On a day that made news for global IT outages affecting nearly every aspect of daily routines, Pitchfork Music Festival 2024 has at least been able to plug in.
But not without one big hiccup of its own: A new pair of towering and quite wide VIP platforms for the main Green and Red Stages that will make the layout of Union Park more difficult to navigate, especially come time for the headliners as the crowd fills in and looks to find unobstructed views.
In years past, the beauty of the mid-July event was the wide swath of grass at the stages that gave GA ticketholders a great view, and you could bring a blanket and park it for the day, ping-ponging your view from stage to stage. With the questionable positioning of the abutting structures and the scrim covering them, that benefit is no longer a possibility. (Though, the smaller Blue Stage remains untouched).
And while changes to the event like the more mainstream headliners may have been expected for the 2024 edition — the first since Condé Nast controversially folded the Pitchfork brand under the GQ umbrella — the drastic change to the GA experience was not one of them.
The Sun-Times reached out to festival representatives who stated, "We’re pleased to offer new VIP amenities at Pitchfork Music Festival 2024. Our priority is to maintain a culture of inclusivity and community, so all new amenities were designed to elevate the experience of VIP ticket buyers without detracting from the general admission experience attendees have come to know and love. We've intentionally positioned VIP areas where they will not obstruct sight lines or create barriers for fans. The elevated viewing platforms are situated over the sound booths, which have historically been elevated, so this obstruction is not new."
Friday afternoon kicked off with a doubleheader Chicago showcase.
First up was Black Duck, a new-ish supergroup that came alive in 2023, though it’s one made up of a trio of verified vets in the scene whose long record of experience turned the set into a master class of instrumentation. Comprised of guitarist/bassist Douglas McCombs (Tortoise/Eleventh Dream Day), guitarist Bill MacKay (a solo artist and collaborator of Ryley Walker) and drummer Charles Rumback (a mainstay in the local improvised jazz scene), the brief exposition was a total mood check. McComb’s ominous basslines were grumbles in the pit of the stomach of the beast, while McKay knew where to come in with his touches to temper things, and Rumback kept it all precisely focused.
Black Duck was born out of improvisation and jam sessions and while there may have been sonic detours in this set, there was also the sense that the three musicians were completely synched. Without vocal accompaniment to rely on, their communication became feral instinct, a tribal ceremony of sorts, egged on by a plume of fog in the background. Songs bled one into another, with the crowd trying to find a logical place to come in with well-deserved applause (though there were clear tonal shifts that brought on new emotions like a live soundtrack in the making). It was great rationale to take the experience home and put on Black Duck’s self-titled debut (which came out on Thrill Jockey last year) for those moments where you need a pensive guide. While it’s the group’s only album to date, hopefully they're no one-trick pony. Is it selfish to want McCombs, MacKay and Rumback to keep their regular gigs in the storied Chicago scene, but stay on the task with Black Duck, too? Maybe it’s a big ask, but we’re still going to ask it anyway. — Selena Fragassi
If Black Duck started things off pensive and cerebral Friday, fellow local artists Angry Blackmen were a total about-face in style and stance, mixing things up with a rowdy display of expressionism. That diversity is one of the great hallmarks of Chicago’s music scene and homegrown events like Pitchfork that showcase it well.
Like their name implies, the volatile hip-hop provocateurs — made up of the combustible tag team of Brian Warren and Quentin Branch — oozed pent-up frustration, and beautifully let it bubble up and spill over in a 40-minute set that touched on everything from racism to consumerism to capitalism to existentialism. Though, they were nice enough to begin with a disclaimer, like any good thrill ride: “What we are about to do is done with love and respect. Everyone stay safe,” said Warren, before bidding the crowd into a vocal interchange. “When I say ‘angry,’ you say ‘black’ … even if you’re not Black,” he declared.
The offering became its own kind of repeated chorus throughout the set, with the crowd breaking it out on their own at one point, much to the glee of the duo.
“I’m gonna be honest with you, I came out here a little nervous to do this … but I love you Chicago,” Warren added.
Not that they needed to be. The industrial rap outfit were total aces in the hole in their biggest show as of yet in Chicago. When they weren’t stalking the stage like unhinged banshees, they were deadlocking eyes with the audience in a bold-faced energy transfer, starting circle pits and delivering the sheer poetry of songs like the loaded “Stanley Kubrick” a capella for added effect. That track comes from their latest album, “The Legend of ABM,” released in January.
