Join me after the jump for a collection of photos that I took on Day 3 (Sunday) of this year’s Pitchfork Music Festival. Photos are arranged by set time. They are also available in higher resolution on Facebook. Check out my full recap of the day, as well as all the rest of the coverage by clicking here.
Category: pitchfork music festival 2014
Join me after the jump for a collection of photos that I took on Day 2 (Saturday) of this year’s Pitchfork Music Festival. Photos are arranged by set time. They are also available in higher resolution on Facebook. Check out my full recap of the day, as well as the rest of the festival coverage by going here.
Note: There are no photos of Saturday headliners Neutral Milk Hotel featured here at their request.
Join me after the jump for a collection of photos that I took on Day 1 (Friday) of this year’s Pitchfork Music Festival. Photos are arranged by set time. They are also available in higher resolution on Facebook. Check out my full recap of the day, as well as all the rest of the coverage, by going here.
After a relatively calm and relaxing start to the weekend on Friday courtesy of artists like Sharon Van Etten and Sun Kil Moon, Saturday at the Pitchfork Music Festival found quite a bit more rhythm and energy and was all the better for it. Not only that, but with plenty of hip hop, R&B, electronica and loud rock bands to go around, it was also the most widely diverse day of the weekend. As with Friday, I attempted to scatter myself around Union Park as much as possible to get a little sample of just about everything. On the whole,the day was rather delightful. Here’s my recap of how it all went down.
I skipped out on the first couple of bands on Saturday so I could finish some writing and post my recap from Friday. That may not have been the best idea as it turns out, because I got word from a few different people that sets from Twin Peaks, Ka and Circulatory System were all incredible and some of the day’s highlights. Of course there were plenty of highlights later in the day too if you knew where to look for them. I arrived on the premises in time to catch most of Wild Beasts‘ performance, which made for a lovely start to Saturday. Their dark and at times intense melodies thankfully translated well to the sunny outdoor festival setting, and much of the crowd danced along accordingly. Singer Hayden Thorpe looked a little toasty wearing a denim suit, and given the highly sexual nature of many of the band’s songs, if he didn’t mind the warmth perhaps leather would have been more appropriate. While a majority of the set list focused on their most recent album Present Tense, they did incorporate a fair amount of older material as well, including a glorious version of “Bed of Nails.”
The last time Cloud Nothings performed at the Pitchfork Music Festival, their set got rained out about halfway through. They were in the final couple of minutes of an extended jam session when the power was cut to avoid a serious safety hazard. The band finished the song anyways, even though you could barely hear them. It was an incredible and memorable moment, one of the best in the history of the festival. Now two years later, the band still seems angry they weren’t allowed to finish their set back then. They come out like a blitzkrieg attack and throw everything they have into a rage-filled performance that doesn’t let up for more than 45 minutes. It drives the crowd into such a frenzy that security is forced to kick all of the press photographers out of the pit within two minutes due to an excess of crowd surfing and moshing. I didn’t visibly see anybody get injured during that set, but wouldn’t be surprised in the least if it happened. Still, it was an incredible display of aggression and release, which I think everyone desperately needed. Mark them down as one of Saturday’s best, no question about it.
Because he’s a member of my Class of 2014, and because his debut EP Worth is….worth your time, I stopped by the Blue Stage for a bit to see how Mas Ysa (Thomas Arsenault) was doing. For the most part, his set was going relatively smoothly. His setup was basically an army of varying different electronic machines on a table, and he spent the majority of time pushing buttons and twisting knobs to get the particular beats and sounds desired. Not the most exciting thing to watch, though Arsenault made things significantly more interesting simply by his behavior and facial expressions. When he’d be playing around with various sounds, more often than not this expression of extreme pain came across his face. Of course he wasn’t in any actual pain, it was just how the music was affecting him on an emotional level. You could hear it in his vocals too, which were also modulated with who knows what sorts of effects that emphasized his upper register while giving off the impression he was singing underwater. Those vocal moments were also when he broke away from his table of electronics to bring a greater physicality to the performance and the points he was trying to get across. My only real issue was that it didn’t always sound like Arsenault was singing on-key the whole time. Maybe it was the modulation effects or maybe it’s his own unique yelping style, but there were moments when I genuinely said to myself, “That doesn’t sound quite right.” All the instrumental stuff was fine and great, it was just the vocals every now and then that threw me off.
Speaking of throwing people off, Pusha T wasn’t exactly doing himself any favors by starting his set 35 minutes late. Apparently his DJ failed to show up on time, and that was the cause of the delay. As a result, he did his best to make the most of the 25 minutes left for his time slot. He raced through track after track, often cutting each one off after a verse or two, just to ensure he touched on the maximum amount of his catalogue. In spite of everything, it was a pretty decent set, almost as if Pusha was working extra hard to knock it out of the park to make up for the earlier issues. It makes me wonder though how much better it might have been had he used those first 35 minutes and actually performed full tracks instead of only giving us a little taste of each. Maybe next time.
tUnE-yArDs remains a formidable live act, as Merrill Garbus and her band continue to grow with each new record. When she performed at Pitchfork a couple of years ago, she was trapped on the smaller Blue Stage in the early afternoon, yet still managed to deliver one of the weekend’s finest and most remarkable performances. Now graduated to a big stage with a late afternoon slot and a gigantic crowd, she sought to make the most of it. Honestly, while I loved just about every second of the show, it also disappointed me a little. She’s touring in support of the new album Nikki Nack, and devoted much of the set list to songs from that record, which quite frankly isn’t her best. It’s not a bad record by any stretch, nor was her performance, but I feel almost like her ferocity has somewhat diminished. Like, before she was an underdog, but now she’s the alpha and is taking a victory lap. As little as a year or two ago, she would build almost every single song using loops, would go beyond what’s on record to have fun in extended jam sessions, and would invigorate the crowd by yelling things like, “Do you wanna live?” There wasn’t much of any of those things this time around, and now I kind of miss them. Her voice is as powerful as ever though, and the songs are still amazing, not to mention there’s all sorts of polyrhythms and crazy percussion. The point is, there’s still tons to love about tUnE-yArDs, just maybe not quite as much as there was before.
Saturday was a big day for my Class of 2014, and I was particularly excited to see how Kelela would fare in a festival environment. She makes some fascinating experimental R&B, which is nice because it breaks away from some of the more standard stuff that gets the bulk of the attention these days. Backed by only a DJ, she worked the stage with total confidence and control, sticking largely to tracks from her Cut 4 Me mixtape. That brought a different sort of energy to her set – one that was equal parts upbeat, sensual and intimate. The ability to conjure something like that up on a sunny, late afternoon outdoor stage is a rare quality, and it attracted more people over time like moths to a flame. That, and her smooth, syrupy vocals just made you feel good all over. I was quite impressed, mostly that she truly lived up to the hype that goes along with being a promising young artist. Whatever she does next, it should be pretty great.
