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Acts To Get There Early For: Pitchfork Festival 2022

Pitchfork Festival returns to its usual slot at Union Park this July, after taking place in September last year. The annual music fest will feature some of our favorite acts as headliners, like The National, Mitski, and The Roots—among other performers like Japanese Breakfast, Toro y Moi, Parquet Courts and Lucy Dacus. As always though, the P4k line up is packed with tons of hidden gems that will put on incredible sets. Tune in below to hear some of the acts of the festival that ANCHR will be showing up early to Union Park to catch.

Friday

Ethel Cain

Photo by Helen Kirbo

Singer songwriter Ethel Cain writes about some harrowing and dark themes, but she has mastered the craft of depicting sadness in her music through such a refined and beautiful lens. Cain delivers these stories with reverberated, ethereal vocals and captivating melodies that make it hard not to become instantly enchanted by the songs “A House in Nebraska,” “Hard Times,” and “Crush”—just to name a few.

Cain grew up in a Southern Baptist family in Florida and sang in the choir, but ultimately left the churn as a teen when she came out to her family as gay. On her twentieth birthday, Cain came out publicly as a transgender woman. Cain nods to her religious upbringing with the title of her debut record Preacher’s Daughter, which was just released in May of 2022. The debut album follows up the EPs Golden Age and Inbred, which Cain released in 2019 and 2021 respectively.

If you’re looking for a festival set that will get you feeling all your feelings, while also sounding absolutely stunning, do not miss Ethel Cain at Pitchfork on Friday.

Start With: “American Teenager,” “Gibson Girl” and “Crush”

For Fans Of: Hatchie, MUNA, Zola Jesus

Where to catch her: 1:45-2:25 pm, Red Stage



SPIRIT OF THE BEEHIVE

Photo by Peggy Fioretti

Here at ANCHR, we love a good experimental rock band, so naturally, we’re fans of SPIRIT OF THE BEEHIVE. The Philadelphia-based band has had a history of rotating members, but currently the group is composed of Zack Schwartz, Rivka Ravede, and Corey Wichlin— who all wear multiple hats for the band, contributing everything from vocals, keys, guitar, bass and drums. The shuffling around of band duties likely contributes to the diverse and expansive genre-sphere that the group has created.

The band’s name comes from a 1973 Spanish film with the same title, which is fitting because their sound has a cinematic quality to it. The band describes their song “THERE'S NOTHING YOU CAN'T DO” from their 4th album ENTERTAINMENT, DEATH as being one showcases the growth they’ve undergone from their inception to current day. "This song draws on some of the sonic aesthetic of SPIRIT OF THE BEEHIVE's old records and aligns those sounds with the electronic instrumentation we've been exploring," Wichlin says.

SPIRIT OF THE BEEHIVE will certainly keep us on our toes during their performance, which makes them a perfect way to kick off the festival on Friday afternoon.

Start With: “There’s Nothing You Can’t Do,” “fell asleep with a vision"" and “Natural Devotion”

For Fans Of: Squid, Dry Cleaning, black midi

Where to catch them: 2:30-3:15 pm, Green Stage


Saturday

Jeff Parker & the New Breed

Photo by Jim Newberry

At ANCHR, we also love a versatile artist, and with Jeff Parker, there’s not much he hasn’t dabbled in. Parker was born in Bridgeport, CT and has been making music since 1991, pushing boundaries with his guitar playing and composing via an array of collaborations. Parker is a member of the band Tortoise, and has also worked with the likes of Andrew Bird, Yo La Tengo, and George Lewis—just to name a few.

There’s a effortlessly breezy tone to Parker’s style, which incorporates everything from jazz to folk to rock to pop. The bio on Parker’s website says his works “explore and exploit the contrary relationships between tradition and technology, improvisation and composition, and the familiar and the abstract” and that truly comes across as you listen through his catalog of music.

Parker also has local ties to Chicago as a founding member of the groups Isotope 217˚ and Chicago Underground. If you’re looking for a festival set that will be equal parts fascinating and soothing, make sure you catch Jeff Parker & the New Breed. We think it will be the perfect way to kick off the second day of the festival.

