If you’ve been attending a music festival for two long days already, chances are by Sunday you’ll start feeling the wear on your body and mind. Self care is essential, especially in a situation like this. If you’re not well-rested and keeping cool, then you’re going to have a bad time. Might even end up in the medical tent. Stay hydrated, wear sunscreen, and if you’re feeling out of it, find a spot to relax for a bit. Thankfully the first half of Sunday’s lineup seems built for those in need of a slow start. Model/Actriz will probably throw a small wrench in those plans around 3:20, but you won’t need to worry about going hard and fast until two hours later when Grandmaster Flash and Mannequin Pussy face off. The lineup for today is kind of a random grab bag full of jazz and folk, but the rock and pop acts are likely to wrap up the weekend in a delightfully crazy way. Here’s a lengthy guide to help you figure out who to see and enjoy for the final day of this year’s Pitchfork Music Festival!
Akenya [1:00 – 1:40, Green Stage]
What would the third and final day of the 2024 Pitchfork Music Festival be without another Chicago artist kicking things off? Sunday that honor goes to Akenya, a multi-genre vocalist, pianist, and composer. If you don’t know Akenya, chances are you haven’t been paying close enough attention. She has worked with everyone from Saba to Chance the Rapper to Noname to Mavis Staples, playing keyboards or singing both on record and on tour. When she’s not collaborating with other artists and as a member of bands, Akenya has been steadily building a solo career and headlining the occasional show at venues of varying sizes throughout Chicago. She’s been hard at work on her solo debut Moon in the 4th, which with any luck will be out at some point this year. She’ll probably perform most of it at Pitchfork. Given her immense talents, including one hell of a voice, Akenya is perfectly suited for the R&B/Soul sound she’s been developing. Seems like only a matter of time before the rest of the world knows her name, so show up early on Sunday and let her sweet melodies ease you into the day.
Joanna Sternberg [1:45 – 2:25, Red Stage]
Joanna Sternberg makes ramshackle folk songs that are charming primarily because they completely lack charm. Does that make any sense? A good comparison might be to Kimya Dawson or Daniel Johnston, though while those artists tend to balance out their frank lyricism with occasional spikes of humor, Sternberg doesn’t seem to have much of a funny bone. I suppose it makes sense that Conor Oberst offered them an opening slot on tour, because their albums share a similar worldview. That is to say, the world can be a lonely place, living with depression can be a struggle, and heartbreak happens because we fall for the wrong people. Their melodies often feature sparse acoustic guitars mixed with piano and modest percussion, so they’re not the most vibrant things in the world. Now if that doesn’t sound like your type of thing, I don’t blame you. Sternberg doesn’t make music for happy people who beam with self-confidence. Instead, the hope is to relate to and share comfort with those who are struggling. Gentle (and sometimes not-so-gentle) reminders that you are not alone. That other people are feeling these feelings too. That life sucks sometimes. Listen with an open heart and some compassion, and these songs will speak to you. Don’t expect a whole lot of excitement or energy during Sternberg’s Pitchfork performance, so find a spot to relax by the Red stage and you’ll be golden.
Maxo [2:30 – 3:15, Green Stage]
Nala Sinephro [2:45 – 3:30, Blue Stage]
If you’re a big fan of rap, unfortunately there’s not a whole lot on the Sunday lineup at Pitchfork for you. Grandmaster Flash is more of a DJ than an actual rapper (which is why he teamed up with The Furious Five back in the day), so for you modern day hip hop heads, the L.A.-based Maxo will be a primary highlight. Even then, Maxo (not to be confused with Maxo Kream) takes a different approach to rap music, as many of his backing tracks are based in jazz influences with a lean toward the more experimental when samples are thrown in. He’s probably best known for his guest verse on the Earl Sweatshirt track “Whole World” from the Feet of Clay record in 2019. Maxo and Earl have a lot in common between their sound, cadence, and lyrics. Maxo tackles a lot of tough subjects and many of his tracks come across like diary entries given the degree of emotional honesty on display. On his 2023 record (1st of 2 last year) Even God Has a Sense of Humor he managed to strike just the right balance of sadness and joy, coupled with some live band instrumentation that really added something in what I’d call his most cohesive and powerful collection of tracks to date. I’m not sure what his set at Pitchfork will be like, but if he has a band with him it could be a bit livelier than many of his tracks might otherwise imply. It should be worth checking out, at least for a little bit.
