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Pitchfork 2019 Recap: Sunday, July 21st

Pitchfork Festival’s final day rolled around on Sunday, featuring a lineup packed to the brim with some of my favorite artists to close out the fest. Throughout the weekend, the weather forecast for Sunday had gone back and forth— varying from raining all day to showing clear skies and temperatures in the 70s. When the morning rolled around, it looked like we might have gotten stuck with cooler temperatures and rain—especially when gates were postponed nearly an hour with rain and threats of lightning. However, after the morning and brief early afternoon storm, the gates opened and the rest of the day went smoothly and according to plan.

Sunday’s theme definitely revolved around the camaraderie in the Chicago music scene, with incredible sets from some local artists that featured multiple guest appearances. In addition to the Chicago music community, here are the rest of the day’s highlights.

Morgan Simpson of Black Midi

Morgan Simpson of Black Midi

London’s Black Midi played the Green Stage in the early afternoon, getting the energy ramped up for the day with their experimental hard rock. The festival site by the main stage had flooded with the early morning rain, but despite the puddles, fans watching Black Midi didn’t let some mud get in the way of their fun. The band’s high energy was matched by the crowd, who started a muddy mosh pit early on in the set.


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Next up, Chicago’s Tasha made her much-deserved Pitchfork Festival debut over on the Blue Stage. Tasha’s 2018 album Alone at Last showcases her smooth and soulful indie pop, and her set at Pitchfork provided a tranquil escape for festival attendees. I’ve seen Tasha perform captivating solo sets several times throughout the last year, but her festival set was one of the first times I’ve seen her with a backing band. The addition of the band gave her intimate songs a layered and more full sound. Tasha also treated fans to some brand new, unreleased songs, which she performed solo.





JPEGMAFIA on one of his many trips into the crowd

JPEGMAFIA on one of his many trips into the crowd

One of the best things about music festivals is that you can go in with expectations of what bands you’re seeing and what time, but you’re always given the chance to see a band you’ve never seen perform, or even listened to before. On Sunday of Pitchfork, rapper JPEGMAFIA was that artist for me. I wandered over to JPEGMAFIA’s set with no expectations, having never seen him before, and his stage presence was one that immediately drew me (and everyone else) in. After making his way onstage, it didn’t take long for the performer to become very close with the audience; He began his set giving photographers and people in the crowd hugs ,and shortly after, crowd surfed. Throughout his set, he probably spent more time in the crowd than onstage between all of his surfing and standing on the barricade to dance with the audience. JPEGMAFIA is a performer who demands your attention and puts all their energy into keeping your attention for the duration of the show, and he put on one of the best sets of Pitchfork Weekend.




Lisa-Kaindé and Naomi Diaz of Ibeyi

Lisa-Kaindé and Naomi Diaz of Ibeyi

Ibeyi is a duo of French twin sisters Lisa-Kaindé and Naomi Diaz, and while I’ve listened to them for years, I unfortunately never had the chance to see them perform before their set at Pitchfork. Ibeyi’s performance at the fest was well worth the wait and reinforced how much of a fan I am of their music. They started their set and immediately brought positive vibes and good spirits with their kind energy and smiles, but it was their sisterly harmonies and strong vocals that gave me goosebumps. My favorite part of their set was when they used their music to share their political beliefs, performing their song “No Man Is Big Enough For My Arms,” which samples part of a speech by Michelle Obama.


Laura Lee, Mark Speer, and Donald Ray "DJ" Johnson of Khruangbin

Laura Lee, Mark Speer, and Donald Ray "DJ" Johnson of Khruangbin

Texas trio Khruangbin has also been a favorite of mine to see live, and their set at Pitchfork Festival was no exception. While they’re a band of few words and play a lot of instrumental jams, they were able to capture a large crowd with their entrancing blend of funk, soul, and psychedelic tunes. Khruangbin has an effortlessly cool stage presence, making them the perfect Sunday afternoon act.


