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Saturday Recap: Pitchfork Music Festival 2023

Pitchfork Day 2 kicked off Saturday, July 22nd with Chicago’s own Deeper and wrapped up with Big Thief on the main stage. The day began with a perfect forecast, but the weather had a change of plans that affected some of the performances. Still, the day provided many incredible performances. Read on for the highlights and see the full photo gallery of the day below.

The day began with members of Deeper Nic Gohl, Shiraz Bhatti, Drew McBride, and Kevin Fairbairn taking the Green stage playing an atmospheric, distorted introduction that faded into their first song, “This Heat” from their 2020 album Auto-Pain. The hometown band had a good crowd show up despite it being early in the day, and their setlist featured some of their newer singles like “Build a Bridge” and “Tele” from their upcoming third album.

Nic Gohl of Deeper

Next up, Palm was the first victim of the unexpected lightening storm that day. Just as they were about to take the Red stage for their last Chicago show ever (they’re currently on their farewell tour), security made the announcement that everyone had to get away from the stage and barricade due to lightening in the area. The music finally resumed at 2:30PM with 700 Bliss, and Palm were able to be rescheduled to play 1:15PM on the Blue stage Sunday.

Speaking of the Blue stage, Black Belt Eagle Scout gave an incredible performance there shortly after the weather delay. Black Belt Eagle Scout is the project of singer, songwriter, and multi-instrumentalist Katherine Paul, and Paul was joined by two bandmates to bring her songs to the stage. Paul told the audience that this was her first time playing Pitchfork Fest as she dove into her performance. Her set was beautifully dynamic, ebbing and flowing between softer moments and crescendoing guitar solos from Paul. Paul wrapped up her set with “Indians Never Die,” a song rooted in her Swinomish culture and commentary on the harsh reality that the government doesn’t respect Indigenous land. About this song, Paul has said “Indians never die because this is our land that we will forever protect in the present and the afterlife.”

Katherine Paul of Black Belt Eagle Scout

Next up, MJ Lenderman and his live band performed on the Red stage as it began to drizzle rain. Forget about rock n’ roll—Lenderman’s set was rain n’ twang! Lenderman’s set was one of my favorite of the day as it evoked those feel-good festival vibes. His live band featured a slide guitarist and two drummers, including Spencer Tweedy on one of the kits— we even got to hear some cowbell from Tweedy. More cowbell! An extended jam at the end of Lenderman’s song “Rudolph” showcased the intricate musicality he and his bandmates have.

MJ Lenderman performing

Vagabon took the Blue stage next, but only got part way into her second song before the weather struck again. The audience was upset about the delay and ultimate cancellation of the singer’s set, but they applauded in support of her brief performance.

With the pause in music, I made my way over to the DoorDash Backstage interview stage and got to hear a brief part of Weyes Blood’s interview before the entire fest ended up being put on hold. After a short on-site weather delay, the festival eventually announced an evacuation the grounds.

The hour and a half break in the performances unfortunately meant that Panda Bear’s and Snail Mail’s sets were also cancelled for the day. Originally, there had been a devastating lineup conflict between Julia Jacklin and Snail Mail performing at the same time on the Blue and Red stages, respectively, but the 5:15PM slot was part of the evacuation. Jacklin got to perform a delayed and brief solo set over on the Blue stage when the gates reopened around 6:00 PM, but the main stage performance had to carry on with King Krule at his original time slot.

King Krule, the project of English musician Archy Ivan Marshall, made for a great official welcome back to the festival grounds. The front row was full of dedicated fans, who screamed in joy when they saw the musician appear on stage. I think they would have been equally excited if the weather delay hadn’t happened, but they seemed even more happy that one of their most anticipated sets was able to go on as planned.

Archy Ivan Marshall AKA King Krule

Later that evening, I caught a few minutes of Charlotte Adigéry and Bolis Pupul closing out the Blue stage for the evening. They brought the dancy, care-free vibes along with so much bass that you could feel it in your chest.

Natalie Laura Mering, AKA Weyes Blood, closed out the Red stage simultaneously, donning a flowing white gown and cape that complemented her ethereal vocals. Towards the end of her set, rain began to fall again, drizzling at first and then rapidly picking up. Still, the show went on, and dedicated fans remained smiling and singing along to her songs like “Everyday” and “Do You Need My Love.” During her second to last song, “Twin Flame,” Mering’s dress lit up like her heart was glowing, as in the title of her most recent album And In The Darkness, Hearts Aglow.” Her dress featured more visual projections for the final song “Movies,” this time mimicking waves of water.

Weyes Blood performing in the rain

Saturday wrapped up with Adrianne Lenker, Buck Meek, Max Oleartchik, and James Krivchenia of Big Thief returning to the Pitchfork Fest stage, this time as headliners. The band made quite the entrance, with Oleartchik being carried onto the stage in a mermaid (or merman?) tail. Krivchenia also wore a bright orange, bedazzled outfit that contrasted with Lenker’s more casual flannel and Meek’s button down and blazer combo, but once they started playing, everyone honed in on the music. Big Thief’s setlist heavily featured songs from their most recent album, 2022’s Dragon New Warm Mountain I Believe In You, as well as their brand new single “Vampire Empire.”

The infamous mermaid tail


You can see more photos of all of these performances below, and stay tuned for coverage of day 3!

