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Show Preview: Marlon Williams at Schubas [2/10]

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On 02/04/2016

In chicago, live music, music, show preview


People are so eager to affix artists with labels. They provide an easier way to understand what artists do, so outsiders can better determine if it might be right for them. As time marches forward and old ideas become new again, there are those that fight against such traditions, seeking to carve their own paths outside of the familiar. Pictures, words and sounds require a certain level of accessibility to establish an audience, but new twists on old favorites can usher in advancements and inspire others to do the same.

Marlon Williams is a singer-songwriter from New Zealand who is not so easily defined or labeled. Despite being in his mid-20s, many have called him an “old soul” based on the mature themes and influences that permeate his music. As with most who have grown up in the age of the mp3, such increased access allows you to explore anything and everything your heart desires. Even in the small coastal town where he grew up, the soundtrack of his youth included PJ Harvey, Smokey Robinson, Elvis, The Beatles and Gram Parsons mixed in with traditional Maori and gospel songs thanks to his time in a church choir. Williams’ father was also in a punk band, which most assuredly left an impression as well.

So after consuming so much and so many different styles and genres of music, it makes perfect sense that Williams is something of a sonic polymorph. Those quick to judgment have been saying his recently released self-titled album falls under the country or alt-country umbrella, but the reality is so much deeper and more varied. You can hear flourishes of folk, Americana, bluegrass, gospel, soul, rock and even punk twisted into this remarkable tapestry that transcends such easy definitions. At the heart of it all is that powerful voice, which anchors every song with purpose and meaning no matter what direction it takes. Case in point: he covers Nina Simone’s “When I Was A Young Girl” better than anyone I’ve ever heard outside of the original version. It’s striking and very Tim/Jeff Buckley-esque, to the level where it gave me (and I hope you) chills.

Following a sold out tour through Australia and New Zealand, Marlon Williams is now seeking to break out internationally with a tour that takes him around the globe in 2016. He’s currently making his way through North America, which includes a stop at Schubas Tavern this upcoming Wednesday, February 10th. Woodrow Hart & The Haymaker opens. This is a prime opportunity to see a rising star before he blows up, so do yourself a favor and don’t miss this show!

Marlon Williams with Woodrow Hart & The Haymaker
Wednesday, February 10
8PM / 18+ / $12

Show Review: Torres, Palehound + Julien Baker [Lincoln Hall; Chicago; 1/15/16]