Julien Ehrlich of Whitney

Julien Ehrlich of Whitney

Hometown heroes Whitney made their return to Pitchfork Festival, following up their 2016 performance at the fest with a kickoff to their new era. Earlier this summer, the band announced their highly anticipated sophomore album Forever Turned Around would be released August 30th, so naturally their first hometown show in almost a year featured some never before played songs. In addition to the new material, what really made Whitney’s set special was the sense of community—both onstage and offstage. When the band performed their popular tune “Golden Days” from their debut album, they got a little help from their friends, including Pitchfork acts Ric Wilson, Tasha, Chai, Snail Mail, Soccer Mommy, and Lala Lala. The audience also sang and swayed along to all of their old favorites from Light Upon the Lake.





Charli XCX

Charli XCX

Charli XCX was definitely one of the more mainstream artists to play Pitchfork Festival this year. As a pop artist, Charli XCX is an artist whose songs are everywhere— songs that you’ll know 99% of the words to because they’re so catchy they stick with you after only a couple of listens. Despite the larger than life pop anthems that she’s known for, Charli’s stage set up was actually pretty minimal. Two massive yellow cubes acted as a backdrop, and the singer made her entrance onto stage by herself, sans a backing band. Though her setup was simple, her fanbase proved to be mighty; Fans camped out at the Red Stage all day to get a prime spot, they wore pink cowboy hats and held up signs with references to her songs. The dedicated fans helped make the set so powerful— as they danced and sang along, the positive energy radiated throughout the crowd.


Robyn closing out the festival

Robyn closing out the festival

Robyn closed out the whole festival with one of the most fun and cathartic shows I’ve ever seen. Robyn’s set up featured a delicately draped backdrop and backup singers, but at the center of her incredible performance stood her legendary electro-pop songs. Getting to experience the live performance of songs like “Call Your Girlfriend” and “Dancing On My Own” in a huge crowd of both friends and strangers all singing and dancing along was the best way to close out the festival weekend.




Photos of Flasher, Black Midi, Tasha, JPEGMAFIA, Ibeyi, Clairo, Khruangbin, Whitney, Chari XCX, Snail Mail, and Robyn

PHOTOS: Snail Mail and Tasha's Pitchfork Aftershow

Sunday Pitchfork Festival acts Snail Mail and Tasha gave Chicago fans a preview of their shows on Saturday night, with an aftershow at Thalia Hall. Both acts put on a stunning show and got everyone ready to see them at Pitchfork the final day. Check out photos from their sets below.

Pitchfork 2019 Recap: Saturday, July 20th

The second day of Pitchfork Festival started off with the same sweltering heat as day one, but a fair amount of festival goers showed up as gates opened to take in the full day of music. The forecast showed continuous sunny skies all day to accompany the heat, but the fest ended up being suddenly evacuated around 5PM by a storm that came out of nowhere. The festival organizers were able to make the call just before torrential downpour hit the park, and most attendees were able to seek shelter in nearby bars and restaurants. Unfortunately, Kurt Vile and Freddie Gibbs sets were cut during the storm, but the festival did reopen after an about an hour of downtime, continuing the night with good weather. Despite the evacuation, day two still proved to be a great day with plenty of highlights. Read about my favorite Saturday moments below!

Lillie West of Lala Lala

Lillie West of Lala Lala

Lala Lala, the project of songwriter and musician Lillie West, opened the second day of the festival with the same all-star band roster that had performed the night prior at Metro, which included V.V. Lightbody, KAINA, Sen Morimoto and Nnamdi Ogbonnaya playing alongside West. Despite having the first set of the day, the heat, and the fact that they were coming off playing a late show the night prior, the entire band sounded as flawless and refreshed as ever. The early day crowd listened intently, even during some of the quieter moments of the set, like the performance of “Scary Movie." Lala Lala’s set also included a cover of “Slip Away” by Perfume Genius, who has also previously performed at Pitchfork Festival. Lala Lala has continuously been one of my favorite bands to see play around the city, but this set was my favorite from them to date.



