Pitchfork has had a very interesting year as a music publication. Earlier this year, parent company Condé Nast announced that the infamous music news & reviews site was being folded into GQ, the prominent men’s interest magazine. While Pitchfork & their make-or-break music reviews still stand, the future of their role within music media is still in question. The landmark decision still looms large over the music industry and as their annual musical festival arrives, what does it mean for the festival’s future? For the time being, it’s all good vibes going into the weekend.
Pitchfork Music Festival has been a part of the Chicago festival scene since 2006 (technically 2005, if you count their role in the Intonation Music Festival). Hailing from Union Park at the intersection of Lake Street & Ashland Avenue, Pitchfork Music Festival has been bringing electronic, hip-hop, indie rock, pop & many more different genres to the Near West Side of the city. Although the future of the host publication is unclear, the attendees of the festival were unfazed as they continued to show support for their favorite acts & maybe find something new within the publication’s favorites.
This year’s festivities took place, as always, in mid-July amidst Chicago’s summertime atmosphere. With a few clouds in the sky and the roar of the Chicago Transit Authority trains nearby, the stage was set for Pitchfork’s return, Friday-Sunday, 19th-21st.
Noticeably, the crowd of Pitchfork Day 3 started off on the lighter side. Maybe the excitement & performances from Day 2 made attendees want to show later in the day, but Union Park took longer than it had the previous two days to fill up past the new VIP viewing towers that were eyesores throughout the weekend.
Chicago native Akenya started the day on the Green Stage with a mix of soul, jazz & hip-hop! Although she has yet to release her debut album, its lead single “Hades Moon” shows us all we need to see from the future of this multi-genre performer. Singer-songwriter Joana Sternberg hit the Red Stage next with only their voice & an acoustic guitar, but had a hold on all within an earshot with such somber & mature lyrics. Their most recent LP I’ve Got Me received rave reviews, even garnering a “Best New Music” label from the music publication.
Rapper Maxo took the Green Stage next after about a ten minute delay (followed shortly by an early exit), but showcased some decent lyricism with the production stealing the spotlight at Pitchfork live show. Nala Sinephro brought her pedal harp & backing band to open up the Blue Stage with some beautiful ambient jazz. Compared to the rest of the Blue Stage’s showings for the day, Sinepho’s sound sticks out from the lineup.
Noise rock outfit Model/Actriz stole the entire show at the Red Stage on Sunday. If there were people who were not familiar with the New York band, they for sure left as fans after their 50 minute set. Vocalist Cole Haden absolutely commanded the stage with a charisma that rivaled many established acts that performed in the later time slots on bigger stages. With manic-like vocal deliveries & raucous instrumentals, the entire performance was almost hypnotizing. Haden even spent a majority of the set amongst the Pitchfork attendees (a trend that we would see with other artists later in the day as well). If you are unfamiliar with Model/Actriz & are into post-punk/noise rock, do yourself a favor and give them a listen.
Folk singer-songwriter Jessica Pratt took the mic at the Green Stage and at this point, the crowd began to grow noticeably larger compared to Akenya at the same stage earlier in the afternoon. Her latest album Here in the Pitch scored an 8.8 (!!) from Pitchfork, along with the publication naming it one of the “Best Albums of 2024…So Far”. Rapper, producer & certified legend Grandmaster Flash took the Red Stage for an hour-long DJ set that included a mix of hip-hop classics and songs that, as he put it, “I want to play.” This is where things took a turn. GMF decided to take a look into the crowd at Union Park and play music that he thought they would enjoy. Flash’s set included songs from the Bee Gees, Frankie Valli & the Red Hot Chili Peppers. For those expecting a set of purely hip-hop, there may have been some disappointment. Although he is the innovator behind the slipmat (it’s true, google it!), Flash’s mix at the Red Stage left people wanting more from an OG MC.
Following the release of this year’s LP I Got Heaven, Mannequin Pussy took the Blue Stage by storm. While MP has been steadily growing within the indie/punk rock scene for the past decade, they absolutely brought their all into the cigarette smoke-filled brush that surrounded the stage. Unfortunately, technical issues ruined the first half of this set before festivalgoers could become accustomed to poorly mixed instruments & a constantly unplugging microphone. This is not the way to see a band like Mannequin Pussy. It’s a shame. Go listen to I Got Heaven if you already haven’t.
MUNA brought their indie/synth pop set to the Green Stage and proved why they not only have one of the most energetic live shows in pop (thanks in part to their impassioned fanbase), but also have one of the better discographies within the genre of the past decade. From hits like “What I Want” to “Silk Chiffon”, Katie Gavin, Josette Maskin, and Naomi McPherson have the entire crowd encapsulated in their burst of queer pop energy. A highlight of Pitchfork Day 3, without question. The future of pop music is in a better place with MUNA in it.
Former Alabama Shakes frontwoman Brittany Howard closed the Red Stage during its golden hour with a fusion of soul, jazz, rock & funk that kept the Pitchfork attendees dancing as the sun began to set. Howard’s second solo LP What Now garnered rave reviews from critics and another “Best Albums of 2024…So Far” placement from the music review site. Howard not only brings the soulful rock from her work with the Alabama Shakes to her live shows, but her exuberant belts of joy rippled throughout Union Park and showed that Howard continues to bend genres and transformed a festival set into something more.
Hardcore/Punk band Les Savy Fav closed the Blue Stage with the most enthusiastically reckless set of the entire weekend. Lead vocalist Tim Harrington was a ball of fire on & off stage. Moving around the crowd of people without a care of who or what was in his way. Whether it was entering the area on a LIME scooter or covering himself with dirt & a tarp, this set oozed energy from the onset and did not let up.
Canadian alt-rock icon (and Dogma star) Alanis Morissette closed out the 2024 Pitchfork Music Festival with an absolute banger of a set, which not only showed how extensive & painfully good her discography is, but how she can still put on an incredible show over 30 years into her musical career. Starting her set off with a montage of career highlights & artists of today praising her and saying how much she influenced them was such a flex (even though it went on for a bit too long and began to sound like an in-memoriam). “Hand in My Pocket” was the opener for the set and after hearing a few attendees say “she’s starting with THIS?”, you knew that this was going to be a wonderful time. Morrissette put on quite the show for the masses that gathered around the stage to watch this living legend play her harmonica & belt the words to her catalog of hits. “You Oughta Know” that Alanis Morissette absolutely rocks.