Live Recap: Weyes Blood with Molly Lewis at The Riviera

On Saturday, March 11, The Riviera in Chicago’s Uptown neighborhood brought the sensational Weyes Blood back to town for the first time in over three years to play a sold-out show in support of her latest LP In the Darkness, Hearts Aglow (her second for Sub Pop Records), which released in November of last year to critical acclaim. In support, Weyes Blood’s Natalie Mering was joined by fellow Californian whistler Molly Lewis who played songs off her new EP “Mirage” (out on Jagjaguwar) accompanied by her pre-recorded music to a hushed and stunned audience. (In all truth, you could hear a pin drop during the entire duration of Lewis’ magical repertoire.)

Following Lewis came the main act: Mering’s five-piece band that filled out the stage among an array of shimmering and twinkling candelabras distributed between the instruments and gear, setting the appropriate tone for what would be a hauntingly elegant set. The band then took it away across 14 songs from both the new album and 2019’s acclaimed Titanic Rising, which includes fan favorites “Andromeda” and the endlessly danceable “Everyday.” Enveloping around these now-modern classics were tracks like the haunting “Grapevine” (named for the California’s I-5) to the seriously underrated “Children of the Empire” (This reviewers favorite.)

With these new songs, Mering has seemingly never felt more comfortable and alive on stage that she appears to be here with a lighting program that accompanies the tone of context of these songs perfectly. Mering’s presence, where she dances and twirls around like the ghost of an amateur ballerina, feels jubilant and earnest and is only helped by her new choice of stage costume. Gone is the smart white suit of the last few years of touring (a look featured on the cover of her third LP Front Row Seat to Earth) and in its place is a long white gown with a white cape and matching boots, casting Mering as a cross between a angelic religious figure and Princess Leia in the original Star Wars.

All of these elements combine into a transcendent alchemy during “God Turn Me Into a Flower” (from the new record) which finds Mering searching for a way to survive and finding that power in the idea of a resilient flexibility while also re-examing the Narcissus myth. Backlit by a single light, Mering slowly spun in and out of its rays which illuminated her cloak and dress to new heights, casting Mering as a spirit on the stage ready to ascend into the rafters and right out of the auditorium.

Later in the set, another ingenious touch of costume design came into play when, during “Twin Flame,” Mering’s chest lit up a bright reddish orange (“Hearts Aglow!”) commanding an audible gasp and then jubilant cheers from the audience. In addition to being a master songwriter and live performer, Mering’s showmanship and knack for creative spectacle are also now fully on display.

The evening eventually ended with a solo acoustic rendition of Titanic Rising’s closer “Picture Me Better,” a somber ballad about a lost friend. Making our way out of The Riv (select merch items in hand!) showgoers buzzed excitedly about what they had just seen against a thick Chicago snowfall that seemed perfectly timed to cap off the evening, it occurred to me: Across an evening of standing together in a dark room and sharing a communal cathartic experience we exactly conjured up the title of the new record— “In the Darkness, Hearts Aglow.”

PHOTOS: Helena Deland and Weyes Blood at Thalia Hall 09.30.19

This Monday, Thalia Hall kicked the week off with a sold out show from Helena Deland and Weyes Blood. Check out photos from the magical evening below, and see where you can catch Weyes Blood next here.

LIVE: Weyes Blood Puts on Stunningly Beautiful Performance at Auditorium Theatre

"The woman who called herself nameless sure has an incredible voice," WXRT's Marty Lennartz gushes, standing on the stage at Chicago's Auditorium Theatre. The woman he is referring to is Natalie Mering of Weyes Blood, who had introduced her band to the audience halfway through her set, adding in that she'd rename nameless.

About forty minutes prior to this post-introduction from the radio DJ, Mering had glided onto the theatre's dimly lit stage, where the words to her song "Diary" flowed out of her as she remained staked out center stage, full of poise and sans instrument.  That same calm and composed demeanor clung to Mering as she picked up her guitar for the second song. Although her music has this mellow undertone, her voice soared through the sparkling venue, with its swooping ceilings and endless rows of lights. "I hope it looks as beautiful out there as it does from here," she said as she transitioned over to the keyboard for her third song of the evening, called "Used To Be." The track builds up, gradually adding layers, like the song that followed, "Seven Words." Weyes Blood's most popular track, "Seven Words" contains gospel elements that immediately envelope its listeners, along with Mering's ethereal vocals. 

Weyes Blood's support set for Father John Misty winded down with Mering and her band shifting around on stage again; first with Mering back with her guitar for "Generation Why" and then back on the keys for the final song of her set, which brimmed slightly over thirty minutes. Mering dedicated the latter song to the people all the way in the back in her composed and calculated speaking voice, which complemented her mellow musical style. She and her band shuffled offstage after Mering thanked the crowd for their welcoming reception to her music. Check out photos from her stunning performance below.

It's been an unstoppable year for Weyes Blood; playing festivals like Pitchfork in Chicago, touring with Father John Misty, signing with Sup Pop Records for her next record...and we can't wait to see what's in store next for soothing powerhouse. 

See all of Weyes Blood's upcoming tour dates here, and listen to her latest double single below. 

Pitchfork Festival Photo Gallery

Already got the post-Pitchfork blues? Relive all the fun with our photo gallery of the incredible weekend, and check out our daily highlights featuring some standout moments during the performances. 

Friday featured Priests,  Hiss Golden Messenger, Vince Staples, Frankie Cosmos, Danny Brown, Dirty Projectors, and LCD Soundsystem.

Sunday featured NE-HI, Kilo Kish, poetry reading by the book fort, Isaiah Rashad, Joey Purp, Hamilton Leithauser, Pinegrove, Jamila Woods, and portraits with Vic Mensa and Taylor Bennett