Start With: “Suffolk,” “Cliche” and “Soul Love”

For Fans Of: Anderson .Paak, Tortoise, Ben LaMar Gay

Where to catch them 1:00-1:40pm, Green Stage


Chubby and the Gang

Photo courtesy of Sonic PR

While Charlie, aka "Chubby,” Manning-Walker of Chubby and the Gang has been involved with different bands in the British scene since 2004, he only formed this variation of an ensemble in 2019. The West London-based group consists of Ethan Stahl, Tom "Razor" Hardwick, Maegan Brooks Mills and Joe McMahon alongside Manning-Walker. The lineup is composed of different members of hardcore punk bands Arms Race, Vile Spirit and Gutter Knife.

Similarly to the bands they came from, Chubby and the Gang’s songs have a classic punk feel to them, full of bright drumbeats and cheeky lyrics—but they also mix in other genres and influences. In the short few years since the group formed, Chubby and the Gang has already released two full-length albums, including their sophomore release The Mutt’s Nuts, which was produced by Jonah Falco of Fucked Up and put out via Partisan Records. Most recently, Chubby and the Gang added an EP to their discography, entitled Labour of Love, and aptly released on Valentine’s Day this year.

I have yet to see the band perform, but I just know they’re going to be great at getting the crowd amped up and ready to take on the second day of Pitchfork Festival.

Start With: “Coming Up Tough,” I Hate The Radio” and “All Along The Uxbridge Road”

For Fans Of: Turnstile, PUP, Fontaines D.C.

Where to catch them: 2:30-3:15pm:, Green Stage


Sunday

L’Rain

ANCHR’s Sunday picks are all about the vibes and escapism. L’Rain is a Brooklyn-based singer and musician who composes experimental and mesmerizing songs— imagine losing yourself in a soundbath in the rain, and that’s kind of what L’Rain’s “Heavy (But Not In Wait)” feels like to me.

L’Rain is the moniker for Taja Cheek, who grew up around family with a music business background— her dad worked in music marketing and promotion and her grandfather owned a jazz club. Cheek’s moniker is also a tribute to her mother, Lorraine C. Porter, who unfortunately passed away before Cheek released her debut album.

L’Rain’s music has such a glossy fluidity to it, and that’s probably in part due to the ballet and dance that Cheek studied while growing up. In addition to dance, Cheek learned to play a multitude of different instruments— including bass, piano and cello. As if that’s not all, Cheek even studied music and American Studies while attending Yale, no big deal.

To date, L’Rain has put out two albums; 2017’s self-titled debut and 2021’s Fatigue. Be sure to attend her set on Sunday and drift away to a mix of L’Rain’s unique musical stylings.

Start With: “Find It,” “Two Face” and “Heavy (But Not In Wait)”

For Fans Of: Circuit des Yeux, Cassandra Jenkins, Animal Collective

Where to catch them 1:45-2:25pm, Red Stage


KAINA

Photo by Dennis Larance

Like I said, the Sunday acts are all about the escapism vibes, and Chicago’s own KAINA has the silky smooth vocals and dreamy tunes to help you drift into your personal oasis at Pitchfork.

KAINA is a first-generation Latina and was born and raised in Chicago, and she does an incredible job of composing her songs so that they fuse together Latin-inspired sounds with Chicago soul and blues. You can hear her influences shine through, yet her sound is something completely unique.

In addition to the Chicago influences that we’ll hear in KAINA’s set, there’s a strong chance we’ll see some other hometown artists joining her onstage at the fest— she’s collaborated with Sen Morimoto, Saba, and Nnamdi just to name a few. I’m also looking forward to hearing songs from KAINA’s sophomore album It Was a Home, which was released this year as a follow up to 2019’s debut Next to The Sun.

There’s a lot going wrong in the world right now, but I have no doubt we can all temporarily sway away our problems while watching KAINA.

Start With: “Golden Mirror,” “Could Be a Curse” and “Apple”

For Fans Of: Jamila Woods, Cuco, Wet
Where to catch her: 2:30-3:15pm, Green Stage


See the full Pitchfork Festival schedule here, and get ready by listening to the playlist below.







Pitchfork Festival 2021: Sunday Recap and Photos

Pitchfork Festival 2021 came to a close on Sunday September, 12th with more wonderful music. Read up on Day 1 and Day 2 highlights, and see what we loved on the final day below.