The duo will head out on their first-ever U.S. tour this fall to promote the cautionary tales within. And judging by their defiant and visceral Pitchfork set, added to by their unassuming DJ Derek, they’re more than ready for the task. — Selena Fragassi
For music fans, the beauty of Pitchfork Music Festival has always lied in the festival’s almost unparalleled curation, providing music fans with the opportunity to discover terrific new acts in a way that’s virtually impossible elsewhere in an increasingly crowded festival sphere. ML Buch’s performance on the Green Stage stands as a perfect example. The Danish dreampop artist has cited guitarist Peggy Jones, who performed with bluesman Bo Diddley in the 50s and 60s, as an influence — and terrific guitar playing became a bigger and bigger component throughout her often sparsely arranged, but beautiful, 45-minute set.
“Hello, Chicago! Thank you all for coming,” said Buch early. “You guys alright in the sun?” Performing alongside multi-instrumentalist Rebecca Molina, Buch offered up “I Feel Like Giving You Things” early, starting off with just a vocal over a backing track before adding live keyboards. While there were gorgeous instrumental elements dropped in along the way, Buch’s best moments conjured up the juxtaposition of a Madonna-like vocal over "Exile in Guyville" era Liz Phair guitar. Harmonizing with Molina over an acoustic guitar track, Buch began adding carefully plucked electric guitar of her own late, a prerecorded bassline rumbling along underneath throughout “Can You Hear my Heart Leave.” From her latest album, October’s "Suntub," only her second, “High Speed Calm Air Tonight” was a Day 1 standout at Pitchfork. Manipulating the keys with her right hand, guitar neck in her left, Buch began strumming along on an electric guitar midway through, fans bobbing along during delicate moments (despite the raucous sounds of indie rocker Rosali bleeding over from the Blue Stage late). — Jim Ryan
It might have taken a 40-hour flight to get here, but it was well “worth it” said Australian-Zimbabwean singer and rapper Tkay Maidza, one of the many rare international gets that Pitchfork Fest seems to nab every year.
If she was jet-lagged, Maidza didn’t show it one bit, as the vocal chameleon, hype woman and fashionista (on this day sporting a fabulous black leather dress with coutout stars and a big “Fame” emblazoned on the back), commanded the stage nearly autonomously (her DJ was in the background, but was a mere wallflower in comparison).
Moving effortlessly from quick-bait rap to ethereal bedroom pop to indie sheen, the 28-year-old was like a nesting doll of talent, or maybe just a witchy she-wolf invoking the power of the large, red, blood moon banner behind her.
“It’s an honor to be here. There are so many bands and artists that inspire me that Pitchfork supports,” Maidza said halfway through the set, following up with one good example — her cover of the Pixies’ “Where Is My Mind?” Her electric R&B take may have even hit the nose on the existential daydream more than the original, so much so that Apple paid attention and tapped it for a commercial last year.
Like Pixies, Maidza’s latest album, 2023’s “Sweet Justice,” was also released by venerable label 4AD, which clearly still has an ear for cultural denizens.
It wasn’t all high-brow though — the rapper/singer also had “hot girl s - - -” to deliver on “Ring-A-Ling” and concluded with the raucous “High Beams,” leaving the audience with parting words to always “be delusional.” — Selena Fragassi
“Can you hear me?” asked songwriter and electronic indie rocker Damon McMahon in his guise as Amen Dunes.
“Let’s go!”
Banter was at a minimum on the Blue Stage as Amen Dunes got rolling following what appeared to be early technical issues, delaying the start of the early evening set on Friday by a few minutes as McMahon tinkered first with his microphone and later his guitar, picking it up and quickly setting it back down as a backing track kicked in.
Fresh from New York City, McMahon performed at Pitchfork in support of the sixth Amen Dunes full length studio effort “Death Jokes.” Backed by a three-piece group, featuring drums, keyboards and bass, McMahon repeatedly paced from left to right early.
Putting in his in-ear monitor, McMahon delivered the noticeably louder lead vocal to “Miki Dora,” eventually adding guitar as well. — Jim Ryan
Playing the Blue Stage at 6:30 p.m., check back for a review.
Playing the Blue Stage at 7:45 p.m., check back for a review.