There’s not a whole lot that I want to say about Danny Brown‘s set, mostly because I wasn’t paying close attention throughout most of it. When I did, all evidence suggested that the crowd was having a great time. When I say great, I mean GREAT. Like hands waving, jumping around, smiling and laughing sort of great. Perhaps that’s because Brown was powering through all of his most excessive and salacious material, while completely ignoring the more introspective and sincere tracks in his catalogue. That’s understandable given the summer festival setting, but also a bit shallow on the whole. You can celebrate with “Smokin’ and Drinkin'” and get into a “Kush Coma,” but those are the favorite topics of almost every other rapper out there. Brown could have separated himself from that world for at least part of the set, and it would have made a great difference. Instead, he told the crowd he wanted to hang out and party. Not much wrong with that. Not much right either.
What can be said about St. Vincent‘s performance at Pitchfork? Nothing really. Over the course of the last several years, Annie Clark has become a powerhouse of rock and roll. Put a guitar in her hands and watch her conquer even the most apathetic of music lovers. Following her highly choreographed live show and tour with David Byrne in 2012 and 2013, the 2014 version of St. Vincent has incorporated many of those same ideas into her sets. There are certain routines for most songs, followed very precisely by Clark and her bandmates. It lacks a certain spontaneity, but looks pretty cool. Besides there’s still plenty of room for freestyling, particularly on the guitar solos, which she absolutely ripped through on tracks like “Rattlesnake” and “Marrow.” Then there’s the slow descent into madness that is the show-stopping finale of “Your Lips Are Red,” leaving her thrashing around in the crowd and on the ground, making all sorts of sonic hell with her guitar. Not only is it thrilling to watch, but also thrilling to listen to. I’ve never ever seen a bad St. Vincent show, and sincerely hope that I never will.
My final stop by the Blue Stage on Saturday was to catch part of the set from the third Class of 2014 artist performing that day, FKA twigs. The R&B artist has been strongly building up hype over the last couple of months with the announcement of her debut album due out in mid-August, and preceded the white hot new single “Two Weeks.” Her set presented a great way to preview the new material as well as get further absorbed into the unique world that she has carved out for herself. The end results were decidedly mixed. She was supported on stage by a total of three percussionists with electric drum pads, which were used for both rhythmic purposes as well as to trigger samples and beats. In some ways her songs were even thinner and more skeletal than Kelela’s earlier in the day, which would be fine if you couldn’t hear the sounds of St. Vincent’s roaring guitar out in the distance. twigs, aka Tahliah Barnett, didn’t do a whole lot to help herself early on either, particularly as the vocals for her first song were more whispered than they were sung. Of course there was steady improvement after that, and it seemed like she found her footing as she moved around the stage dancing to the beats and softly cooing as required. Try though she might, Barnett was unable to reach the same level of intimacy nor display the same level of confidence and poise that Kelela had already shown was possible. The two artists aren’t the same and certainly have their own unique styles, just at the moment its clear one is more practiced and better at performing for a large outdoor crowd than the other. twigs managed to pull in a pretty sizable crowd who were rabid fans eager to hear material from EP1, EP2 and the forthcoming LP1, and most I’m sure felt like they got exactly what they wanted. Personally, I’m intrigued to see if a dark, indoor venue would make for a better live delivery system of her gorgeously fragile songs.
Having seen Jeff Mangum perform solo back in 2012, I was pretty sure what to expect when it came to Neutral Milk Hotel‘s headlining set on Saturday night at Pitchfork. Sure, the songs and setlist were just about the same, but it turned out to be a far different beast than anticipated. First all of the songs sounded mightier and more energized with the full band behind them. In particular, “Holland, 1945” and “The King of Carrot Flowers, Pts. 2-3” hit with such a great impact that it drove the crowd into a frenzy that included a strong push forward to get closer to the stage, followed by some actual moshing, which is not really something you’d ever expect from a Neutral Milk Hotel show. There were sing-alongs galore, especially for anything on In the Aeroplane Over the Sea, and the middle part of the set that was decidedly short on that material allowed the earlier insanity to mellow out a bit. The night wrapped up with Mangum taking a largely solo turn on the epic “Oh Comely,” which is exactly as it should be. With a strict no photos/filming policy (even the video screens were shut off), there was a certain comfort in knowing that the crowd wouldn’t be preoccupied with capturing the show on their phones and instead just living in that moment for once, acknowledging others around you and realizing we’re all in this together. That was probably the band’s intention, and I exited Union Park that evening feeling tired but also more connected.
The first day of the 2014 Pitchfork Music Festival is in the books, and it was an interesting one to say the least. You could say that the festival got off to a very relaxed start, which has both benefits and drawbacks. The biggest positive is that you can just kind of chill out and move at your own pace, without a whole lot of pressure to be up and about dancing or moving from stage to stage. The downside is there wasn’t a whole lot to get overly excited about. My approach to Friday was to treat it a bit like a sampler platter, spending a little bit of time with just about every artist performing tp get a taste, and then moving on to something else. I can’t say anything was particularly bad, and I didn’t always want to walk away, but it’s always good to know you’re not missing something completely mindblowing on the opposite side of the park. So here’s a bit of a chronicle detailing the performances I saw and how worthwhile they all were.
My day started with Hundred Waters, who were the first band of the shortened Friday, and were playing unopposed due to Death Grips’ breakup/cancellation. Singer Nicole Miglis joked about it at the start of their set: “This is when we start playing Death Grips covers, right?” And so, with a little bit of a wink, they launched into a set that was comprised primarily of snogs off their new album The Moon Rang Like A Bell. On record the band is equal parts introspective, beautiful and energetic, and those aspects were even more amplified in their live performance. The highs were much higher, the lows a little lower, and all of it was tackled with grace and aplomb. The moderate sized crowd that had gathered to watch seemed to enjoy themselves, though very few felt the need to bust out their dance moves on the handful of tracks where it was appropriate to do so. Maybe next time.
