free World." --Andy Argyrakis

TV on the Radio
7:15 p.m., MySpace stage
Despite a genuinely strange and unsettling sound – a hodgepodge of everything from gospel to noise – TV on the Radio played to an impressively receptive audience, no small feat considering much of the swelling crowd was Pearl Jam fans making their way to the adjacent stage. The New York band made note that the show marked the final stop of a 14-month tour, which means it could be a while before the group hits the road again. Thankfully, propulsive songs such as "Wolf Like Me" and "Staring at the Sun" were focused and forceful enough to help the group's growing contingent of fans weather the wait. --Joshua Klein

Cafe Tacuba
7:15 p.m., Adidas stage
Vocalist Rubén Ortega had plenty to say Sunday evening during Café Tacuba's set. However, outside of the words "Chicago" and "Lollapalooza," it might be hard to recall anything unless you speak Spanish. Following in the footsteps of 2006 performers Manu Chao, Tacuba were the only Spanish-speaking act to perform this year. The crowd did seem to be speaking the band's language, though, jumping in synch to most of the group's Latin-flavored jams. --Will Fresch

My Morning Jacket
6:15 p.m., AT&T stage
Looking like a wedding party that stayed out a bit too late the night before, a tuxedoed My Morning Jacket took the stage Sunday just as the blazing sun tucked itself behind a patch of rain clouds, cooling the air so the band could wear their getups in relative comfort. The jackets and bowties weren't just for show; there was cause for celebration, as the excellent Chicago Youth Symphony Orchestra backed the occasionally psychedelic Southern rockers with great success on "Gideon," "Wordless Chorus" and others. --Matt McGuire

Modest Mouse
6:15 p.m., Bud Light stage
Although Johnny Marr's unmistakable style of fretwork melds effortlessly into Modest Mouse frontman Isaac Brock's complex, hooky sound in the studio, I wondered if Marr missed a more direct engagement with his audience at this evening's performance. A good percentage of the Modest Mouse crowd probably hadn't even been born when Johnny Marr left the Smiths, forever cementing his position as a living guitar god. As the newest member of this chart-topping Washington-based band, he had no trouble relating to them. "That must be the American cigarettes I smell," he intoned wryly as smoke wafted from the crowd to the stage. The rest of the band was head-down meticulous, but even the addition of multiple percussionists still left them feeling slightly buttoned-up. They pleased the crowd with hits like "Fire It Up" and "Float On," but really only ripped it up on a few songs, including "Tiny Cities Made of Ashes." --Chris LaMorte

Yo La Tengo
5:15 p.m., Adidas stage
Even had Yo La Tengo not followed the Stooges, the venerable indie trio would have had a tough time at Lollapalooza. Its quiet pop songs and epic noise drones are made for more intimate spaces, which explains why the band was at its best at its poppiest. "Sugarcube" was the perfect opener, and "Autumn Sweater" and "Stockholm Syndrome" equally pleasing follow-ups, but too often the band stuck to their tried-and-true formula of noise jams. Not necessarily the best soundtrack for a hot, sticky day. --Joshua Klein