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.

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.

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.

Love & Hate is that kind of album, Pitchfork called Love & Hate “A sprawling soul opus full of longing and self-assessment”. This record is, in a way, Kiwanuka’s self-discovery. After spending some time being drawn into the likes of Kanye West and feeling lost in that crowd Kiwanuka joined hands with producer Brian “Danger Mouse” Burton (Gnarls Barkley, Cee-Lo Green, Broken Bells) for Love & Hate. The album drawing on the 60s and 70s soul sound was a huge success. It is emotional, honest, and raw, built on the base sounds of his acoustic guitar.

Joined on stage by a full band Kiwanuka opened the set with “Cold Little Heart,” this drawn out opening track enhanced by the wealth of the full band really set the mood for the night. Back to front, start to finish the crowd was engaged, dancing, singing and clapping along. The highlight of the evening was “Black Man in a White World,” a track in which Kiwanuka samples an instrumental Afrobeat sound while lyrically touching on his inner racial conflict: “I’m in love, but I’m still sad/I found peace, but I’m not glad.”

Paused by an occasional story, the performance was not perfect, Kiwanuka apologetically restarted a couple of times but the set did not suffer from it one bit. His honest and raw personality pulls the audience in. Love & Hate, much like his previous record, is a keeper and seeing it come to life is a special experience that can only deepen the appreciation of the artist and the album.

The post Michael Kiwanuka and his all-encompassing sound live at the Phoenix appeared first on Quip Magazine.

While Mississippi Studios has become a reoccurring waterhole in my life, last night was extra special because I was getting a little taste of sweet home Chicago. The boys from NE-HI are currently on a pretty massive tour in support of Offers, their second studio album which was produced by Dave Vettraino and distributed by Grand Jury (who also reps Twin Peaks and Day Wave to name just a few). Half of the band is clad in Bulls gear due to the playoffs and it’s almost like I’m back at The Empty Bottle. Oh how I’ve missed the web of the garage rock scene in Chicago.

NE-HI takes the stage and there’s no messing around. They launch into “Sisters,” which was one of their first singles on Offers. “Sisters” morphs into “Prove” (while Jason Balla and Mikey Wells shake their guitars towards the amps to create a distortion) and then they hit the crowd with the song that started it all, “Since I’ve Been Thinking.” As the set progress the boys become possessed. They’re thrashing and writhing all over the stage and the energy they exude is palpable. Next up, they make a dedication to Sean Page, a long time friend and local musician here in Portland who performs under the moniker Mantra Blues.

The set list continues with “Buried on the Moon,” “Drag,” “Offers,” “Reach,” and they close out with “Stay Young,” quite possibly the most popular track on their sophomore project. The gentlemen of NE-HI have been at it for a few years and they are finally getting the recognition they deserve. It was also revealed that they would be playing Pitchfork Music Festival this year. This is a surreal experience for a Chicago musician. The boys’ passion and talent have begun their propulsion towards notoriety and it’s really exciting to watch. NE-HI will be touring until mid July so I highly suggest if they’re playing in a city near you, you make the trek out. It’ll be an experience on par with watching televangelist speak in tongues.

The post Demonic possession of garage rock heroes: NE-HI live in Portland appeared first on Quip Magazine.

Concept albums, like Stevie Wonder’s Secret Life of Plants or Pink Floyd’s The Wall, hold a special place in the imaginations of music lovers because they exist as something more meaningful than a collection of songs.

Though each track might be more or less interesting than another, as a group they can evoke a feeling, or a change of feelings, that’s greater than the discursive jumble of thoughts in any other off-the-shelf LP.

So, to judge a concept album like Concrete Desert – the latest project by producers Kevin Martin (the Bug) and Dylan Carlson (Earth) – requires a bit of reverse engineering.

Imagine a world dominated by manmade landscapes, devoid of non-mechanized sentience. In every direction is cement. Nobody’s happy. Everything sucks. Basically, Los Angeles – except everywhere. This is the setting for Concrete Desert, as the first track “City of Fallen Angles” implies.

With song titles like “Broke”, “Don’t Walk These Streets”, “Hell A”, and “Agoraphobia”, a listener can get the gist of this album’s major themes without too much effort towards intuition. What the Bug and Earth have done is make an audio image of a certain type of self-imposed apocalypse.

By mixing a droning heavy metal with an ambient western electronica background, this hour-long LP takes the listener on a trip to what may soon be the future.

Concrete Desert feels a little like a soundtrack to the type of movie that involves skeletons riding motorcycles and long shots of a sun on the horizon, on the verge of going supernova. The guiding ethos of the album seems to be to capture the idea of what intense, concussive melancholia is like. It seems to say, “Hell isn’t pitchforks and earthquakes, it’s an endless, dry monotony.”