From rap built upon jazz samples to just straight up jazz, you can continue to ease into your Sunday when Nala Sinephro opens up the Blue stage. Sinephro is a young musician from the UK who has Caribbean and Belgian roots. Her 2021 debut album Space 1.8 served as a perfect introduction to her many talents, as it explored ambient jazz with curiosity and an exploration of what’s possible with the art form. While harp appears to be her primary instrument, synths also play a large role in her compositions, which are aided by a wealth of contributors who add everything from percussion to saxophones. A bunch of sounds and melodies don’t seem like they fit together, but Sinephro’s whole approach attempts to prove they do. The results are rather astounding. It’s tough to say how well her ambient jazz will fare outdoors at Union Park. There are flashes of noise and energy sneaking into a couple of her compositions, and if her set is a more freeform, improvisational approach then we may get even more of it. This is set to be Sinephro’s first North American show, so I hope she finds the crowd at the shady Blue stage to be warm and inviting.
Model/Actriz [3:20 – 4:10, Red Stage]
If you’ve had the pleasure of seeing Model/Actriz live, then hopefully you’re well aware this band has something special going for it. Their sound falls somewhere between electro-pop and noise rock, with plenty of pulsating beats and squalls of heavy guitars. A lot of it you can dance to. Model/Actriz’s debut album Dogsbody was one of the best things to come out in 2023, packed with strong hooks and often razor-sharp lyrics that play up both eroticism and wry humor. The primary selling point though is frontman Cole Haden, who plays around both on stage and off. I can’t wait to see what happens when he finally makes his way out into the crowd, because it’s likely to be confrontational, weird, and endlessly compelling. Perhaps this will end up as one of the best sets of the weekend? We’ll see.
Hailu Mergia [4:00 – 4:45, Blue Stage]
Jessica Pratt [4:15 – 5:10, Green Stage]
This mid-afternoon slot seems destined to be a bit of a sleepy one, but I suppose that’s fitting for a Sunday. Plus, it’s bookended by much more engaging artists, so maybe everyone could use a bit of a break. Hailu Mergia crafted an all-time classic album in his home country of Ethiopia. Or maybe it’d be better to say that Ethiopia regards Hailu Mergia and His Classical Instrument as an all-time classic, while the rest of the world simply holds it in high regard. This man’s story is an interesting one. Starting out as the keyboardist for Walias Band in the ’70s, Mergia began recording solo after their breakup in the early ’80s. He moved to the United States, released the aforementioned “all-time classic” album, and because it wasn’t a major success anywhere other than Ethiopia, he quit making/releasing music. When that record was reissued in 2013, the world suddenly woke up to its brilliance and Mergia decided to mount a comeback. Multiple international tours and two somewhat recent critically acclaimed albums later, and Mergia is known as a bit of a superstar around the world for his compositions. He specializes in piano/keyboard and accordion, with his sound falling somewhere on the global spectrum with plenty of jazz and funk to go around. Mergia might seem like an odd choice for Pitchfork, but the festival does like to book the occasional jazz act and/or legend (one recalls Sun Ra a few years ago). Whether or not his massive underground fan base will show up at Union Park remains a mystery, but this will be one of Mergia’s few tour dates in 2024 and his first time performing in Chicago since 2015. Maybe give him a try, just for a little bit, just to see his skills and determine if you like it or not.