As Hundred Waters doesn’t have a wealth of material to pull from, they finished their set in 45 minutes, leaving a 20 minute gap before Neneh Cherry and RocketNumberNine started up on the nearby Green Stage. Thankfully Factory Floor was just taking the stage on the other side of the park, so I ventured over there to have a short look at what that setup was like. Part of me suspected the trio would be essentially playing music with laptops and turntables, fiddling with knobs the entire time while encouraging people to dance, but the actual reality of it was far different. Sure, Dominic Butler’s primary job is to twist and turn knobs and trigger samples, but there’s also Gabriel Gumsey playing drums and multi-instrumentalist Nik Colk adding guitar, keyboards and distorted vocals to the proceedings. Listening to their records, you would never know. It makes their performance a lot more interesting to watch, and also somehow infuses even more energy into their songs. About half of the crowd was dancing pretty hard for the 20 minutes I was there, and showed no signs of slowing down anytime soon. Part of me wishes I could have stayed.
Yet Neneh Cherry was calling my name. As she’s been making music since 1989, Cherry is now a music industry veteran with several prolific records under her belt. She was a genre-crossing pioneer back in her early days, and her latest album Blank Project with RocketNumberNine proves she still hasn’t lost that touch. The same can be said for her live performance, which was packed with just the right mixture of energy and experimentation. While her set started off with a ballad, things picked up quickly from there, and soon she was dancing and whipping her hair around with the beats. She seemed to be having a lot of fun, and the crowd was more than willing to go along on that ride with her. Not particularly excited about looking back to her earlier records, she mostly ignored them, save for a couple of songs that included her biggest hit “Buffalo Stance.” Ever the innovator though, everything old sounded new again by turning the classics inside out to the point where they were nearly unrecognizable. It would be disappointing to hear a beloved song completely changed if it wasn’t so damn good.
Sharon Van Etten has really grown by leaps and bounds over the last few years, both on record and in her live performance. Whereas four years ago she performed at Pitchfork solo with one record to support, these days she’s got a full band and three albums to her name. The songs have gotten more expansive, her stage presence more dynamic. A hit like “Serpents” roared to life with more power and visceral energy than ever, while a ballad like “Every Time the Sun Comes Up” added some late afternoon pathos that was more beautiful than sad. It’s always great to see an artist truly flourishing, and Van Etten gets better every single time that I see her.
There’s not a whole lot I can say about SZA. I saw her perform three songs and they were all pretty indistinctive, which is a shame because she appears to be a genuinely delightful person. She appeared surprised by and appreciative of the relatively large crowd that had gathered to see her, and encouraged everyone to have fun. If only her songs were a little more suited to the outdoor setting. The arrangements were minimal and the energy was just a touch lacking, leaving many people standing around not entirely sure how they should react. I shrugged my shoulders, decided it wasn’t doing much for me, and hoped to discover a better situation on the other side of the park.
Having listened to the Benji record quite a bit these last few months, and being largely familiar with Mark Kozelek’s back catalogue as Sun Kil Moon, I was a little concerned that his early evening Pitchfork set on the massive Green Stage might wind up being a bit of a snooze. Turns out that was a pretty accurate description of what transpired. Kozelek and his band were seated on stage for the entire set, which in turn gave the crowd very little reason to stand either. Most spent their time sitting in the grass and chatting with friends, leaving the music as more background accompaniment rather than a priority. Those that did pay close attention were treated to slightly less effective versions of great songs. The biggest problem was the reverb Kozelek used on his vocals, which largely removed the emotional impact of his direct and unflinchingly honest lyrics. By the time he finally did muster up some energy on the sexual history confessional of “Dogs,” most of the crowd had scattered to either look for food/drinks or wait for Giorgio Moroder, who started 15 minutes late due to Sun Kil Moon going long.
The smoke machine was in full effect over at the Blue Stage for Avey Tare’s Slasher Flicks. It was about the only visual element the band had on stage with them, which is certainly different than what Animal Collective and their other respective side projects have tended to do. But what they lacked visually they made up for sonically. They tore through the songs on their debut album Welcome to the Slasher House with more dissonance and energy than how they appear on record. Even a single like “Little Fang” felt a little more vital and fun in this setting. And the crowd pretty much freaked out in the best way possible. There was all kinds of dancing and crowd surfing near the front, and all kinds of head bobbing and toe tapping near the back. It was a strange, kinetic set, and actually quite delightful.
I’ve watched enough Giorgio Moroder live videos to know what his performances are like. At 74, he’s experiencing a big revival in his career thanks in no small part to his work with Daft Punk on their latest album Random Access Memories. The man has worked on probably hundreds of dance and disco hits over the course of his lifetime, and he played some of the biggest ones during his set. His work with Donna Summer featured heavily, with “Love to Love You,” “Hot Stuff” and “I Feel Love,” among others. It was almost all easily recognizable songs, which proved great as the crowd danced up a storm and sang along almost the entire time. Moroder did his part to encourage the party atmosphere, clapping to the beat, throwing his hands in the air, and generally appearing to have a great time as he pretty much just pushed buttons on a laptop. Not the most inspiring stage setup, but with all those classic hits blasting out of the speakers, it didn’t matter.
Beck is nothing if not a showman. He’s built up an arsenal of funky and fun hits, and there’s no way he’s not going to give them his all in concert. Kicking things off with “Devil’s Haircut,” he danced around the stage like there were ants in his pants, and the crowd did the same. This wasn’t so much the start of a show as it was the start of a party. He pulled from all over his catalogue, so “Black Tambourine” and “Chemtrails” could sit alongside “Sexx Laws” and “Lost Cause.” There were a few more introspective moments around the halfway point in the set, when Beck chose to perform a couple of songs from his somber acoustic new record Morning Phase, but for the most part it was bizness as usual. He closed with a sublime mashup of “Where It’s At” and “One Foot in the Grave,” complete with harmonica solo, which is standard but is also incredibly effective. Overall it was nice to end the night on a huge high, after the very mellow moments from earlier in the day. Saturday looks to be even more fun, and I’ll have a full recap of that very soon, plus photo sets from the entire weekend. Stay tuned!
Have you checked the weather forecast for Pitchfork this weekend? I have. Partly sunny skies, with temperatures in the upper 70’s and low 80’s for all three days. In other words, it’s looking to be a perfect weekend, weather-wise. Make sure you wear sunscreen! That’s a top priority. Also, you might want to be aware of what you are and are not allowed to bring with you onto the festival grounds. The last thing you want is to wait in line at the gate, only to be turned away because you brought a folding chair or something. Check out the rules concerning approved/prohibited items, along with policies related to photography/recording and other important bits of info. Also, are you aware that there’s a record fair, poster fair and craft fair all on the grounds of Union Park? Yes, this festival is about more than the performances and the food/drink necessary to keep you alive. Do some digging, especially if you’ve never attended before, so you can plan ahead. Speaking of planning ahead, here’s your preview guide for the music on Sunday. As I’ve mentioned previously, the artists are paired according to the hour of their time slot. I’ve included a little bit of information about each, and my official recommendations are denoted with a **. In case you missed them, here are links to the Artist Guide (aka playlist), Friday preview and Saturday preview. Stay informed, stay protected and stay hydrated!
