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Pitchfork 2019 Recap: Sunday, July 21st
Pitchfork Festival’s final day rolled around on Sunday, featuring a lineup packed to the brim with some of my favorite artists to close out the fest. Throughout the weekend, the weather forecast for Sunday had gone back and forth— varying from raining all day to showing clear skies and temperatures in the 70s. When the morning rolled around, it looked like we might have gotten stuck with cooler temperatures and rain—especially when gates were postponed nearly an hour with rain and threats of lightning. However, after the morning and brief early afternoon storm, the gates opened and the rest of the day went smoothly and according to plan.
Sunday’s theme definitely revolved around the camaraderie in the Chicago music scene, with incredible sets from some local artists that featured multiple guest appearances. In addition to the Chicago music community, here are the rest of the day’s highlights.
Morgan Simpson of Black Midi
London’s Black Midi played the Green Stage in the early afternoon, getting the energy ramped up for the day with their experimental hard rock. The festival site by the main stage had flooded with the early morning rain, but despite the puddles, fans watching Black Midi didn’t let some mud get in the way of their fun. The band’s high energy was matched by the crowd, who started a muddy mosh pit early on in the set.
Next up, Chicago’s Tasha made her much-deserved Pitchfork Festival debut over on the Blue Stage. Tasha’s 2018 album Alone at Last showcases her smooth and soulful indie pop, and her set at Pitchfork provided a tranquil escape for festival attendees. I’ve seen Tasha perform captivating solo sets several times throughout the last year, but her festival set was one of the first times I’ve seen her with a backing band. The addition of the band gave her intimate songs a layered and more full sound. Tasha also treated fans to some brand new, unreleased songs, which she performed solo.
JPEGMAFIA on one of his many trips into the crowd
One of the best things about music festivals is that you can go in with expectations of what bands you’re seeing and what time, but you’re always given the chance to see a band you’ve never seen perform, or even listened to before. On Sunday of Pitchfork, rapper JPEGMAFIA was that artist for me. I wandered over to JPEGMAFIA’s set with no expectations, having never seen him before, and his stage presence was one that immediately drew me (and everyone else) in. After making his way onstage, it didn’t take long for the performer to become very close with the audience; He began his set giving photographers and people in the crowd hugs ,and shortly after, crowd surfed. Throughout his set, he probably spent more time in the crowd than onstage between all of his surfing and standing on the barricade to dance with the audience. JPEGMAFIA is a performer who demands your attention and puts all their energy into keeping your attention for the duration of the show, and he put on one of the best sets of Pitchfork Weekend.
Lisa-Kaindé and Naomi Diaz of Ibeyi
Ibeyi is a duo of French twin sisters Lisa-Kaindé and Naomi Diaz, and while I’ve listened to them for years, I unfortunately never had the chance to see them perform before their set at Pitchfork. Ibeyi’s performance at the fest was well worth the wait and reinforced how much of a fan I am of their music. They started their set and immediately brought positive vibes and good spirits with their kind energy and smiles, but it was their sisterly harmonies and strong vocals that gave me goosebumps. My favorite part of their set was when they used their music to share their political beliefs, performing their song “No Man Is Big Enough For My Arms,” which samples part of a speech by Michelle Obama.
Laura Lee, Mark Speer, and Donald Ray "DJ" Johnson of Khruangbin
Texas trio Khruangbin has also been a favorite of mine to see live, and their set at Pitchfork Festival was no exception. While they’re a band of few words and play a lot of instrumental jams, they were able to capture a large crowd with their entrancing blend of funk, soul, and psychedelic tunes. Khruangbin has an effortlessly cool stage presence, making them the perfect Sunday afternoon act.
Julien Ehrlich of Whitney
Hometown heroes Whitney made their return to Pitchfork Festival, following up their 2016 performance at the fest with a kickoff to their new era. Earlier this summer, the band announced their highly anticipated sophomore album Forever Turned Around would be released August 30th, so naturally their first hometown show in almost a year featured some never before played songs. In addition to the new material, what really made Whitney’s set special was the sense of community—both onstage and offstage. When the band performed their popular tune “Golden Days” from their debut album, they got a little help from their friends, including Pitchfork acts Ric Wilson, Tasha, Chai, Snail Mail, Soccer Mommy, and Lala Lala. The audience also sang and swayed along to all of their old favorites from Light Upon the Lake.
