Great Black Music Ensemble

A chant began backstage, morphing into a spiritual undertaking as the performers of the Great Black Music Ensemble paraded onstage, already deep into their performance. Ending the procession in a line facing upstage, the principle performers of the Association for the Advancement of Creative Musicians (AACM) began an entrancing set of free jazz with plenty of improvisation and transportative solos. Led by the esteemed Ernest Dawkins, the intergenerational ensemble of thirteen performers only just got rolling as their too-short set came to an end. With a blend of jazz, Carribean, African, and classical rhythms, it was the perfect start to the eclectic day. You can check out the GBME at the Art Institute on August 23rd. Tickets are $20.

-KPL

Rico Nasty

Grapetooth

It was hot. Not summer hot. Not beach volleyball and cold drinks hot. Rather, it was insidious, life-draining, swamp of Degobah hot. It’s a good thing, then, that Chicago synth-pop outfit, Grapetooth, brought the kind of energy that woke up a lethargic crowd on this early Friday set. Starting with a rapidly accelerating overture, straight into “Violence,” there was no mistaking that the heat had no impact on this group. The crowd surged to life, and the band fed off it throughout the set, constantly mixing things up with a rotating cast of backing musicians including Lala Lala vocalist, Lillie West. The band themselves, Twin Peaks alum Clay Frankel and Chris Bailoni, have their own kind of stage presence, which is somewhere between hardcore thrashing and impromptu kung fu, which matches the propulsive new-wave-influenced music they’re throwing out in between high kicks. The madness reached a peak with the closing track, “Trouble,” where the band invited out any of their friends from backstage, turning the performance space into a total dance party. Grapetooth proved that the best way to beat the heat is to rock your face off and do some kung fu.

-BBO

Julia Holter

The rolling avant-pop of Julia Holter blew the trees of the Blue Stage with the warm wind as she blasted through a set full of her well-known tunes such as “Feel You” and “Sea Calls Me Home” interspersed with a few off last year’s excellent Aviary. Based out of L.A., Holter thrives on the odd and strange that city embraces, and her contralto tone blends with the off-kilter melodies and building compositions like they were always there together, weaved in an embrace of sonic cloud.    

-KPL

Soccer Mommy

A large crowd was assembled at the Blue Stage for Sophie Allision’s grunge hybrid project Soccer Mommy. Her honest depictions of love and young life set to flowing indie rock that borders on the infamous sound of the ‘90s pacific northwest entranced the majority as we swayed to the killer cuts off last year’s groundbreaking Clean. The stars of her native Tennessee prominently tattooed on her thigh and her casual on-stage demeanor have her Nashville upbringing on full display, even if her tunes tie her to a different era. (As they jammed to the end of “Scorpio Rising,” my friend commented, “Do they play her on XRT?” I shook my head, not sure... “ Maybe on the weekends.” “Man, they really should.” he sighed. Yes, yes they should.) 

-KPL

Low

As the sun dipped down for Day One, the trio from Duluth quietly strolled onstage and took their places before launching into an enthralling set of swirling post-rock magic. Hypnotising the masses with their “slowcore” decadence, Low guided the crowd into their well of musical mystery. A set filled with cuts off last year’s insanely gorgeous black art masterpiece Double Negative, and giving their old school fans a taste of their early ‘90s glory with “Do You Know How to Waltz?” and “Lazy,” Low was the perfect way to spend the Friday sunset.    

-KPL

MIKE

Standing on the Corner

What appear to be upwards of twenty-plus musicians on stage, the experimental jazz/rap producers, Standing on the Corner,  bring their full vision of their samplings, and playing around with beats to a live performance. Using each piece of the massive band to carry out their vision, Standing on the Corner brought an early mind trip to the festival. With founding members Gio Escobar and Jasper Marsalis conducting the band, the two masterfully lead the group into the depths of their minds to help give the fans an understanding of how much timing and precision it takes to make their music. Expecting more of a DJ set , we were blown away by the entire group taking so many different parts and combining them for one coherent sounds that was incredible. 

-MVM

Valee

Earl Sweatshirt

After pulling out of last year’s festival, many were eager to see Earl Sweatshirt perform this year. Poetic is more of a way to describe Earl’s style of rapping. He’s not about running around on stage with a big light show going on behind him with the beats drowning out his raps. He is about delivering each line with the intention of allowing you to take it all in before moving into the next one. He moves around the stage at a speed in which he’s able to work the crowd and connect with everyone. Working through each major piece of his work, Earl dipped into his debut album, Doris, and went through an abridged version of “20 Wave Caps.” It would have been hard for him to primarily perform one album because everything of his great and he has some of the most loyal fans that love hearing the early stuff just as much as something off of Some Rap Songs.