Tomberlin

Singer-songwriter Tomberlin filled in for the opening slot on the Green stage somewhat last minute, when Cassandra Jenkins had to cancel her current tour. Armed with solely a guitar and her voice, Tomberlin was able to captivate the building, early afternoon crowd. The stripped down performance gave everyone a chance to fully soak in and appreciate the thoughtful lyrics. 

Between her indie folk songs, Tomberlin delivered funny quips and banter to the audience. As she played, the sky remained clear with a breeze passing through Union Park, and it felt like the perfect way to ease into the final day of the festival.

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Special Interest

Special Interest followed Tomberlin on the Red Stage next, completely shaking up the mood and cranking up the volume. Combining moody electronic beats, punk riffs and an intense stage persona, the band from New Orleans put on a show that falls within my top three of the entire weekend. 

Fronted by vocalist Alli Logout, Special Interest’s show never lacked in exuberance or action. Logout swung the microphone stand around, made outlandish facial expressions and paced across the entire stage, making the full audience feel connected to the performance. The stark contrast between Special Interest and Tomberlin highlighted the incredible range of artists we’re lucky enough to see at Pitchfork every year. If you get a chance to catch a Special Interest show, don’t miss it.

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Caroline Polachek

Caroline Polachek took over the Green Stage later in the afternoon, providing a mesmerizing set filled with eloquent dance moves and a charming presence. 

As Polachek sauntered and swayed across the stage, she also showcased a phenomenal vocal range alongside her stage presence. Earlier in the afternoon, Polachek gave an interview to Pitchfork stating that she pulled influence from Celine Dion in her new material, and that inspiration definitely translated to a lot of her vocal inflection during her Pitchfork set. 

Polachek’s show delivered it all: production value, a fun and confident attitude, and electric energy from the crowd. The audience seemed especially into the performance of “Bunny is a Rider,” which Polachek released earlier this Summer, and we also got a sneak peek of an unreleased track during her show. Stay tuned for more new music from Caroline Polachek soon. 

The Weather Station

The Weather Station performed to an absolutely packed Blue Stage on Sunday afternoon, and if there was an award for best style coordination among band members, they’d differently win it. Led by singer-songwriter Tamara Lindeman, The Weather Station took the stage all donning coordinated outfits in golden earth tones.

Besides being visual stunning, Lindeman also enchanted the audience with her serene vocals. The set opened with the single “I Tried to Wear the World,” a collaboration with Jennifer Castle, before pivoting to many songs from the 2021 album Ignorance, including “Parking Lot” and “Tried to Tell You.” The full band lineup onstage (including a clarinet player) gave a richness and layered texture to the live sound of these songs.

Thundercat

Thundercat gave us another genre-defying set over at the Red Stage later on Sunday evening. The brainchild of musician and songwriter Stephen Lee Bruner, Thundercat has become known for his fun-spirited mix of funk, jazz, r&b and electronic musical stylings.

Thundercat’s performance had a sprightly energy to it, which was reciprocated by the crowd dancing along. We got to experience lots of extended jams and jazzy bass riffs to kick off the set, especially with songs like “Interstellar Love” and “I Love Louis Cole.” The set wrapped up with the hit “Funny Thing” which even had audience members all the way at the back grinning from ear to ear and grooving along. Thundercat’s set was the perfect transition into. the evening of the final day at Pitchfork.

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Check out more photos from the last day of Pitchfork below, including Tomberlin, Special Interest, The Weather Station, Caroline Polachek, Oso Oso, Thundercat, Andy Shauf, and Erykah Badu below.

Pitchfork Festival 2021: Saturday Recap and Photos

Saturday afternoon at Pitchfork Festival 2021 began with more incredible performances and beautiful weather. Read up on our highlights from the festival’s second day below, and revisit our favorite moments from the first day here.

Bartees Strange

Bartees Strange is an artist I (very) regretfully had been sleeping on until catching his powerful performance at Pitchfork Festival this year. After playing in other projects, Bartees Strange began as a new solo endeavor for musician Bartees Leon Cox Jr. in 2017. Strange’s music refuses to be pigeonholed into one genre, and instead pulls in slices of rock, jazz, and hip hop. In 2020, he released a diverse debut album called Live Forever, as well as an EP of covers of songs by The National. The festival set included his take on the popular The National song “Lemonworld.”

