For its eighteenth iteration, Pitchfork assembled headliners Black Pumas, Jamie XX, and Alanis Morrissette to pull in thousands of fans. Still, the beloved three-day festival always shines its spotlight on smaller artists who haven’t found their way into the public’s playlist just yet. Here are seven runaway acts that shone bright and captured our attention over a talent-packed weekend. 

Above + cover photos by Pooneh Ghana for Pitchfork

Doss brings the heat

It’s not just any DJ who can get a crowd to unapologetically mosh in the dead heat of Summer. Yet New York club scene darling Doss slunk onto the stage and did exactly that without breaking a sweat or a smile. If you ever wanted to be in the rave from The Matrix, go to a Doss show. It’s glitchy 90’s electro house with a beat that gets into your lungs and makes you want to sweat. 

Doss builds a sound that feels both lush and danceable. Her use of synths envelops you and gets your hips swaying. Then a sudden throwback lyric cuts through the mix with a smack of nostalgia to make you want to get some air time. “If the music starts we’re never gonna stop” a high-pitched chipmunk voice droned on repeat. You could see people cramming in together, ignoring the heat, just to feel the heat and noise a little more.

Above: Doss by Holt; Below: Yaeji by Cole Kincart for Pitchfrork. 

Yaeji makes it rain 

Pitchfork is a loyal curator.  If they like an artists’ work they are not shy in bringing them back to a bigger stage. I saw Yaeji at Pitchfork back in 2021 and was impressed by their use of choreography, playful lyricism, and earnest stage persona. 

The 30-year-old New York DJ gave a nod to that last P4K performance: “I am a very different person now, then I was then, I’m very excited to be vulnerable and to learn from you. And you from me. If you resonate with my music you are a mirror of me in some ways. And vice versa.” 

Yaeji understands the balance of holding her audience’s attention without sacrificing artistry. What follows is an elegant spectacle. House music expertly crafted to get you dancing, but delivered with soft vocals imbued with a solemn exuberance. 

Both years I saw her, Yaeji came flanked by a few dancers, who offer simple but effective choreography. This time however, the trio seemed to embrace and satirize hip hop dance tropes. One moment they’re twerking, the next rolling onto their backs and shaking their legs in the air like grade schoolers. It’s embodied and unapologetically gleeful. 

As a parting gift, Yaeji offered an unreleased dance track called “Don’t Touch Me. There’s a little dance to it, so if you like the song go hard and get into it with us.” The crowd obliged as Yaeji grinned. “It looks really cute from up here”.

Above: L’Rain by Kimberley Ross for Pitchfrork. 

L’Rain delights and confounds 

When music is at its best it evades thought, circumventing the mind to allow for an uncritical experience. L’Rain, is the heart-child of musician Taja Cheek, embodied by a 5 piece experimental band of collaborators from NY. It’s hard to pin down into genre what L’Rain is creating. Elements of psychedelia, R&B, ambient, and jazz music weave in and out of the mix effortlessly until categorization is irrelevant. Genre won’t help you make sense of the feelings the music evokes anyways.

Cheek plays the bass with sparse but immaculate precision while her vocals glide effortlessly between stoic intonation and maniacal laughter. Saxophone floats in the stratosphere of this sonic dreamscape, punctuating the mix with yearning.  

Most of their set list came from the most recent album “I Killed Your Dog” – a complex exploration of what it means to “hurt the ones you love most.” You can feel that dissonance throughout the music. “How do you trust the ground when it betrays you in ways you didn’t think imaginable?” Cheek questions in the track “Clumsy”. The answer, if there is an answer, is issued in wordless sound.  

An exhilarating performance of “Two Face” lays down a propulsive jazz arpeggio on the keys while a countermelody articulates a floundering sense of desire. 

While most of her contemporaries seem intent on asserting statements of self, L’Rain dissects the emotional landscape without easy assertions or answers. The music that issues is astounding.

Above: Water From Your Eyes by Daniel Cavazos for Pitchfrork. 

“Water from Your Eyes’ vocal fry” or “Don’t sneak into a music festival as a kid and expect karma not to come for you”

“I have a mysterious illness” Brooklynite Rachel Brown murmured into the microphone at the top of Water from Your Eyes’ Saturday set. “Don’t worry it’s not contagious”. 

“I snuck into Pitchfork 10 years ago for all three days….” she laughed “All three! And this is what I get”. She shook her head. “Karma’s a bitch. “ Nevertheless there was something about Brown’s subdued yet sardonic delivery that seemed a pro pos with Water from your Eyes’ tongue-in-check style of indie rock. 

Alternating offerings between gloomy grunge landscapes with low riding, stomach churning bass to four on the flour indie pop numbers, this duo seemed intent on subverting expectations. Lead guitarist (and the groups other half) Nate Amos plays the guitar with a wide range of affect, alternating between dissonant Mad Max arpeggios and the soft peel of metal chimes. 

The group seems to revel in their contradictions – grunge counterbalanced with tenderness. Capitalism cut with complicity. As Brown struggled through the set, I couldn’t help but notice the irony of a limping nonchalance. Karmas a bitch, but sometimes it isn’t half bad.

Joanna Sternberg by Daniel Cavazos for Pitchfrork. 

Joanna Sternberg bugs out 

A three-day festival will catch up with even the strongest legged and willed person. It’s a mixture of hype and sheer exhaustion. By Sunday, your legs are begging to be horizontal. So when I saw a lonely figure placed in the center of the cavernous Red Stage, it felt like the perfect time to sit down and zone out for a second. 