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On 01/18/2016

In chicago, live music, music, photos, show review

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It’s been just over eight months since Mackenzie Scott (aka Torres) released her sophomore album Sprinter, and I’m fairly certain she hasn’t left the road since then. At the very least, as of this past weekend she’s played three shows in Chicago over that time period – easily more than most non-local artists. I’d argue it’s the town that keeps drawing her back, but exceptional circumstances such as a tour opening for Garbage likely brought her back sooner than anticipated. This particular time she was asked to return for the Tomorrow Never Knows festival, a multi-day, multi-venue event focused on raising the profiles of up-and-coming bands/musicians. This is also known as “something for Chicagoans to do in the dead of winter when concert season is slow.” For the record, it’s a great way to pass the time with plenty of great live music. The triple bill of Torres, Palehound and Julien Baker is just a small testament to that, as all three left a sharp impression on 2015 with highly personal, emotionally devastating albums. It made me concerned I’d be walking out of Lincoln Hall on Friday night a shell of a human being, my insides shredded from so much anguish. Thankfully that wasn’t entirely the case.
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The night began with an opening solo set from Julien Baker. Her debut album Sprained Ankle earned her a place on many “Best of” lists last year, with special attention paid to her powerful and raw lyrics delivered with the nuance of a strong gut punch. In a stunning six song set, Baker wrenched every bit of emotion from each moment. The packed room stood in hushed silence as the weight and beauty slowly became too much to bear. It was an incredibly compelling example of how a performer can fully connect with an audience and even drive a few to tears. My own eyes began to well up towards the end, and that’s a rarity. The 19-year-old Baker is undoubtedly a talent worth following with a long career ahead of her. This was her first-ever show in Chicago, and judging by how many people bought her record at the end of the night, it certainly won’t be her last.
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After the delicate sadness that was Julien Baker’s set, it seemed like Palehound wanted to deal with serious emotional fallout in a completely different way. Very few of their songs could be considered delicate, instead opting for a much darker, angrier tone spiked with heavier ’90s style grunge guitars in the vein of Hole or (most accurately) Speedy Ortiz. Ellen Kempner doesn’t take relationships lightly, so getting emotionally wounded after a break-up fosters aggression and resentment rather than clear-cut sadness and depression. That’s what the record Dry Food is all about, and it hits hard. So too does the band’s live show. While Kempner played a few songs solo with just her and an electric guitar, a majority of the time she was joined by a bassist and drummer who helped flesh out many of the songs and give those wounds an extra little twist of the knife. The trio dynamic also allowed Kempner to take some sonic detours on songs like “Easy” and “Molly” with some solos that really gave the crowd a taste of her profoundly excellent guitar skills. While it certainly left me impressed in the first half of the set, things calmed down a bit towards the end, which would’ve been disappointing if this alternate side wasn’t equally as compelling. At one point we were treated to a new song she hadn’t played live before, taking care to note that it was written more recently when someone new had come into her life and changed her outlook in a more positive direction. It was just about the only love song that would be played all evening, and offered a glimpse into where Palehound might be headed next. No matter how things progress in terms of content or subject matter, the band made it pretty clear on Friday night that they are highly talented and a force to be reckoned with now and in the future. Don’t be surprised if you hear plenty about them in 2016 and beyond.
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The biggest benefit of touring incessantly is that you develop a much stronger stage presence. That is to say you learn what works and what doesn’t to help create the best, most entertaining and engaging version of your live show as possible. Given that Mackenzie Scott spent a majority of her time on the road in 2015, it makes perfect sense that she’s all the better performer because of it. When I caught her last May, it was mere weeks after the release of Sprinter and there were clear indications she was still feeling things out a bit with the new songs. These are growing pains every artist goes through, and some handle it much better than others. In the case of Torres, eight months ago she sounded great and put on a confident, strong show, but a few small things like the set list could have used some adjustment. Specifically, the overall pacing was a little off, and there were a few moments when it felt like Scott was holding back just a bit. For all I know it could have been the circumstances of that particular day, mixing things up on tour for the sake of variety. No matter the factors, by all accounts the set on Friday at Lincoln Hall represented an increase in consistency and showmanship.
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The somewhat ironic thing is that the set list was nearly the same as the previous Torres show last May, just the order of the songs had changed slightly. That served well to even everything out and create a clearer path from start to finish. From the slow burn opening salvos of “Mother Earth, father God” through the clawing descent of “The Harshest Light,” the nine song set felt very much like a journey into and out of darkness. The 1-2-3 punch of “New Skin,” Cowboy Guilt” and “Sprinter” slammed with the force and subtlety of a wrecking ball, leaving destruction and devastation in its wake. The weight of these songs also physically manifested itself through Scott’s body as she visibly trembled during the more intense moments of the set. This was particularly prominent during the back-to-back combination of “Son, You Are No Island” and “Strange Hellos,” the former of which was all underlying dread and the latter of which was all powerful, fiery release. For those few loudly punctuated minutes, everyone in the room was rapt with attention as the walls were painted with sheer ferocity and self-confidence. This was Torres at her most vital, suddenly coming into focus and finding her footing after wandering around lost in the darkness. Such a captivating catharsis contributed to what was the best Torres show I’ve seen to date. Can’t wait for the next one.

Buy Sprinter on iTunes

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Show Preview: Ryn Weaver at Park West [11/12]

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On 11/06/2015

In chicago, class of 2015, live music, music, show preview

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Back in January, I had the privilege of naming Ryn Weaver to my Class of 2015 project. In case you’re too lazy to click that link, the basic idea is that each year I choose 10 rising artists and closely follow their growth and progress for the next 365 days. My track record is pretty strong, and while nobody will likely ever top the run that Class of 2014 alumnus Sam Smith had last year, a few 2015-ers are holding their own so far. Ryn Weaver is arguably at the top of the pile right now, for a couple different reasons I’ll explain in detail.