-MVM

Pusha-T

Pusha T has played Pitchfork more than just about anyone else. Despite performing in Chi-town year-after-year-after-hot-ass-year, Pusha has apparently not tried Harold’s Chicken until this past weekend (a fact that he stopped his set to inform the crowd of on Friday) by first asking if we had tried it (no question- we have), then commenting on how dope it was (indeed, sir!) This was just one of many moments of love Pusha shared with the crowd, stopping his banger of a set intermittently to let Chicago know how much he appreciates the city we call home. I know Pusha is just a valued guest in our fair town, but there has always been something about him that felt very "Chicago" to me. Is it his gritty bling-studded flow? The deliberately sequenced layering of jazz riffs, gooey trap, and cinematic sample riffs that make his tunes an irrepressibly perfect soundtrack to a place with as much energy as the second city? Is it that I just personally like him and want to see him around more?  Whichever it is, if he decided to start calling Chicago home, I think a lot of us would be elated. Come back anytime, Pusha. There will be a shot of Malört waiting for you when you do!

-MDR 

Mavis Staples

“Mavis Staples for President!” A phrase that spread like wildfire over social media after the legendary soul singer’s impromptu announcement that she no longer liked oranges, and oh, by the way, “a change has got to come.” Pitchfork is often praised for their eclectic bookings, a practice that earned them additional merit following the charm offensive that was Mavis Staple’s set on Friday. The 80-year-old singer brought a refreshing breeze of positivity that breathed life into the sweat-stained crowd, reminding us that whatever obstacles we face as a nation  can be overcome by love if we have the resilience to put that love to work at building bridges. It might be a little late for her to get in on the 2020 presidential campaign, but if one of the current, stable of Democratic candidates wants to name her as their running mate, then they can count on my vote. “Mavis Staples for (Vice) President!”

-MDR

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Lala Lala

It was incredibly thrilling to see so many Chicago musicians supporting Lala Lala's opening spot at Pitchfork. Lillie West was joined by Abby Black, Kaina, VV Lightbody, Sen Morimoto, Nnamdi Ogbonnaya, and Ben Leach. Beyond the flush of excitement, the music was powerful and her vocals hummed just over top until she asked the audience, "Do you like to scream?" And launched into a searing rendition of "Lala Song." She threw herself around the stage and let loose her primal screams. From intimate, gentle whispers to full-force assault, Lala Lala made the most of her time on the Pitchfork stage.

-TLM 

CHAI

My partner revealed to me recently that chai is actually just the Hindi word for tea. This fact will forever make me feel like an idiot when I’m forced to utter the words “chai tea” while ordering a beverage going forward. Redundancy. It’s a common complaint I have about music festivals. Thankfully, Chai was booked for P4K Saturday line-up, supplementing some much-needed spice to the proceedings of the day. I covered this quadforce crew of power-kai jam-kickers’ most recent album Punk for this very publication. My impression of the album then was that the combination of hyper-active pop and garage was exactly what I needed to shake off the frost of winter, and not surprisingly, their breezy personas and positive vibe were the cool sprits of sugary solution I needed to beat the heat as the festival kick into gear that afternoon. Their heavily-favored material from their most recent album treated the crowd to intermissions of adorable stage banter and a DIY wardrobe change complete with dance number.  Basically a fever dream of emphatic self-assertion and acceptance. Class-S Stuff. Absolutely stellar. 10/10. Would revel in again. 

-MDR

Jay Som

This Bay Area-raised songstress has been on the “in-the-know” radar as Jay Som since dropping her debut in 2016. Melina Duterte can craft a dream pop ballad with the best of them, and she showed her chops in this far-too-short set featuring her new singles “Tenderness” and “Superbike” off Anak Ko which drops August 23rd. Introspective and balanced, Duterte’s tunes ride that line between emotional and kinetic that few musicians can balance. Her sunny, early afternoon set definitely made a few new fans.  

-KPL

Stereolab

Jamming through the after-storm sunshine, the English/French combo Stereolab brings a laid back attitude to their post-rock jangles that few can accomplish. Maybe it’s their thirty-plus years playing together, maybe it’s their age, but as they went into classics like, “Lo Boob Oscillator” or “John Cage Bubblegum” off their ‘95 classic Refried Ectoplasm (and I was transported back to highschool), there was an easieness to their presence that made it all the more welcoming to jam the fuck out. What a band. What a dynasty of dissonance.  

