The London-based band wasted no time riling up the impatient crowd. The thumping bass and crashing high hats of “Ducter” echoed through Union Park. The first half grabs your attention with its funky baseline while the breakdown deteriorates into chaos causing a raucous. Vocalist, Geordie Greep, sounded like he unleashed his inner demons when he hyperactively muttered the words for “Bmbmbm.” The bulk of lyrics repeat the phrase: “She moves with a purpose, what a magnificent purpose” yet the uncontrollable shift in tones with frantic pace made it seem more like he was speaking in tongues. Although the Pitchfork volunteers were able to get rid of most of the water near the stage, there was still a large body of it left over. People danced around the edges until the breakdown prompted them to mosh in the disgusting pool during “Years Ago.”

Covered in dirt from the waist down listeners migrated to the Red stage to witness JPEGMAFIA. Rocking black overalls the loudmouth rapper stomped on stage spitting his verse from Denzel Curry’s “Vengeance.” Being his own DJ, JPEGMAFIA ran back and forth to his laptop after each song to change the instrumental. The rambunctious artist yelled out the words of “Thugs Tears” as he sprawled over the edge of the platform swinging his arms wildly. His aggressive style kept everyone on their toes. Showing he had the most guts JPEGMAFIA was the only artist the entire weekend to crowd surf, during “1539 N. Calvert”.

Midday through the event the skies finally cleared up once Clairo graced the stage. She charmingly stated,: “The sun came out just for us.” Now sporting red hair the petite artist oozed swagger walking across the floor. Diehard fans sang along the words for “Flaming Hot Cheetos.” Proving that she’s more than a talented singer Clairo threw a guitar strap over her head and strummed the chords for “Bags” and “Bubble Gum.” Fans grasped onto every word Clairo said as if she spoke directly to their souls. Her soothing voice put them in a trance as they swayed not wanting her set to end. Clairo also debuted her new track “Sinking.” She concluded the performance with her hit songs “Pretty Girl” and “4Ever.”

Looking back over at the Red stage the audience noticed two large yellow 3D cubes had been set up. The crowd were more than ready to get the party going with pop artist Charli XCX. Of course it being summer Charli had to get the festival jumping with fan favorites like “I Don’t Care” and “Vroom Vroom.” The carefree artist also showed a softer side by going down memory lane that everyone could relate to with “1999.” Fans lost their minds when Charli brought Cupcakke out for their collaborative jam “Lipgloss.”

Finally, with Pitchfork Music Festival coming to an end this year it was only right that it be closed out by a superb artist like Robyn. She had the most luxurious set this weekend: gigantic white sheets were draped all around the stage flowing freely in the wind and sets of stairs were placed with a statue of a pair of hands in the center. The Swedish singer took control of the night with spaced out tacks “Send To Robin Immediately” and “Beach2K20.” While songs like “Missing U” talked about loneliness and heartbreak, Robyn kept the crowd moving with “Dancing On My Own.” Synth-heavy sounds kept the listeners zoned in. Equipped with a large band, Robyn showed off her dance with a ballerino. Even when one of they sheet fell onto her she never lost her composure. Instead she wrapped herself in the large fabric and dragged it across the stage. Robyn was a goddess on stage, yet she carried enough humility to pay respect to Chicago saying Deep House music is what helped inspired her sound years ago.

Overall Sunday’s lineup was much more of a mixed bag next to the previous days. The fact you had pop artist like Robyn and Charli XCX made the last day a true celebration. Better weather conditions made getting through the day an improved experience. Even with all the craziness Pitchfork did a fantastic job catering to everyone’s musical needs – there was something for everyone to enjoy. Leaving the event you may have picked up a new genre to give a listen. While you may not have liked everything, you could appreciate the variety of talent showcased. This makes us look forward to see how they plan to top themselves next year.

The post Robyn, Charli XCX, JPEGMAFIA, and , lo-f end Pitchfork with a muddy bang appeared first on Quip Magazine.

To cool down early attendees, Chicago-based artists Lala Lala and Ric Wilson opened the show. Locals love artists that proudly represent the city, so large crowds gathered to show support, under the sun and in the shade of the trees. Lala Lala’s Lillie West (guitar and vocals) has a rather mellow voice that sounds like a serenade for your ears, especially during “Destroyer.” Her wavy vibes fused beautifully as the cool breeze swirled by. Closing your eyes, beer in hand, you could almost imagine lying on the beach instead of woodchips on the park ground. If you needed something with more boogie to it, however, Ric Wilson had you covered. The Southside rapper continuously asked the crowd throughout his performance to give him a “Hell Yeah!” like he was Stone Cold Steve Austin. Accompanied by a marching band, Wilson had everyone dancing with the vibrant track “Hang Loose.”