First, there’s her debut album The Fool. It came out this summer and is a collection of fun, quality pop songs worth checking out if you haven’t already. More importantly, the record proved the hype behind her first single wasn’t a fluke. Her talents extend well beyond “OctaHate” to showcase introspective lyrics and a powerful vocal range that’ll make your eyes widen and jaw drop. Many wise radio programmers have picked up on this, and provided her some strong exposure on Top 40 and Pop stations around the world. That translates to a growing fan base.

Second, there’s her live show. Weaver performed at every major U.S. music festival this summer, including Coachella, Bonnaroo and Lollapalooza. I was fortunate enough to not only catch her set at Lolla, but an additional aftershow she headlined the night before. Yes, she’s got incredible stage presence and knows how to work a crowd. While there’s a certain element of predictability to her set given she has only released an album and an EP so far in her young career, each song takes on a unique and distinctive life apart from the recorded versions in large part because she performs with a full band. That’s unique for someone who makes pop music, where synthetic backing tracks and overdubs are commonplace on stage. She believes that live performances should be fully LIVE, and they’re all the better because of it. Her vocals only get better too, showcasing an elasticity that goes even beyond what you hear on record.

Third, she loves her fans. I’ve seen plenty of performers go out of their way to stick around after the show and sell/sign merch, which is always nice even though most of the time they just want to make a sale. When I saw Weaver back in August, she didn’t hang out at the merch booth, but instead greeted adoring fans outside of her tour bus. For over an hour. She not only took the time to sign everything people wanted signed, but she took lots of selfies and had lengthy, genuine conversations that arguably lasted a little too long. It took her about 90 minutes to make it through a line of about 20-25 people, so everyone got a highly personal and engaging experience with her. Not sure I’ve ever seen someone display that level of commitment to fans, which really speaks to the kind of person she is.

If you’ll be in Chicago on Thursday, November 12th, you can experience the magic and wonder of Ryn Weaver in person when she plays a show at Park West. It will likely be a wonderful evening, filled with great music and quality opening sets from ASTR and Holychild. The show is all ages and starts at 7, so it should be extra high energy and fun. Tickets are $25 and can be purchased in advance here. Hope to see you there!

Show Review: Hinds + Public Access T.V. [Lincoln Hall; Chicago; 10/22/15]

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On 10/23/2015

In chicago, class of 2015, live music, music, photos, show review

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In my preview for the Hinds / Public Access T.V. show at Lincoln Hall, I opened with a few remarks on garage rock and how more often than not it tends to have a very gritty, ramshackle-like quality running through every song. A slightly off-key vocal here or a missed chord there is part of the charm. The lack of sheen and perfection also occasionally gives the impression that an implosion could happen at any minute, instilling the music with a precious quality, like something magical was captured that almost didn’t come together. As the crowd at Lincoln Hall found out with sets from the two aforementioned bands on Thursday night, sometimes that sensation extends to live shows too, whether on purpose or completely by accident.

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Starting the evening was Public Access T.V., a New York-based band formed and fronted by John Eatherly (ex-Be Your Own Pet). They’ve only got a handful of songs that have been released so far, but their sound has certainly evolved in the year or so since they formed. They played all of those tracks at Lincoln Hall, along with a few others destined for inclusion on their debut full length due out in early 2016. What struck me most about their live show was how tight they sounded. It stood in contrast to the loosely recorded versions of many of their songs, which realistically should have also been messier given their short existence as a band. Many artists take 2+ years to find their stage legs and craft a truly compelling show, so Public Access T.V. are ahead of schedule. Then again, with their members’ past history why wouldn’t they be?

