Without a doubt, Riot Fest is the biggest rock festival to take place in Chicago every fall. It was great seeing a slew of fantastic bands make a return back to Douglass Park. The event also does a solid of incorporating hip-hop acts in the lineup giving the show a wider range of variety. This time around the festival extended to four days making it a long week of listening to loud instruments and being a part of dirty mosh pits.

Thursday was a chill day, more of a preview show for those who had 3-day weekend passes. Joyce Manor rocked the stage as they performed their first album Constant Headache. What made Joyce Manor’s set a little extra special is how they ended it – by performing My Chemical Romances “Helena.” It was a solid cover that eased people’s heartaches as MCR had earlier announced they were pulling out and not returning to the festival until next year.

Joyce Manor Anthony by Linh Nguyen

Alkaline Trio Timoty Hiatt

Crowd by Anthony Nguyen

Later in the day, it was also a warm homecoming for Alkaline Trio, as they made their way to the stage. They played favorite songs from the early 2000s like “Armageddon” and “Help Me” while the crowd came together to help a man in a wheelchair crowd surf. The friendly crowd quickly turned vicious when the band asked them if they were ready to see Morrissey with the response being a deafening “meh”. Most left the field before Morrissey went on as they were preparing for the rough weekend ahead.

Riot Fest Friday was definitely the place to be, showcasing perhaps the best sets of the entire weekend. Things got in motion quickly with Circa Survive kicking ass performing tracks like “Get Out” and “Act Appalled”. Anthony Green’s signature high pitch voice was astonishing, the way he sang the lyrics with such pain and control is mesmerizing.

Circa Survive by Jason Pendleton

Beach Goons by Anthony Nguyen

Another band that deserves recognition is Beach Goons, being a fan of the boys from Cali it was great to see them live. Lead singer Pablo Cervantez wore a green/red windbreaker jacket in honor of Mexican Independence. As they tunned their instruments, I drunkenly shouted out “Viva Mexico Cabrones!” which got my people cheering and the band smiling and throwing up thumbs up. They perfectly played the two songs I wanted to hear: “Chunti” and “A.M.”  ending the set with a surf punk rendition of Ritchie Valens “La Bamba” which naturally, created a mosh pit.

Ending the night two Chicago icons were performing at opposite stages. Those who love 90’s rock went to see the Smashing Pumpkins. But while I do respect Billy Corgan and crews’ legacy, I had to be at the opposite end to see Lupe Fiasco perform The Cool. It is an album that most casual fans know Lupe by so it was great hearing him perform the entire record, taking some of us back to high school. (Side note: I bought The Cool album on release day to meet Lupe and he refused to sign my copy or my friend’s skateboard making me hate him for years. However, he did eventually sign my copy of Tetsuo & Youth so all is forgiven.) It can be easy to forget how many bangers Lupe had on that album but rapping the tracks out of order it was refreshing to go down memory lane. As he did “Superstar” it began to drizzle which made the song feel somehow more impactful. After powering through with “Paris, Tokyo” he lead into “Hip Hop Saved My Life” but before beginning the track he shared a powerful statement: “Rest in peace to everyone who got killed by gun violence in this city. Every rapper, every trapper. From the police to those living in the streets”.  

Lupe Fiasco by Timoty Hiatt

Fellow Chicago rapper Vic Mensa [cover image] kept the hip-hop vibes going on Saturday performing tracks that put him on the map like “U Mad” and “16 Shots”. He then perform several songs off his Innanetape mixtape including “Orange Soda,” reflecting on this almost decade-old project and how important it was for him as an artist to grow. Towkio graced the stage for “Tweakin” and the duo threw out pre-rolled joints to the crowd before ending with “FistFight!”. This Chicago rapper is still living his dream and while his crowd wasn’t at all that full, the fans who did show up showed continued dedication and support.

However, if we’re talking about rapping juggernauts then that easy has to go to Run The Jewels. In recent years the duo of Killer Mike and El-P have collaborated on albums reinvigorating both artist’s careers for the new generation. Fresh off their fourth collective album RTJ4, the pair of rappers performed a handful of classics to remind y’all why they’ve earned the respect and fame they now carry with careful pride.

Run the Jewels by Anthony Linh Nguyen

Sunday was a slow start leading up to the main events. There were plenty of activities to enjoy at the festival besides witnessing live music including the classic carnival rides, games, and even shopping. While some attendees were enjoying the sunset from the Ferris Wheel I went shopping for cassette tapes to add to my collection. In the background, you could hear early band performances like Andrew W.K. and GWAR. Even wrestler CM Punk came on stage introducing Living Colour who performed his entrance music “Cult of Personality.”