Speedy Ortiz [Blue Stage, 1:00]**
Mutual Benefit [Green Stage, 1:00]
Sunday is the day with the most artist conflicts for me personally, and it starts immediately with Speedy Ortiz and Mutual Benefit. Stylistically speaking, the two bands are pretty different. Speedy Ortiz is throwback 90’s garage rock, in a style somewhat similar to Veruca Salt or The Breeders. Their album Major Arcana was one of last year’s finest, and they’ve already followed it up with the Real Hair EP. Speedy Ortiz are a pretty great live band as well. If you’re in the mood for some distorted rock and roll in the early afternoon hours of Sunday, check them out. Of course if you’re attending the festival all three days, by Sunday you might be pretty worn out already. Maybe you’d prefer to ease into the day with something you can just kind of sit down and enjoy. This is where Mutual Benefit comes in. Their album Love’s Crushing Diamond was one of my absolute favorites from last year, reviving the carefully orchestrated folk sound that was largely propagated by Sufjan Stevens several years back. The record is so warm and comforting. I’m not sure if it’s ideal festival material as you bake in the hot sun, but with a good breeze and some shade it could be quite lovely. I’m putting my vote towards Speedy Ortiz here only because of their energy, but honestly you can’t go wrong showing up early for either of these two bands.
DIIV [Red Stage, 1:45]
Perfect Pussy [Blue Stage, 1:55]**
The two bands performing in this time slot share a fascinating commonality that you might not realize. While the styles of music they play are very different, both of them craft songs based around sonic textures and the emotions that they can inspire. For DIIV, it’s about guitar-based dream pop melodies that drive forward with unflinching confidence. For Perfect Pussy, it’s about hardcore punk rock that’s so ear-piercingly loud that you believe the world might just be on fire. Both bands have lead vocalists, but you can barely make out what they’re saying on every song, either due to extreme reverb or simply being drowned out by everything else. The safe pick here is to go and see DIIV. Their 2012 debut album Oshin is pretty incredible and surprisingly accessible. They’re also working on new material, so expect them to try out a track or two on the crowd. Of course Pitchfork isn’t about safe. Having seen Perfect Pussy perform earlier this year, I can honestly tell you it was one of the loudest, most intense 18 minutes of my life. But there’s a brilliance and a sense of catharsis to it, largely in how the band legitimately gives you every last ounce of themselves on stage. If you get your hands on a lyric sheet, you would know that singer Meredith Graves is a true poet and she sings about some extremely heartwrenching stuff. Even if you can’t hear what she’s saying, you can FEEL it. Perfect Pussy’s set is likely to send a number of people running in the opposite direction. Those that stay will likely be rewarded with one of the best performances of the entire weekend. Bring earplugs specifically for this.
Deafheaven [Green Stage, 2:30]**
Isaiah Rashad [Blue Stage, 2:50]
Pitchfork likes to have a token metal band or two in the lineup every year, and for all practical purposes Deafheaven is that singular entity for 2014. But oh my what an entity they are. Last year’s Sunbather was probably the best metal album of the year, and certainly a top contender for best of the decade. It’s a 60-minute masterpiece that moves beyond what might be regarded as traditional metal and into the territory of post-rock and shoegaze without even blinking an eye. In other words, they reached across genre lines and managed to capture the attention and imaginations of a far larger group of music fans. With what looks to be an incredible set at Pitchfork, they’ll likely succeed in turning a whole lot more people onto their unique sound. If you’re not into loud guitars, you’re of course always welcome to check out Isaiah Rashad and his unique brand of hip hop. Much like a lot of the other hip hop artists on the lineup this year, Rashad stands out because he’s not afraid to get very emotional and confessional on his tracks. So instead of popping bottles of Cristal with some girls in a club to celebrate, you’re sitting alone in the middle of the night with a glass of whiskey, worried about personal crises or world issues. Outside of topical elements, the guy is a genuinely talented MC who can really string together a verse in a unique and impressive way. Both of these artists are great choices, so go with the one you might enjoy the most.
Earl Sweatshirt [Red Stage, 3:20]**
Dum Dum Girls [Blue Stage, 3:45]
It’s some kind of miracle that Earl Sweatshirt is performing at this festival. Just about a week ago, he announced that he was cancelling his remaining tour dates due to exhaustion. Initially that included his set at Pitchfork, but in the end he decided to honor the Chicago shows he had booked. There were probably some legal threats, and maybe even a bit of begging required to convince him, but he relented in the end. If you’re concerned that we may not be getting Earl Sweatshirt at his best, that’s sound logic. Ultimately though, even if he’s only operating at about 75% of his normal capacity he’ll still be worth checking out. His album Doris is proof of that. Plus, he’s still a teen barely old enough to drive, so I’m sure he can bounce back pretty quickly. When it comes to Dum Dum Girls, I’m a fan. They started out as this lo-fi garage rock band in a similar class with Vivian Girls, and have since evolved into a clean-cut pop-rock band with serious synth-pop leanings. They’ve had their songs featured in commercials, TV shows and movies, yet retreat from the spotlight just as quickly as they stepped into it. These days, the band is both pretty easy on the ears and pretty easy on the eyes. Interpret that however you’d like. I was all set to recommend them over an exhausted Earl Sweatshirt, but then I remembered about the complaints. It seems frontwoman Dee Dee Penny has had some vocal troubles for awhile now, and so their live shows can be a little hit-or-miss as a result. I’m holding out hope it’s going to be great, but can’t give them my full endorsement at this point. The risk factor is simply too high.