Songs like “Monaco” and the recently released “Patti Peru” sounded quite good and were bouncy enough to dance to, which the crowd seemed to embrace for the most part. Most exciting for me however was the unreleased material they played. For a band who’s sound has undergone a significant sonic shift in the last year, these latest steps take things to a whole new level of excellence. An exceptional amount of talent was on display as Eatherly and guitarist Xan Aird both tore up multiple solos that were eerily reminiscent of modern garage heroes like The Strokes and The White Stripes. It was rather exhilarating to watch, even when mixed with some plainer material. Time will tell if Public Access T.V. actually deliver on the promise shown during this Lincoln Hall set, and if fans will embrace them even though there are probably hundreds of other acts trying to earn attention with a very similar aesthetic.

Buy the Public Access T.V. EP from iTunes

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One of the main things I know about Hinds is that they like to party. It’s been evident since their inception, and you can hear it in the recorded versions of their songs too. Therefore it only seems fitting that when I first encountered the Madrid band at Lincoln Hall they had cans of Old Style in their hands. As I was standing up against the stage enjoying the opening set, all of a sudden Carlotta, Ana, Ade and Amber appeared right next to me, dancing, laughing and just generally having a great time. They took photos of Public Access T.V., heckled their bassist, and sang along to most of the songs. It’s always wonderful when touring bands clearly admire and fully support one another, so all credit to Hinds for refusing to stay backstage and celebrating their openers with the rest of the crowd.

When it came time for their headlining set, things suddenly took a turn in an unexpected direction. Opening song “Warning With The Curling” has a fantastic vibe to it complete with complex instrumental flourishes that really give it extra bite, particularly when compared with this early version when Hinds was only a two-piece called Deers. The problem was with the vocals, which started off as non-existent before they were upgraded after a minute to a level that was barely audible. Poor mixing at Lincoln Hall rarely if ever happens, so I’m not sure if someone was asleep at the sound board or the band purposely requested the vocals at that level, but either way I could tell that something was off from the start. The issues multiplied when after two songs the band was forced to put the show on hold because a string on one of Carlotta’s guitars broke. They asked John Eatherly of Public Access T.V. to come up and re-string it for her, which he kindly did. Considering that last year I witnessed a member of the band Blank Range re-string his guitar mid-song without missing a single note, this was a little disappointing by comparison. Still, broken strings happen to every band, and there’s not much you can do about them unless you’ve got a guitar tech/roadie working for you behind the scenes. So bad sound and a broken string struck during the first 10 minutes, and thankfully things didn’t get worse from there.

There were a couple of small alcohol-related issues that emerged over the course of Hinds’ set, but nothing worth noting except to say all the band members were pretty drunk from the start and the multiple beers and shots they drank between songs most likely didn’t help anything. Of course they didn’t really hurt it in the end either. When you’ve got a bunch of quality songs that for all practical purposes sound like they were recorded on a multi-day bender in the first place, playing them live while drunk just highlights that aspect even more. Plus they’ve probably been playing wasted for so many shows by now they have it down to a science. Still, that didn’t stop Carlotta from apologizing towards the end of the set, telling the crowd, “Sorry, we usually aren’t this sloppy.”
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Despite being largely a collection of accidents, errors and alcohol-fueled terrors, there was something irrevocably charming about Hinds. Call it stage presence or generally mischievous attitudes, but when you throw heaps of personality on top of a dozen very good or great songs, a certain amount of leeway is given that both the band and crowd fully acknowledge. No matter how often things went wrong, everyone on stage and off was smiling and having a great time. The cheers were loud and passionate. At one point during “Chili Town” somebody climbed on stage and then crowd surfed just for the hell of it. When it came time for the encore, the band invited everyone to join them on stage for their cover of Thee Headcoatees’ “Davey Crockett,” despite the protests of Lincoln Hall security and management. Halfway through the song somebody stepped on a cord and unplugged Ana’s guitar. They paused for 20 seconds while she plugged it back in, and then picked up right where they left off with everyone singing and dancing along. It was the perfect way to end a gloriously imperfect night.