Charli XCX
Charli XCX was definitely one of the more mainstream artists to play Pitchfork Festival this year. As a pop artist, Charli XCX is an artist whose songs are everywhere— songs that you’ll know 99% of the words to because they’re so catchy they stick with you after only a couple of listens. Despite the larger than life pop anthems that she’s known for, Charli’s stage set up was actually pretty minimal. Two massive yellow cubes acted as a backdrop, and the singer made her entrance onto stage by herself, sans a backing band. Though her setup was simple, her fanbase proved to be mighty; Fans camped out at the Red Stage all day to get a prime spot, they wore pink cowboy hats and held up signs with references to her songs. The dedicated fans helped make the set so powerful— as they danced and sang along, the positive energy radiated throughout the crowd.
Robyn closing out the festival
Robyn closed out the whole festival with one of the most fun and cathartic shows I’ve ever seen. Robyn’s set up featured a delicately draped backdrop and backup singers, but at the center of her incredible performance stood her legendary electro-pop songs. Getting to experience the live performance of songs like “Call Your Girlfriend” and “Dancing On My Own” in a huge crowd of both friends and strangers all singing and dancing along was the best way to close out the festival weekend.
Photos of Flasher, Black Midi, Tasha, JPEGMAFIA, Ibeyi, Clairo, Khruangbin, Whitney, Chari XCX, Snail Mail, and Robyn
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Pitchfork 2019 Recap: Saturday, July 20th
The second day of Pitchfork Festival started off with the same sweltering heat as day one, but a fair amount of festival goers showed up as gates opened to take in the full day of music. The forecast showed continuous sunny skies all day to accompany the heat, but the fest ended up being suddenly evacuated around 5PM by a storm that came out of nowhere. The festival organizers were able to make the call just before torrential downpour hit the park, and most attendees were able to seek shelter in nearby bars and restaurants. Unfortunately, Kurt Vile and Freddie Gibbs sets were cut during the storm, but the festival did reopen after an about an hour of downtime, continuing the night with good weather. Despite the evacuation, day two still proved to be a great day with plenty of highlights. Read about my favorite Saturday moments below!
Lillie West of Lala Lala
Lala Lala, the project of songwriter and musician Lillie West, opened the second day of the festival with the same all-star band roster that had performed the night prior at Metro, which included V.V. Lightbody, KAINA, Sen Morimoto and Nnamdi Ogbonnaya playing alongside West. Despite having the first set of the day, the heat, and the fact that they were coming off playing a late show the night prior, the entire band sounded as flawless and refreshed as ever. The early day crowd listened intently, even during some of the quieter moments of the set, like the performance of “Scary Movie." Lala Lala’s set also included a cover of “Slip Away” by Perfume Genius, who has also previously performed at Pitchfork Festival. Lala Lala has continuously been one of my favorite bands to see play around the city, but this set was my favorite from them to date.
Ric Wilson with the Lane Tech marching band
Ric Wilson kicked off the Red Stage for the second day, and his set was hands down my favorite of the day, if not the entire festival. Wilson’s set had literally everything you could want from a festival show; an interactive dance party, guest appearances, and a positive message. The Chicago based artist immediately let the crowd know that he doesn’t tolerate any hate by starting his set with a call and response chant where to told the crowd “no racist, no sexist, no homophobic, and no bullshit” behavior would be tolerated here. The positive vibes continued as Wilson danced across the stage with a beaming smile. A few songs into the set, the first guest appearance came from collaborator and Pitchfork Festival alum, Kweku Collins, who played the festival last year. The energetic performance also featured an appearance from the Lane Tech marching band. And finally, Wilson closed out his set with everyone in the crowd participating in a Soul Train style dance off, which left everyone walking away with a smile on their face to enjoy the rest of the festival.
Jay Som performing at the Blue Stage
After taking a break to cool down, I moved over to the shaded Blue Stage to catch an afternoon set from Los Angele’s Jay Som. The singer’s dream pop tunes provided the perfect mid-day, chilled out set for festival goers, acting as a retreat from the chaos of the festival and the blistering heat. Jay Som and her band played through trusted favorites like “Baybee” and “The Bus Song” as the audience echoed the words back to the singer. The festival set also included a couple of new ones from the upcoming album Anak Ko, out later this summer via Polyvinyl Records.
Austin Brown of Parquet Courts
Parquet Courts played next on the Green Stage, and they brought tons of energy along with them. It took mere seconds into the band’s first song of the set for the crowd to get amped up and start moshing, even with everyone being drenched in harsh sunlight. Starting at 4:15pm, Parquet Courts’ set took place during the day’s sweet spot, when more and more people decided to start showing up. The band’s uptempo rock tunes like “Master of My Craft” and “Total Football” were perfect for setting up the tone of the evening ahead. Unfortunately about 15 minutes before Parquet Courts’ set was slated to end, they made an announcement to the crowd that weather conditions might cut them short. After playing the title track of their 2018 album Wide Awake, festival goers were asked to calmly evacuate the site and find shelter. While it might have been cut short, the part of Parquet Courts’ set that we did get to experience was definitely a highlight of Saturday.