The main events once again divided people into two different camps: hardcore rockers at Slipknot and modern pop-rock fans at Machine Gun Kelly (MGK). Being somewhere in the middle I saw a bit of both. Fans have been waiting for years to see Slipknot and with the recent loss of band member and legendary drummer, Joey Jordison they were eager to mosh and let out energy in his honor. The smell of sweat, dirt, and body odor filled the air as people rushed the stage during “Wait and Bleed”, “Surfacing,” and “Duality”. At this point, the intensity of the madness was too much so I went to see MGK [last image]. In comparison, his performance was tame and pretty lame. He did crowd favorites like “Jaw Breakers” and “Bloody Valentine” before doing an unreleased song “Paper Cuts” that will be featured on his new album titled Born With Horns. However, MGK said the dumbest thing possible when he said: “Let me see who chose to be here instead of with all those old weird dudes with masks”. While there’s legitimate beef between the two parties, I left shortly thereafter.

Slipknot by Pendleton Jason

Riot Fest was one hell of an experience. It was disappointing to hear about bands like My Chemical Romance and The Pixies pulling out of the show but seeing other artists that have come through, like Beach Goons and Lupe Fiasco, was worth it. There were 5 different stages so unfortunately, it would be impossible to see all bands but it was dope seeing so many fans in one space and being friendly to each other. Even during the chaos of the moshpits, people would help those that were knocked down or offer a lift so that others could crowd surf. Hopefully, next year more big-name headliners will return so we can get wild again.

Machine Gun Kelly by Anthony Linh Nguyen

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Sunday night at Northside Festival was a rainy night in Brooklyn, so of course Run the Jewels brought out special guest, Nas, to perform alongside them at 50 Kent. Killer Mike and El-P are the most charismatic frontmen. During the performance with Nas both men were hyped, jumping along with the beat and hitting the end of each line with an emphatic addition. Killer Mike was strutting behind Nas as he spit alone, a large grin spread across his face.

And across Brooklyn, Le1f brought his infectious, soda pop, hip hop to Brooklyn Bowl. Le1f is underground innovative for mixing his pop producing sensibilities with mile a minute rhyme spitting. He is also an adept performer, bringing fluid energy and a unique sense of fashion to the stage. His shows are beautiful pieces of art, where Le1f intertwines hip hop with body movement, bringing dance as an integral part of the performance. There’s a full length album coming on the horizon.

Though probably most famous (but hopefully not) for the debacle that was a certain sax riff re-appropriated for Top 40 success, Run the Jewels suggests that there’s definite space and need in hip hop for Le1f. Whether it’ll come in future head nods from more pop rappers or the continued influence of other artists, Le1f represents the up and coming that Killer Mike and El-P are heralding, after years toiling in the underground as critical darlings.

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NXNE 2014 officially wrapped up on Sunday as festivalgoers retired their earplugs, nursed their blisters and bruises, topped up their song lists, and finished digesting a week’s worth of Pilsner. With tired-out voices and flaming shoulder blades, we nostalgically look back at the weekend past.

Saturday brought to Toronto M for Montreal’s Bruise Cruise. After a long wait and a slow boarding, our cruise ship departed at around half past one. Promptly after The Posterz took the stage in the lower deck and the party cruised in full swing. While some attendees crowded by the stage, jamming and shouting along being occasionally sprayed on out-of-water guns the rest were roaming the upper decks of the ship under the hot hot heat of the July sun.

Popping in and out from the music floor it was easy to enjoy the bands even outside. Montréal’s Walter TV followed with their authentic, loud, miss-mushing sound reminiscent of recent Animal Sound. The ship’s echo was not kind to their set, the sound did not travel well and appeared incredibly noisy and messy but the boaters did not seem to mind. Back up on the deck, it was obvious some people only moved to get another beer while peacefully dozing off in the shade staring out into the lake.

As the Bruise Cruise headed back self-proclaimed space captain Calvin Love took the stage, cooling down the atmosphere with his nostalgic fast-moving tracks and rusty voice. Those who obviously got on the boat for PS I Love You packed in by the stage, dripping excitement. The rest impatiently hovered around the exit, clearly not giving a single damn about the still happening show downstairs.

Later in the evening the regular program resumed with Bailiff. Playing in the shade of a maple tree, the three-piece Chicago band brought a range of alt-rock tunes to the afternoon backyard barbecue of Laing Street. Surrounded by a still composed crowd sipping beer and eating pasta salad, the tight-knit quarters provided the perfect setup for a range of quick-moving acts that gave Bailiff an opportunity to balance out the energy of the afternoon’s previous rotation of metalcore and rap performances. With an LP released earlier in the year, this threesome is tenured and strong, with a distinct and engaging sound.