Folk singer, Joanna Sternberg might have been feeling the same thing.  It was hard to tell with their stream of consciousness approach to banter that left us wondering what universe they were in (and if they’re accepting visitors). Both in their songwriting and presentation, it was impossible not to be charmed by the sheer lack of persona. 

Sternberg’s style lacks varnish. I wouldn’t be surprised if many find it initially off-putting. But it’s that lack of polish that explores an almost childishly honest interior landscape. It eschews overt complexity or artistic obfuscation and asks the question that’s right in front. “Is everybody running from me? Or am I running from everybody?” their soft metallic voice crooned. 

Halfway through a song Sternberg stopped abruptly. “There’s a bug on me! I’m sorry. I just…. have a particular phobia”. They stopped to inspect themselves for said bug. “I know a lot of you have tattoos of them, but I just can’t”. The crowd giggled. “Taylor Swift had a bug fly into her mouth while performing and she kept going” they wondered out loud. “That’s the toughest thing I’ve ever seen”. 

Akenya by Daniel Cavazos for Pitchfrork. 

Release your album please, Akenya! 

Chicago-native, Akenya floated onto the stage enveloped in a puffy tulle top and sleek chessboard colored pants. With an impressive resume of collaboration with stars Chance the Rapper and Noname, Akenya is already a staple of the Chicago music scene. Regardless of whether you’ve heard of her, you’ve most likely heard her. 

With a style that bounds between jazz and classical, hip-hop and soul, Akenya offers up a sound that is uniquely her own. She’s an accomplished arranger, and boasted what might have been the most nuanced sound mixing for the entire festival. Each instrument blended perfectly with the next, spiraling together to create a cosmically transcendent sound. 

In songs like “Decay” (one of two singles she’s released), the trio of vocalists punctuated the music with cloud-like chords that made the crowd gasp. No doubt she made a slew of new fans during her Saturday performance who are all wondering the same thing: Akenya, when are you going to drop your first album? 

Sudan Archives by Cole Kincart for Pitchfrork. 

Sudan Archives surprise 

My editor told me I should check out Sudan Archives. I really enjoyed their album Natural Brown Prom Queen, but their stage time conflicted with 100 gecs and I’m a sucker for their goblin mode style of hyperpop. “I’ll just stop by for the first 15 minutes and come back,” I told myself. 

I did not go back (Sorry 100 gecs, I still love you). From the moment Sudan Archives (real name Brittney Denise Parks) sauntered onto the stage I couldn’t take my eyes away from her. And it’s only her there. Dressed from head to toe in an almost medieval harlequin bodysuit, with a violin strapped to her neck and its bow holstered in a quiver, Sudan Archives delivered what felt like an entire universe in about 45 minutes.  

Playing pizzicato, singing, and swaggering around the stage, never looking for the ground, Archives was beyond confident. Clad in an indomitable party vixen persona, it felt like watching a god descend from Olympus to toy with an audience. Songs like “Ciara” were armed with sultry vocals, impressive bar work, and simple but effective choreography that had the crowd’s collective jaw on the floor. Pulling her bow across the violin like a gun, Archive took aim at being the most virtuosic performance at Pitchfork. With a gun’s flare she asked: “Do you get the picture now, bitch?” 

Beyond the theatrics, Sudan Archive’s is an immaculate musician.  Alternating between vocals, electric drum pad, and frenzied violin solos, Parks consistently got the crowd roaring. “Say it with me now:” she commanded, “I’m not – Average!” The crowd shouted it back to her in confirmation. Sudan Archives is anything but.

The post Seven artist who ran away with Pitchfork appeared first on Quip Magazine.

Crumb

Currently on tour with their latest release, AMAMA, Crumb which Pitchfork called their most authoritative record to date. In their own words, this album is “Crumb’s most carefree and heartfelt project yet with a blend of poetic abstraction, introspective honesty, and tasteful sonic experimentation,” vibes like this always translate well to breezy outdoor shows.

Doss

New York artist and producer Doss made her debut in 2014 with a self-titled EP that Pitchfork called “an exploration of the pure joy of sensation”. Doss is a frequent collaborator to many well-known names (Lady Gaga, Grimes, Porter Robinson), and today she will take over Pitchfork to showcase her playful maximalism with a solo performance.

Hotline TNT

Another Pitchfork favourite (Best New Music 2023) NYC’s Hotline TNT is a project that bloomed out of Will Anderson’s pursuit of love “as both concept and catalyst, aspiration and inspiration”. Take that as you will but the musical outcome is loud, epic, guitar-forward music that speaks to Will’s personal experiences.

Sudan Archives 

Self-tough violinist, singer, and performer, Sudan Archives (born Brittney Denise Parks) is a one-woman powerhouse. From impressive outfits to great vocals, each performance is unique and engaging. Parks has a wealth of music to share with her fans, all catchy and easy to sing along to.

Water From Your Eyes

Brooklyn’s Water From Your Eyes have been evolving their sound since inception. The latest release, Water From Your Eyes, is equally experimental recycling of their pre-existing material. These pieces were given a new life which resulted in a critically well-received, fun record. Without a doubt, this will be a fun set to see.

Cover image: Hotline TNT by Wes Knoll, courtesy of the artist

The post Five artists to see at Pitchfork Music Festival 2024 appeared first on Quip Magazine.

Images by Alexa Viscius for Pitchfork

Grace Ives vibes & choreography

Grace Ives shrugged her way onto the stage, looking as though she had just rolled off a dorm couch. With a big yawn and an orange Gatorade, you could tell this Brooklynite was making the trip to Chicago worth it. “I performed at Sleeping Village last night and I fell off the stage,” she admitted to the audience. “It was an accident,” she followed with a wry smile.