Following the evacuation of the festival and the downpour of rain, the park opened back up around 6:30PM for sets from Stereolab and Belle & Sebastian. As both of these bands played their sets, the sun once again shone down on Union Park and all was right— almost giving the feeling that it was a completely different day.
The Isley Brothers closing out the second night of Pitchfork
Before long, the sun began to set on Saturday, and it was then time for the legendary Isley Brothers to close out the night. Their spot on the festival lineup seemed a little out of place between more contemporary pop acts HAIM and Robyn, who bookended the weekend as the other headliners. However, when the brothers and their live ensemble made their way onto the stage to “Let’s Go Crazy” by Prince playing as their introduction song, it was clear that we were all in for a show. As the band began their set of throwbacks, even the younger audience members who might have been unfamiliar with the group’s music could recognize bits of the songs that have been sampled by other artists. The Isley Brothers instantly had the audience moving along to their soulful music, and onstage, they had extravagantly dressed backup singers and dancers to accompany them.
More photos of Saturday featuring Lala Lala, Ric Wilson, Jay Som, Parquet Courts, Stereolab, Belle and Sebastian, and the Isley Brothers
Stay tuned for more Pitchfork Festival coverage
Pitchfork 2019 Recap: Friday, July 19th
In the week leading up to Pitchfork Festival, the forecast for Chicago showed a spike in temperatures, which only continued to climb higher as Pitchfork weekend inched closer. With highs of 98 degrees (without the heat index and humidity) and the promise of sunny skies, it was clear that this weekend would be one of the hottest of the summer and not necessarily the most ideal weather to spend all day outside watching live music. A couple of days before the fest’s kick off on Friday, Pitchfork Festival organizers announced that they’d be taking extra measures to keep festival goers safer in the extreme weather conditions; In addition to providing additional cooling buses and a misting station, the fest ordered 18,000 more water bottles to pass out for free to its attendees. While I knew there would be no way to feel comfortable in temperatures that felt like 110 degrees, these extra precautions at least eased my mind a bit going into Friday.
Chris Bailoni of Grapetooth
My afternoon on the first day of the fest began with Chicago’s own Grapetooth, who played the Blue Stage at 4PM. Tucked away in a tree-lined, shaded corner of the festival grounds, the Blue Stage remained the most comfortable viewing area of Friday, allowing for festival goers to retreat from the sun and still catch some great music. A relatively new collaboration between Twin Peaks’ Clay Frankel and producer/songwriter Chris Bailoni, Grapetooth became an instant hit with their synth-infused, new wave sound and their rambunctious stage presence. The crowd at Pitchfork welcomed them onstage with a rowdy chant and danced along to their opener “Violent,” despite the heat. The opening tune and a few others of Grapetooth’s singles featured an extended introduction, which added some new intensity to their live set. In the spirit of Chicago and the collaborative nature of the music scene, Grapetooth’s set also featured guest appearances from Lillie West of Lala Lala, OHMME, and more.
Sky Ferreira
After a few songs of Grapetooth, I rushed over to the Green Stage to catch Sky Ferreira’s comeback show, marking her return to Chicago for the first time in years. Due to sound issues and gear malfunctioning in the overbearing heat, Ferreira made her way to the stage about 20 minutes past her scheduled time slot, but she was greeted with an overwhelming sound of applause by her many long-time fans. Unfortunately, the sound issues for Ferreira continued for the entire set, and it was clear that she couldn’t hear herself in the in-ear monitors. Despite the technical difficulties and all, Ferreira’s vocals sounded incredible and fans in the crowd screamed along with her when she performed old favorites like “You're Not the One” and “Everything Is Embarrassing.” Adding to the list of obstacles for the singer, Ferreira was cut short due to time restraints, but not before she made the live debut of new song “Descending.”
Soccer Mommy (Sophie Allison)
Next, it was back to the Blue Stage for Soccer Mommy, the project of Nashville songwriter Sophie Allison. All weekend long on the Blue Stage, the festival had different slam poets warm up the crowds for the next musical act performing. The addition of the poets was a great way to experience a different form of art at the festival, and it definitely worked well with an artist like Soccer Mommy, whose narrative-style lyrics have the same relatable impact as some of the words recited by the poets. Overall, Soccer Mommy’s set provided a chance for everyone to just kickback and enjoy a great performance from Allison and her band, who had incredible chemistry onstage from their extensive touring history. The set included favorites like “Last Girl,” “Cool,” and “Your Dog,” which Allison mentioned they hadn’t been performing lately but they were bringing it back in the spirit of Pitchfork.