Meanwhile Jessica Pratt will be over on the Green stage delivering what promises to be a quietly hypnotic set. Over the course of four albums, Pratt has delivered some stunningly beautiful folk music. Three of those albums are pretty much just her and an acoustic guitar, with the occasional bit of piano sprinkled in. Her voice is like a wisp, and one suspects it could float away at any moment. That’s also what helps make her songs so effective. They’re perfect for headphone listening, or for spreading out on the couch while you read a book on a lazy day. Pratt’s latest record Here in the Pitch came out a couple of months ago, and it saw her open more of an expansive sonic landscape, incorporating a full band on some tracks (with drums!). It’s lush and beautiful and filled with reverb, giving some psychedelic feels but also a real sense of intimacy like you’re wandering through a haze with a close friend. Having seen Jessica Pratt perform a couple of times in recent years, including her first visit to Pitchfork Music Festival in 2015, things can get a little bit sleepy. A quiet, attentive audience is always welcomed for sets like this, but that’s exceptionally tough in the festival setting. Maybe the new songs and the full band setup will bring more life to these proceedings. Or maybe not. Either way, spread out a blanket somewhere in Union Park, maybe find a spot of shade if you’re lucky, then sit back and enjoy.
Grandmaster Flash [5:15 – 6:10, Red Stage]
Mannequin Pussy [5:15 – 6:00, Blue Stage]
The man, the myth, the legend, aka Grandmaster Flash is performing at Pitchfork! If you’re not excited about that, then maybe you just don’t like fun. Or you’re not familiar with his extensive work as a pioneer in the world of DJing and (to a slightly lesser extent) hip hop. He introduced the signature DJ scratch noise to the world! He’s also responsible for so many innovations in the world of mixing samples and beats. While his early ’80s records with The Furious Five showcase a lot of those skills plus some relatively cheesy (in retrospect) rapping back when the genre was still pretty new, it can be argued that a lot of the less great work was necessary for him to find the truly great stuff. And hey, Grandmaster Flash and The Furious Five are inductees in the Rock & Roll Hall of Fame, the first rap group to receive that honor. Now Grandmaster Flash also hasn’t exactly been the most active artist in terms of continuing to generate new material. He’s been coasting on his DJ skills for literal decades now, and when his last album came out in 2009 it was his first since the late ’80s. Can you blame him when his contributions are so numerous and influential? My point is this: if you go see Grandmaster Flash, you’ll have a great time. He rarely comes through Chicago and who knows how much longer he’ll keep going, so maybe it’d be wise to take advantage and see him while you still can.
Mannequin Pussy released one of the best albums of 2024 back in February with I Got Heaven. While you can definitely classify the band’s sound as firmly rooted in punk, they also don’t feel beholden to that label by any stretch. They’ll play around with varying textures and softness when it suits them, then bring it back around to loud rage as needed, lest you forget how this is all “supposed” to go. The new record defiantly showcases a range they’ve never displayed before, and it works brilliantly. They blur the lines between agony and ecstasy, miserable one minute and writhing with desire/pleasure the next. Love doesn’t have to be pain, but when you feel every emotion so strongly, sometimes it can feel like your only option. Through it all, we’re held rapt by Marisa Dabice, who’s wild wordplay and vocals with the ability to stretch effortlessly between a whisper and a scream just help every song impact the way it should. On stage it’s a sight to behold, ferocity stretching out into the crowd. If there’s a set this weekend that’ll include a good amount of moshing and crowd surfing, it’s most likely this one. So should you see Mannequin Pussy at Pitchfork? With an extensive (and constant) tour schedule, there’s a great chance you’ll have the opportunity to catch them at another date within the next year or two. This isn’t an ultra-rare situation like Grandmaster Flash. But I can promise if you do see Mannequin Pussy, it will be a cathartic and memorable time.
MUNA [6:15 – 7:15, Green Stage]
Crumb [6:30 – 7:15, Blue Stage]
The last time I saw MUNA perform, they were opening for Taylor Swift. Not bad for a trio signed to an indie record label (Phoebe Bridgers’ Saddest Factory Records). What’s wild is that prior to their self-titled album that came out in 2022, MUNA was signed to a major label (RCA) but got dropped because they weren’t popular enough. Or maybe the band pushed back against whatever changes some executive asked them to make. Whatever the reason, MUNA have blown up over the last couple of years. Perhaps it’s the Phoebe Bridgers connection, or perhaps they’re finally making the music they’ve always wanted to make and it resonated with a new legion of fans. “Silk Chiffon” is a genuinely special track that always generates a massive sing-along, and “What I Want” is just an all-around great banger. On stage MUNA are super energetic and know how to work a crowd. Whether you’re familiar with them or not, you’ll almost definitely have a fun time watching their set.
