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LIVE REVIEW: INNERVIEW AT PITCHFORK, DAY THREE

Those who discovered Colin Stetson at his early afternoon set enjoyed one of the true privileges of festival-going: being surprised by a totally unique performance by a man playing a bass saxophone that was bigger than some members of the audience. The glut of fantastic rock bands in Chicago right now is a total embarrassment of riches that Ne-Hi’s raging muppets-on-ecstasy performance did absolutely nothing to alleviate in what might have been the most kinetic set of the festival. Isaiah Rashad started out strong, but then had to stop a song midway through when he forgot the words. Luckily, former Walkmen crooner Hamilton Leithauser smoothed things over next with some much needed chill vibes. After Pinegrove drew a mellow, beer-sipping crowd to the Blue Stage, people began clustering around the Green Stage for The Avalanches. Instead, they saw Jamila Woods, who was moved up from the Blue Stage. The Avalanches’ cancellation was disappointing, but Woods quickly won the audience over with spoken word poetry gems like “poems are bullshit, unless they are eyeglasses.” Nicolas Jarr’s performance featured a slightly surreal, creepy vibe, but led to some of the weekend’s wildest dancing. By the time Solange played “Cranes in the Sky”, it felt like a finale even though it was only her third song. The stage lights, which started out blood red, gradually bruised into a deep purple as the sky turned dark. BY WILLIAM LENNON–PHOTO BY POONEHGHANA
Previous: Pitchfork Fest Day Two

LIVE REVIEW: INNERVIEW AT PITCHFORK, DAY TWO

L.A.’s Cherry Glazerr provided a snarly, synthy diversion reminiscent of Le Butcherettes to start day two, but things really got rolling with George Clinton & Parliament Funkadelic who rocked a funked-up cover of Lil’ John and the Eastside Boys’ “Get Low” like it was no big deal. It was surprisingly tough to get close to the stage, especially considering that this was a relatively early set, but Clinton’s bright white hat made him visible from the nosebleeds. By the time they played “Give Up The Funk,” the air was thick with bud and the festival was humming with a positive energy that would propel the crowd throughout the night. Angel Olsen’s set started out intense, wandered to ethereal and bottomed out into transcendent. PJ Harvey brought a heavy, almost oppressive sound to the stage, her inventive set laden with horns and military-style snare drumming in what was easily one of the best Pitchfork Fest performances in recent years. The final set of the night was the first full performance by A Tribe Called Quest since the death of founding member Phife Dawg. There was an unused mic on stage to honor him, with his vocal parts played over the speakers in a performance that was stripped-down and powerful, starting and ending with tracks from their newest album. Quest’s triumphant closing act was, in a word, incredible. BY WILLIAM LENNON–PHOTO BY ALEXA VISCIUS
Next: Pitchfork Fest Day Three—Previous: Pitchfork Fest Day One

LIVE REVIEW: INNERVIEW AT PITCHFORK, DAY ONE

As a general rule, the first band playing the first day of any festival draws a modest crowd. Former M.I.A. drummer Madame Gandhi apparently was not aware of this rule. With the help of a live DJ, a drummer and dancers who alternately weaved through the performance and stood off to the side mean-mugging, Ms. Gandhi brought remarkable energy to her early set. Washington D.C. punk prodigies Priests took full advantage of the momentum and accelerated into a manic mix of songs from their new album and early EP. “It’s awful quiet out there…” lamented MC Taylor of country-flavored outlier Hiss Golden Messenger an hour later as a quiet afternoon lull had set in, providing a much-needed breather. Vince Staples hit all the highlights, including “Norf Norf” from Summertime ‘06 and “Ascension,” his collaboration with Gorillaz. Thurston Moore Group’s set was nothings short of wonderful, with shades of both his Sonic Youth days and the Rock N Roll Consciousness era. After a boring and uninspired set from Dirty Projectors, main attraction LCD Soundsystem performed a beautifully cathartic set beneath a disco ball as they ran through a number of new ditties as well as old classics like “Tribulations” and “Dance Yrself Clean,” closing the night with everyone in the crowd turning to each other and singing with a smile: “Where are your friends tonight?” BY WILLIAM LENNON–PHOTO BY KRISTINA PEDERSEN
Next: Pitchfork Fest Day Two

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