-KPL

Freddie Gibbs

“Crime pays, crime pays.” The refrain weaved in and out of Gibbs’ set on the Blue Stage, forming almost a coda-like chant that anchored his Bandana-heavy set. Backed by half of northwest Indiana, The Gary MC ripped the lid off the second half of the Saturday festivities following the brief hiatus we experienced due to rain and thundershowers. The thunder kept rolling after the clouds had cleared,of course, but the crack-andthrum was now a bass tone emanating from a speaker, with Gibbs’ super-human flow cutting through the weary crowd’s accumulated inertia like a razor through packing tape. The MC poured out his verses, and the drenched crowd drank it in, thirsty for more. “Crime pays, crime pays.” Something about that line that resonated that day. Spoken by a man who admits that he can’t not do wrong, that he has a knack for being bad, and from a place where you sometimes can’t help but do bad to survive, it’s a banner of a phrase. In the video for “Crime Pays” Gibbs is depicted as owning a farm where he directs his field hands as if he’s hustling from a corner. In some places, an honest day’s pay is an honest day’s pay, no matter the work. You reap where you can sow. 

-MDR 

Ric Wilson

I was planning on sitting in the shade for Ric Wilson. I hadn't listened to him much or seen him before, and there is that nice patch of shade in earshot of the Red Stage, but it only took part of a song for me to realize that this guy had something going on that I needed to experience up close. His joy and excitement lifted me up me from across the field. As I approached, I saw there were live horn players, and I love some good brass! Vocals by Kiela Adira were lovely. Her laugh at a passing breeze infectious. Wilson had the audience following his every whim. He even got dueling soul trains going on either side of the stage! But the cherry on top was when he brought out the Lane Tech marching band. It was freaking adorbs, and they were tight AF! Wilson was completely at ease performing with such a huge backing sound, in fact, he became larger than life.

-TLM 

Bitchin Bajas

The experimental jazz trio from Chicago were a late edition to the fest with Tirzah unfortunately having to drop out due to unforeseen passport issues. Bitchin’ Bajas brought experimental and jazz to the fest which generally only has a couple of acts. Typically, Bajas are a group that can stretch out a song to the fullest extend and explore many different avenues that they want to go down. At the early afternoon set at the Blue Stage they shortened up their songs which allowed for them to give the crowd more of a look into their catalog. The group had a bit of a more electronic feel and more of an upbeat tempo than usual. Bass lines swirling over from Chai on the Red Stage, the beat blended in perfectly. The calming set helped center many people before some minor chaos about to follow. Bitchin Bajas will be at Constellation on 9/12. Tickets are $10.

-MVM

Cate Le Bon

Parquet Courts

Well, we can finally stop talking about the heat and shift all weather-related commentary to the rain! Parquet Courts has the dubious honor of having their set cut short by an evacuation due to an oncoming thunderstorm. 

Before that, however, a raucous and overheated crowd was treated to a blistering set from the New York-based rockers. Sticking mainly to songs off of 2018’s Wide Awake! Courts brought an electricity that helped define a very strong stretch of sets during Saturday afternoon. Standouts included environmentalist anthem “Until The Water Gets Too High,” which straddled bleak fatalism with a more uptempo live showing, and a “Total Football” that threatened to bust open the roof, which is especially impressive for an outdoor show. Even though they were forced to rush to the end, the closing rendition of “Wide Awake” had the crowd buzzing and longing for more. Pitchfork is a time to discover the next standard-bearers in music, but there is a certain joy in watching master performers at the top of their popularity and skill defend their place in the game. Parquet Courts are not going anywhere… weather permitting. 

-BBO

Belle & Sebastian

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Flasher

This three-piece is energetic and has a great punk energy. The bass lines were intricate. The vocal harmonies when all three of them would sing together created synth like chords reminiscent of a nuwave sound. I enjoyed watching Flasher bounce around and smile so big it seemed like their faces would crack. It was contagious. Their music is driving and aggressive, but the artists themselves couldn't contain the thrill of playing at Pitchfork.

-TLM 

black midi

British experimental rock band black midi was the answer to the criticism that Pitchfork had gone too-pop this year. The group released their debut studio album, Schlagenheim, this year to much fanfare and tore through the fray with the same enigmatic energy that tore through their Sunday set on the Green Stage. With ripping drums from standout Morgan Simpson and guitars that straddle the line between mathcore and noise rock, this is rock on the frontier of the genre. The band’s three vocalists were subdued in their manner but soaring and epic in their performance. black midi proved that they are worth the hype and rewarded the festival for bringing in something truly unique.