Crumb are an exceptional headphones band. If you place your best pair of headphones on, find a quiet room, and listen with intent, your world will expand and your mind will experience some things you might not have otherwise thought possible. Okay, maybe I’m giving Crumb too much credit. Everyone’s listening experience is different, and I suppose that’s just what they do to me. This band makes compelling psych-pop that swirls and grinds and takes avenues you didn’t know were even available. Their catalog isn’t totally flawless, for example their new album AMAMA hasn’t yet struck me as hard as their prior two records did. Perhaps it’ll just take a little more time and close listening on my part. I’m very curious what Crumb’s live show is like, and how their songs translate to the stage. My suspicion is they’re at their best in a dark venue with an attentive crowd, and Pitchfork definitely won’t give them at least one of those two things. Keeping my fingers crossed it all works out for the best, though chances are I’ll end up back at MUNA after a couple songs.
Brittany Howard [7:25 – 8:25, Red Stage]
Les Savy Fav [7:45 – 8:25, Blue Stage]
Brittany Howard is an immense talent. While we were first introduced to her via Alabama Shakes, the two solo albums she’s released have managed to stand alone and prove how much she’s a force to be reckoned with. Her 2019 solo debut Jaime hewed somewhat close sonically to her alt-rock/folk/bluesy work with Alabama Shakes, but with a greater emphasis on her incredibly powerful voice, scorching guitar work, and exceptional songwriting. A wilder stretch arrived earlier this year with What Now?, where she significantly stretched her sonic palette to incorporate everything from psych-jazz to electro-funk along with more standard rock and R&B sounds. It’s another brilliant effort that only she could have created. My point is this: Brittany Howard is one of the great talents of today. We’re lucky she’s making music, and even luckier she’ll be sharing it with the Pitchfork crowd on Sunday.
Les Savy Fav has performed at Pitchfork before, all the way back in 2008. The one thing I can confirm is that the performance was memorable. I still remember it to this day. Not so much the music, but more frontperson Tim Harrington’s antics on (and off) stage. Beach balls were destroyed! He got (basically) naked! I’m pretty sure he rode around atop crowd inside of a trash can! It was absolutely wild and a real blast to watch. But Les Savy Fav been on a bit of a break for about the past 14 years, as key members have been part of the house band on Late Night with Seth Meyers. They’ve played a show here and there, but they’ve been somewhat rare. Their new album came out back in May, and sought to introduce some more mature elements into their brash art-punk sound. It works to varying degrees, but the main thing is that they still know how to rage and have fun. Not sure how much Tim Harrington has toned down his crazy performance style (probably not much), but it’s worth it to check out Les Savy Fav, even for a few minutes. Actually, if you go over to see them at the Blue stage, you might not come back until the madness has ended. There’s a very good chance this will be one of the best performances of the entire weekend.
Alanis Morissette [8:30 – 9:45, Green Stage]
Alanis Morissette has made one true classic album. Jagged Little Pill has cast a long shadow ever since its initial release in 1995. It’s packed with hits – “Hand in My Pocket”, “You Oughta Know”, “Ironic”, “You Learn”, and “Head Over Feet” are all on this record. She has yet to top it, though its follow-up Supposed Former Infatuation Junkie is probably the second best in her catalog. Alanis has continued to release new music every few years, and I don’t know about you, but I think I’ve only heard a few songs from those handful of albums. None have stuck with me, and none have gotten any radio airplay in Chicago as far as I’m aware. But here’s the thing – Alanis KNOWS this, despite her best efforts. Her live shows have reflected and continued to reflect that fans want to hear the hits, even if she sprinkles in some more recent material to balance it out a bit. As much as I’d love to hear Jagged Little Pill in full, she also did an extensive anniversary tour for the album a couple of years ago for that very reason. Pitchfork is calling this the first Alanis show in Chicago in over a decade, and while that may be technically true, semantics are everything because she played the Illinois State Fair last year and nearby Chicago suburb Tinley Park in 2021. As someone who has never seen Alanis in concert before, I am looking forward to her set to close out this year’s festival. At the very least it’ll be great to hear the classics.