What makes Pitchfork Music Festival unique is its ability to showcase a large array of talent across different genres. Over the years, you expect to see the hottest rappers or indie bands. But what about a Japanese pop-punk band? Why not! Chai was the best surprise overall. Many weren’t sure what to expect as the four ladies in pink stepped onto the Green stage. They certainly gained new followers once it was all said and done. Chai did an outstanding job introducing themselves with tracks like “N.E.O,” “Family Member,” and “Sayonara Complex.” The adorable chipmunk sounding harmonies mixed with punk flare and distortion effects were crowd-pleasing. It doesn’t matter if you couldn’t understand the lyrics, music is universal. Chai swayed their hands side to side as they held their latest album Punk and sang Culture Club’s “Karma Chameleon” in Japanese. During the breakdown of “Choose Go” the audio accidentally cut out, prompting the crowd to clap along to keep the tempo going before erupting once the sound came back. Lastly, the women did a synchronized dance routine dressed in blue onesies dancing off stage with our hearts.

The Parquet Courts took over rock duties. Their sound jolted the crowd alive with “Freebird II”, “Dust,” and “She’s Rolling.” Parquet Courts put on one of the best performances for “Almost Had To Start A Fight.” As the music got louder, the small clouds grew larger with a grayish hue. The wind went from a whisper to a thrust. The madness made a mosh pit break out as if the crowd was challenging the gods themselves. The sky looked as if doomsday was upon us and Parquet Courts were playing the anthem. Seeing the storm coming our way, Pitchfork officials cautiously evacuated the premises for everyone’s safety. Not two steps outside the gate, thunder crackled causing a fierce storm. People ran for Uber rides or hopped on the “L” train. Plenty of us took shelter under the tracks trying to keep our valuables safe. (Clinging on to my backpack in fear my laptop would get soaked, I withered the storm for you dear readers!) Funny how we cursed the sun for burning us, only to beg for its return so that the festival may reopen. After an hour delay, the sky cleared up and we were back in business.

Unfortunately, artists Kurt Vile and Amber Mark were cut completely. Luckily though Freddie Gibbs was there to rally the crowd back. Fans eagerly marched through swampy grass to see the Gary, Indiana native. Dressed in all black and rocking a fat gold chain with a “G” medallion, Gibbs dropped bangers like “The Real G Money” and “My Boy.” He boasted how his collaborative project with producer Madlib, Bandana, is currently the #1 rap album in the country even signing a fans vinyl copy. Gibbs tested the crowd’s knowledge to see who were true fans with “Real.” The ever so gully rapper consistently chanting “Fuck Police” as he waved his middle finger and splash the audience with water to make sure they were awake. Though he’s a gangsta, Freddie is all about a good time as he has his entourage on stage for “Harold’s.” He ended his set with an encore performance of “Crime Pays” and “Westside Gunn.”

The honors of closing out the evening went to the legendary group The Isley Brothers. Their soulful sound has stood the test of time as both younger and older generations came together to celebrate. They showcased a plethora of classic hits such as “Fight The Power,” “Twist & Shout,” and “For the Love of You.” If you grew up listening to 90’s hip-hop then The Isley Brothers should be instantly recognizable. They inspired Biggie Small’s “Big Poppa” (Between the Sheets), Bone Thug’s “Buddah Lovaz” (Choosey Lover) and Ice Cube’s “It Was A Good Day” (Footsteps in the Dark). Of course, being pioneers in the music industry, they have worked with some of the biggest names ever. Throughout their set, Ronald Isley paid homage to The Beatles, Aretha Franklin, and Whitney Houston before dedicating “Summer Breeze” to Prince. Ernie Isley played melting riffs with the guitar behind his back as they finished with party favorite “Shout.”

The second day of Pitchfork was even better than the first. Part of that had to do with the fact that people were better prepared to face the heat. Sure the hour delay was a bummer right when the festival started revving up. But that gave everyone a moment to regroup and come back with high energy. Once the gates reopened the artists were able to pick things up where we left off. You got a little taste of everything: indie rock, Japanese pop, gritty rhymes and it all culminated in a jubilee of soul that everyone could get down with.

The post Pitchfork Festival battling the rain with Chai, Isley Brothers and Freddie Gibbs appeared first on Quip Magazine.

Draped in dashikis, The Great Black Music Ensemble woke up the sweaty audience with its blasting horn section. The orchestra’s fun, loose freestyle swing kept bystanders alive as the heat beat down on them. It may have been noon, but the soulfulness in the sound was invigorating to hear. Scat lyrics devolved into funky chaos and with a squealing guitar solo, the set came to an end. Standing on the Corner took over the same stage quite promptly. Wearing all white garbs, they did their own jazz rendition. There were over 6 saxophones on the stage with cellos, violins, bassoons, and their own horn section equipped with a French horn solo. We were off to a fantastic jazzy start and it’s only the beginning!