Mavis Staples
The legendary Mavis Staples closed out the Red Stage for the first day, providing an instant mood boost for the entire audience and delivering my personal favorite set of the entire day. With her hearty and soulful vocals, which mixed with her grooving band and backup vocalists, Staples captured the audience’s attention and hearts from the very start of her set. A few songs in, the singer told the crowd that she wanted them to feel good, and judging by the infectious grins on everyone’s faces, it was clear she had succeeded in her mission. Staples gave me goosebumps as she sang in harmony with her live bandmates and when she belted out her roaring vocals, showing off the raw power and control she still has over her voice.
Alana and Danielle Haim
HAIM, the evening’s headliners, were up next on the Green Stage. As the sun set over Union Park, the three sisters [Este, Danielle, and Alana Haim] marched to take their places, as a real-time camera followed them on their walk to the stage. The set began with the siblings taking their places in front of drum sets, building up a suspenseful introduction to what would be their first ever festival headlining slot. Their set opened with “Falling” and “Don’t Save Me” from their debut album Days Are Gone, taking the audience back to the days of 2013—when everyone had that album on repeat. In addition to older material—both from their debut and 2017 sophomore album, HAIM also sprinkled in their new song “Summer Girl” and not one, but two Paula Cole covers: “Where Have All the Cowboys Gone?” and “I Don't Want To Wait.” HAIM’s festival headline debut allowed longtime fans to relish their older favorites while still experiencing a glimpse of what is to come in the band’s next era.
Friday Gallery from Pitchfork 2019, featuring Grapetooth, Sky Ferreira, Julia Holter, Soccer Mommy, Mavis Staples, and HAIM
Stay tuned for more Pitchfork 2019 Coverage
Pitchfork 2019: Local Spotlight
Pitchfork Music Festival kicks off this Friday, July 19th and as always, there’s no shortage of Chicago musicians and bands slated to perform this year. Before you head out to Union Park to experience another packed weekend of live music, brush up on our favorite Chicago artists performing this year.
Ric Wilson
Photo By Michael Salisbury
Ric Wilson’s bouncy, disco-inspired raps have an infectious energy about them, which carries over to his charismatic stage presence. Blending funk, R&B, and smooth hip-hop, Wilson’s work on his EPs BANBA and Negrow Disco, as well as his latest single “Yelllowbrick,” offers a little something for everyone. While he’s able to connect with listeners through his lyricism, Wilson connects best with his audience during his interactive live performances— there’s no doubt he’ll have the full crowd dancing along to his Pitchfork set. Plus, with an extensive catalog of collaborations with fellow Chicago musicians, chances are we’ll have a special guest or two pop up during Wilson’s set.
For Fans Of: Kweku Collins, Joey Purp, Saba
Start With: “No Hands,” “Hang Loose,” and “Yellowbrick”
Where To Catch Him: Saturday, Red Stage at 1:45-2:25pm
Lala Lala
Photo By Alexa Viscius
Fronted by London-born, Chicago-based singer songwriter Lillie West, Lala Lala has performed at just about every venue in the city and toured nationally, sharing the stage with bands like Death Cab for Cutie, Frankie Cosmos and Wolf Parade. Lala Lala’s music has connected with a wide-array of audiences thanks to West’s knack for honest and introspective storytelling through her lyrics and her fearless exploration of different sonic landscapes on the 2018 album The Lamb. Make sure you get to the festival early on Saturday to catch a set from West and her band, which will likely be packed with veteran musicians of Chicago’s scene.
For Fans Of: Madeline Kenney, Jay Som, Soccer Mommy
Start With: “Water Over Sex,” “Scary Movie,” and “I Get Cut”
Where to Catch Them: Saturday, Green Stage at 1:00-1:40pm
Tasha
Photo By Alexa Viscius
Chicago singer-songwriter Tasha has been on a roll since releasing a stunning debut Alone at Last in 2018 via Father/Daughter Records. The record garnered praise from listeners and critics with Tasha’s blend of soothing vocals, gentle melodies and poetic lyrics. This year, Tasha has embarked on her first national tour, playing with artists like Helado Negro and Hand Habits, as well as performing at SXSW. Tasha’s self-described “bed songs” that combine indie pop with a soulful touch will ease Pitchfork goers into the third day of the fest, allowing for a tranquil moment to start the final day.