Preorder Hinds’ debut album Leave Me Alone

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Show Preview: Jenny Hval + Briana Marela at Constellation [9/3]

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On 08/27/2015

In chicago, live music, music, show preview


We’re in sort of a weird, experimental pop renaissance so far in 2015. There have been some extremely interesting and important records released this year that may have flown just under your radar but are more than worth the time and effort to seek out. I’m talking about albums from such notables as Bjork, Holly Herndon, Deradoorian and Circuit des Yeux among others. Later this year we’ll also get albums from Empress Of and Julia Holter, which should fit in perfectly with the rest. But right now I want to take a moment to highlight two particular LPs that I’ve been quite taken with so far this year.

The first is Briana Marela’s All Around Us, which came out earlier this month. It’s her first for Jagjaguwar, and for it Marela flew from Seattle out to Iceland hoping to be inspired. Iceland of course being the home to Sigur Ros, she wound up working with the band’s producer Alex Somers, as well as the orchestral collective Amiina who make their instrumental presence felt on just about every one of the band’s albums. The results are stunning and beautiful, particularly when paired with Marela’s sugary sweet yet breathy vocals. There’s a brightness that radiates through every song, reflected outward in a burst of rainbow colors like when sunlight hits a crystal. Cuts like “Surrender” and “Take Care of Me” are great examples of the expansive arrangements and slightly obtuse song structures present throughout the record.

If you’re interested in going a bit stranger and more confrontational with your music, Jenny Hval’s latest effort Apocalypse, girl can definitely help you there. Her modus operandi is tearing apart traditional pop songs and repurposing them to somehow find the more memorable and catchy elements within. There are two primary factors that help make her music so challenging. The first is the seemingly random way songs are composed, where pop melodies will emerge from a strange direction and either choose to stick around or continue on a separate path into obscurity. What the motivation behind such shifts are remains a mystery, but that’s all part of the adventure. The second has to do with Hval’s lyrics, which tend to be odd and provocative yet also meditative and well thought out. She’ll use phrases like “soft dick rock” and “huge capitalist clit” that have a certain WTF quality to them, yet their grand purpose is to make you think about concepts like the patriarchy and counterculture in a different way. Sure it’s not exactly easy listening, but the effort you’ll expend trying to dig into everything going on across this record pays out dividends across repeat listens. Give a listen to “That Battle Is Over” and “Sabbath” to get a better idea of what the album is all about and whether or not you might consider it to be your cup of tea.

What’s very exciting is that Briana Marela and Jenny Hval are touring together, and will be performing at Constellation in Chicago next Thursday, September 3rd. It’s an 18+ show that kicks off at 8:30. Tickets are $12 in advance and can be purchased here. It promises to be a highly fascinating and memorable night, so I strongly encourage you to come out and support these two powerful and innovative artists!

Lollapalooza 2015: Preview Guide

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On 07/30/2015

In chicago, class of 2015, lineup, live music, lollapalooza, lollapalooza 2015, music, music festivals, show preview

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Are you prepared for three days of music madness right in the heart of downtown Chicago? Yeah, me neither. Every year Lollapalooza starts out so promising, the sense of excitement palpable in the air as you walk onto the grounds of Grant Park. But if you take this music festival seriously, and you should, then by Sunday night you’ll be about ready to collapse, practically wishing for the sweet embrace of death. It sounds terrible and in many ways it is at the time, but once you’ve had a couple days to recover only the fondest of memories will remain. You’ll have seen many of your favorite artists perform, and might have even been introduced to a few new ones along the way. You’ll have eaten some delicious food, sipped some delicious drinks, spent quality time with friends and maybe even made a new friend or two as well. There’s so much to be gained from the pain and punishment we put our bodies through at this festival, especially walking back and forth from one end of the park to the other. If you play it right so you’re not running all over the place, and you’re cool with sitting down and taking a breather a couple times each day, the experience actually becomes quite pleasant. So beyond tips to minimize walking, I’ll also say to wear plenty of sunscreen and drink plenty of water. That’s just a rule of thumb for life in general actually.