This isn’t to say that Concrete Desert is dry or monotonous, but it does have an aspect of that. The whole album walks a line that stays just north of boring, with an occasional toe-dip below. The proximity the Bug and Earth share with yawnsville can be excused, because to capture the bleakness of the world Concrete Desert inhabits, they have to indulge in a little dronage.

This isn’t a “get out of your seat and freak-out” album; it’s the opposite, and that’s a good thing. In a music world of screaming distraction, it’s nice to listen to an album that asks its audience to look inward and consider the self, and our place in the world.

Returning to the concept behind the concept album, to determine whether people will like Concrete Desert is, in part, a factor of the music’s quality – which is fine, great really – but also contingent on how vested a person is in the apocalypse. Want to hear the bottomless, gaping void of Hell? Concrete Desert sings that song.

The post The Bug and Earth walk through Hell in “Concrete Desert” appeared first on Quip Magazine.

It was an oppressively hot evening in Chicago and I was glad to get off the saddle of my bike and into Schubas. The fans were twirling, the beer was flowing and my friends were already inside. I was standing in the former brewery and waiting for Kevin Morby and Company to take the stage when two guitars pass right in from of me. At first I was thrown and then I realized “its them!”

Once lit up on stage the entire band looks like a photo from 1960s Nashville, save for Duffy’s midriff. This is actually Morby’s third time playing Schubas, but for some reason this time feels different. His latest album Singing Saw is a masterpiece and is definitely Morby showcasing some serious skills and his own personal progression in lyrics. I’m a little disappointed he didn’t have the singing saw in tow but alas, into each life a little rain must fall. Let me digress for a moment though to express the sheer joy and genius that Kevin Morby’s second solo album is. The warbling opening to “Cut Me Down” sets you up for a creative folk journey. From there Morby transports us with his Dylan-esque voice through jangling jams like “Dorothy” to rythmic heartbreaks like Destroyer. I know nothing of the neighborhood Mount Washington in LA, but is did something for Kevin Morby. And let me add, it’s even better live, even without the saw.

The show itself was a delight. He debuted a new song called Tiny Fires and even graced us with a very good Ira Glass impression. Megan Duffy, who wasn’t present on the album, is honestly mind blowing. She smoothly and humbly moves from lead slide guitar to rhythm without missing a beat. I MUST here more from this woman! Sam Cohen is another force in Morby’s band in the form of percussion. His drums are powerful and vibrate off of your bones and into your neurons. The entire show was filled with hoots and hollers from the crowds and plenty of explosive side jams were had on stage. Morby ended the set with a cover of Townes Van Zandt’s “Where I fall”.

I cannot reiterate the genius, power, and beauty of this album. In the words of Shuga Records, I highly recommend this album. If you are lucky enough to make it to Pitchfork Music Festival, his set is on Saturday and is worth making it in early!

The post Folklore on a summer eve: Kevin Morby at Schubas Tavern appeared first on Quip Magazine.

Slow Magic and Giraffage have worked together a few times prior to the tour on tracks like “Hello,” “Be With You,” and finally “So Cute!” which undoubtedly was the bonding experience leading up to this tour. And admittedly while their music is quite different they are an excellent match to host a dance party.

Slow Magic is a man built of contagious positive energy. You can’t see his face, or hear his voice, but you can be quite certain he is smiling under that hood. Shaping hearts for the audience and praising them for support, Slow Magic has not uttered a single word but despite that lack of obvious communication there was a clear bond between him and the audience. Twice throughout his hour-long set Magic took his drum into the mosh pit hopping over his equipment like it’s nothing but a small picket fence to be one with the crowd.

Most of Slow Magic’s tracks are quite down tempo but when performed live Magic expertly drums during the entire set making the music come alive on an entirely new level. Slow Magic played through his latest album, How To Run Away, and some of the more popular remixes like Odesza’s “Waited 4 U” during which I’m quite certain people were singing along. Eventually with a couple of additional praiseful nods into the audience Magic left the stage.

Within brief few minutes the stage was transformed for Giraffage’s set but the one component that was prominent in both producer’s performances is the background video: in the spirit of being cute background graphics were featuring a variety of emoji from sparkling hearts to clapping hands. 

Giraffage had a brief technical hiccup at the start but with a quick equipment change he went right back into it for a smooth one hour set. Pitchfork once called his style “candy-colored R&B” which seems as on point as one could possibly get describing Giraffage’s style. The set opened with a rendition of Drake’s “Hotline Bling” mixed with Carly Rae Jepsen’s “I Really Like You” during which, you guessed it, the video was a variety of moving Drake emoji.

Current Top40 pop tracks, however, were not the only highlights in Giraffage’s set which featured tracks across a couple decades from Alice DJ “Do You Think You’re Better Off Alone” to R Kelly’s “Ignition” and Baha Men’s “Who Let The Dogs Out” [insert various puppy cutouts on the screen, clap clap].