For Fans Of: Gia Margaret, Jamila Woods, Sir Babygirl
Start With: “Lullaby,” “New Place,” and “Winter Song IV”
Where to catch her: Sunday, Blue Stage at 2:45-3:30pm
Grapetooth
Photo by Alex Hupp
A collaboration between Twin Peaks’ Clay Frankel and producer/songwriter Chris Bailoni, Grapetooth’s synth-heavy, new-wave sound translates into a spirited and raucous live performance, which make the perfect Friday afternoon act to get everyone ready for the long weekend ahead. Since Frankel and Bailoni teamed up and released their first single in 2017, they’ve followed that up with a debut full length release via Polyvinyl Records and played sold out shows across the city. From Lincoln Hall to Thalia Hall, each of Grapetooth’s shows have no shortage of dancing and shenanigans— most of their shows have ended up with the audience joining the band onstage for their closing song, “Trouble.”
For Fans Of: New Order, Knox Fortune, Broncho
Start With: “Trouble,” “Blood,” and “Red Wine”
Where to Catch Them: Friday, Blue Stage at 4:00-4:45pm
Whitney
Photo By Olivia Bee
Whitney is returning to play their second Pitchfork, having first played in 2016 following the release of their debut album. Besides already playing Pitchfork, Whitney has also played Lollapalooza and sold out, back-to-back shows at venues like Thalia Hall, so chances are you’ve seen them play at one point or another. However, this show at Pitchfork marks their first Chicago performance of the new era; Whitney’s second album Forever Turned Around is slated for release on August 30th. Their set at the festival will undoubtedly feature the live premiere of some of the new music, so don’t miss out on the Chicago kick off for Whitney’s highly-anticipated new music.
For Fans Of: Kevin Morby, Durand Jones & The Indications, Courtney Barnett
Start With: “Giving Up,” “Golden Days,” and “No Woman”
Where to Catch Them: Sunday, Green Stage at 6:15-7:15pm
Full Pitchfork Festival Schedule 2019
Courtesy of Pitchfork Festival
Get your tickets to Pitchfork Music Festival here before it’s too late, and catch up on Pitchfork years past below!
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PHOTOS: Rock the Garden 2019
This year the annual Rock The Garden festival returned with a stacked lineup. We caught incredible sets from deM atlaS, Heart Bones, Adia Victoria, X, Bad Bad Hats, Courtney Barnett and The National— check out our photo recap below!
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Mamby On The Beach Returns for 2019
Mamby on the Beach will be back for another year of festivities and music at the beach this August 23rd and 24th. While their location and schedule might be different than year’s past, the line up is full of an incredible variety of acts as usual. Headliners include Brockhampton, Troye Sivan, Zhu, and Sylvan Esso and acts like T-Pain, Noname, Empress Of, and The Aces are also slated to perform at Montrose Beach. For the full line up head here, and snag your tickets before it’s too late!
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If You Don’t Like It, Book It: A Recap of Book Your Own Fest
Content Warning: discussion of sexual assault
While interviewing the organizers of Book Your Own Fest, we ended up discussing our shared love of indie punk band, Camp Cope. Organizers Tia and Tayler Krabbenhoft told me that last summer they got a chance to see Camp Cope live, and afterwards got in a word with drummer, Sarah Thompson. When they relayed their stories of speaking out against abusers in the music scene Thompson replied “you’re pissing off the right people.” Keep this sentiment in mind as you read.
Not many music festivals can say they were begat from a meme. Except for Book Your Own Fest, which just had its inaugural event this past March in Fargo, ND. You can thank Tayler Krabbenhoft, the main organizer of the festival, for the cool name. Or you can thank fellow Fargo music festival, The New Direction Fest (TND), for the conversation that spurred it. Back in January, Krabbenhoft posted a moderately innocuous meme on Facebook poking fun of TND Fest’s dude-heavy lineup, and a former TND volunteer took to commenting “if you don’t like it, book your own fest.” And so Krabbenhoft did exactly that.
“I wanted to prove that with less money, less resources, and less time we could get a lot of diverse acts— genre-wise and people-wise,” Tayler tells me during a break between sets. It’s the final day of Book Your Own Fest and I am sandwiched in Tayler’s tour van along with her sister and bandmate Tia Krabbenhoft, longtime friend and fellow organizer Cydney Berlinger, and a case of Hamms.
