Chicago came ready to represent on Day 2 of Pitchfork Music Fest. Though the skies were a bit overcast, by 1 p.m., the crowd at Union Park was several times the size of Friday’s modest gathering, with many huddled close by the Green Stage, clearly getting the memo on catching local up-and-comers Lifeguard.
Fashion choices also showed off a hearty dose of Chicago pride. Some in the crowd were carrying tote bags from area record stores like Rolling Stone Records or Shuga (likely picked up with a stop at the onsite Chirp Record Fair). At least two people were also wearing Shellac T-shirts, an homage to the late, great Steve Albini, who passed away just over two months ago.
It was a small part of what could’ve been a better tribute at the festival, with a good number of artists on the lineup having logged time at Albini’s Electrical Audio over the years.
Across the park, other hints of Chicago-grown brands have been evident, from Revolution Brewing’s large presence to bites from Café Tola and Beat Kitchen, a much-needed taste of home to contrast to an influx of national sponsors like Nespresso and the city of Austin, Texas, of all places.
“Visit Austin, come relax with the live music capital of the world,” read multiple banners, oddly condescending in light of Chicago’s own thriving scene, which has been more evident than ever this weekend
Here are reviews of some of Saturday's acts on Day 2 of Pitchfork:
A little injury was not going to sink Lifeguard’s Pitchfork debut on Saturday. Guitarist-vocalist Kai Slater (his right foot visibly in a boot) may have had to sit in a folding chair for the duration of the quick 38-minute set. But nothing about him was still as he frenetically wielded his instrument — sometimes even playing with one of his crutches — to help produce the unmistakable noise that brands the fuzzy punk trio, completed by bassist Asher Case and drummer Isaac Lowenstein.
“This is a dream come true for us — it means a lot you guys came,” Slater shared mid-set before giving a shoutout to fellow locals Horsegirl, with whom Lifeguard is closely associated. Both are signed to indie tastemaker label Matador and both bands have members of the same family.
That sense of community and camaraderie has been a big part of the recent uprising of the Chicago rock-punk-indie scene — of which Lifeguard is a huge focal point — and it was paid back handsomely by the adoring crowd, who hollered with every song, including two brand-new tracks.
“You can’t record this one with your phone though,” Slater half-jokingly warned; of course, that only led a good handful to do so.
There is both a musical and aesthetic sense that is wise beyond the young years of Lifeguard — formed in 2019, with one LP and a double composite EP, “Crowd Can Talk / Dressed in Trenches,” to its name. While the bandmates might have looked like they just robbed a thrift shop, still picking out the best options available, it’s symbolic of how they craft their music, carving it out from a deep appreciation and knowledge of a deep catalog while making it fresh and all their own.
What results is a wide palette of carefully structured songs that are at one moment ferocious and fueled by feedback and the next, rhythmic and balanced. “Now that’s an opener,” one guy nearby perfectly remarked.
— Selena Fragassi
From a MUNA license plate spotted in a nearby parking lot to a girl with a Carly Rae Jepsen tattoo on her arm and several wearing Jessie Ware t-shirts, there was no shortage of visible excitement at midday Saturday for the acts playing later.
Yet, one of the undercard acts that now will surely enter that worship league is L’Rain. It’s the nom de plume of Taja Cheek, a Brooklyn native who cut her teeth in that borough’s bustling DIY scene and also become immersed in the art world as the much-respected curator of performance and sound for Whitney Biennial.
L'Rain’s music is a superlative-earning combination of both, a collage of ad hoc loops coloring a palette of sounds from jazz to ambient to drone to shoegaze and orchestral pop that’s nothing but pure art. Even when the wrong loop, mired in funk, interrupted a more passive instrumental piece, it was hard to question the progression. That could’ve just been L’Rain’s genius again.
So focused was she that she had no time for pointless banter between songs and even her guitarist had to remove L'Rain's sunglasses in a pinch so as not to interrupt her flow. Accented by four incredible musicians, the set could be best described like a healing sound bath, rooted in both new age and ancient soundscapes. The true miracle was that the ensemble could make the noises they did in such a finicky open-air environment — again the work of total pros.
The performance today was a sort of repeat of last year’s Re:Set Festival, where L’Rain was on the lineup with Jamie xx (another Saturday Pitchfork act) though she was rained out at that event. And it’s hopefully not the last we see of the talent as she continues promoting her boldly named 2023 album, "I Killed Your Dog." But just in case, go see her after show with Model/Actriz at Empty Bottle tonight. “I promise I’ll talk more at my show later,” she vowed.
—Selena Fragassi
Playing the Green Stage at 2:30 p.m., check back for a review.
Playing the Green Stage at 4:15 p.m., check back for a review.
Playing the Red Stage at 5:15 p.m., check back for a review.
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.