But what about the music? Sure, you know at least a handful of artists playing each day of the festival, but there’s likely to be times where either you’ll be clueless about who you should see or two (maybe even three) of your favorites are all on at once and choosing between them seems too difficult. Fear not, loyal reader! I’m here to help. After the jump you’ll find an advice guide recommending artists worth seeing every hour of every day, all weekend long. You’d have to be some sort of superhuman to see all of these sets, but if you’re smart and economical enough you can catch most of them and wind up having a spectacular time. So enough with the chit-chat, let’s dive right in. Brace yourselves, this is going to be a bumpy ride.

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Pitchfork Music Festival 2015: Sunday in Photos

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On 07/20/2015

In chicago, live music, music, music festivals, photos, pitchfork music festival, pitchfork music festival 2015


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 going here.

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Pitchfork Music Festival 2015: Saturday in Photos

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On 07/20/2015

In chicago, live music, music, music festivals, photos, pitchfork music festival, pitchfork music festival 2015


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 all the rest of the coverage, by going here.

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Pitchfork Music Festival 2015: Friday in Photos

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On 07/20/2015

In chicago, live music, music, music festivals, photos, pitchfork music festival 2015


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.

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Pitchfork Music Festival 2015: Sunday Recap

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On 07/20/2015

In chicago, class of 2015, lineup, live music, music, music festivals, pitchfork music festival, pitchfork music festival 2015, show review

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With the rain completely out of the forecast and temperatures dipping back into the 80s, things were certainly looking up for Sunday at Pitchfork. Just about all of the muddy spots in Union Park from Saturday’s storm were now cleverly covered up with some quick dry solution and a whole bunch of carpet square samples. One of the big product placements over the weekend was a company freely handing out recycled carpet squares so people could sit on the ground without getting their pants dirty. I doubt becoming patchwork quilts atop mud pits was their original intention, but at least it was functional and made walking around easier. There was plenty of great music to watch as well, so join me after the jump for a recap of the third and final day at Pitchfork Music Festival.

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Pitchfork Music Festival 2015: Saturday Recap

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On 07/19/2015

In chicago, live music, music, music festivals, pitchfork music festival, pitchfork music festival 2015, show review

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What’s a summer music festival in Chicago without a little rain? Or a lot of rain? This year marked the first time in its 10 year history that Pitchfork was forced to evacuate the grounds due to severe weather. A similar incident happened at Lollapalooza a couple years back. Unlike that event however, organizers waited until seemingly the last minute before pulling the plug. That’s not intended to say that they did anything wrong, but rather tried as hard as they could to keep things going until they simply couldn’t anymore due to safety concerns. They made the announcement to please exit the park, and then less than two minutes later a massive, bone-soaking rain poured down complete with a lightning show for the ages. People gasped at the sky lit up while also running with panic due to the extremely intense downpour. Of course minutes after evacuating the rain stopped and about 30 minutes later Union Park reopened and the day continued. The grounds were a bit muddy in spots for the rest of the day, as one might expect, but overall the schedule wasn’t disrupted much and the situation was handled with relative professionalism. But what about the music? Read on past the jump, and I’ll share those details with you, dear reader!

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Pitchfork Music Festival 2015: Friday Recap

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On 07/18/2015

In chicago, class of 2015, live music, music, music festivals, pitchfork music festival, pitchfork music festival 2015, show review

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Ah, the hallowed grounds of Union Park. How nice it was to return for yet another year, this time in particular to celebrate the 10th Anniversary of the Pitchfork Music Festival. Upon my entrance to the park I took a little tour, primarily to get the lay of the land and see what was new compared to years past. In short not much, though the smaller Blue stage has been angled a little differently this year, made a little larger and given a video screen. As a result of the small tweak, what was once a largely shaded area thanks to trees now has a bit more sun but also a bit more space to accommodate larger crowds. That aside, it’s everything in its right place. Here’s a recap of all the music I saw today, which was more a tasting portion of a lot of artists rather than full meals. Details after the jump…

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Pitchfork Music Festival 2015: Sunday Preview Guide

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On 07/16/2015

In chicago, class of 2015, lineup, live music, music, music festivals, pitchfork music festival, pitchfork music festival 2015, show preview