Bartees Strange played his set with such a sense of conviction, pouring his entire heart and soul into his vocal performance and overall stage presence. I had the chance to see him play a festival after-show on Monday night to a packed crowd at the Empty Bottle, and it felt like we were all witnessing his dreams come true in front our eyes. Strange put on such a polished, yet raw and humble show that it was impossible not to become an instant fan.

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Divino Niño

If you read our recommendations on must-see acts at the festival, you’ll know that Divino Niño was already at the top of the list for this weekend. Even though I had high expectations and I’ve seen them many times before, Divino Niño’s Pitchfork set exceeded those expectations by a landslide.

Thanks to the strong chemistry between band members Camilo Medina, Javier Forero, Guillermo Rodriguez-Torres, Pierce Codina, and Justin Vitorri, the group had an unwavering air of confidence and ease surrounding their festival performance on Saturday afternoon. Divino Niño is a project founded on happenstance, as Medina and Forero met as children in Columbia and reconnected in Miami as teenagers, before ultimately beginning to make music together in Chicago during college. From the poise and commanding stage presence that Medina, Forero and their bandmates demonstrated during this show, it truly felt like everything was as it should be during those moments.

With so much turmoil happening in the outside world, Divino Niño’s set provided a much needed escape and a chance to dance away our worries to the sound of their dreamy, psychedelic pop tunes.


Waxahatchee

The soothing escapism continued later on Saturday evening with a stunning set from Waxahatchee, the project of singer-songwriter Katie Crutchfield.

Crutchfield and her bandmates took their places on a stage decked out in roses, in front of a dreamy, cloud-filled backdrop that donned the name of Waxahatchee’s newest album, Saint Cloud.

Waxahatchee is one of those tried and true artists who consistently delivers incredible performances, and their Pitchfork set was no different. Like many artists at the fest, Waxahatchee was performing new songs from their 2020 album to this audience for the first time, so the set relied heavily on Saint Cloud songs, like “Fire” and “Lilacs.” Crutchfield and her band also sprinkled in some older gems from 2017’s Out in the Storm, like the crowd favorite “Recite Remorse.” The show wrapped up with a cover of “Light of a Clear Blue Morning” by the great Dolly Parton.

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Ty Segall & Freedom Band

Before Ty Segall and his bandmates began officially playing, they had to wrap up some last minute soundchecks. Even with the minimal and quick riffs they ran through during this final soundcheck, the anticipation and eagerness already palpitated throughout the crowd. 


When Segall and the band began shredding through their psychedelic, garage rock songs for the full show, the energy from the crowd became even more electrifying and added to the overall experience. Segall’s extensive catalog of records are great to listen to at home or in the car, but nothing compares to the magnitude of the live show. Throughout the set, we got to hear some newer tunes from the 2021 album Harmonizer amongst other classics like “Squealer” and “Finger” from earlier albums.

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Angel Olsen

One of the best aspects of concerts and festivals is the sense of community behind them. While most of those community vibes happen among festival attendees, there’s also the collaborative element between the artists that you can only fully experience in a live setting. 


Angel Olsen’s set that took place just after sunset had one of those moments, when Sharon Van Etten made a surprise appearance to join Olsen in performing their 2021 duet “Like I Used To” and close out the set. Prior to the special closing moment, Olsen kept the large crowd hooked with her ethereal vocals and witty stage banter. Before playing her hit “Shut Up Kiss Me,” Olsen joked with the audience that she was going to be trying out a brand new song she and the band had never played before-- which only piled on the excitement from the crowd when they recognized the opening lyrics of the tune.

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St Vincent

Saturday night at Pitchfork closed out with a full-blown theatrical production from St. Vincent. The headlining set began with backup dancers and singers gracing the stage in 1970’s disco style garb, with Annie Clark (AKA St. Vincent) making her grand entrance shortly afterwards. 


The entire stage setup and groovy costumes of Clark and her band truly felt like a trip back in time, continuing the theme of escapism during the festival’s second day. St. Vincent’s beautiful and charismatic performance of course included songs from the 2021 album Daddy’s Home, but the earlier half of the set called back to a lot of earlier material like “Birth in Reverse” and “New York.”