ScHoolboy Q [Green Stage, 4:15]
Jon Hopkins [Blue Stage, 4:45]**
ScHoolboy Q is a key part of what’s commonly referred to as Kendrick Lamar’s “Black Hippy” crew, which is basically a collection of talented rappers who are working to reinvent West Coast hip hop. Over the last few years, they’ve been doing just that, and Q is one of the most talented of the bunch. What I find most fascinating about him are the levels of contradiction in his work. His 2012 album Habits & Contradictions seemed to actively point them out, and then this year’s follow-up Oxymoron only pushed that idea further. Unlike many of the rappers on the Pitchfork lineup this year, Q is equally at home talking about the dangers and the dark side of gang life as he is celebrating it with wanton abandon. One minute he’s depressed about the street violence killing his friends, and the next he’s out on the corner selling drugs and essentially being part of the problem. These are largely characters and fictional stories that Q puts together, and in all honesty it’s made for a fascinating dichotomy. It will be intriguing to see which side of him he chooses to favor for the Pitchfork crowd. As far as Jon Hopkins goes, he’s also the sort of artist that shows off two very different sides of his personality. The man is a classical composer, producer and well-known keyboardist, working with everyone from Imogen Heap to Brian Eno to Coldplay, and that largely informs the sort of music he makes on his own. Think of it as electronica with a twist, because instead of simply chopping together samples of audio on a laptop or touch pad, Hopkins throws in splashes of keyboards here, or an orchestral section there. The results can be light, airy and fun, but there’s also a much darker and aggressive side he’s able to show off, in particular on his last album Immunity, which was one of last year’s best releases. In a festival setting, expect that sonic diversity to play particularly well, as one minute you’ll be relaxing in the shade while a glistening and summery track breezes by, and the next you’ll be up and dancing furiously, suddenly inspired by a hard-hitting beat. Sounds like a lot of fun to me. How about you?
Real Estate [Red Stage, 5:15]**
Majical Cloudz [Blue Stage, 5:45]
I’ve seen Real Estate perform in festival settings a couple of times before (including once at Pitchfork), and their particular brand of relaxed indie rock provides a very natural soundtrack to the day. If you can find a shady spot in the grass somewhere to just chill out and stare up at the sky, you’ll never want to get up again because all feels right with the world. Over the course of three albums now, Real Estate have been perfecting this sound, and it’s now reached a peak thanks to the nearly perfect Atlas record from earlier this year. It’s going to be a genuine pleasure hearing them perform the new stuff. Of course it could all go horribly wrong too, because if you’re stuck standing around in the hot sun somewhere, their lackadaisical style might not be enough to distract you from the pools of sweat building up across your body. It can’t be worse than going to see Majical Cloudz though. Don’t get me wrong, I love Majical Cloudz and their debut record Impersonator. The thing is, their music is completely allergic to sunlight, heat, and large crowds. Seriously, all of their songs are very slow, and so intensely personal in nature that an outdoor festival is the antithesis of where you should witness their performance. Devon Welsh is such an intense guy on stage too, and his ability to pull you into his dark and disturbed world is what makes every single Majical Cloudz performance so special. To witness that at 5:45 in the afternoon with the hot sun overhead? The power and intensity has to get stripped away, right?
Slowdive [Green Stage, 6:15]**
DJ Spinn [Blue Stage, 6:45]
The remainder of Sunday from this point onward is pretty much into the no brainer sort of territory. If you’ve never heard of Slowdive before, they were a shoegaze band that released three pretty great albums in the early 90’s, and then broke up. Now nearly 20 years later, they’ve decided to reunite, and Pitchfork will be their first show in the U.S. since 1995. That’s kind of a big deal, right? In a lot of ways, they fit in right alongside today’s modern bands like Deafheaven and Deerhunter, so you could almost say they’re more relevant than ever. Meanwhile on the Blue Stage, DJ Spinn will be playing some great electronica, if that’s your thing. He’s spent a lot of time working and collaborating with DJ Rashad, and the two of them were supposed to perform together at the festival until Rashad’s death turned it into a solo set. Expect Spinn to pay tribute to his close friend in grand fashion, meaning it should hopefully be an out of control, super fun dance party. Compelling as that sounds, Slowdive is just too important to pass up.
Grimes [Red Stage, 7:25]**
Hudson Mohawke [Blue Stage, 7:45]
Hudson Mohawke performed at last year’s Pitchfork Music Festival as part of TNGHT, his collaborative project with Lunice. That earned him quite a bit more attention, especially since it helped him catch the ear of Kanye West. But at the end of 2013 the duo decided to go their separate ways once more, though the door remains open for them to get back together at any time. As a solo artist, HudMo is best known for his unique take on hip hop and R&B, often infusing those styles with other genres to form something truly original and unexpected. Where he ran into trouble was sometimes trying too hard or bringing in too many different elements so tracks ventured into overkill territory. Has he managed to scale back those tendencies in the last couple of years? Somewhat, yes. There is every chance he’ll put together a pretty great mix for his set at Pitchfork, but I still don’t think it will come close to matching what Grimes will be up to on the other side of the park. One of my absolute favorite things about Grimes is that she’s firmly committed to doing everything herself, and that means holding court on stage as she plays instruments, builds loops and modifies her vocals. 2012’s Visions put her onto everyone’s radar as an experimental pop star to watch, and since then she’s raised her stock considerably. She’s in the midst of recording a new album, and has already started to play some of the new songs in concert, to even more incredible response than before. Her new single “Go,” which was originally written for Rihanna, feels like a brilliant step forward in her sound as she inches more and more towards the mainstream. If there was ever a time to jump on the Grimes bandwagon, now would be it. She’ll be all over pop radio and playing massive venues before you know it.
Kendrick Lamar [Green Stage, 8:30]**
When Kendrick Lamar performed at the 2012 Pitchfork Music Festival, he was on the small Blue Stage sometime during the afternoon. His debut album wasn’t out yet, but he was already getting praised by people like Dr. Dre, claiming he was the next great talent in hip hop. Hell, even Lady Gaga showed up to Pitchfork to see his set. Now two years and one album later, Kendrick Lamar truly is the next great talent in hip hop. good kid, m.A.A.d. city turned out to be an incredible achievement, and he’s managed to follow it up with some stellar guest verses on a number of tracks, as well as some high profile touring with the likes of Kanye West. I’ve now seen him perform a total of 3 times, most recently last fall, and each set was better than the last. The man’s come a long way and has earned the success he’s achieved so far. Now he returns to Pitchfork on a victory lap, this time with full headliner status. Realistically speaking it should be a great show, he’s likely to bring out more than a few guests (see: ScHoolboy Q, Isaiah Rashad), and might even preview a couple of tracks from his forthcoming sophomore album that’s currently being recorded. It will make for a fine end to a fine weekend.
FRIDAY: Day One Recap!
Of the three days that comprise this year’s Pitchfork Music Festival, I think that Saturday might be the most eclectic and strange. If you love hip hop, R&B or electronica, there’s a whole lot of wild choices to make. There’s also plenty of other genre-baiting stuff too, in accordance with the different strokes for different folks balance. I will say this much though: the quality of artists here is completely off the charts. Some of the choices you’ll need to make might be a little harder than you think. Which is why I’ve put together this handy preview guide to try and provide some sort of guidance. As a reminder, the artists are listed by the hour block in which they’ll be performing, and my official recommended picks are denoted with a **. In case you missed any of my previous posts, you can click here for the Artist Guide, which features music from every single artist on this year’s lineup. You can also have a look at the Friday Preview Guide as well, should you be attending multiple days. Enjoy, and share who you’re most excited about seeing this year in the comments!
