Diversity was the theme for this year’s Lollapalooza. Stung by critics of last year’s tour, who nicknamed it “Metalpalooza,” this year Perry Farrell and his crew cooked up the musical equivalent of gumbo. Instead of the Marley Brothers kicking off the day, as planned, the three-man squad known as the eels jumped from the second stage to the main stage to make up for the band Tricky’s absence. The eels abandoned the keyboard-groove oriented sound of their album and previous shows for a guitar attack. The eels were energetic but not as good as previous shows, prompting the crowd to just stare at the stage.Meanwhile on the second stage, Old 97’s brought a lively mix of old-school country with rock energy. Forget Garth Brooks, Brooks and Dunn or any of those other airbrushed Nashville pretty boys, the four-piece Old 97’s looked like guys vying for time on Alternative Nation but channeling Buck Owens.Moving from the sweet sounds of Texas, the next trip was to Jamaica with Julian and Damian Marley and the Uprising band. The Marley brothers, who are sons of THAT Marley, rocked the house. The bass was so deep that it shook backbones and rearranged DNA codes. The set was comprised of original tunes and covers of their father’s including “Exodus” and “I Shot the Sheriff.” Predictably, the covers got the biggest crowd response. Meanwhile, Artificial Joy Club took over on the second stage. Currently, you may notice their single “Sick and Beautiful” making a buzz on radio. Keeping with the whiplash-inducing changes, the main stage welcomed the seven-member British band, James. In a break from tradition, the entire band was lined up across the stage. They all wore shimmering sequined shirts except for one of the guitar players who wore a tasteful above-the-knee, blue-sequined dress. James played a few songs in their signature folk-rock style, including their biggest hit “Laid.” Then they switched into a dance-rock mode with songs that wouldn’t sound out of place on U2’s “Pop” album. However, the audience was indifferent because Korn was the next band up. Korn, the heroes of thousands of shirtless, testosterone-filled boys, took to the stage. Make no bones about it, the majority of the crowd was there to see two bands, Tool and Korn, and Korn didn’t disappoint. They delivered a series of harder-than-you tunes from their two albums. The oddest part of their set was the disappearance of lead singer Jonathan Davis and his reappearance in a kilt with three Adidas stripes while wielding bagpipes. Who would think that people would scream in delight at the appearance of bagpipes? For that matter, who knew that Davis was a good bagpipe player? In the first weird transition of the night, Korn was followed by Snoop Doggy Dogg. Snoop and his boys grooved their way through a set of back-to-back hits. The second weirdest transition? Tool following Snoop. Tool took to the stage with three projection screens and the lead singer in white mime makeup, a blonde ponytail and a black, pointy-bra top. He resembled a Kabuki version of Madonna. Finally at 10 p.m., the mighty Prodigy took to the stage. A big questions about dance music is whether it can be pulled off live. Prodigy put all those questions to rest. Focusing on their last two releases, Liam Howlett, leader of the Prodigy, mixed industrial-strength hip-hop beats while Maxim and dancer Leeroy worked the crowd. Keith, the spiky haired vocalist of Firestarter, crowd surfed, danced and generally acted like a demented child. The crowd was split between manic dancing and staring in confused bemusement.