Yet as her set progressed, Ives showed no signs of slowing down as she strutted around the stage like an unhinged pop star. It was crowd work at its finest, with choreography that felt unique, sardonic, and just a little janky. The crowd got into it, giving their own moves right back.

Images by Daniel Cavazos for Pitchfork

We interrupt this broadcast to present JPEGMAFIA

I doubt anyone received a more enthusiastic welcome than JPEGMAFIA all weekend. A raucous energy ran through the crowd, who started chanting “Peggy” as the 33-year-old arrived with nothing more than a laptop and a lion’s share of confidence. But trouble was on the horizon. Maybe his computer was as fried as the sun-battered Sunday crowd, but his accompaniment began glitching midway through his second song. 

Peggy was frustrated. “I can’t do it! I can’t do it, y’all!” he said, sitting cross-legged on stage, with a lagging track playing overhead. “Cut the music!” In the silence, the crowd braced itself for disappointment. Then just as suddenly, he launched into an acapella invective with such impeccable fury that it almost felt planned. The crowd roared back to life. 

Technical difficulties continued, but Peggy was indefatigable, attacking each number with bravado and a sense of humor that only made him more endearing. “I have one more acapella song for you. It’s actually a cover”. He broke into the first line of Carly Rae Jepsen’s “Call Me Maybe”. “Fuck! Where’s my auto-tune?” he shouted. He switched it on and dove right back in.

Images by Poonehghana for Pitchfork

Weyes Blood casts a spell

If you’d never heard of Weyes Blood before Saturday night, you were not alone. While critically acclaimed, she occupies a very specific niche of psychedelic folk music that hasn’t quite found its way to the mainstream. As the penultimate act on Saturday night, she appeared like a pagan Pan-Am priestess in a flowing white dress with a cape she twirled through the mist. A disgruntled audience, who just two hours ago had been made to evacuate the grounds due to storm warnings, was immediately transported. 

The next hour was a resplendent, glowing rendition of her material from “Titanic Rising” and her most recent album, “And in the Darkness, Hearts Aglow”. Without tracking, Weyes Blood’s rich vocals and ethereal instrumentation created a spiritual experience that had us basking in the rain. “This next song is our most psychedelic. So if you have some on you, take them now,” she joked halfway through the set. There was no need.

Images of Sen Morimoto by Daniel Cavazos, image of Lucrecia Dalt by Julian Bajsel for Pitchfork.

Howling with Sen Morimoto

“I’ve wanted to play this festival for 10 years,” Chicago local Sen Morimoto told us. “And here we are!” With a silky, light voice, Morimoto’s vocals floated atop a heartbeat rhythm. His 8-piece band lives somewhere between sultry R&B and big band jazz, making it easy for Friday’s crowd to shake off the work week and fall into its rhythm. 

“This next song is about dogs,” he said as a prequel to his infectious, let-loose number “Woof”. “If you feel like barking or howling… do it!” The audience obliged with gusto. “I’ve never owned a dog in my life,” he quipped at “Woof’s” end. Then he launched into a frothy version of Cher’s “Believe,” which got the audience howling all over again.

Images by Julian Bajsel for Pitchfork.

Lucrecia Dalt and the leaning drum tower of Pitchfork 

I’d never heard of Lucrecia Dalt before. I didn’t line up at the front of the stage in anticipation of her set. Feeling that end-of-festival fatigue, I went to grab a beer and a moment in the shade instead. Yet from across the grounds, I could hear a haunting track that felt like a sonic mirage calling me back. The sound was like the feeling of sweat evaporating off your skin.

I made my way to the stage and saw Dalt, sporting a Sontag strip of gray hair. Standing stoic in front of her synthesizers, she commanded the stage with mesmerizingly soft yet punctuated vocals. To her left stood the most baffling drum kit I’d ever seen — a Babel’s tower of percussion, framing its drummer Alex Lázaro, surrounding him from every angle. The vestiges of a traditional drum kit combined with a wide array of Latin percussion built a propulsive beat that felt both groovy and off-balance.

Dalt and Lázaro seemed indescribably connected and precise, yet at the same time spontaneous. It felt as if we were witnessing an act that would never be repeated again.

Images by Poonehghana for Pitchfork [cover too].

Perfume Genius marries the chaos

As Mike Hadreas, the frontman of Perfume Genius, spread an endless spool of yellow tulle fabric over the stage, I knew we were in for a chaotic performance. The always-operatic Perfume Genius knows how to use a prop. Dressed in a “Mike’s Palace” tee with grungy jeans, Hadreas was accented by long red rubber gloves and his bashfully sly persona. His band plays with polyrhythmic precision that crawls beneath your skin and makes your body vibrate (shout out to Tim Carr’s powerhouse drumming).

The music is so full of erotic longing that it brought people to tears just moments after making them dance. Quiet moments like “Jason” only amplified the sonic boom of Genius’ more explosive tracks (see “Otherside”). The music was remarkable, with dynamic peaks and valleys that kept the audience’s ear. Yet beyond that, Hadreas is an honest showman. He experiences his music with us. By the set’s end, he had wrapped himself in a puffy wedding gown of the (“not quite”) golden fabric, tied himself off with a mic cord, and trudged across the boards like the bride of destruction. Like his sound, which often turns in on itself, breaking down, and exploding into something new, Perfume Genius revels in the chaos. It made for a hell of a show.

Images by Daniel Cavazos for Pitchfork.