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View more photos of the festival’s second day, including Horsegirl, Bartees Strange, Divino Niño, Amaarae, Waxahatchee, Ty Segall, Kim Gordon, Angel Olsen, Jamila Woods, and St. Vincent below, and stay tuned for Day 3 coverage.

Pitchfork Festival 2021: Friday Recap and Photos

Pitchfork Festival has come to be one of those weekends that I look forward to all year. It’s a place I can reunite with friends from all over the city, and see live music from artists I’ve come to know and love over the years, as well as discover new favorite artists. Needless to say, the anticipation for Pitchfork Festival 2021 was at an all-time high after the pandemic-caused gap year and the push to September this year, but the wait was well worth it. Music-goers at Union Park over the weekend were graced with a weekend of clear skies and warm (but manageable) temperatures while they soaked in the sounds of more than forty different acts. Read up on the highlights of Friday below, and keep an eye out for further festival coverage coming soon.

Dehd

ANCHR started off our Pitchfork Fest experience this year by catching a homecoming show from trio Dehd, which also acted as the band’s first official performance since their 2020 album Flower of Devotion was released. Throughout the evening, I heard many festival attendees state that Dehd was their favorite set of the day, and for good reason.

Veering away from a traditional band lineup, Dehd delivers an unwavering and boisterous blend of surf rock with post-punk with just three members; Eric McGrady keeps a steady beat on a standing drum set as guitarist Jason Balla and bassist Emily Kempf share a dual vocal duty. The band’s song “Lucky”—which they opened their Pitchfork set with— really showcases the dynamic of Balla and Kempf’s vocal partnership as they belt out the sing-along worthy “sha la la la las” of the song’s chorus together. Dehd’s records have such a fun and freeing attribute to them, but seeing them performed live only amplifies that mood. The set on Friday also included a new tune, so be sure to keep an ear out from new material from Dehd.

Black Midi

If you want a truly unique live music experience, you can always count on the experimental vibes of England’s Black Midi to shake things up. Fronted by vocalist Geordie Greep, the band mixes everything from frantic bass lines, thrashing guitar riffs, avant-garde keyboard melodies and saxophone to create a sound that’s entirely their own.

The band added to their musical performance by carrying out a bright green sofa to the stage, which remained in place throughout their set. Potted plants and rolling wardrobe rack accompanied the couch onstage, lending a theatrical element to their show. The extra effort that Black Midi went through to make their set an experience didn’t go unnoticed or unappreciated by the audience, who returned the energy with a raucous mosh pit.

Kelly Lee Owens

At every music festival, there’s got to be at least one artist you’re discovering for the first time, and Kelly Lee Owens was that act for me on Friday. With a silky swirl of atmospheric, hypnotic electronic melodies and ethereal vocals, Owens’ music provided an entrancing oasis after the chaos of Black Midi’s performance.

Hailing from Wales, and currently based in London, Owens used to write poetry as a child, which now translates into a fluid, poetic nature in her stage presence. While performing tracks from her two full-length records, including 2020’s Inner Song, Owens commanded the entire crowd solely on her own and minimal equipment, accompanying her sound with striking dance moves.

Animal Collective

Animal Collective continued with the quirky and experimental vibes, bringing the Pitchfork Festival goers another opportunity to mirror the high amount of energy bouncing off the stage.

Animal Collective has played Pitchfork Festival in the past, but their expansive catalog of music dating back to the early aughts allows them to curate a unique setlist for their listeners. The creative energy of Avery Tare keeps Animal Collective fans on their toes, especially in a live setting. While the group finished up their late evening set on Friday, Tare threw down some wild and jarring howls at the end of their song “The Purple Bottle,” leaving the stage on a literal high note.

Phoebe Bridgers

The crowd’s energy peaked on Friday night when singer-songwriter Phoebe Bridgers and her bandmates appeared on the Green stage, all donning the headliner’s signature Skeleton onesies.

Bridgers has attracted the attention of many music fans with her vulnerable and witty storytelling abilities that are present across her discography. Phoebe’s become an expert at mixing in humor and honesty with some of her most personal moments, making her lyrics both oddly specific and relatable. Take the lyrics in her hit “Motion Sickness” from her debut album— most fans can relate to the annoyance sparked by an ex-partner that Bridgers describes in the song, but the line “And why do you sing with an English accent?" signifies a very specific call-out of a certain someone(if you know, you know). Bridgers opened the set at Pitchfork with this song, and the crowd singing along almost drowned out her own vocals (pun intended).

