Here’s a collection of photos taken on Sunday (7/17) of Pitchfork Music Festival 2022. It includes the following artists, in order of their set time: Injury Reserve, Erika de Casier, Joshua Abrams & Natural Information Society, Noname, Xenia Rubinos, Earl Sweatshirt, Tirzah, Toro y Moi, Cate Le Bon, and The Roots. Continue past the jump to see them all!
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Here’s a collection of photos taken on Saturday (7/16) of Pitchfork Music Festival 2022. It includes the following artists, in order of their set time: The Linda Lindas, The Armed, Hyd, yeule, Dry Cleaning, Magdalena Bay, Iceage, Lucy Dacus, Japanese Breakfast, Low, and Mitski. Continue past the jump to see them all!
Here’s a collection of photos taken on Friday (7/15) of Pitchfork Music Festival 2022. It includes the following artists, in order of their set time: Monaleo, Wiki, SPELLLING, Indigo De Souza, Tierra Whack, Camp Cope, Parquet Courts, Dawn Richard, Amber Mark, and The National. Continue past the jump to see them all!
The first day of the 2019 Pitchfork Music Festival, all anybody could seemingly talk about was the heat. Chicago has been placed under an “Excessive Heat Warning” through Saturday evening, with temperatures reaching into the mid-90s though the “real feel” was just a touch over 100 degrees. So yes, it was hot. Everybody was sweating. Not much could be done about it, though some people took it upon themselves to find ways to keep cool. Fans, both paper and mini portable electric ones, were being used by many. Others brought mist bottles. Some simply felt they were wearing too much, and stripped down to the barest of essentials without resorting to outright nudity. The festival organizers were kind enough to offer up as much free water as you could drink, complete with giant ice tubs packed with bottled water free of charge, as well as water fountains in multiple areas of Union Park. At one point I spotted two large buckets filled with ice and a sign on them that simply said “DUNK”. A few brave souls just went right ahead and plunged their whole heads into them. There were also a few cooling buses available so people could have a seat in some air conditioning if they really needed it. Every time I walked past them they looked to be about half full.
One of the saving graces of the day was the Blue stage in general, because it’s a tree-heavy area with plenty of shade. Lots of people took it upon themselves to lay out blankets and just hang out there for much of the day. More than a few were napping somewhat comfortably. While I did see a couple of medical personnel carting somebody away in an ambulance at one point in the late afternoon, the medical tent itself appeared to be pretty quiet for most of the day. I didn’t spot a single person who had collapsed from the heat, and that’s kind of a regular thing that happens at just about every music festival no matter the temperature. People were smart and took care of themselves and others. It’s one of the things I love most about the Pitchfork Music Festival – everyone is super relaxed and friendly and wants to make sure you’re doing okay. We all look out for one another. Hopefully that’s the case again for Day 2 which is expected to be just as hot. But weather and cooling techniques aside, this is a MUSIC festival, and there are a bunch of performances to talk about. So let’s jump right in.
As summer in Chicago (finally) starts to fully kick in, the Vans House Parties are just getting warmed up. The last couple of months have seen shows curated by everyone from Vince Staples to The Breeders to Julien Baker, with more on the way from Taking Back Sunday, Anderson .Paak, The Rapture, and Converge. Yeah, it’s a pretty stacked lineup. It all happens at the House of Vans Chicago location in the West Loop, and every show is 100% FREE based on capacity and advance RSVP.
Thursday night’s House of Vans show was headlined and curated by alt-R&B artist BANKS, who also happened to be celebrating the release of her new album |||. It marked her first proper show in close to two years, and she used that gap to recharge, write/record new songs, and compose a book of poetry with illustrations (that’s titled Generations of Women from the Moon and will be out soon). Some of her poetry and artwork was on display as part of a special installation at the venue, which was a nice addition (and complement) to the music itself.
All of us have two families in our lives: the ones we’re born into, and the ones we choose. The strength of each is determined largely by upbringing and instinct, though coming from a loving household doesn’t necessarily mean you’ll always have loving friends, and vice versa. What we’re all ultimately looking for in others is a shared connection, be it through blood, interests, or experiences.
Music often functions as one of life’s great connectors, because it’s easy to bond over a song based on the feelings it evokes when listening to it. Technology has made it easier than ever to not only find and share new music, but interact and make new friends with people from around the globe who share your passion. That wasn’t possible thirty years ago, yet music fans still found one another thanks in large part to places like concert venues and record stores.
One of the things I admire most about Avey Tare (Dave Portner) is his lack of complacency. At no point in his solo work or as a member of Animal Collective has he adhered to expectation or perceived boundaries, and that wild card nature has often resulted in brilliance (with the occasional misstep). You’re never quite sure where he’ll evolve to next, but can rest assured it will never be boring.