Ric Wilson with the Lane Tech marching band

Ric Wilson with the Lane Tech marching band

Ric Wilson kicked off the Red Stage for the second day, and his set was hands down my favorite of the day, if not the entire festival. Wilson’s set had literally everything you could want from a festival show; an interactive dance party, guest appearances, and a positive message. The Chicago based artist immediately let the crowd know that he doesn’t tolerate any hate by starting his set with a call and response chant where to told the crowd “no racist, no sexist, no homophobic, and no bullshit” behavior would be tolerated here. The positive vibes continued as Wilson danced across the stage with a beaming smile. A few songs into the set, the first guest appearance came from collaborator and Pitchfork Festival alum, Kweku Collins, who played the festival last year. The energetic performance also featured an appearance from the Lane Tech marching band. And finally, Wilson closed out his set with everyone in the crowd participating in a Soul Train style dance off, which left everyone walking away with a smile on their face to enjoy the rest of the festival.


Jay Som performing at the Blue Stage

Jay Som performing at the Blue Stage

After taking a break to cool down, I moved over to the shaded Blue Stage to catch an afternoon set from Los Angele’s Jay Som. The singer’s dream pop tunes provided the perfect mid-day, chilled out set for festival goers, acting as a retreat from the chaos of the festival and the blistering heat. Jay Som and her band played through trusted favorites like “Baybee” and “The Bus Song” as the audience echoed the words back to the singer. The festival set also included a couple of new ones from the upcoming album Anak Ko, out later this summer via Polyvinyl Records.



Austin Brown of Parquet Courts

Austin Brown of Parquet Courts

Parquet Courts played next on the Green Stage, and they brought tons of energy along with them. It took mere seconds into the band’s first song of the set for the crowd to get amped up and start moshing, even with everyone being drenched in harsh sunlight. Starting at 4:15pm, Parquet Courts’ set took place during the day’s sweet spot, when more and more people decided to start showing up. The band’s uptempo rock tunes like “Master of My Craft” and “Total Football” were perfect for setting up the tone of the evening ahead. Unfortunately about 15 minutes before Parquet Courts’ set was slated to end, they made an announcement to the crowd that weather conditions might cut them short. After playing the title track of their 2018 album Wide Awake, festival goers were asked to calmly evacuate the site and find shelter. While it might have been cut short, the part of Parquet Courts’ set that we did get to experience was definitely a highlight of Saturday.


Following the evacuation of the festival and the downpour of rain, the park opened back up around 6:30PM for sets from Stereolab and Belle & Sebastian. As both of these bands played their sets, the sun once again shone down on Union Park and all was right— almost giving the feeling that it was a completely different day.

The Isley Brothers closing out the second night of Pitchfork

The Isley Brothers closing out the second night of Pitchfork

Before long, the sun began to set on Saturday, and it was then time for the legendary Isley Brothers to close out the night. Their spot on the festival lineup seemed a little out of place between more contemporary pop acts HAIM and Robyn, who bookended the weekend as the other headliners. However, when the brothers and their live ensemble made their way onto the stage to “Let’s Go Crazy” by Prince playing as their introduction song, it was clear that we were all in for a show. As the band began their set of throwbacks, even the younger audience members who might have been unfamiliar with the group’s music could recognize bits of the songs that have been sampled by other artists. The Isley Brothers instantly had the audience moving along to their soulful music, and onstage, they had extravagantly dressed backup singers and dancers to accompany them.


More photos of Saturday featuring Lala Lala, Ric Wilson, Jay Som, Parquet Courts, Stereolab, Belle and Sebastian, and the Isley Brothers

Stay tuned for more Pitchfork Festival coverage

Live Recap: Doubleheader From Lala Lala and Grapetooth Celebrates Chicago and Collaboration

After the last set at Union Park on Friday, music fans made their way to Metro for a double-header Pitchfork aftershow with Lala Lala and Grapetooth. The night started with a DJ set from Title TK, who had the crowd dancing as they settled in for the night and waited for Lala Lala to take the stage.