Everything Leikeli47 did

I was a stranger to Leikeli47. I’d stumbled on her music on some playlists, but never taken a deep dive. But from her first step onto the Blue stage, she commanded the whole crowd with unflagging confidence. Not to mention a voice that doesn’t quit! On top of her big brash sound, she was one of the few artists whose vocal clarity cut through the festival sound mixing (that often reduces lyrics to sludge) and made us hear every last word. 

Her lines are funny, nuanced, and self-empowering. It’s ballroom rap fit for the gods! And on Friday night, she made us feel like gods, as she pulled half the crowd up on stage to strut their stuff while she went off. There was vogueing, there was twerking, there were LEWKS. If there was anyone that had the crowd in the palm of their hand, it was Leikeli47. Hearing the Pitchfork audience sing along to “Carry Anne” was pure delight. “This my pussy, I can do what I want / Mmmm I’m a big girl now” we all shouted in unison. I may have started the show with a stranger but left feeling like I had found my new bestie.

* * *

Those are our top moments from 2023. What did we miss?

The post Pitchfork 2023: Seven artists who stole the show appeared first on Quip Magazine.

Without a doubt, the first day was the harshest to endure. There were a few moments of peace, but the majority of the day was nonstop rain, but fans embraced the flurry standing out in the open field to support Chicago native Kaina, who came out on stage to thunderous applause. Kaina returned the dedication by singing songs off her latest album It Was A Home, songs like “Apple” made people dance with its groovy retro style while other songs like “Anybody Can Be in Love”, truly showcased her heavenly voice.

Parquet Courts took the stage next. It felt like déjà vu of 2019 when the band played the very same stage at Pitchfork during a thunderstorm, which lead to organizers evacuating the grounds for a few hours for everyone’s safety. At that time I wrote that their rock instrumentation riled up the crowd as if “challenging the gods themselves”, so naturally I was worried that this was going to become a rematch. The storm was still bad but fortunately, no thunder came so we continued to get soaked while watching the set. They play songs like “Freebird II”, but all with a jazzier feel this time. That seemed to please the winds as the rain eased to a halt allowing people could dry off.

You know that old saying “save the best for last?” Well, that was certainly the truth with the final day lineup. The first day was a wash (literally!), but the last day of the festival had more of a hip-hop feel with some solid artists like NoName, Earl Sweatshirt, and The Roots. They too had to deal with the woes of technical issues due to the stormy weather.

Local rapper Noname stepped out on stage adorned in a beautiful spotted blouse spreading positive energy with her infectious smile, the crowd greeted her by cheering loudly. She wasted no time performing “Song 32” – ‘Gave my body to Adam, he told me to lie for him. Apple wasn’t the apple, the truest sin was the pussy’. She tried to get the crowd to sing along with the chorus, but sadly it was hard to hear her pass the photo pit. The crowd chanted demanding the tech personnel to “fix the mic,” which confused Noname mid-track, the sound engineer obliged the crowd applauded. “Can you hear me now?” Noname asked, and fans cheered in collective testament. She rewarded them, with “Diddy Bop” to keep the mood going.

Once Noname wrapped up we all migrated to the opposite stage for Earl Sweatshirt. As the soggy theme continued his set was delayed for several minutes but soon enough it was safe to come out from hiding under trees so we dragged our feet through mud and gathered in the humid air. Earl’s DJ got people moving right away warming up the crowd with “Rain”, a song from Kanye West’s gospel album Sunday Service. It was the perfect song to play after everything we’ve endured. When Earl finally came out on stage fans were excited but were so beat from being wet most of the day it was hard to muster up much interaction. Earl caught onto this quickly, “What’s up with ya’ll Chicago? I know I don’t have many songs for crowd participation but damn”, he noted.

Similar to 2019, Earl made funny comments to an exhausted crowd in Pitchfork inspiring laughs. This time around the energy was different Earl used a more monotone voice chatting with the deflated fans, “Okay that was one song. Now I’m going to do another song” or “Did ya’ll open up the pit to mosh, or is that just mud?” It felt like Earl was simply going through the motions at times rapping “Earl” and “Top Off.” He doesn’t have many hype tracks so his laid-back vibes made it hard for the audience to rev up their energy levels.

Luckily, The Roots were there to save the day. The legendary band was whom most people stayed to see. Blackthought and Questlove are the most recognizable member of the band but like a sure orchestra, it takes an entire team to make the performance outstanding. The Roots lived up to the name by performing a plethora of funky renditions of old-school songs like Kool & TheGang’s “Jungle Boogie” to throwbacks from their own catalog like The Next Movement. Blackthought is a verbal assassin and easily one of the highlights of the entire festival. Performing songs such as “Magnificent” proved that pure hip-hop lyricism still exists when in the hands of a wordsmith. People may have been too tired to dance, but The Roots is such a vibrant force that you couldn’t help but move at least a little. The combination of talented musicians to form this collective was the right way to close out the show.

Overall Pitchfork was a mixed bag but a lot can be attributed to the unfortunate weather conditions. The festival is a staple in the Chicago music scene because it prides itself on bringing together artists from all genres and stature. On top of the bleak weather, artists seemed to struggle with technical difficulties or were tired themselves which made the sets feel a bit flat at times. Regardless of all that, however, fans made the best of the situation and enjoyed the event to the fullest.

The post Pitchfork withers the storm and triumphs appeared first on Quip Magazine.