We’re quickly approaching the two-year anniversary of The Courtneys’ excellent sophomore album II, and they’re still touring in support of it. Their commitment is admirable, and the reward is hopefully a wealth of new fans eager to hear more from the Canadian trio. A stop at Thalia Hall in Chicago on Friday night actually marked the end of their tour with Cloud Nothings, so they celebrated with a wildly fun performance that perfectly balanced their winning charm and sadder sensibilities.
“I’m learning to like Chicago,” Protomartyr singer Joe Casey said toward the end of the band’s set at Thalia Hall on Thursday night. Protomartyr hail from Detroit, which has a storied Midwestern rivalry with Chicago, so the minor bit of animus is understandable. He also may have been kidding, but his detached demeanor on stage made it difficult to tell. That’s by design of course, befitting a singer and band that crafts songs so relentless and emotionally intense they often seem on the verge of total collapse. You can’t allow your feelings to become too invested when performing songs about the ails of the world, lest they hold you in a masochistic pit of despair.
There’s something different about Will Toledo these days. It’s not so much a look as it is a feeling. He seems freer, happier, and more energized on stage than he ever has before – or at least compared to the couple of other times I’ve seen Car Seat Headrest perform. And while there are any number of reasons why this might be the case, my sneaking suspicion has to do with Naked Giants. Specifically, their presence as openers and additional members of Car Seat Headrest has shifted dynamics in a very exciting direction.
It’s equal parts astounding and impressive that The Kills have been around for 15 years. For a band formed on the perilous dynamic of Alison Mosshart’s wildly frenetic, outsized vocalist and Jamie Hince’s ultra-cool, blues-indebted guitar work, one can envision a world where they burn out quickly over two or three impressive records then leave behind a beautiful corpse. Thankfully they’re smarter than that, and their longevity can be credited, at least in part, to their commitment to evolution while still maintaining the core tenets of their sound. No two Kills records sound the same, but you also wouldn’t think any of them were made by a different band.
On an exceptionally chilly Monday night on the Near West Side of Chicago, a few hundred people gathered at House of Vans for a remarkably intimate set from The National. The band had flown into town from Europe for a special performance at the Obama Foundation Summit, but arrived a couple days early to give fans an extra special treat. Tickets to the show were being given out for free through an online lottery, and considering the 500 person capacity of the venue, it’s safe to assume that a lot more people entered than actually won. Those with luck on their side were treated to an engrossing and often aggressive performance that skewed towards the dark and political.
On Friday night, Chicago’s own BONZIE (aka Nina Ferraro) held a record release show at Schubas to celebrate her excellent second album Zone On Nine. It was a wonderful and emotional set filled with powerful songs that pushed beyond the boundaries of traditional singer-songwriter expectations. In an industry full of easy to categorize artists, BONZIE stands out with her unique perspective, captivating voice and experimental arrangements. That she’s chosen to remain independent in spite of offers from record labels speaks volumes about the value she places on independence and doing things her own way. It’s worked well so far, and connected her with local legends such as producer Steve Albini and Tortoise’s John McEntire, as well as international notables including Portishead’s Adrian Utley.
The writing and recording of Zone On Nine took BONZIE on a lengthy journey across oceans and to a myriad of destinations. The music reflects this and is all the better because of it. Her live show is stronger than ever too, as the full band and backup singers created a rich tapestry that perfectly highlighted the complex emotions infused into every song. If the rapturous reactions from all the fans, friends and family in attendance were any indication, there are even greater things in store for BONZIE in the months and years to come. Pick up a copy of the new record, and go see her perform live if you get the chance!
“Fuck Trump! Fuck Pence! Fuck Jeff Sessions! Fuck Betsy DeVos! Fuck Steve Bannon!” Priests vocalist Katie Alice Greer yells, arms stretched high above her head, middle fingers extended. The crowd at Beat Kitchen cheers loudly in agreement. It’s only a couple songs into the band’s set, but even before that explicit statement Priests have already revealed their rebellious spirit. They tear through songs like someone throwing a tantrum, and it is loud and exhilarating and profound and life-affirming. And that’s so very important, especially in these challenging times.
Later in their set, Greer clarifies her position: “Lots of people want to call us a political band, but we’re trying to distance ourselves from that label. I said those things earlier not because it was a political thing to do, but because it was the human thing to do.” Therein lies the power of Priests. Their music connects because it pushes back against the status quo and encourages exploration beyond our current reality. It asks us, with the subtlety of a baseball bat to the side of the head, to wake up from our complacency and fight for the betterment of ourselves and others. Or, summed up in lyrics from their song “Puff”: “My best friend says, ‘I want to start a band called Burger King,’ and I say, ‘Do it! Make your dreams a reality!'” Oh yeah, and they’re funny sometimes too.