With the crowd warmed up, Lillie West and her bandmates began their set around 10:30, filling the room with dreamy melodies and captivating harmonies. West has always been at the center of Lala Lala and toured with an array of different musicians, but her band roster for Pitchfork weekend included some of the best musicians based out of Chicago at the moment—including V.V. Lightbody, KAINA, Sen Morimoto and Nnamdi Ogbonnaya. As the group played through songs from Lala Lala’s 2018 album The Lamb, the dynamic and multi-faceted nature of West’s songwriting was showcased. Songs like “Scary Movie” and “See You at Home” took a step back and slowed things down, with the latter featuring Sen Morimoto on saxophone. “Spy” and “Water Over Sex” built up the energy and momentum, creating a juxtaposition between the smoother, more subtle songs of the night.

By the end of Lala Lala’s set, the venue had mostly filled in, and the rowdy crowd beckoned Grapetooth onstage by chanting “Friday Night! Up All Night! Red wine in my blood tonight!”—which has become a tradition of sorts at Grapetooth’s past shows in Chicago at venues like Lincoln Hall and Thalia Hall.

While the show would eventually end in a much more intense way, Grapetooth began their set with one half of the duo, Clay Frankel, taking the stage for a solo performance of a new song—armed with just his guitar and harmonica. Following the gentle introduction, Grapetooth co-founder Chris Bailoni and drummer Justin Vittori took the stage to play the single “Violent” from the band’s 2018 debut album. As soon as the chorus for “Violent” kicked in, audience members were already up in the air crowd surfing and throwing each other around in a sweaty mosh pit. The dance party continued for the first half of the set, and eventually Frankel and Bailoni welcomed their friend and Chicago musician James Swanberg to the stage right around midnight. Swanberg’s bit kicked off a steady roll of guest appearances; Lillie West returned to the stage to perform a new song she co-wrote with Grapetooth, followed by an appearance from OHMME, who sang backing vocals on “Red Wine.” Next, Ian Sweet and James Swanberg joined OHMME for the second to last song “Imagine On”— and finally, a whole bunch of friends crashed the stage for the closing song of the night: Grapetooth’s debut single '“Trouble.” While the band’s friends joined them onstage to dance and sing the catchy, mischievous anthem, the crowd continued to go wild, ending the night (and day one of Pitchfork Fest) with a bang.


Pitchfork 2019 Recap: Friday, July 19th

In the week leading up to Pitchfork Festival, the forecast for Chicago showed a spike in temperatures, which only continued to climb higher as Pitchfork weekend inched closer. With highs of 98 degrees (without the heat index and humidity) and the promise of sunny skies, it was clear that this weekend would be one of the hottest of the summer and not necessarily the most ideal weather to spend all day outside watching live music. A couple of days before the fest’s kick off on Friday, Pitchfork Festival organizers announced that they’d be taking extra measures to keep festival goers safer in the extreme weather conditions; In addition to providing additional cooling buses and a misting station, the fest ordered 18,000 more water bottles to pass out for free to its attendees. While I knew there would be no way to feel comfortable in temperatures that felt like 110 degrees, these extra precautions at least eased my mind a bit going into Friday.

Chris Bailoni of Grapetooth

My afternoon on the first day of the fest began with Chicago’s own Grapetooth, who played the Blue Stage at 4PM. Tucked away in a tree-lined, shaded corner of the festival grounds, the Blue Stage remained the most comfortable viewing area of Friday, allowing for festival goers to retreat from the sun and still catch some great music. A relatively new collaboration between Twin Peaks’ Clay Frankel and producer/songwriter Chris Bailoni, Grapetooth became an instant hit with their synth-infused, new wave sound and their rambunctious stage presence. The crowd at Pitchfork welcomed them onstage with a rowdy chant and danced along to their opener “Violent,” despite the heat. The opening tune and a few others of Grapetooth’s singles featured an extended introduction, which added some new intensity to their live set. In the spirit of Chicago and the collaborative nature of the music scene, Grapetooth’s set also featured guest appearances from Lillie West of Lala Lala, OHMME, and more.