Performances at Book Your Own Fest ranged from ambient spoken word to fast punk sets and, poignantly, not a single act on the bill was all-male. But Book Your Own fest almost didn’t happen. The sisters recently received a particularly unsettling threat that made them hesitant to continue for safety reasons. But unfortunately, the sisters seem pretty used to handling this type of thing. Their band, Free Truman, earned a reputation last summer when they publicly called out a man who non-consensually kissed a woman at another local venue. After doing so they were met with outrage and online harassment from various men, and after Tayler’s meme caught wind, she endured another round of online barrages, eventually ending in someone leaking her address. It seems impossible to discuss Book Your Own Fest without also discussing sexism and rape culture. It’s all inextricably linked. “People who… aren’t so much with [Book Your Own Fest], would be like ‘oh they’re just causing drama, they’re just starting things’” continues Tayler. That word, ‘drama’, sparks palpable frustration in the van. Being accused of drama is one of the oldest ways in the book to diminish women’s feelings and write off the importance of their ideas. Is DIY an ethic or a middle school hallway? (P.S does anyone wanna book Drama Fest next? I’ll cover it.) Conflating “drama” with “talking openly about experiences with sexual assault” seems to be all too common of a confusion. Quieter, but still adamant, Tayler reminds us how often it happens (sexual assault that is, not drama) ”Things like this affect more people than you even know… it happens all the time in the music scene.” With all that said, I down a shot of tequila from one of several red plastic cups littering the floor of the van and go back inside, trying to reorient myself.
Book Your Own Fest is held at Red Raven Espresso Parlour. A cafe and venue that Cyndey is a barista at. But inside it’s easy to see why Red Raven would be the logical choice regardless; Adorned with pieces of kitsch decor and various anti-Trump memorabilia, I think it’s safe to assume this is where any DIY kid would scamper off to in a small town. And hey, they even had gender neutral bathrooms (which is honestly ahead of a lot of venues on that curve). Given the high visibility of it all, I assumed there would be more righteousness in the air. That it would feel radically different to see performers on a stage where they weren’t being evaluated as comparisons to men. But perhaps the chip on my shoulder is weightier than that of Tayler’s. I also couldn’t help wondering if some of the fun of Book Your Own Fest comes from a community showing that they could do everything the boys could and more. But there was an extra layer of safety. I felt better taken care of in Red Raven Espresso Parlor than I have in many a house show. I moved in the space, unafraid to take up room. I didn’t feel like that, at any moment, a late twenties man in a leather jacket would use me to start a mosh pit at an uncalled for period of time. And, although Fargo, ND is far from a queer oasis, my tired boyfriend who I bullied into driving me 3+ hours and I were able to curl up in a booth at the cafe with no side eyes. At one point a friend nicknamed ‘Coach’ announces to the Krabbenhofts that the baked potatoes were here. Which encompasses part of the feeling of being at Book Your Own Fest. Tayler and Tia had been cooking all week so that there would be homemade food at the fest. And, evidently, they ordered baked potatoes as well. There’s nothing quite like home-cooked food that says “I want you to be here”.” The warmth of the atmosphere suggests the fest has happened before and will happen again. Not to mention that the schedule ran on time (for the most part). At one point the vocalist of Lincoln, NE band Histrionic said “I suck. No I don’t suck” as they tuned between songs. “I know if I say that you’ll all be like ‘no you don’t!’ Whatever.” During Free Truman’s own set, Tia’s drumstick briefly went flying, which was only met with cheers. There was room for mistakes at Book Your Own Fest, and there was room for support.
Book Your Own Fest is special, it’s one of the first of its kind. But it also isn’t exactly hard to find non-men, and queer folks, and black and brown folks making music. So if this is who’s making music, shouldn’t festivals generally reflect that? However, I have a strong feeling that anyone condemning an ask for a more inclusive lineup are the same people who are on social media asking if anyone “knows any good female-fronted bands.” In case you were curious, TND Fest did eventually book more “diverse” acts. Seven to be precise. That would be seven acts that aren’t all male out of twenty one. A whopping one third. Take that, sexism! To clarify, Tayler did not just sit around making memes at the ready. She actually met with a TND organizer to have a conversation regarding the lack of… women. The organizer apparently had the audacity to ask her “is this not enough for you?” No. It isn’t. Book Your Own Fest is the result of years of tokenization. Of being a band comprised of two latinx women who are used as check mark in the diversity box. Don’t throw us a bone and expect us to treat it like a feast. Book Your Own Fest is the feast. It’s the lineup that made me drive over three hours to a city I barely knew existed. All because I wanted to bear witness to something that seems impossible for music scenes, whether they be DIY or industry giants, to understand: a lineup with many acts that aren’t cis white dudes. The whole night, something nags me. Where are you looking in which there are not any non-male bands? Where are you looking in which no POC bands exist? Or is your milktoast lineup the result of not looking at all because it’s far easier to pretend you’re not part of the problem and offer up flimsy excuses? Defending lazy lineups by way of sending threats to young women?…Perhaps the lady doth protest too much.