From that catapulting start, the remainder of the set leaned heavily towards songs from the 2020 album Punisher, allowing fans to hear most of the songs live for the first time since the record’s release. Bridgers also sprinkled in a performance of the boygenius tune “Me & My Dog” and a cover of Bo Burnham’s “That Funny Feeling” from the acclaimed Inside comedy special. From the laughter to all of the feels, Phoebe Bridgers’ set started the festival off on a great note.

See more photos of the first day below, including Dehd, Hop Along, Black Midi, The Fiery Furnaces, Animal Collective, Kelly Lee Owens, Big Thief, Yaeji, and Phoebe Bridgers.







7 Pitchfork Fest 2021 Acts To Get There Early For

After a Summer of no music festivals in 2020, we’re thrilled that we’re getting to experience Pitchfork Festival in 2021. While the fest usually takes place in July, we might actually get a break from the usual sweltering humidity with its move to September this year. Pitchfork is giving us some incredible headliners for 2021—including Phoebe Bridgers, St. Vincent and Erykah Badu— but make sure you don’t snooze on the rest of the line up. To help you out, we’ve compiled our recommendations of must-see acts who are worth getting to Union Park early for next weekend. Grab your tickets here if you haven’t yet, and keep reading on for ANCHR’s top picks below.

Dehd

Photo By Alexa Viscius

Photo By Alexa Viscius

We’ve got to start this list off with some hometown heroes; Dehd. Composed of Jason Balla on guitar and vocals, Emily Kempf on bass and vocals, and Eric McGrady on drums, the Chicago trio crafts tunes that are a boisterous blend of post-punk and surf rock. By utilizing both Kempf and Balla’s vocals, Dehd lends a playful and dynamic nature to their music. That dynamic spans across three albums, including 2020’s Flower of Devotion. Dehd’s extensive catalog of songs are sure to have you grooving along to their Pitchfork set.

If you don’t want to take our word on it, The FADER, Pitchfork, Paste, NPR Music, UPROXX, and Vice were all among publications to showcase Flower of Devotion on their best of 2020 lists. Dehd recently announced the 2020 album will be getting a reboot in September, when they’ll be releasing an album full of remixes to the original songs, including Pitchfork Fest alum Lala Lala’s remix of “Desire.”

For Fans Of: Mac DeMarco, Omni, Priests

Start With: “Flood” and “Loner”

Where to catch them: Friday 9/10, at the Green Stage from 2:30 PM – 3:15 PM.

Pitchfork Aftershow on Saturday, 9/11, at The Empty Bottle

Divino Niño

Photo by Alexa Viscius

Photo by Alexa Viscius

The list continues on with another Chicago classic. Divino Niño is a five piece rock band based in Chicago composed of Camilo Medina, Javier Forero, Guillermo Rodriguez-Torres, Pierce Codina, and Justin Vitorri. Forero and Medina formed the band in Chicago when they moved here for college, after initially having met in Bogota, Columbia as children and reconnecting later in life in Miami.

Blending together dreamy psych and funk vibes with bilingual lyrics, there are fewer bands better suited for an outdoor music festival than Divino Niño. Their 2019 album Foam flows from bop to bop, so be sure to bring your dancing shoes to their set.

For Fans Of: Post Animal, The Marías, Mild High Club

Start With: “Foam” and “Coca Cola”

Where to catch them: Saturday, 9/11 at the Green Stage from 2:30 PM – 3:15 PM

Pitchfork Aftershow on Friday, 9/10, at The Empty Bottle

Dogleg

Photo courtesy of Dogleg

Photo courtesy of Dogleg

If you’re looking to start your Pitchfork weekend off on the right foot, look no further than Detroit, Michigan’s Dogleg. Originating as a solo bedroom project from guitarist and songwriter Alex Stoitsiadis as a way to concretize his mantra of “Play fast,” Dogleg has since expanded to include Chase Macinski on bass, Parker Grissom on guitar, and Jacob Hanlon on drums. Since the initial inception and release of the debut self-titled EP in 2016, Dogleg released a handful of follow up singles leading up to their critically acclaimed 2020 debut album Melee.