As I nervously wait for Ray to wrap up his previous conversation, I begin talking to his cordial rep Karine. I ask how she’s enjoining Chicago after her flight in from Ontario, she explains that she hasn’t had time to enjoy the city fully and is running on low energy, but that the people have been nice. I share with her a fresh can of cold brew coffee as a peace offering, Karine takes it and cracks it open making a disapproving squint after the first sip. Ray Angry waves us over to join him on a park bench. While I set up my equipment Ray asks Karine how the drink is to which she replies, “It’s not too bad if you like coffee. Needs cream and sugar though” – I guess she doesn’t all that much.

Ray Angry: That’s what’s up. Too bad I don’t drink cold brew.

Vidal Granados: Wait are you a coffee or tea drinker?

RA: Tea all the way!

VG: [Ray enthusiastically shakes his hand] My man! I don’t like coffee or caffeine either! I stick to herbal teas.

RA: [Smiling] My guy I’m the same way. If you haven’t tried it yet put some oat milk or almond milk in your turmeric or cinnamon tea. Phenomenal!  

* * *

That icebreaker put my nerves at ease for a moment. But my hand begins to shake as I record our conversation. I only learned how to play “When the Saints Come Marching In” on the piano so listening to Ray’s piano solos beforehand made my brain and fingers cramp. Now he sits next to me with a smile on his face.

VG: Welcome to Chicago! Sorry that it’s gloomy, rainy, and soggy. But besides that how are you enjoying your time in the city so far?

RA: I love it! The food is amazing, the people are great and the energy is on another level. I love going out to eat at local spots every time I come here.

VG: And you have another connection to the city of Chicago because you helped produced the track “Peace” for The Chi – how was it making such an empowering track during a trying time for the city and overall, our country? 

RA: [Clapping] Wow man that’s crazy thanks for reminding me! It’s a humbling experience to have any of my music in film or television. It’s always been my dream to do that. I love The Chi so working on that song was an honor. Shoutout to my friend Yolanda Ross who’s on the show she’s an amazing actress!

VG: Still sticking to TV shows, congratulations on doing the original soundtrack for Amy Schumer’s new Hulu series, Life & Beth

RA: Thank You! I’ve been blessed to be working with her since her show Inside Amy Schumer. She’s such a good person. She’s so sincere and wants to help people. It’s been a pleasure working with her, she’s such a great collaborator. 

VG: Also I wanted to congratulate you on “TOYLAND”, a song you performed and produced, it’s a great track, dark and beautifully twisted. Is that something you always wanted to work on and update that track? [the song is originally from a 1903 Christmas-themed operetta about the exploration of the loss of innocence]

RA: Ah! Well right at the height of the pandemic, my writing partner on that project Catherine and I were working on a project called “Public Domain,” we wanted to change the narrative a little for artists, so taking a song like “Toyland” and reinventing the song was a pleasure. Going to the studio working with musicians like Marcus King, Questlove, Blackthought, Liv Warfield, and Pino Palladino on bass for that song was a dream, and I still can’t believe that it happened. Shooting the music video was something I thought I would never do. It was beautiful how the whole experiment came about.

VG: As you mentioned you worked with multiple artists on that track. Specifically, when it comes to Questlove and Blackthought, you’ve been working with those guys for years since becoming a part of The Roots. How do you guys keep the atmosphere fresh amongst each other after all these years? 

RA: It’s funny you ask that. I think once you accept a person for who they are anything can happen. I’ve grown over the years. I’ve watched Ahmir (Questlove) grow over the years. We’re always reaching. Those guys inspire me. Blackthought has a lot of records he hasn’t released. He’s constantly recording and reinventing himself. They’re both always growing to become better human beings. To not be complacent is the magic sauce. That’s been my experience working with those guys.

VG: Not only have you worked with some of the most renowned artists of all time, but you’ve also released some absolutely fantastic instrumental albums like One and that epic single “The Protest” – a powerful piece to listen to entirely because it perfectly captures the anger, the pain, and the madness felt during that time. What has the process been like going from behind the scenes to releasing your own music?

RA: The pandemic changed a lot of things for me. Like most people I had moments where I wondered, “What’s the point of all this?” Once George Floyd happened though I went to see the protest in New York City. I never left my house that entire time but I felt compelled to go so I rode my bike to Fort Greene in Brooklyn. The first thing I saw when I got there was a cop car on fire and people arguing with police. Witnessing that did something to me. I went home and created “The Protest”. At that moment it reawakened my creative side and made me come to the decision I need to release my own music. As artists, we hold onto music because we’re our own worst critics. It reignited the purpose of my company, started my record label Mister Goldfinger Music, and continued my series Producer Mondays. The purpose of everything shifted. 

Now when I work on my own music a lot of the attention is focused on the creative process because I really want to connect with people. Being behind the scenes is cool but I want to give back and maybe give advice to others about the music industry. That’s why I started releasing more solo work. I want to do what I can to help the world. I feel like it’s my duty. Both my parents passed away. My two brothers passed away this year, which fucked my head up. So now it’s go-time! I really want to do what I can to help the world out through the music I’m making and it’s all a dedication to my family.

VG: [shakes Ray’s hand] My condolences. I appreciate you sharing that. I lost a close friend a week ago but same thing, I’m here today because I know my friend would want me to continue pursuing my art. 

RA: You’ve got to keep going, brother. One thing the pandemic taught me is we’re all we got. Learning and growing you never stop doing that. I’m in the process of finishing my first symphony. I can’t even believe I’m saying that to you right now! I say all that because the only limitations we have are the ones we put on ourselves. When you have a loss it’s a reminder that time is not on our side. We can be gone at any moment. So we have to appreciate the time that we have here and make a difference before we leave.