Sky Ferreira

Sky Ferreira

After a few songs of Grapetooth, I rushed over to the Green Stage to catch Sky Ferreira’s comeback show, marking her return to Chicago for the first time in years. Due to sound issues and gear malfunctioning in the overbearing heat, Ferreira made her way to the stage about 20 minutes past her scheduled time slot, but she was greeted with an overwhelming sound of applause by her many long-time fans. Unfortunately, the sound issues for Ferreira continued for the entire set, and it was clear that she couldn’t hear herself in the in-ear monitors. Despite the technical difficulties and all, Ferreira’s vocals sounded incredible and fans in the crowd screamed along with her when she performed old favorites like “You're Not the One” and “Everything Is Embarrassing.” Adding to the list of obstacles for the singer, Ferreira was cut short due to time restraints, but not before she made the live debut of new song “Descending.”


Soccer Mommy (Sophie Allison)

Soccer Mommy (Sophie Allison)

Next, it was back to the Blue Stage for Soccer Mommy, the project of Nashville songwriter Sophie Allison. All weekend long on the Blue Stage, the festival had different slam poets warm up the crowds for the next musical act performing. The addition of the poets was a great way to experience a different form of art at the festival, and it definitely worked well with an artist like Soccer Mommy, whose narrative-style lyrics have the same relatable impact as some of the words recited by the poets. Overall, Soccer Mommy’s set provided a chance for everyone to just kickback and enjoy a great performance from Allison and her band, who had incredible chemistry onstage from their extensive touring history. The set included favorites like “Last Girl,” “Cool,” and “Your Dog,” which Allison mentioned they hadn’t been performing lately but they were bringing it back in the spirit of Pitchfork.





Mavis Staples

Mavis Staples

The legendary Mavis Staples closed out the Red Stage for the first day, providing an instant mood boost for the entire audience and delivering my personal favorite set of the entire day. With her hearty and soulful vocals, which mixed with her grooving band and backup vocalists, Staples captured the audience’s attention and hearts from the very start of her set. A few songs in, the singer told the crowd that she wanted them to feel good, and judging by the infectious grins on everyone’s faces, it was clear she had succeeded in her mission. Staples gave me goosebumps as she sang in harmony with her live bandmates and when she belted out her roaring vocals, showing off the raw power and control she still has over her voice.



Alana and Danielle Haim

HAIM, the evening’s headliners, were up next on the Green Stage. As the sun set over Union Park, the three sisters [Este, Danielle, and Alana Haim] marched to take their places, as a real-time camera followed them on their walk to the stage. The set began with the siblings taking their places in front of drum sets, building up a suspenseful introduction to what would be their first ever festival headlining slot. Their set opened with “Falling” and “Don’t Save Me” from their debut album Days Are Gone, taking the audience back to the days of 2013—when everyone had that album on repeat. In addition to older material—both from their debut and 2017 sophomore album, HAIM also sprinkled in their new song “Summer Girl” and not one, but two Paula Cole covers: “Where Have All the Cowboys Gone?” and “I Don't Want To Wait.” HAIM’s festival headline debut allowed longtime fans to relish their older favorites while still experiencing a glimpse of what is to come in the band’s next era.



Friday Gallery from Pitchfork 2019, featuring Grapetooth, Sky Ferreira, Julia Holter, Soccer Mommy, Mavis Staples, and HAIM

Stay tuned for more Pitchfork 2019 Coverage

Live Recap: Australia's The Chats Bring Their Rowdy Show to The Subterranean

Hailing all the way from Queensland, Australia, garage punk band The Chats brought their raucous, rowdy show to Wicker Park’s Subterranean venue on July 15th. Although the band was a long way from home, tickets for the gig had sold out months prior despite it being a Monday night. When the day finally rolled around, the weather in Chicago had reached blistering temperatures, but regardless of the heat, enthusiastic fans still packed into the venue like sardines in order to hear some of their favorite songs— including the infamously catchy “Smoko” from 2017’s Get This In Ya.