Twin Peaks [Green Stage, 1:00]**
Similar to Hundred Waters’ standalone time slot on Friday, Twin Peaks get 45 minutes of unopposed performance time to kick off Saturday. That’s likely due to The Julie Ruin dropping out some months back due to Kathleen Hanna’s health issues. But that loss is Twin Peaks’ gain, as the local Chicago garage rockers are sure to put on a high energy and fun set that will be a fantastic way to pump you up for the day of music ahead. Their debut album Sunken was more of an EP than anything else, packing in a bunch of songs across only 20 or so minutes, complete with a whole bunch of sloppy, Replacements-style guitar jangle. That’s meant as a compliment. They’ll have another new album called Wild Onion out in less than a month, and they’ll likely be playing a bunch of unheard songs from that as well. If the new stuff is on par or better than what we’ve already gotten from them, look for this band to start breaking big sooner rather than later.
Ka [Red Stage, 1:45]
Circulatory System [Blue Stage, 1:55]**
At last year’s Pitchfork Music Festival, Killer Mike made an incredibly strong impression with a set that was a lesson in emotionally invested storytelling. He proclaimed that hip hop wasn’t something that needed to advocate for guns and violence, and could in fact be used for good, positive messages. Ka’s version of hip hop doesn’t really have positive messages, but instead seeks to inspire change in our culture by chronicling the issues on our streets in a very informative way. He’s an excellent lyricist, but it’s the highly emotional way that he says those words that really force you to take them to heart. For all practical purposes, his set could be pretty dramatic and remarkable. Meanwhile, Circulatory System is basically an Elephant 6 band featuring a majority of the members from Olivia Tremor Control. If you only understood about half the words in that last sentence, let me try to clarify a little better. They’re basically a lo-fi indie pop band with particularly creative, often odd or twee leanings. Consider them a companion and warm up to Neutral Milk Hotel, headlining later in the day. It’s entirely possible that even Jeff Mangum himself might pop on stage to contribute to a song or two. The collective’s leader Will Cullen Hart composed their latest album Mosaics Within Mosaics by dusting off some old unreleased recordings and repurposing/re-recording them for the present. It’s a good record, and the band’s first in 5 years. They’re not particularly active, nor do they tour often due to Hart’s health issues, so the rare chance to see them at Pitchfork might be worth your time.
Wild Beasts [Green Stage, 2:30]**
Empress Of [Blue Stage, 2:50]
The last time I saw Wild Beasts perform, it was about three years ago in an outdoor festival setting on a particularly warm and sunny day. Considering that their highly sexualized and highly stylized R&B sound is best experienced in a dark and intimate setting, it felt a little bit out of place. But the band did their best to make the most of the situation, and it turned out to be rather enjoyable overall. I’m expecting them to fare even better this time around, considering their new record Present Tense is their liveliest and most gorgeous to date. They’ve dramatically increased their use of synths and complex percussion, which should be fascinating to see recreated in the live setting. That, and frontman Hayden Thorpe’s vocals remain utterly arresting. If you’re looking to keep your energy high in the early afternoon hours however, your better bet will be going to check out Empress Of (Lorely Rodriguez). She’s only got an EP and a couple of singles to her name so far, but has already made quite the impression with material that ranges from damaged art pop to bubblegum synth pop. Yes, most of her songs are catchy and danceable, and she might be best described as a slightly more mainstream-oriented version of Grimes. The thing is however, since this is still a relatively new project (less than 2 years old) and we haven’t heard a ton of material from it yet, there’s a bit of an uncertainty about how well her performance might go. I’m sure she won’t be bad by any means, but will she likely be a much better performer about a year from now? Probably. Empress Of’s set will be what you make of it, so don’t be afraid to let loose and have some fun!
Cloud Nothings [Red Stage, 3:20]**
Mas Ysa [Blue Stage, 3:45]
When Cloud Nothings performed at the 2012 Pitchfork Music Festival, it was in the middle of a tremendous rainstorm. Their set didn’t start that way, but it absolutely finished that way. The most fascinating thing was that as the rain got heavier, the band played harder. You could say they wanted to match the intensity of the weather. They were forced to stop when conditions became too dangerous and electricity was cut to their stage. They still finished the song they were playing though, screaming into the crowd because the speakers weren’t working. That’s passion and dedication, and it made for one of the best musical memories of that year. Hopefully the weather stays dry this year, and they’re able to get a full set in. It’s going to be some high energy, incredibly raw punk rock. Dylan Baldi’s voice still absolutely shreds too. Meanwhile on the small stage, composer Mas Ysa (Thomas Arsenault) will be whipping up his unique blend of emotional, experimental pop. His only released recordings to date were compiled on the Worth EP, which came out this past winter to strong reviews. What that EP primarily showed was that Arsenault was capable of a wide range of styles and tempos, but that his intensely heartfelt vocals took center stage no matter if he was belting out a ballad or soaring on a wave of pure energy. The guy is clearly talented and has great things ahead of him. It’s probably why I also named him as part of my “Class of 2014” project. With a debut full length on the way, it might be interesting to see what he decides to do during his Pitchfork set.
Pusha T [Green Stage, 4:15]**
The Range [Blue Stage, 4:45]
It’s critically acclaimed hip hop vs. critically acclaimed electronica for your four o’clock music choices. The choice is easy if you prefer one over the other, but what if you prefer both or neither? If you’re stuck, here’s my advice: go with the more interesting stage show. In this case, that’s clearly Pusha T. Hip hop can be really exciting to watch, especially when the crowd is into it and chants choruses or key lines from tracks. There’s likely a “hype man” trying to keep up the energy, and guest stars are always a plus too. I’ve heard good things about Pusha T’s live show, and some of the clips on YouTube make it look like an absolute blast. Then you have The Range’s instrumental electronica. James Hinton is the man behind the name, and he does a remarkable job blending a variety of different styles and influences into this very clean-sounding dance music. If you love drum & bass or Disclosure-style R&B, this should be right up your alley. Of course it’s also likely just going to be a guy sitting behind some turntables or a laptop the whole time. If you can ignore what’s happening on stage and simply commit to dancing mindlessly, perhaps The Range will be where you want to be.