VG: And tell your people you love them.

RA: Exactly! 

VG: That actually goes into my next question – when was the moment you felt like you made it? Or are you such a student of the game that you’re just too focused on the work that you can’t really enjoy the fruits of your labor?

RA: [Laughs] Oh man I’m still trying to make it. It’s funny because when I was in college I used to say, “I want to travel around the world and work with the best musicians”. I’ve done that. You’re constantly making goals and once you reach them you got to keep making more, which lead to my producer series and record label. That’s what keeps me driven. I want to create a music show that connects people. Not like a contest. We have enough contests. Fuck that shit! Why do we got to compete? Why do you have to lose for me to win? I want to change that. That’s my next goal. 

VG: It’s such a competition in any field. In every avenue whether it’s music, writing, photography etc. And here you are genuinely wanting to make a positive change and help people. How was the scene like when you were coming up in your area, was it more collaborative or was it dog-eat-dog?

RA: I grew up in Miami around a lot of dickheads. But they really didn’t understand their actions. Some people live in a box so when they have to chop you down they can’t understand that it’s not serving them. They’re living life with blinders on. Years from now they’ll still be doing the same bullshit. For me, it’s about connecting and collaborating with folks because no one gets to any place by themselves. To learn and ask questions is the best way to be. Once you connect with someone else who has the same mindset then you both grow together. That’s how you change someone’s life. Those dickheads actually motivated me to work harder and got me to where I am now. [Smirks] Slow and steady always wins the race.

VG: Can you give any other advice to people struggling within their field? 

RA: Consistency is key. Stay curious. Teach others what you’ve learned and be willing to listen. Also never give into fear. Use emotional intelligence because that truly brings wisdom. Sometimes we forget to enjoy the journey. We get upset if things aren’t going our way or believe we should be further in our careers. But you got to separate your emotions to come to another conclusion. Maybe it’s not your time yet. Timing is everything. Everything isn’t going to be great all the time. But when it is you got to seize the opportunity and appreciate those moments.

VG: What’s next for Ray Angry?

RA: World domination and music music music! 

VG: Thank you for your time, talking life and giving advice Mister Goldfinger.

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Pitchfork Music Festival returned for its 15th year on September 10th for a weekend of incredible music, food, and art. The show’s artist’s graced the three stages with enough energy to power even the dimmest corners of Union Park. 

Day one of Pitchfork started unconventionally with waiting in line to go down the stairs from the “L” station. Ahead of me, several other people in line were dressed in a similar theme: reusable water bottles clipped to their bags, beaten up Dr.Martens, and vintage T-shirts. The sounds from the festival were floating up from behind the gates, and ticket hawkers stood prepared at the base of the stairs to shout out their wares.

The three stages were at the various corners of the park, with large swaths of dead grass in between. Early in the day, some attendees opted out for lounging in the shade while they listening to the performances, the sound systems carried music loud and crystal clear to the back of the park. I arrived in time to see the Chicago local, DEHD, blast through their set.

Vocalist and bassist, Emily Kempf commanded attention during her performance. Wearing 4 pigtails and baggy clothing, she exuded the kind of effortless coolness that permeated the festival. Listeners swayed to some of the songs in an almost meditative trance. Her face was illuminated by the camera’s, giving us glances at her braces-filled snarl as she shredded through song after song. She asked for a “vibe check” at one point to which the crowd responded with enthusiastic cheering. DEHD’s performance was a perfect constellation of riffs, crooning, and headbanging.

Immediately following DEHD, Indie darlings, Hop Along began their set. Already drawing a crowd at their mic check, the listeners cheered at every snatch of song that came from Frances Quinlan’s guitar. Once ready, they launched right into “Waitress” and to the sounds of screaming fans. Hearing Hop Along live is an experience not to be missed. The myriad of layers to their sound, the rasp of Frances’ voice, and the general feeling of myrrh are something that doesn’t always come through when listening to recorded music.

Like many other artists would share throughout the weekend of the festival, Frances expressed a collective feeling: “It feels so good to be doing this again”.

Saturday began with me running to catch Divino Niño. Having only seen them once before in 2019, I knew that their show was not one to be missed. Hanging near the back of the crowd, Camilo Medina’s face greeted me on the screen, charismatic and full of energy.
Sporting a white tank and combat boots and a pearl necklace, Camilo crooned and thrust across the stage. With all the bravado of a rockstar, Camilo truly took us there. The band switched seamlessly between moods and even instruments, at times forgoing guitars completely to rap or dance around the stage. It was a great reminder of what live music can be, especially after months of lockdown.

We ended this Pitchfork weekend with one thought in mind: See Danny Brown. This year marked the ten-year anniversary of his album, XXX, which Danny made sure to mention during his set. New to his music, I wanted to see firsthand what his stage presence was like, and to hear his incredible lyricism firsthand. What I was met with was a hodgepodge of music festival moments: Fans rushing to get to the stage, Danny doing call-and-response with his choruses, crowd surfing, and good old-fashioned moshing. By the time a wall of death opened in front of the stage, I knew that this was going to be the highlight of the show. Danny bantered with the crowd, admitting he hadn’t practiced his songs over quarantine: “I was too busy with my air fryer, man.” Which turned out to be true as Danny stumbled over the lyrics to one of his songs and jovially laughed it off. The crowd could care less it seemed as the energy radiating off the crowd was permeable. A turquoise blue bra sailed onto the stage at one point, of which Danny scooped up and wore for part of the set.