-BBO

TASHA 

With a beauty that comes from all the way inside her soul, Chicago native Tasha brought her smooth sounds and blindingly radiant smile to the Blue Stage. Alone at Last was a rare local treat last year, with seven spellbinding tunes that sink their hooks into your heart. Accompanied by a trio of musicians, a rare treat, Tasha usually performs alone; she rolled through most of the record and included a few new tunes as well. For those who were lucky enough to experience it, this was one of the true highlights of the entire fest. A magical moment for a worthy troubadour. 

-KPL

Ibeyi

Rhythms are central to these sisters' music. Their vocals blend and soar. Ibeyi’s music reaches into your gut. Seeing them perform is so much more than listening. They are demanding; they came to Pitchfork not just to perform, but to pull us into an experience with them. The edge of the stage was too far from the people for them. They wanted to reach out and pull us up there. They made us move and sing and offer ourselves up to change. They demanded the audience yell with them over and over, make them feel our power, and become "Deathless" with them.

-TLM 

Whitney

After nearly a year of hunkering down, writing, and recording their new record, local folk rockers Whitney came out of hiding for a sunny, lovely set full of their easy-going, feel-good jams, that disguise their deeply confessional lyrics. As the swaying crowd sang along, Julien Erlich’s smile started to stretch from ear to ear over his drums, and Max Kakacek’s deft band leading kept the tunes tight and in form. With plenty of now classics off their debut Light Upon the Lake lighting up the crowd and the few new tunes they shared from Forever Turned Around due out August 30th, their set was a refreshing break of familiarity that put the entire fest into perspective. 

-KPL

Neneh Cherry

There were elements of hip-hop, electronic, soul, and pop in the music performed by Neneh Cherry,. but when she had an equipment malfunction, she summed it up with, “Fuck it. It’s jazz. I’ll make it work.” There is an ethos of exploration and expression at work in Cherry’s music. She works in whatever genre will express her feelings, and she was deeply feeling her music every moment on stage. When she sang, “my love goes on and on” during “Natural Skin Deep,” it was expansive. It enveloped me. She wanted to give us as much as she could in the 45 minutes she was allotted, and the audience ate up every moment of it, especially when the 808 and high hat sizzled us into “Buffalo Stance.” She burned up the rap, and the audience got down.

-TLM 

JPEGMAFIA

Listening to the superb 2018 album, Veteran, you could develop an idea about what a JPEGMAFIA set might look like. You’d be wrong. 

Barrington DeVaughn Hendricks (We’ll stick with Peggy) is an atom bomb of energy that was unleashed on the Sunday crowd. Against a stark setup, Peggy unloaded a series of crushing tracks while he pinballed around the empty stage. The stage managed to hold him for roughly one song before he bounded into the crowd, venturing at times deep into the fray, while rapping. Keeping up with him on stage is one task, trying to keep up with his flow is something else entirely. Fast, aggressive, peppered with blunt politics and wrestling references, this is ferocious, dramatic, and utterly fascinating experimental hip-hop. The white hot intensity of each track begged the crowd to dance or mosh, and possibly start the revolution. Peggy repeatedly dared the crowd not to like him, insisting every upcoming track was going to disappoint, though the only disappointment tended to be that these songs had to end. This wasn’t so much a “good” set, as it was a “singular” set. By the end of it, JPEGMAFIA stood alone, both on stage and in the landscape of Pitchfork. 

-BBO

Khruangbin

Three pieces and no vocals, sounds simple, but not when it comes to this trio from Houston, TX. Taking cues from just about every part of globe, Khruangbin really searches to find global inspiration to add to their sound. With a hip-hop producer steadying the beat on drums, hometown influences are not forgotten, either. Just over a week from releasing their third album, Hasta El Cielo, the group only dipped into their new dub album for a couple songs, primarily sticking to their first two, The Universe Smiles Upon You, and Con Todo El Mundo. When you are dazzling the crowd with your tight play, you build up a thirst, and Khruangbin thought the only way to quench that thirst was to have a “Chicago Handshake.” Just watching them take the shot of Malört made the crowd cheer (but also dry heave a little from past experiences of downing the awful liqueur.) The trio made an appearance at Pitchfork Radio before their set and offered insight to their latest work and becoming fans of Phish.

-MVM

Snail Mail

While she may have been one of the youngest performers of the weekend, Lindsey Jordan is a seasoned professional, and Snail Mail ripped through all the cuts off Lush we wanted to hear, even adding in an excellent version of “Slug” off her debut EP Habit. Attracting the second biggest singalong of the weekend (next to Whitney) during the golden opener “Heat Wave,” and continuing throughout her set, fans let loose for possibly the last time of the weekend. Indie rock is in the middle of a major wave of insanely talented young singer/songwriters, and Jordan is already at the top of the mountain. 

-KPL