Following support sets from Side Action and Rad Payoff, the eager fans couldn’t contain their excitement while the stage was set for the evening’s headliner; Everyone chanted in unison, beckoning the band to the stage. When the time finally came, the tension that had built up in the room snapped as soon as the first distorted guitar riff rang out into the venue. Without hesitation, the entire floor of the venue became one rambunctious mosh pit and fans thrashed their bodies around to the night’s opening song “Nambored.” The Chats powered through many of their fast-paced punk anthems as the rowdy crowd continued to mosh, turning the Subterranean into a sweat-soaked sauna. Towards the end of their set, The Chats treated fans to a cover of “Rock & Roll All Nite” by Kiss, which they joked was a new song they’d just written on this tour before playing it.

During every single song of the night, audience members hopped up onto the stage and flung themselves from the stage to crowdsurf, but none of the songs got nearly as intense of a reaction as their hit “Smoko” did— there was consistently at least three crowd surfers up at all times during that song. When the night ended and I made my way out of the Subterranean, the heat in the room had caused the floor to become slippery. I’ve been to plenty of rowdy shows, but The Chats by far put on one of the most intense gigs I’ve ever seen.

The Chats are on tour the rest of this year— see all of the dates here.

Live Recap: A Night of Nostalgia at the Pop2000 Tour

This past weekend, Joe’s Live in Rosemont hosted the Pop2000 Tour, opening up a time portal back to fifteen plus years ago, when the acts of the tour dominated the pop charts. 

After an introduction from *NSYNC’s Lance Bass, the night of nostalgia kicked off with actor/singer-songwriter Tyler Hilton, who took the stage by himself armed with an acoustic guitar. Hilton had a short but sweet set, and while he has a new album out now, he didn’t shy away from taking the trip down memory lane to perform some older favorites. Hilton took some fan requests and since the room had several One Tree Hill fans, he treated everyone to a solo rendition of “When The Stars Go Blue,” which he had performed on the show with actress Bethany Joy Lenz.

Next up, Ryan Cabrera took the stage; Like Hilton, he performed sans backing band for this tour. This year marks the fifteenth anniversary of Ryan Cabrera’s debut album Take It All Away, and his entire set paid homage to the album, keeping up with the theme of nostalgia. Between performing the hits from the album like “True,” “Shame on Me,” and of course “On The Way Down,” Cabrera recited anecdotes about the songs’ lyrics and his muses. Cabrera also showed off his chops as an entertainer when he threw in a medley of cover songs, which included The Goo Goo Dolls, Justin Bieber and Third Eye Blind.

Aaron Carter and his live ensemble were up next, and after opening with the hit he had in 2000, “I Want Candy,” Carter’s set remained a steady mix of new material with just a few throwbacks. Carter talked about his 2018 album LØVË and performed singles like “Fool’s Gold” and “Dearly Departed,” which both had the crowd singing and dancing along. By the end of his energetic set, the crowd was fully ready for O-Town to hit the stage. 


Headliners O-Town didn’t disappoint in terms of nostalgia--opening up with their hit “Liquid Dreams.” While they were able to take the audience back to the days of TRL and Making The Band with their dance moves and classic songs, the band also announced that they had new music on the way this month, thanks to crowd-funding that allowed them to record brand new music. The set of course included some of the new material, but they drove home the hits of the early 2000s era by closing the night with not one, but two covers of *NSYNC songs ahead of their final song, “All Or Nothing.” Their finale was definitely the highlight of the night-- between Lance Bass making an appearance to do the choreography to “Bye Bye Bye” with the O-Town band members and the entire room belting along to the closing ballad, the entire night ended with a bang.


Photo of Tyler Hilton, Ryan Cabrera, Aaron Carter, O-Town and Lance Bass

Live Recap: BANKS Makes Her Chicago Comeback on the Eve of Third Album Release

The House of Vans Summer House Parties concert series always presents a wide array of different artists— from pop to hip hop and rock, the Summer House Parties give music fans in Chicago an opportunity to see some of their favorite artists or discover new ones.

