Check out a day-by-day summary of the shenanigans we got into during our journey to Chicago and see why we’re so smitten with the Windy City’s music scene.
Friday
Lucy Dacus ˑ Julie Byrne ˑ Jenn Pelly in Conversation with Harmony Tividad of Girlpool ˑ Open Mike Eagle ˑ Saba ˑ Syd ˑ Big Thief ˑ Courtney Barnett ˑ Tame Impala
My first day at Pitchfork was packed with old favorites and big first impressions. Lucy Dacus and Julie Byrne were new discoveries and happy ones to kick off the weekend; the latter’s set was an ethereal transportation echoing the wooded backdrop with only the piercing wail of sirens bringing one out of the trance Byrne created. Saba and Open Mike Eagle played familiar tunes that were elevated to new heights in their live delivery, both with playful cheekiness in all facets of their presence, even clothing.
I took a break at this point to switch from seeing/listening to music to hearing Pitchfork editor, music scholar, and all-around-feminist-badass Jenn Pelly speak about her 33 1/3 book about the Raincoats. Moderated by Harmony of Girlpool, the two spoke about the democratic values fueling both band’s music and personal lives as well as why punk takes on new meaning when done by women. After speaking to Pelly for my thesis a while back, it was fantastic to see the small crowd gather in the Book Tent to listen to someone I have such personal respect for despite heavy competition for time and space.
The latter half of the day were all acts that I had previously seen in Boston but was excited to see again. Syd’s solo set took place the day that The Internet’s newest release, Hive Mind, and she was clearly ready to celebrate the accomplishment, bringing an almost euphoric energy to her set. Her music often oozes swagger and confidence, and there was nothing weighing the artist down from unleashing unbridled joy — albeit in the characteristically casual manner that only Syd is capable of. I saw Courtney Barnett’s stunner set only a few weeks before Pitchfork Festival at Mass MOCA but the singer truly shines in a festival setting. The turnout for Barnett was some of the most varied so far, with children perched on shoulders while a moshpit opened up only a few feet away. Barnett’s biting lyrics echoed throughout Union Park, spat back by the crowd with gusto.
Tame Impala was a noticeable change in energy, with unbridled aggression making way for lots of drug fuel ~vibes~. I was noticeably underwhelmed by Tame Impala’s efforts at Boston Calling but their set at Pitchfork connected with the crowd, bringing about robust singalongs, dancing, and plenty of steadily pulsating visuals. It’s not for lack of trying but something about the band’s live brand of escapism hasn’t managed to resonate with me. Their set has a fantastic live design, which was only enhanced by the steady rainfall of the night, and the music is translated incredibly well but is delivered with lackluster energy from the band. Others don’t seem to mind though so maybe that’s the angry punk girl’s problem.
Saturday
Zola Jesus ˑ Nilüfer Yanya ˑ Moses Sumney ˑ Raphael Saadiq ˑ Girlpool ˑ Blood Orange ˑ The War on Drugs ˑ Kelela ˑ Fleet Foxes
When I was warned that I wouldn’t like Zola Jesus’ festival set I laughed in that person’s face and I stand by it. Her release, Okovi, tops my lists of albums of the year and her vocals were grouped in the strongest at the festival. While her set could have used an assist from live instrumentals and a focus on her latter, more art driven releases, it was well executed and one of the highlights of a stacked day. Moses Sumney and Blood Orange continued this thread of high performance and execution, each delivering a full spectrum of emotion throughout their sets. It was music to emote with and the audience was happy to answer the call. This was kicked into high gear when Kelela took the Blue Stage. Her adoring audience hooted and hollered as she and her dancers served up a highly stylized show to put in the books. It’s no wonder that Solange’s protégé delivered an impressively technical set, which was perhaps the most visually stunning of the festival. Fleet Foxes rounded out the night with a fantastically arranged set complete with a plethora of talented musicians, giving robust life to their catalogue. It was pretty much the same set as Boston Calling so we won’t bore you with more of the same, but I left with renewed energy and appreciation for the band.
Sunday
Nnamdi Ogbonnaya ˑ Irreversible Entanglements ˑ Kweku Collins ˑ Ravyn Lenae ˑ Japanese Breakfast ˑ Smino ˑ Noname ˑ Chaka Khan ˑ Ms. Lauryn Hill
I usually dedicate the last day of festivals to making sure I spend more time at the sets I love and this year of Pitchfork was no exception. However, there was a significant first for me in that I made it through a day of a festival and only attended sets fronted by POC. This wasn’t an active choice in my attendance of any sets, rather the product of my overlapping interests and exhaustion coupled with the festival’s attentive booking efforts. This is the first festival after Pitchfork President Chris Kaskie stepped down, and two and a half years after the publication’s acquisition by Conde Nast. It’s fantastic to see a major publication remain dedicated to and increase their efforts in serving local communities, emerging performers, and marginalized voices.
Open Mike Eagle, Saba, Nnamdi Ogbonnaya, Irreversible Entanglements, Kweku Collins, Ravyn Lenae, Noname, and Chaka Khan were repping their hometown at the festival. Barring the legendary funk singer, the incredibly avant-garde poet coupled with improvisational jazz collective, Irreversible Entanglements, and the Atlantic signee with pipes of gold, Ravyn Lenae, all were a testament to independent hip hop at its prime with Chicago at its epicenter. Ogbonnaya opened the day and set the bar high with a high energy performance that did not rest until he left the stage. The artist comes from a DIY background and it shows in the rowdiness of his live act as well as his composition; anything and everything is going to happen on that stage and you better not take your eyes off of him in case it does.
Lenae brought a much more polished flair to her set with all of the tunes from her Crush EP landing impeccably. Having ties to Syd’s The Internet collaborator, Steve Lacey, and previously touring with Noname, Lenae was a natural addition to the festival, making her return home as much celebration as an introduction to the singer’s immense potential. Noname continued off of that energy: she spent her set flashing her trademark Cheshercat grin, basking in love, trying new things, and taking no shit from white people who think they can say certain words just because it’s part of the lyrics. (Ya can’t.)
Japanese Breakfast fell between the two but absolutely demolished their set on the Blue Stage, the entire crowd losing their cool for the futuristic pop stylings of Michelle Zauner. It’s important to note that Zauner was one of the only people of AAPI descent to play this year’s festival. While it was fantastic to see her shine and be appreciated by so many, it felt a bit like tokenism, given Mitski’s spot on the same stage a year earlier, and called attention once again to the lack of AAPI people in the industry.
Despite this, it was brilliant to see so many WOC on a lineup, especially one rounded out by such legendary performers. Both Chaka Khan and Ms. Lauryn Hill put so many vocalists to shame, their dedication to their craft remaining steadfast. Chaka Khan’s set felt like the fun that funk is meant to embody, full of levity and joy. Everything about the singer is warmth and openness, whether she was jamming onstage with her band or emoting to the crowd, welcoming in everyone. Meanwhile, Hill’s tight control at the helm of her set was especially palpable and inspirational. Despite apparent issues with onstage mixing she translated tracks from The Miseducation of Lauryn Hill in a fresh manner that displayed all of her and her band’s musical prowess but kept the heart of the music alive and well. Everyone on her stage had unmistakable talent but none outshined Hill. It’s well known that Hill’s live performance history has been fraught but she was in top form taking the stage at Pitchfork Festival, leaving few to question whether or not the performance was the highlight of the weekend.
TDLR; Pitchfork Festival is the sh*t, drag your butt down and maybe takes some notes for how to improve your local scene.