Next up to the left at the Red stage was rapper MIKE taking control of the mic. He was the first artist to truly get the crowd participation going when he asked them to spell his name – M-I-K-E – with him jokingly responding “y’all some real ni**as. Y’all could’ve spelled whatever you wanted.” A few tracks in MIKE brought out King Carter to help perform their song “Run It Up.” With soulful sample-based beats and deep bass in their voice, MIKE and King Carter got the lyrics to match the instrumental as they traded bar for bar.

If bands like The Great Black Music Ensemble and Standing on the Corner provided some classical jazz to appreciate the importance of instrumentation, then Rico Nasty was for the younger crowd to shake their ass and get ratchet too. Rico is a young, talented black queen who is confident and not afraid to share her logic. Adorn in long flattened peach hair and a white Kangol hat, with pants to match, she demanded a mosh pit be opened. The crowd was more than happy to oblige. Her energetic raps accompanied by booming bass kept fans hyped throughout her entire performance. Rico performed crowd favorites including “Key Lime OG”,  “Countin’ Up” and her verse from Doja Cat’s “Tia Tamara.” 

The rapper gave an affectionate shout-out to the rowdy fans yelling, “There’s some beautiful bitches in the crowd!” She knew how to command reactions from her loyalists like a boss. Rico Nasty had the party juking making her set the wildest of the day. And if you weren’t going crazy in that mosh pit, then simply put: you a lame.

Across the field in the far left, Earl Sweatshirt walked on the Red stage to thunderous applause before yelling out: “It’s hot as hell out here Chicago for no reason!” That made the exhausted crowd laugh at their own misery and come alive to rush to the stage. Now sporting long dreadlocks, Earl has come a long way since his time with Odd Future and his rhymes reflect his growth. Throughout the set, the Chicago-born artist cleverly blended rhymes with menacing beats from Doris. The instrumentals are haunting, the bass bumps loudly, and Earl’s style is nasty as expected. The bass booms so hard that it can be difficult to listen over the vibration. Nevertheless, Earl kept his composure as he bobbed along with fans to keep the tempo flowing. He himself looked exhausted from the heat but pushed through with jams like “Molasses” and “20 Wave Caps.”

A rapper who had some of the most talked-about moments last year on this stage was Pusha T. From his self-proclaimed “album of the year” Daytona to his ongoing feud with Drake escalating in his controversial song “Story of Adidon”, it’s hard to argue Pusha T isn’t the best rapper alive right now. He reminded the crowd, as much when he entered the stage with Al Pacino’s Scarface theme song as if stating that the world is truly his. The Clipse artist started off with an acapella for “ If You Know You Know” before the beat dropped. He gave a shout-out to those who supported him throughout his years with Clipse to G.O.O.D music. He performed Clipse’s “Grindin” as well as his feature verse on Kanye West’s “Runaway.” The crowd toasted empty water bottles to the douchebags and scumbags that we know because we’ve all been there.

The fans erupted once the beat dropped for the modern classic “Lamborghini Mercy.” Being a man in demand King Push had to do Daytona tracks like “Santeria” to remind those who forgot how great it is: “Of all the things I’ve ever paid for. Know that it’s no price tag when I wage war. It’s no more to pray for, n**** get preyed on. Darken my doorstep, they told me the day’s gone”. To prove his love for Pitchfork, Pusha T performed his verse from, Chicago native, Chief Keef “Don’t Like” to get the crowd juking.

The band that most people endured the most blistering heat for was HAIM. Amazingly the sun finally went away once the group of sisters took center stage for a three-part drum intro. Afterward, they traded their drumsticks for guitar picks as they sang along to “Falling.” The vivid red screen engulfed the singers, as they sang in unison for an epic performance of “Don’t Save Me.” In the middle of their performance, Alana Haim admitted she recently turned 30. To celebrate with the fans the band did a beautiful rendition of Paula Cole’s “Where Have All the Cowboys Gone?” and “And I Don’t Want To Wait.” If that wasn’t good enough they also debuted a new song “Summer Girl” to go with the season. HAIM ended their fantastic set with a banging drum outro.

All in all, it was a successful first day at Pitchfork. Yes, the scorching sun felt unbearable at times. Here’s a special thanks to Pitchfork officials for providing ample amounts of water bottles, ice, and A/C buses to keep everyone hydrated. Even artists themselves struggled with audio difficulties as they battled the heat to perform so much so that they most often commented on the temperature, which made fans chuckle at their sanity. But we were all experiencing it together. No one can look cute while melting in 100-degree weather and so we all sacrificed our well-being for the love of music. It may have not been the best decision but there were no regrets.

The post Pitchfork embraces the heat with jazz tunes, rap tunes and a little Haim appeared first on Quip Magazine.