This past Thursday night, the venue hosted an evening curated by one of my personal favorite artists: BANKS, who brought her raw and vulnerable R&B infused pop tunes to the stage in Chicago for the first time since 2017. The evening not only marked BANKS’ comeback to Chicago, but in general; With her third album being released at midnight the night of the show, this performance celebrated the beginning of a new era. Fans that had lined up around the block to attend this House of Vans performance were undoubtedly excited to hear some of the newer material performed in front of them for the first time ever, but they were also eager to revisit some of their old favorites from BANKS’ first two albums: Goddess and The Altar. When BANKS appeared on the dimly lit stage to an enthusiastic welcome, she delivered several throwbacks in the first section of the set; After opening with 2013’s “Waiting Game,” she followed up with “Fuck With Myself” and “Gemini Feed.” These songs, with their personable sentiment and their gut-wrenching sense of honesty, allow for fans to truly feel and connect with the music. In the live sense, that connection only intensified thanks to BANKS’ emotive and earnest vocals, which swirled together with moody lighting and theatrical dancing to create an immersive experience.

The production element of Thursday night’s show and BANKS’ stage presence in general seemed more developed since her last performance here— the singer appeared more at ease in front of an audience, even as she bared her soul through her lyrics. Just like her stage persona, BANKS’ new songs like “Gimme,” “Contaminated,” and “Look What You’re Doing To Me” from the new album all seem to have more intricate layers to them, signifying the growth that the songwriter has experienced in the last couple of years. As the night continued on and BANKS poured her energy into performing her songs from the past and present, the concert felt like a cathartic therapy session for both her and everyone in the crowd. When it came time for the show to end, the mood in the room was bittersweet, but BANKS’ return had been well worth the wait. After Thursday’s show, it’s clear that BANKS is back in full swing, and if you loved the show as much as I did, you don’t have to wait long for her return— BANKS will be performing at The Riviera Theatre in September with Kevin Garrett.

Photos of the BANKS House of Vans show-featuring special guest Anna Lunoe

Keep up with BANKS on Twitter // Facebook // Instagram

Pitchfork 2019: Local Spotlight

Pitchfork Music Festival kicks off this Friday, July 19th and as always, there’s no shortage of Chicago musicians and bands slated to perform this year. Before you head out to Union Park to experience another packed weekend of live music, brush up on our favorite Chicago artists performing this year.


Ric Wilson

Photo By Michael Salisbury

Photo By Michael Salisbury

Ric Wilson’s bouncy, disco-inspired raps have an infectious energy about them, which carries over to his charismatic stage presence. Blending funk, R&B, and smooth hip-hop, Wilson’s work on his EPs BANBA and Negrow Disco, as well as his latest single “Yelllowbrick,” offers a little something for everyone. While he’s able to connect with listeners through his lyricism, Wilson connects best with his audience during his interactive live performances— there’s no doubt he’ll have the full crowd dancing along to his Pitchfork set. Plus, with an extensive catalog of collaborations with fellow Chicago musicians, chances are we’ll have a special guest or two pop up during Wilson’s set.

For Fans Of: Kweku Collins, Joey Purp, Saba

Start With: “No Hands,” “Hang Loose,” and “Yellowbrick”

Where To Catch Him: Saturday, Red Stage at 1:45-2:25pm


Lala Lala

Photo By Alexa Viscius

Photo By Alexa Viscius


Fronted by London-born, Chicago-based singer songwriter Lillie West, Lala Lala has performed at just about every venue in the city and toured nationally, sharing the stage with bands like Death Cab for Cutie, Frankie Cosmos and Wolf Parade. Lala Lala’s music has connected with a wide-array of audiences thanks to West’s knack for honest and introspective storytelling through her lyrics and her fearless exploration of different sonic landscapes on the 2018 album The Lamb. Make sure you get to the festival early on Saturday to catch a set from West and her band, which will likely be packed with veteran musicians of Chicago’s scene.