Laurel, a young UK native, is set to release her debut album in 2015 and is already garnering praise for her sultry love (and lust) songs that are drawing comparisons to Lana Del Rey. Assuming her place on the Tattoo stage with her humble presence, Laurel appealed with a down-to-earth approach that played well into her dreamy sound. While an over-zealous fog machinist cast a haze to rival a ballroom wedding entrance, the performance was well received and highlighted by the singer’s genuine excitement (it was her second-ever Canadian gig following last night’s performance at Edward Day). Keep an eye on what’s up next for this rising musician.

Following Laurel came Future Islands. Since their captivating appearance on Letterman, Future Islands have shot into pop culture’s relevancy and are tearing-up the charts with tracks off their latest album Singles. With four LPs already under their collective belt, these synth-pop Baltimorians are no amateurs. Watching front man Samuel Herring perform live is seriously magical; his energy and sincerity are as infectious as the plague and a true measure of his incredible showmanship. A personal favourite of NXNE, and one of the few performances through which (despite being alone) I could not stop smiling.

Down and over the smiles were spreading across the Garrison while Brooklyn’s Snowmine were playing out their earthy rich pop sounds. The band has been compared to Fleet Foxes and Jim Jones but if you really listen to them you will notice a distinctly different tribal influence. The performance was calm and simple, just a few dudes playing their music, but somehow there was nothing lacking. (Though there was a  little too much on stage, seriously Grayson, the equipment needs to come out of the box). The overall performance was clean, clear and inspiring.

Ending the night on a different note a streetcar and a walk away in no time we were at the Adelaide Hall watching Run The Jewels spreading their wisdom with harsh-cutting lyrics and beats. El-P and Killer Mike’s quick success has them headlining festivals across North America all summer and it is the praise is well deserved. You know shit’s getting real when there are people crowd-surfing at a hip hop show. Run the jewels, jewels, jewels. “If you see a m****fucker surfing you DO NOT drop the m****fucker on the ground,” noted Killer Mike with a grin on his face. Everyone was dropping a sweat while clattering their beer cans and plastic liquor cups. Watch out hip hop world, these two are going places.

See more photos from NXNE here

The post NXNE Weekend: Boats, naps, shouts, and hard hitting lyrics appeared first on Quip Magazine.

Who else cried? Killer Mike dedicated a song to a fellow community organiser and when R. Kelly played “I believe I can fly” from the Space Jam soundtrack (Warner Bros. 1996) many in the audience had smoke in their eyes. But not everyone was in tears. Concertgoers dub Sunday as the “hip hop day” and it is also the busiest day and only one to sell out before the gates open. DJ Rashad started the festival with all his buddies hanging out on stage, dancing, smoking, drinking, having an infectious good time that spread to the solid mass of people in front of him.

El-P and Killer Mike also joined forces to make a beer with 312 brewing. By Killer Mike’s request (he doesn’t drink) the brew was made to taste like weed (which it didn’t). Not a huge surprise there, it came together into a pretty terrible concoction.

As if the tears were not enough the day saw a few technical errors too. MIA’s set was nearly ruined when her mic broke. It’s hard to say if it was ever really fixed because much of the show sounded pre-recorded. But no one seemed to care, the heat and pressure of 10,000 dancing feet stomped that dark Illinois soil into solid marble regardless of the disappointing sound.

Something has to be said about Lil B’s show – to-date some of the most insane stage dives ever happened during his set, with people doing running front flips over the security barricade and into the crowd. Lil B did the show solo without even a DJ to back him up, singing a little offbeat to the computerised tracks someone off stage was piping over the speakers.

R. Kelly, King of R&B, shut down Pitchfork playing the kind of show that almost certainly fosters some unplanned pregnancies, right there in the pit. Everything you’ve ever heard about an R. Kelly show, the jokes, the eccentricities, the showmanship, the insanity – it’s all true and it’s all there. “Sing it with me now: I need an intern! Get me a towel! ‘Cause I’m a sweaty mutha fuck-a! Ooooh” he screamed under mating dove-shaped balloons floating above the crowd – that’s a part of a Pitchfork exclusive song that will likely never be heard again, but captures the mood perfectly.

As citizens slowly wandered off the grounds no one seemed upset, no one had anything negative to say. “It’s like, I only paid like fifty bucks for the whole day, which is what any one of these bands could charge alone, so it’s like I don’t feel like I have to get my money’s worth. “ Explains James, a high school teacher from St. Louis (I would worry about the quality of education those kids are getting). That, in a nutshell, sums up the vibe of Pitchfork. Unlike Lollapalooza or even a regular concert, people don’t have that get-to-the-front-or-else mentality either. Security is there, but not oppressive, and people stay courteous throughout the day, excusing themselves when they bump into each other and smiling when they meet eyes.

Word to the Pitchfork organizers: if you’re looking for a formula to please the fans of great new music, you’ve found it.

Photography: Jason Bergman  for Pitchfork

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