tUnE-yArDs [Red Stage, 5:15]**
Kelela [Blue Stage, 5:45]
If you’ve never seen tUnE-yArDs perform live before, you’re missing out. Seriously, I’ve seen Merrill Garbus a handful of times now, and have been blown away during all of them. Her powerful vocals are her biggest selling point, but acclaimed records like w h o k i l l and this year’s Nikki Nack also showcase amazing songwriting and highly experimental song structures that make you want to dance and cheer at the same time. It only gets better witnessing it in person, particularly when Garbus is able to construct many of her songs using looping pedals. Per some reports I’ve read surrounding her touring for this new album, she appears to be doing a little less looping than before, but some is still more exciting to watch than none. It makes me feel a little sorry for Kelela, who has a lot going for her but simply can’t compete in this time slot. If you’re not familiar with Kelela, she’s a fantastic R&B singer who’s been on the rise for the last year or so thanks to her debut mixtape Cut 4 Me. What separates her from similar artists are her experimental leanings. She’s able to add some significant twists to traditional R&B thanks to creatively stimulating compositions that have also caught the attention of some of the dance crowd. She’s already released a new single and a collaboration with Tink this year, but if we’re lucky we might also get a full length album this fall. Perhaps she’ll offer up a little preview at the festival?
Danny Brown [Green Stage, 6:15]**
The Field [Blue Stage, 6:45]
For the second time in a three hour period, you’ve got hip hop vs. electronica. I’ve discussed the pros and cons of each already above (see Pusha T vs. The Range), so really whichever you choose to go see may be dependent on previous material. The dynamic between Danny Brown and The Field feels a lot more intense to me, in no small part because both artists are quite prolific at what they do. On last year’s Old, Danny Brown reached a new peak by making a record that’s equal parts mature and immature, focused and unfocused. He might not be as goofy as he once was, but he’s more confident and weirder than ever before, which is a delight. Of course many people also find Danny Brown to be annoying and his voice to be a bit grating, which is completely understandable. Maybe then you can find comfort in the arms of The Field. Axel Willner has been making highly danceable electronica at a steady pace for the last few years, and his latest effort Cupid’s Head he may have just eclipsed himself. It’s a darker, more intense affair, which represents a great progression from his earlier material. The real question is what version of The Field will be showing up at Union Park on Saturday. In the past, he’s performed with a band, which brings a lot of extra gusto and crowd-pleasing moments to the show. More recently, he’s taken to performing solo, which makes it a more subdued and drone-intensive show. If Willner does have the full band, that almost tips the scales in his favor against Danny Brown. Notice I said almost. Of course if you’re just looking to dance and could care less, The Field will satisfy.
St. Vincent [Red Stage, 7:25]**
FKA twigs [Blue Stage, 7:45]
I love FKA twigs, I really do, but this one is kind of a no brainer. As St. Vincent, we’ve seen Annie Clark grow significantly as an artist these last few years. Her output only seems to be getting better and better as her songs and style become increasingly complex. By now she’s well established as one of the finest guitarists making music today. It’s a genuine pleasure to watch her tear into a solo with incredible intensity. Her latest album is self-titled, and is technically speaking a major label debut. She added some new digital and electronic wrinkles to many of the songs on that record, which somehow managed to feel like a natural progression. I keep thinking the bottom is going to fall out with the next new record, but it hasn’t happened yet, to my surprise and pleasure. So without a doubt, you should watch and enjoy a St. Vincent show if you have the opportunity, even though the crowd will surely be massive. I’m not sure how many people will be excited to see FKA twigs as the sun begins to set on Saturday, but there’s probably no better time for her to be performing. Her slow burn R&B draws you in like a moth to a flame, which is probably why her first two EPs earned her quite a bit of attention. She’ll be putting out a debut album called LP1 this fall, and the first single “Two Weeks” is pretty incredible. Expect her set to feature more new music, just don’t expect it to be high on energy. If you’re feeling a little tired and might like a nice patch of shade to hang out in as the day draws to a close, head over to the Blue Stage and soak in the FKA twigs.
Neutral Milk Hotel [Green Stage, 8:30]**
In 2012, Jeff Mangum emerged from whatever hole he was hiding in and decided to start performing again. He had been absent from the music scene for over a decade, though occasionally popped up here or there at shows for Elephant 6 bands and the like. I saw Mangum perform solo twice in 2012, and both times it was incredibly riveting as he ran through Neutral Milk Hotel’s two album catalogue with only an acoustic guitar in hand. Part of me questioned why he even needed to get the full band back together, but I guess the songs aren’t quite the same unless you’ve got all the musicians behind it playing along with you. So it shall go to close out Saturday at Pitchfork. Expect it to be fun, and expect a sing-along on an absolutely massive scale. I’ve seen Mangum do the intimate acoustic solo thing, now I’m intrigued to hear those same songs blown out and plugged in for the outdoor festival crowd.
And so it begins. Following yesterday’s artist guide, which exposed you to all the sounds of the artists performing at this year’s Pitchfork Music Festival, I’m now proud to present the first of three previews guides leading up to the start of the weekend this Friday. Speaking of Friday, that’s what we’ll talk about right now. The way that this works is pretty simple: I’ve arranged all of the artists in order of their set times, and separated them according to the hour in which they’ll be performing. From there, I’ll talk a little bit about each one, and ultimately make a recommendation (as indicated by **) as to which you should see at that time, provided you’re able. Even though it’s a shorter day than the rest, Friday still has plenty of quality to offer. Learn all about it with the guide below!
Hundred Waters [Red Stage, 3:30]**
With Death Grips calling it quits, the singular obstacle that could have drawn people away from Hundred Waters has now been removed. The band has also gotten a promotion from the comparatively small Blue Stage up to the large Red Stage, as they’ll have a full 45 minutes to perform with no competition anywhere else at the festival. Now you may think this is a good excuse to show up later and skip this band, whose material you might not be very familiar with. But let me assure you, Hundred Waters are great, and very much worth showing up early for. In the weeks following the release of their second album The Moon Rang Like A Bell a couple months ago, I developed an addiction to this band that holds pretty steadfast today. They make very chill but very gorgeous electro-pop, and singer Nicole Miglis has the voice of an angel, often twisted in fascinating ways reminiscent of early Bjork. It should make for a delightful start to the weekend, so show up when the gates open!