It is a potent time to be an artist with an opinion, particularly a non-male artist with an opinion. Book Your Own Fest feels like a call to action in this sense. Music doesn’t have to look like that. Book Your Own Fest exudes a you-can-do-it-too attitude. And it only takes one. That first time you see someone who looks like you doing something you love, it changes you. Free Truman themselves wouldn’t have existed if it weren’t for seeing Cydney’s former band, Uncle Grandpa, play a show when they were younger. And now Free Truman is providing that same affirming mirror, both as a band and with Book Your Own Fest. Earlier Tayler told me, “It’s literally life changing to see someone who looks like you playing music.” I hope someone in the audience feels that same way.
The music industry is so often viewed as a boys game, and if you want to gain entry it’s advised that you play like a boy. But the Krabbenhofts developed their own strategy. Book Your Own Fest thrived without a single all-male act on the bill. It thrived with a differently natured community. Which begs the question, if three young women in a small town can put together an inclusive two day festival in under three months, why can all professional bookers and promoters scrounge up for us is an opener?
SXSW 2019: The Complete Photo Gallery
Check out our photo gallery from the annual SXSW Music Festival in Austin, Texas— and stay tuned for interviews and more recaps coming next week.
March 12th featuring Husky Loops, Fatherson, and ShitKid
March 13th featuring The Dunts, Thyla, Easy Life, Dehd, Molly Burch, Slow Pulp, Shy Boys, Fontaines D.C.
March 14th: ANCHR Showcase featuring Faux Furrs, Seasaw, The Golden Fleece, Deeper, Pool Holograph, Uma Bloo, Half Gringa, Rookie, Thompson Springs, The Evening Attraction, Blue Dream
March 15th featuring Pottery, Parrot Dream, Black Belt Eagle Scout, HÆLOS, Tasha, Sir Babygirl
March 16th featuring WAND, Fontaines D.C., Gnarcissists, Stuyedeyed, High Waisted, Pinky Pinky, The Dunts, Native Sun, Miya Folick, Kirin J Callinan
Portraits featuring Stuyedeyed, Nardwuar with Public Practice, Pinky Pinky, Native Sun, Ric Wilson and The Dunts
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SXSW 2019 Highlights: The Best New Acts We Saw in Austin
As with most music festivals, I went into the week at SXSW having a list of artists I had seen before and wanted to see again, but the true beauty of any festival is stumbling across some gems that you’ve either never seen before, or never even heard of. With hundreds of showcases and more than a thousand artists, SXSW offers the best opportunities for music fans to discover their new favorite bands, and this year I definitely found a few new personal favorites. Read up on the nine best new bands I caught at SXSW 2019 below!
Fatherson
I caught a great set from Scottish rock band Fatherson on my first night in Austin, on March 12th at Seven Grand. The Kilmarnock-based trio fronted by Ross Leighton have actually been around since 2010 and toured with the likes of Biffy Clyro, Frightened Rabbit, Panic! at the Disco, and Enter Shikari, but this year marked their return to SXSW for the first time since 2015, and I finally got the chance to see them perform this time around. Throughout their set at Seven Grand, the bandmates seemed to have this sense of ease and chemistry between one another, which perfectly complimented Leighton’s powerful, yet silky vocals.
Listen to Fatherson’s 2018 album Sum of All Your Parts here and see where they’re playing next here.
For Fans Of: Foals, Twin Atlantic, Frightened Rabbit
ShitKid
Swedish musician Åsa Söderqvist— AKA ShitKid— took the stage at the wee hour of 1AM on March 12th at Cheer Up Charlie’s indoor venue, and while she and the audience theoretically should have been exhausted from a full day of music at that point, no one let on and the room buzzed with an electric energy during the entire set, proving you shouldn’t ever judge a band by their name. Söderqvist and her bandmate kept the crowd entertained throughout their set with different antics; whether it was dismantling the drum set on stage, climbing ledges around the room, or lifting their instruments above their heads, there was never a dull moment during the show. Unsurprisingly, the crowd begged for an encore song from ShitKid, but unfortunately the venue curfew didn’t allow for their demands to be granted.
Keep up with ShitKid’s upcoming tour dates here.
For Fans Of: Cherry Glazerr, Chastity Belt, Charly Bliss
Fontaines D.C.