For Fans Of: Madeline Kenney, Jay Som, Soccer Mommy

Start With: “Water Over Sex,” “Scary Movie,” and “I Get Cut”

Where to Catch Them: Saturday, Green Stage at 1:00-1:40pm


Tasha

Photo By Alexa Viscius

Photo By Alexa Viscius

Chicago singer-songwriter Tasha has been on a roll since releasing a stunning debut Alone at Last in 2018 via Father/Daughter Records. The record garnered praise from listeners and critics with Tasha’s blend of soothing vocals, gentle melodies and poetic lyrics. This year, Tasha has embarked on her first national tour, playing with artists like Helado Negro and Hand Habits, as well as performing at SXSW. Tasha’s self-described “bed songs” that combine indie pop with a soulful touch will ease Pitchfork goers into the third day of the fest, allowing for a tranquil moment to start the final day.

For Fans Of: Gia Margaret, Jamila Woods, Sir Babygirl

Start With: “Lullaby,” “New Place,” and “Winter Song IV”

Where to catch her: Sunday, Blue Stage at 2:45-3:30pm


Grapetooth

Photo by Alex Hupp

Photo by Alex Hupp

A collaboration between Twin Peaks’ Clay Frankel and producer/songwriter Chris Bailoni, Grapetooth’s synth-heavy, new-wave sound translates into a spirited and raucous live performance, which make the perfect Friday afternoon act to get everyone ready for the long weekend ahead. Since Frankel and Bailoni teamed up and released their first single in 2017, they’ve followed that up with a debut full length release via Polyvinyl Records and played sold out shows across the city. From Lincoln Hall to Thalia Hall, each of Grapetooth’s shows have no shortage of dancing and shenanigans— most of their shows have ended up with the audience joining the band onstage for their closing song, “Trouble.”

For Fans Of: New Order, Knox Fortune, Broncho

Start With: “Trouble,” “Blood,” and “Red Wine”

Where to Catch Them: Friday, Blue Stage at 4:00-4:45pm


Whitney

Photo By Olivia Bee

Photo By Olivia Bee

Whitney is returning to play their second Pitchfork, having first played in 2016 following the release of their debut album. Besides already playing Pitchfork, Whitney has also played Lollapalooza and sold out, back-to-back shows at venues like Thalia Hall, so chances are you’ve seen them play at one point or another. However, this show at Pitchfork marks their first Chicago performance of the new era; Whitney’s second album Forever Turned Around is slated for release on August 30th. Their set at the festival will undoubtedly feature the live premiere of some of the new music, so don’t miss out on the Chicago kick off for Whitney’s highly-anticipated new music.

For Fans Of: Kevin Morby, Durand Jones & The Indications, Courtney Barnett

Start With: “Giving Up,” “Golden Days,” and “No Woman”

Where to Catch Them: Sunday, Green Stage at 6:15-7:15pm


Full Pitchfork Festival Schedule 2019

Courtesy of Pitchfork Festival

Courtesy of Pitchfork Festival

Get your tickets to Pitchfork Music Festival here before it’s too late, and catch up on Pitchfork years past below!






Pitchfork 2019: Aftershow Picks

Pitchfork Music Festival returns to Union Park from July 19th-21st 2019. After the final act of the night finishes and you file out of the park, you can keep the P4K party going by attending some of this year’s aftershows. If you need help deciding where to end your nights during Pitchfork weekend, check out our picks of post-festival gigs below!

Friday Night, July 19th

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Grapetooth and Lala Lala at Metro Chicago

Metro will host a doubleheader by Chicago’s own Grapetooth and Lala Lala after P4K Fest Day 1. With Title TK DJing between sets, this show will undoubtedly be a dance party you don’t want to miss!

Where: Metro

Time: 9PM Doors // 10PM Show

Price: $20ADV // $25 Day Of

Ticket details here.

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Ric Wilson at Schuba