After a summer spent mostly indoors, it felt good to see Chicago concert-goers come together under the sun once again for a weekend of live music. If it’s one thing this city knows how to do, is celebrating the return of live music with all the joy and screeching one can handle.

The post “It’s so good to be here” – Highlights from the Pitchfork return to Union Park appeared first on Quip Magazine.

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.

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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.

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Chicago’s Pitchfork Music Festival has become the premiere mid-summer festival with an array of performances ranging from lesser known acts with small followings, to powerhouse acts known all over the world. Although the festival itself often times suffers from one hiccup after another (possibly due to the festival outgrowing its current location at Union Park), music-wise, festival goers can experience everything from hip hop and rock, to electronica and soul. Here are some of the best moments from this year’s Pitchfork.

Dawn Dazzles: Former Danity Kane and Dirty Money member Dawn Richard has found her musical niche in experimental R&B and electronica – a sound that vibes with both her vocals and personality. Surprised at how many fans showed up for her set and engaged with her by singing along and dancing, Richard humbly and repeatedly thanked the crowd for their support of her career and performance at Pitchfork. Backed by her band and dressed in an all-white ensemble, the New Orleans native’s vocals and choreography were perfect as she performed music from her solo albums and EPs.

Bring on the Funk, Bring on the Noise: Despite running over their set time, in what seemed to be a chaotic display of debauchery, with no short supply of colorful characters and personalities, George Clinton and the current lineup of the Parliament Funkadelic collective delivered a rambunctious, funk-filled good time. Lacking his iconic colorful dreads, the 75-year-old godfather of P-Funk kept the band and festival goers rocking with the likes of “One Nation Under a Groove,” “Atomic Dog,” and “Flashlight.” Although most of the current members of the band appeared to be too young to remember Clinton and P-Funk in their heyday, they delivered an unconventional performance that left fans, new and old, feeling as though they had just attended the funkiest party of 2017.

British Blast from the Past: Donned in all-black, English rocker, PJ Harvey, opened her set with a saxophone solo backed by a small marching band. Known for her guitar skills, Harvey ditched her guitar for said saxophone and backed by a nine-piece band, proceeded to play a 13-song set which included some of her biggest hits from the 90s (“50ft Queenie” and “Down by the Water”), as well as her more recent music. Staring intently into the distance and barely smiling, Harvey’s performance reminded fans as to why they loved her to begin with: her dark lyrics, fearlessness with musical experimentation, and artful aesthetic.

Heavn on Earth: After an unfortunate cancellation by Australian band The Avalanches, Sunday saw Chicago’s-own Jamila Woods moved from the smaller blue stage to the main stage. Mostly known for her work as a frequent collaborator with Chance the rapper, the soul singer and poet shined as she performed nearly the entirety of her debut album, Heavn. Accompanied by a four-piece band, three backup singers, and the Hiplet Ballerinas, Woods’ alluring vocals sounded just as flawless live as they do on her studio album.

A Celebration of Life: Performing at their first festival since the death of founding member Phife Dawg last year, Q-Tip, Jarobi, and Ali Shaheed Muhammad, collectively known as the iconic A Tribe Called Quest, closed out Saturday night with an energetic and memorable performance. With an empty mic stand in his place, the hip hop legends paid tribute to the life and career of their brother, Phife — playing each of his verses from every song that was performed during their 90-minute set. Joined by frequent collaborator, Consequence, ATCQ celebrated their storied history with tracks such as “Electric Relaxation,” “Excursions,” “Buggin’ Out,” and “Check the Rhime.” With their intricate storytelling and artful flow, the group engulfed their seasoned fans in nostalgia and not a moment passed in which fans weren’t completely engaged. Each member of the group was afforded the opportunity to perform solo material, including Phife Dawg, whose verse from “Butter” was played acapella during what was the most reflective moment of the night. Instead of closing with “Scenario” as they typically do, ATCQ ended with the lead single from their latest album, the gritty “We the People;” even going so far as to perform the song three times, as Q-Tip walked through the crowd demanding fans to repeat the words “We the people” over and over. A Tribe Called Quest’s stellar performance can be best described as a celebration of Beats, Rhymes, and Life.

Honorable Mention: Honorable mention goes to the ever-entertaining, Detroit MC Danny Brown, and California-based DJ/producer Madlib; for hip hop fans, both were a welcome addition to Pitchfork. Danny Brown blazed through a 17-song, high-energy set on the green stage, while Madlib took to the blue stage and filled the air with some of the most classic hip hop tunes to ever be recorded. Due to the anticipation of both performances the crowds at both stages swelled to a point that made it nearly impossible for festival goers to move – that in itself says a lot about both men’s contributions to hip hop.

All images are courtesy of Pitchfork Festival

The post The best of Pitchfork 2017 across genres appeared first on Quip Magazine.

On Saturday Pitchfork started with a dilemma, Kevin Morby or Royal Headache? I had recently seen a set by Morby at Schubas so I opted for Royal Headache. I did stick around for one song by Morby and Will Miller from Whitney was joining them on stage to play trumpet. Some of festival highlights tend to be those mini collaborations that a large co-location of artists easily affords.

Royal Headache didn’t disappoint with a soulful, fuzzy lead by feverous front man Shogun. But you know who did disappoint?? Brian Wilson. Some things are better left in the past and I think The Beach Boys might be one of them. The sound was too crystal clear, like someone had simply pressed play on their MP3 player and when Wilson did attempt to sing, it was depressing. John Cusack did make an appearance but this is a music festival, not a film Q&A. The movie Love and Mercy came out this year and Cusack is a Chicago native so the choice for Brian Wilson to play made some sense. Except that what we got was a sad old man group trying to relive their glory days. I understand that Brian Wilson is a musical genius and I mean him no disrespect but I just don’t think that Pitchfork was the right setting.