Easily one of the most buzzed about bands at this year’s festival, the Dublin-based Fontaines D.C. put on a show well worth the hype. I had the pleasure of seeing them perform twice, for the first time on March 13th at Swan Dive, which drew a huge crowd and a line out the door. The band’s collective stage presence had this juxtapositional sense about it, with lead singer Grian Chatten coming across visibly anxious as he paced the stage on his tip toes and bit his fingernails, while his bandmates would thrash around the stage or climb up on the amps during the show. The dynamic worked really well and had everyone hooked, and towards the end of the set, a large mosh pit started going for the Irish punk band.
Fontaines D.C. returns to The States later this year for a tour with Idles— dates here, and you can listen to their latest single here.
For Fans Of: Idles, Iceage, Protomartyr
The Dunts
Another great export from across the pond at this year’s SXSW: Glasgow’s The Dunts. The four-piece formed in late 2016, but have already garnered plenty of buzz around their sound and live performances, which has earned them past slots at Reeding and Leeds festival and upcoming slots at UK Festivals this summer. Their guitar-driven tracks and rowdy stage presence blends perfectly with their catchy choruses and guaranteed-to-get-stuck-in-your-head melodies. Although this was their first ever SXSW, both of their performances that I caught (on 3/13 at The British Embassy and 3/16 at 720 Club) drew in very large crowds of enthusiastic fans.
Stay tuned for an interview with The Dunts coming soon, right here on ANCHR!
For Fans Of: The Vaccines, Shame, White Reaper
Black Belt Eagle Scout
I was lucky enough to catch Black Belt Eagle Scout, the project of singer, songwriter, and multi-instrumentalist Katherine Paul, on Friday, 3/15, when I arrived to a venue early for HÆLOS’ final set of the festival. While I had never had a chance to listen to Black Belt Eagle Scout’s music, Paul and her bandmates instantly won me over with their live show, which kept the audience on their toes with a dynamic performance. The set had more delicate, softer moments that lured the audience members in, but Paul and her bassist also didn’t pass up the opportunity to shred.
Black Belt Eagle Scout will tour with Julia Jacklin in April and May, including an already sold out show at Schubas Tavern on May 8th. Full dates here.
For Fans Of: Julia Jacklin, Miya Folick, The Beths
Pottery
Montreal’s Pottery hasn’t been around long at all, but they had large crowds at both of their sets that I attended. Blending together elements of different genres—from surf rock to post-punk to krautrock— there’s a special element to their sound that you just can’t put your finger on, but it made the perfect soundtrack for Friday afternoon when I first saw them at a Cheer Up Charlie’s day party. So far Pottery has only released two singles, but based on their live shows, their future releases will be worth the wait.
See where you can catch the new band on tour next— upcoming dates here.
For Fans Of: The Districts, Omni, Ty Segall
Sir Babygirl
For the Father/Daughter Records showcase on Friday night, Sir Babygirl (the moniker for musician Kelsie Hogue) went all out with her stage presence; face paint, a full getup featuring a tutu-esque cape, and back up dancers. While that performance was completely captivating and demanded the audience’s attention for obvious reasons, I also had the chance to catch a solo, acoustic set from Sir Babygirl on Sunday afternoon, and Hogue’s stripped-back performance commanded the room just the same as the first time I saw her perform. As a songwriter and performer, Sir Babygirl exudes her message so clearly and so powerfully that you can’t help but listen and appreciate.
Keep up with Sir Babygirl updates here.
For Fans Of: Hand Habits, Caroline Rose, illuminati hotties
Native Sun
SXSW-goers packed in Cheer Up Charlie’s indoor room for a rambunctious show from New York’s Native Sun on Saturday night, 3/16. While the four-piece was another one of buzziest bands this year, my first time seeing them only exceeded my expectations. Between the crowd surfing that occurred in the low-ceiling venue and lead singer Danny Gomez jumping off stage while the rest of the band let loose onstage, I think it’s safe to say everyone in the room had their adrenaline pumping at the end of the set.
Keep up with Native Sun here and stay tuned for our interview with them.
For Fans Of: Acid Dad, Naked Giants, Twin Peaks
Gnarcissists
I got the chance to finally see one of Gnarcissists’ many SXSW sets on Saturday, 3/16, at Spider House, and besides being one of the best new bands I saw, their set was one of my all-time favorites at SXSW. Although this set was near the end of the long week, the band members cranked up the volume and still poured all of their energy into this performance. Refusing to remain confined to the stage set up outdoors at Spider House, the band jumped offstage to play amongst the crowd that had gathered to watch the care-free gig.
Keep up with Gnarcissists’ upcoming shows and announcements here.
For Fans Of: Cage The Elephant, Frankie and the Witch Fingers, Stuyedeyed
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