So Cute! Tour just might be one of the best collaborative tours we’ve seen in a while so your home-base is in one of them cities on the second half of the tour we strongly suggest checking it out.

photos by Erik Shaw

The post Slow Magic and Giraffage bring So Cute! Tour to Toronto appeared first on Quip Magazine.

The grand daddy of indie, Beck, opened up with “Devil’s Haircut” shredding notes from a fluorescent guitar. With geometric numerology playing on the screen the crowd dove right into the set. Beck knew exactly where and who he was playing to and he gave us the hits. All of the hits. With no breaks between songs there was complete fluidity. When the band played “Loser” a scream erupted from the crowd with at least three generations singing in unison, solidifying the reason why we were all there. Each song is different: funk, soul, rock, dance. Beck definitely has a gift for giving a musical whiplash in really a good way.

It’s a common knowledge in Chicago that by law all outdoor concerts must finish by 10pm but Pitchfork sometimes gets away with a late call. Beck’s band asked the crowd to defy? While my mind wondered into all sorts of law breaking actions Beck went into playing “Sexx Laws” – so much for walking on the wild side. The band finished up with “Where It’s At” making it a perfect evening of the first day.

The next day, in true hip hop form, Pusha T came out on stage about 30 minutes late. His rhymes hit so hard that even the bitty babies by my side were bopping along. Pioneer of coke rap is truly cerebral.

When the neon tribe of tUnE-yArDs took the stage it was obvious they see themselves just as much performers as they are musicians. Playing a good combination of WhoKill and Nikki Nack. Personally, Nikki Nack is a little too experimental for me. I feel WhoKill has far more of a dance vibe. She did recreate Gangsta sonically and verbatim, how it appears on the record, which is seriously impressive.

Danny Brown did us all a treat by having his producer, Sky Walkr, on stage with him who quickly got the crowd hyped up with a “TNGHT” beat.  When Danny finally got up on stage he was steezed to the dome. Literally, he has teal colored hair. His whole set is a dance party fueled by joints and beers. Smokin’ and Drankin’ y’all.

Now for the best 45 minutes of the weekend, and maybe the year – Annie Clark and St. Vincent absolutely stole the entire weekend right under from every body’s feet. To no one’s surprise Annie Clark hit the stage dressed as a blend of a Geisha Robot and a hunted vixen. At times she is coquettish and demure (but than again, she has been referred to as the darling of indie rock) and other times she looks like she can eat you alive. I’ve said this before and I’ll say it again, Miss Annie Clark is the baddest bitch on six strings.

Clark opened with “Rattlesnake” and from there on we were taken on a ride. During “Cheerleader” like most people in the crowd I was covered with chills. When “Huey Newton” started, to date is one of her best solos yet, boys and girls alike were losing it left and right. Annie invokes Beatle-mania like screams in the crowd. For “Bring me Your Loves” Annie and her keyboardist broke out into a synchronized dance that continued into “My Lips are Red” which quickly turned into a psych rock freak out: Annie is trashing and riffing on the shoulders of a security guard burying her face into the crowd screaming “CMON!” After hopping back on stage she flang her guitar off with an emphatic ‘fuck’ and collapsed in passion on the ground. We think she’s done, but the song isn’t over. Clark was revived by a beautiful white guitar finishing out the song. This is a set that will be referred to for years, zeitgeist in motion.

Neutral Milk Hotel was a good way to come down after Annie’s jolt heated up the festival goers. The set started with favorites like Holland and King of Carrot Flowers, Part 1 &2. And they of course serenaded us with “Aeroplane of the Sea.” Neutral Milk Hotel has a tendency to turn the crowd into wild spurts of jubilation and then bringing them back down into a syrupy stupor – great way to close out Saturday.

Sunday begun in the beautiful reprieve hat is the Blue Stage. The natural shade from the trees makes it a good place to take a breather. Speedy Ortiz was the first set of the day fronted by Sadie Dupuis. The crowd is head bopping and shuffling but you can tell the weekend is starting to wear on us.

Next up were DIIV, the musical equivalent of marathon runners. They never put down their instruments,  the sound was ubiquitous, and throughout the set they played some new tunes which were pretty well received. DIIV finished their set with Bob Dylan’s “Like a Rolling Stone” which in reality is more like Bob’s Lyrics put to DIIV’s melodies.

Probably one of the more rare performances of the weekend was Earl Sweatshirt who had cancelled his entire tour except for Pitchfork. Once he came out on stage it was obvious why – Sweatshirt is ragged from the fame. Skinny and over-worked he’s definitely ready for a break.

Pitchfork 2014 was everything I hoped it would be and some stuff I didn’t want (but scars are sexy right), the breeding ground for the best band T-shirts around and one of the only places in Chicago where you can find Sleater Kinney vinyl. Until next year kiddos.

See more photos from Pitchfork here.

The post Pitchfork 2014 is the year of Annie Clark appeared first on Quip Magazine.