Devonte Hynes paid Carly Back on Saturday when she came on during his set. He opened his set with the same intro from Freetown Sound, which is a poignant speech by Ava Raiin about race and feminism. It’s a fabulous intro and I’m glad he kicked his set off with it. Festivals are a great time for artists to make statements not just musically but socially as well. They hold a lot of power and have a lot of young, eager ears listening. He kept it light and fun though and had the whole crowd bopping and swaying. Empress Of also graced us with her presence to sing for the track “Best of You”.

Sufjan Stevens closed out Saturday and it was a bacchanalia of sound and colour. He and his band were decorated in various shades of neon and silver fringe on almost all their appendages. He had his signature angel wings and it took everything for this writer to not burst into tears. He played an amalgamation of “Illinois”, “Age of Ads” and “Carrie and Lowell”. Many of the songs featured synchronized dances from him and his back up singers along with him being held up on a ladder in a giant silver headdress. Of course, he finished the set with the beloved track Chicago and then a cover of Prince’s “Kiss”. Easily, my favourite set of the weekend. When Chicago started the crowded erupted into approval and Sufjan could have handed us the microphone, not a single lyric was missed. I love when things are joyous, whimsical and strange and Sufjan was all of that and more.

Sunday was filled with extremely sexy and danceable acts like Kamasi Washington, Holy Ghost!, Jeremih and Miguel. Jeremih’s set may have stolen the show with a guest appearance of Chance the Rapper. Once Chance stepped onto the stage, the crowd surged forward in a wave of crazed, enthusiastic madness.

Holy Ghost! was the great dance party of the weekend. In every observable direction all kinds of moves were being bust and inhibition was thrown to the wind. Final days of festivals are definitely the time when you need to get your ya ya’s out. I, for one, could not stop shaking it. The only break was had when front man Nick Milhiser stepped off the stage to light up a cig.

The weekend closed out with F.K.A Twigs and Oneohtrix Point Never. My fellow comrades have already referred to F.K.A Twigs as a goddess and I have to say her trippy, smooth performance could be lead by a celestial being. Per usual though, I want to give some clout to the under dogs, Oneohtrix Point Never was insanely intense and unlike any other set I saw at Pitchfork. Loud, unearthly, and trance like. They may not win a Grammy any time soon but if you’re looking to get weird, they’re the ticket.

Music Festivals feel like this magic place where reality is suspended. People are kinder and strangeness is not only expected but also encouraged. I love the whirling distortion that happens when the lights fall on Union just as much as the sun blazed dance parties during the day. Every year I think it can’t get any better but it always does. Until next year, kiddos.

Images by Garrett Duncan and Matt Lief for Pitchfork

The post Welcome to the eleventh hour: Pitchfork 2016. Part 2 appeared first on Quip Magazine.

Pitchfork started in a gray drizzle as my black, torn sneakers stepped into Union Park. Car Seat Headrest had already begun and Will Toledo’s unique voice was the perfect beginning to this festival. Pitchfork is known for showcasing emerging artists. The band soon started into Vincent and Toledo was in his fetal like position shredding on his guitar. His boyish good looks only add to his allure and the obscure lyrics like the ones in “Drunk Drivers” help engage the misfits as well.

It doesn’t take long for the weather to clear up and people start to trek over to the Blue stage. The sun could not have more perfect timing. Whitney takes the stage and sunny weather definitely matches their jangling fusion sound. Ehrlich leads the band though a set almost identical to the one they played for JBTV. He makes sure to introduce the band and even gives a shout-out to his folks. The set even features a string quartet to help out on the title track “Light Up On The Lake”. A perfect summer band, if you haven’t already hopped on the Whitney train, I highly recommend it.

Twin Peaks set was scheduled to play next on the Green Stage. A Friday 5:30 set was something I was surprised by. Two years ago, before the release of Wild Onion, they opened the festival, one would think they would have earned a Saturday playtime while touring behind their 3^rd album. Their set was the usual psyche freak out most of their sets are. The boys of Twin Peaks are much like their music. They’re raucous, wild mad men that you can’t help but love. They’re Chicago boys too so most of us were brimming with hometown pride. You could even see the Whitney boys on the side in support.

Broken Social Scene was second to last on Friday and there was definitely a wave of nostalgia as people reminisced over studying, hooking up, and breaking down to this band through their formidable years. Kevin Drew and crew haven’t played the states in over 5 years and they didn’t disappoint as they banged out the hits including: “Texico Bitches”, “Fire Eyed Boy”, “Shoreline”, and “Ibi Dreams of Pavement.” The crowd for the set was the largest one for the day if not the entire weekend. It makes sense though because BSS has a connection with the city of big shoulder due to spending a year here while recording Forgiveness Rock Record.

Carly Rae Jepsen’s set had a cameo by Devonte Hynes so it looks like her cred is only getting stronger.

Beach House closed out Friday is a dreamy, twinkling, Steven Soderbergh style of lighting. Their music doesn’t always translate the best live due to the light airiness of it but having the park to themselves definitely helped. Watching their set felt somewhat like floating through space. Front woman Victoria Legrand left us with inspiring words “Trust in those who love, because those are the ones who matter. Don’t let fear win.”

Images by Garrett Duncan for Pitchfork

The post Welcome to the eleventh hour: Pitchfork 2016. Part 1 appeared first on Quip Magazine.