The band’s intense punk riffs blend with a touch of nostalgia-drenched emo to create a fast-paced ferocity that will get the Pitchfork crowd amped and ready for the rest of the weekend.

For Fans Of: PUP, The Frights, Jeff Rosenstock

Start With: “Kawasaki Backflip” and “Fox”

Where to catch them: Friday 9/10, at the Red Stage from 1:45 PM – 2:25 PM

Pitchfork Aftershow on Saturday, 9/11 at Subterranean

Horsegirl

Photo by Sun Picture Music

Photo by Sun Picture Music

Another Chicago act you can’t miss if you want to support local? Horesegirl. Composed of Penelope Lowenstein (she/her), Nora Cheng (she/her), and Gigi Reece (they/them), Horsegirl formed about two years ago after the group had performed together as a Sonic Youth cover band. Lowenstein and Cheng had originally met when their similar taste in music bonded them as attendees of a local music program. Lowenstein and Cheng often create a dual vocal effect, joined by Reece’s backbone of drum beats, to create music that makes a statement.

While they only have three singles released so far, I’m excited to see them live for the first time at Pitchfork and discover what else their set has in store.

For Fans Of: Porridge Radio, Lala Lala, Snail Mail

Start With: “Ballroom Dance Scene” and “Sea Life Sandwich Boy”

Where to catch them: Saturday, 9/11 at the Green Stage from 1:00 PM – 1:40 PM

Oso Oso

Photo courtesy of Oso Oso

Photo courtesy of Oso Oso

The brainchild of musician and songwriter Jade Lilitri, Oso Oso began in 2014 as a side project from Lilitri’s former band State Lines. Following the initial release, Lilitri has now released three albums under the Oso Oso project, the most recent being 2019’s basking in the glow.

Most of Oso Oso’s catalog is full of lyrics that can rouse reflective pondering from listeners, while simultaneously delivering upbeat melodies you can get lost in. In similar fashion, the third album showcases Lilitri’s introspective musings fused with a pop punk soundtrack. If you’re looking for a set at Pitchfork where you can belt along to some heartfelt lyrics while dancing around, make sure you’re there to hear Oso Oso play “basking in the glow.”

For Fans Of: The Front Bottoms, The Hotelier, Remo Drive

Start With: “gb/ol h/nf” and “Track 1, Side A”

Where to catch them: Sunday, 9/12 at the Blue Stage from 2:45 PM – 3:30 PM

Pitchfork Aftershow on Saturday, 9/11 at Subterranean

Tomberlin

Photo Credit: Ebru Yildiz

Photo Credit: Ebru Yildiz

While Cassandra Jenkins unfortunately had to cancel her upcoming tour (including her slot at Pitchfork Fest), we now have Tomberlin filling in for her. I first had the pleasure of seeing Tomberlin perform at The Hideout in Chicago alongside Hand Habits back in 2019, where she completely mesmerized the audience and kept us all hooked on her every word. Sarah Beth Tomberlin (better known solely by her last name) is a singer-songwriter currently based out of Los Angeles with roots in Louisville, Kentucky. She followed up her stunning debut record At Weddings with an EP entitled Projections in October 2020, and I’m excited for the chance to hear some of the newer songs performed live.

The combination of Tomberlin’s ethereal vocals and delicate melodies gives me the sensation of wrapping myself in a cocoon of blankets. The sense of comfort and coziness that songs like “Hours” and “You Are Here” evoke makes Tomberlin the perfect soundtrack to transition from Summer into Fall. It will also make for a great laid-back way to start the final day of the festival.

For Fans Of: Hand Habits, Phoebe Bridgers, Julien Baker

Start With: “Hours” and “Wasted”

Where to catch her: Sunday, 9/12 at the Green Stage from 1:00 PM – 1:40 PM

Special Interest

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I haven’t yet had the honor of seeing Special Interest perform live, but I just know they’re going to be one of the best sets at the fest. If you’re looking for a completely unique experience, you can’t miss this group from New Orleans, Louisiana.