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If you’re attending all three days of this year’s Pitchfork Music Festival and are anything like me, by the time Sunday rolls around you’ll wake up even though your body will definitely not want to. The thought that you’ll have to spend another full day standing around will seem like the worst idea in the world. Take an extra hour to rest if you must, but then you’ve got to push through and get moving, because music waits for no human. Which brings me to a couple of quick tips on surviving your weekend at Pitchfork without winding up in a medical tent or the hospital. Priority one is hydration. It’s going to be hot outside, and you’ll be standing on your feet for extended periods of time, so do yourself a favor and drink plenty of water. Save the majority of your alcohol consumption for the early evening hours when it starts to cool down. The next tip is to sit and find shade whenever possible. Yes, you want to see as many artists as up close and personal as possible, but don’t put your body at risk any more than you feel you have to. You know your limits, so be sure to keep close attention on how you’re feeling and rest when and where you can. You’ll still be able to hear the music while seated under some shady trees, even if it’s across the big field in Union Park. Wear sunscreen and bug spray. You know why, and will pay the price for forgetting. Lastly, be prepared for weather. I’ve already mentioned the heat, but currently the forecast is suggesting scattered storms pretty much the entire weekend. Definitely don’t forget a poncho, and consider an umbrella too even though you’ll likely annoy fellow fest-goers if you leave it up while standing close to a stage. Also, mud. If it rains, Union Park will turn into a large mud pit, so wear appropriate shoes you’re okay with potentially trashing at the end of the weekend. So that pretty much wraps up my Pitchfork tips. Join me after the jump for the Sunday Preview Guide!

If you missed my previous Pitchfork Music Festival 2015 posts, go here to hear/see/download songs from every artist on this year’s lineup. If you’ll be at Union Park on Friday, you may want to look over my preview guide for that day by going here. Last but not least, go here for my preview guide for Saturday.

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Pitchfork Music Festival 2015: Saturday Preview Guide

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On 07/15/2015

In chicago, lineup, live music, music, music festivals, pitchfork music festival, pitchfork music festival 2015, show preview

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Saturday was the first day of this year’s Pitchfork Music Festival to sell out. When you take a close look at the daily lineups, it makes perfect sense as to why. While the entire thing is pretty stacked, Saturday in particular looks extra heavy on quality. This is both a good and a bad thing. On the one hand, you get to see all this great music in one day, meaning if you don’t have a ticket for the entire weekend it seems like the best deal for your time and money. On the other hand, you can’t see everything, leading to a nasty pile-up of conflicts that can be problematic. If you’re concerned about that, and you should be, allow me to offer some help and guidance to make the most of your Saturday at Pitchfork. Join me after the jump for the hour-by-hour breakdown of who’s playing when, complete with recommendations on what you can’t/shouldn’t miss.

If you missed my previous Pitchfork Music Festival 2015 posts, go here to hear/see/download songs from every artist on this year’s lineup. If you’ll be at Union Park on Friday, you may want to look over my preview guide for that day by going here.

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Pitchfork Music Festival 2015: Friday Preview Guide

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On 07/14/2015

In chicago, class of 2015, lineup, live music, music, music festivals, pitchfork music festival, pitchfork music festival 2015

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As we continue Pitchfork Music Festival Week here at Faronheit, it’s always a pleasure to offer a closer, more in depth look at not only the artists on the lineup, but some analysis as to the scheduling so you can make the most of your weekend. There are always inevitable conflicts with artists you might like to see, as well as times when it might feel like a dead zone where there’s nothing to interest or inspire you. Fear not! There’s plenty of fun to be had every hour the gates of Union Park are open, whether you know it or not. Sure, there may be some tough calls to make at times, but one of the best things about Pitchfork is that there are never more than two stages going at once. They’re also not that far from one another, meaning that if you really want to see pieces of different sets, it’ll be a five minute walk to pull it off. Minimum effort for maximum musical reward. So without further ado, please join me after the jump for an hour-by-hour look at what Day 1 (Friday) has to offer.

If you missed yesterday’s post featuring audio and video streams/downloads from every artist on this year’s lineup, you can find that post right here.

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