Factory Floor [Blue Stage, 4:15]
Neneh Cherry with RocketNumberNine [Green Stage, 4:35]**
Factory Floor’s sound has been described as “industrial post-punk,” which doesn’t seem particularly accurate to my ears. They’re so much more than that, as they avoid easy characterization by pulling from a wide variety of sources that include disco and more traditional EDM. Primarily they’re able to craft interesting, beat-heavy dance music that keeps you guessing. Their self-titled debut album from last year proved to be quite worthwhile, and it’s going to be a whole lot of fun watching them grow in both profile and songcraft. If you’re in the mood for a groove, Factory Floor are a safe bet. It’s somewhat tragic then that they’re paired up against Neneh Cherry, who is a legend. Cherry herself probably wouldn’t like that “l” word being tossed around so flagrantly, but she’s been making music for a few decades now, and when your career gets that long you earn that status whether you want it or not. Equally fascinating is how Cherry remains something of an unknown entity in the United States, where her only breakthrough “hit” was the song “Buffalo Stance” from her 1988 debut album. Perhaps that’s why she’s only ever played one U.S. show. Her set at Pitchfork will be her second, essentially turning it into a must-see situation. As an artist who is also always innovating and never sticking with one particular style or genre of music for too long, if she does a career-spanning set it will be all sorts of fun and maybe just a little weird. More likely she’ll play a lot of stuff from her latest album Blank Project, which is an understated but powerful record that features collaborations with Robyn, electronic duo RocketNumberNine (who will be performing at the fest with her) and Kieran Hebden (aka Four Tet). So yeah, unless you really want to get your dance on at Factory Floor, Neneh Cherry is the one to see.
The Haxan Cloak [Blue Stage, 5:15]
Sharon Van Etten [Red Stage, 5:30]**
To be perfectly honest, I’m not entirely sure why Pitchfork booked The Haxan Cloak to play this festival. London-based producer Bobby Krlic is the man behind the name, and while what he does is brilliant, it’s also incredibly minimalist and dark. The last Haxan Cloak album Excavation was one of my favorites from last year, however it’s so subdued and death obsessed that it’s never something you want to put on during the daytime. You listen to it in the pitch black of night, in your bedroom, by yourself, with headphones on. It could well function as the soundtrack to your favorite horror film. How this is going to translate via a late afternoon time slot on an outdoor stage is a mystery to me. Part of me thinks there’s no way it can work. It’d be great if Krlic proved me wrong. A far better bet is Sharon Van Etten, the dynamic singer-songwriter who continues to grow by leaps and bounds with each new record. When she performed at this festival for the first time in 2010, she performed solo with a single guitar, and at one point couldn’t continue because she broke a string. The guys in Modest Mouse lent her a new guitar so she could continue. Four years and two new albums later, she’s got a full band behind her, regular radio airplay, and a lot more guitars. Her confidence as a live performher has grown exponentially as well, making her shows lively, beautiful and altogether worthwhile.
SZA [Blue Stage, 6:15]
Sun Kil Moon [Green Stage, 6:25]**
This one’s a case of hip hop/R&B vs. folk. Without a doubt, even though SZA will be on the smaller Blue Stage, you will probably be able to hear her set by the Green Stage when Mark Kozelek aka Sun Kil Moon is performing. It’s the simple disparity in styles and volume. As to why I’m recommending Sun Kil Moon over SZA, that’s purely a selection based on quality of music, not quality of live performance. I’m betting that SZA will put on a thoroughly enjoyable, relatively high energy set, dominated with tracks from her debut album Z. The problem is, that record isn’t exactly great, or even pretty good for that matter. Meanwhile, Sun Kil Moon’s latest effort Benji is regarded by many critics to be one of 2014’s absolute best. It is truly a remarkable record, filled with engaging melodies and lyrical stories that come across like pure poetry. Yet like most solo folk records, it’s extremely laid back and bare. If you can find a spot in the grass near the Green Stage to lay down as the sun begins to dip in the sky, there’s some real potential that Sun Kil Moon could hit your sweet spot. Or you’ll just spend the whole time during his set talking loudly with your friends.
Avey Tare’s Slasher Flicks [Blue Stage, 7:15]
Giorgio Moroder [Red Stage, 7:20]**
If there’s a conflict to be had on Friday, it’s with this time slot. For those who love psychedelia, specifically Animal Collective-style psychedelia, Avey Tare’s Slasher Flicks delivers in spades. This is a more straightforward and catchy Animal Collective side project, and their debut album Enter the Slasher House is one of my personal favorites from the first half of 2014. Of course I’m happy to advise you to go and see them if their music is something you might enjoy. But your better bet would be to split your time somewhat unevenly and spending a fair portion at Giorgio Moroder. The man has been part of the music world since the 70s when he helped to turn disco into something huge. He’s continued his pioneering ways ever since, to the point of winning a Grammy last year for collaborating with Daft Punk on their Random Access Memories album. All indications are that his set will be very fun, very dance friendly and very familiar. By that, I mean he’ll be spinning mixes and remixes of classic dance and disco songs from the last few decades, so you can sing along while showing off your best (or worst) moves. What’s not to love?
Beck [Green Stage, 8:30]**
Beck’s headlining set should be a delight. You may be worried that his quiet, acoustic album Morning Phase will dominate the set list, but rest assured he’ll probably only play 3-4 songs from it. The rest will be tons of classics, from “Where It’s At” to “Sexx Laws” to “The New Pollution” and beyond. In other words, there will be no shortage of silly, off-the-wall energy. This is a music festival, and the man knows what the people want to hear. So yes, stick around and enjoy it. Sing or rap along to all the hits. I’ll be right there with you.
Welcome to the start of Faronheit’s annual coverage of the Pitchfork Music Festival! I’m thrilled to be providing you, dear reader, with an intensive look at this incredible boutique music festival for what’s now the fourth year in a row. Over the course of the next week, this site will provide you with a full play-by-play of Pitchfork 2014, right down to daily previews, recaps and photos. It’s set to be super fun and exciting, so please join me on this journey, whether you’ll be able to make it out to Chicago’s Union Park or not!
On this first introductory day, I wanted to just showcase all of the different artists on this year’s lineup, to give you a better idea of who they are and what kinds of music they make. So what you’ll find below is a list of every artist on this year’s lineup, in alphabetical order, along with links to their official websites, plus a track or two you can stream to help get a good baseline (or BASSline, as the situation warrants). In addition to all of that, if you have Spotify, I’ve composed a playlist featuring two songs from each artist (three for the headliners) ordered by when they’ll be performing over the course of the weekend. It’s also embedded at the very bottom of this post, FYI. This should give you no excuse as to why you haven’t heard or checked out all of this year’s stacked lineup. Even if you’re not attending, this is a good exercise in music education. So check it out after the jump, and enjoy making some new discoveries!