It’s difficult to assign a genre to Special Interest, but their song “Street Pulse Beat” swirls together moody synths with a pulsing drum machine and a punk bass line. Throughout their three albums, they tackle reimagining dark electronic and punk music, creating an eccentric vibe that’s entirely their own. Interestingly enough, the group began in 2015 as a duo who only planned to play one show. When they started out, Alli Logout and Maria Elena played guitars and power tools over the beat of a 70’s Univox drum machine— before ultimately being joined by Ruth Mascelli on electronics and Nathan Cassiani on bass. They’ve since garnered a reputation for the intensity of their live shows, so don’t miss out on their festival set or after show.

For Fans Of: Idles, Boy Harsher, Squid

Start With: “Street Pulse Beat” and “Disco II”

Where to catch them: Sunday, 9/12 at the Red Stage from 1:45 PM – 2:25 PM

Pitchfork Aftershow on Saturday, 9/11 at Smart Bar

Keep an eye out for more Pitchfork Fest coverage all next weekend, and take a trip down memory lane below.

Chicago Festivals Are Back!

As of Friday, June 11th, the city of Chicago has officially opened back up into Phase 5 (AKA we are fully open). That means that concerts and festivals that make help make the city the wonderful place that is will will be happening this year. See below for some details about what festival events will be taking place and when.

Wicker Park Fest

When: July 23-25th, 2021

Where: Wicker Park



Lollapalooza

When: July 29-August 1st, 2021

Where: Grant Park

Out of Space

When: August 5-8th // September 2-5th, 2021

Where: Canal Shores Golf Course // Temperance Beer Co

Pitchfork Music Festival

When: September 10-12th, 2021

Where: Union Park

Riot Fest

When: September 17-19th, 2021

Where: Douglas Park

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

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.


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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

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

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

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

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

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 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

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

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 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

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

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

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

Live Recap: Doubleheader From Lala Lala and Grapetooth Celebrates Chicago and Collaboration

After the last set at Union Park on Friday, music fans made their way to Metro for a double-header Pitchfork aftershow with Lala Lala and Grapetooth. The night started with a DJ set from Title TK, who had the crowd dancing as they settled in for the night and waited for Lala Lala to take the stage.

With the crowd warmed up, Lillie West and her bandmates began their set around 10:30, filling the room with dreamy melodies and captivating harmonies. West has always been at the center of Lala Lala and toured with an array of different musicians, but her band roster for Pitchfork weekend included some of the best musicians based out of Chicago at the moment—including V.V. Lightbody, KAINA, Sen Morimoto and Nnamdi Ogbonnaya. As the group played through songs from Lala Lala’s 2018 album The Lamb, the dynamic and multi-faceted nature of West’s songwriting was showcased. Songs like “Scary Movie” and “See You at Home” took a step back and slowed things down, with the latter featuring Sen Morimoto on saxophone. “Spy” and “Water Over Sex” built up the energy and momentum, creating a juxtaposition between the smoother, more subtle songs of the night.

By the end of Lala Lala’s set, the venue had mostly filled in, and the rowdy crowd beckoned Grapetooth onstage by chanting “Friday Night! Up All Night! Red wine in my blood tonight!”—which has become a tradition of sorts at Grapetooth’s past shows in Chicago at venues like Lincoln Hall and Thalia Hall.

While the show would eventually end in a much more intense way, Grapetooth began their set with one half of the duo, Clay Frankel, taking the stage for a solo performance of a new song—armed with just his guitar and harmonica. Following the gentle introduction, Grapetooth co-founder Chris Bailoni and drummer Justin Vittori took the stage to play the single “Violent” from the band’s 2018 debut album. As soon as the chorus for “Violent” kicked in, audience members were already up in the air crowd surfing and throwing each other around in a sweaty mosh pit. The dance party continued for the first half of the set, and eventually Frankel and Bailoni welcomed their friend and Chicago musician James Swanberg to the stage right around midnight. Swanberg’s bit kicked off a steady roll of guest appearances; Lillie West returned to the stage to perform a new song she co-wrote with Grapetooth, followed by an appearance from OHMME, who sang backing vocals on “Red Wine.” Next, Ian Sweet and James Swanberg joined OHMME for the second to last song “Imagine On”— and finally, a whole bunch of friends crashed the stage for the closing song of the night: Grapetooth’s debut single '“Trouble.” While the band’s friends joined them onstage to dance and sing the catchy, mischievous anthem, the crowd continued to go wild, ending the night (and day one of Pitchfork Fest) with a bang.


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

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)

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

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