Words + Photography by Bobby Talamine
With a slight rain delay to start, and the only casualty from the delay being Dreezy's set, the last day of Pitchfork 2019 was underway.
Having said that, things ran smoothly after the rain delay, and it was a weekend that celebrated musical diversity without question. A communal event where the spirit of mixing it up with strangers, dancing in place, or chilling out on blankets to simply take in the relaxed vibe held sway.
Once considered the cutting edge of music festivals, Pitchfork has branched out with bookings over the past few years, courtesy of Pitchfork's talent buyer Mike Reed. Reed has been bringing a keen perspective to all of the bookings, and selecting artists and bands from all genres, and all age groups.
To start Day Three of Pitchfork, a French- Cuban duo Ibeyi. Comprised of twins Lisa- Kainde Diaz and Naomi Diaz, their set involved keyboards, samples with electronics, assorted percussion, and a mix of hip hop. With their shared vocals and genuine enthusiasm, Ibeyi had everything come off as captivating as it was silky smooth.
Up next: Clairo, who is a definite do-it-yourself success story. A nice crowd showed up for her afternoon set at 4:15, witnessing first hand her homemade and laid back music and overall vibe.
Khruangbin was next on the line-up. A psych (with a hint of surf music) trio hailing from Houston Texas, and between most of my photographer friends, Khuranggbin was a must see for Sunday. These guys are cool factor times ten, from their stage presence and fashion, right down to the instrumentals they create and play. With a mix of South American, via the Middle East by way of Southern California vibe throughout, Khruangbin was definitely one of the highlights from Day Three at Pitchfork.
Chicago band and JBTV alums Whitney, led by Julien Ehrlich and Max Kakacek were next to grace the stage with their captivating and subdued psychedelic folk sound. A pleasant and laid back set from beginning to end, adding to the overall vibe of Pitchfork this year and the definition of "Chill."
All of that did a complete 180 when Charli XCX hit the stage, which we'll get to in a moment.
Up next, a rare performance from Swedish artist Neneh Cherry. Challenging herself musically at every turn, even through ear monitor problems at the start, she recovered nicely to bring forth her eclectic style of "all over the map" electronica and pop.
The brash, take no prisoners, even when performing solo with no band and just background tracks, JBTV alum Charli XCX was next and flipped the chillness that Whitney left on his head. What a sexy / take no prisoners stage presence, Charlie XCX ups the ante in her performance every time she hits the stage and knows how to party while performing.
The audience, bopped up and down during her set from beginning to end, with relatable and catchy tunes that jam and mix easily from one to another.
This was a set that by definition is "Party," and F everything else.
Another Up there highlight from Pitchfork 2019.
To close out Day Three from Pitchfork was headliner Robyn.
Robin Miriam Carlsson has established herself as a top tier dance-pop performer and innovator. Lots of white backdrops and various, fabricated drapes shrouded her stage and instruments, with the emphasis on the color taupe.
We got the announcement that us photographers were allowed to shoot approximately 40 minutes or so into her set, which was a change from the last time she was in town a couple months ago at the Aragon. The costume change we were allowed to photograph had her in a costume (white of course), dressed like a matador, accompanied by her dancer, and sitting on a throne of a giant hand.
Robyn is fascinating to watch and perform live, ever so confident in her style and presence, with a voice that's silky smooth and polished.
Definitely a free spirit, with her set building in momentum, and becoming an outright dance party.
With that, we close out Pitchfork 2019. A weekend that had a splendid array of styles and diversity in all things music.
Words + Photography by Bobby Talamine
Day Two of the Pitchfork Music Festival, and it was all things hot, humid and sticky.
From the start of day Two: Welsh musician Cate Le Bon. You can tell Le Bon is a ringleader with a lot of style and class, not just in her presentation and fashion, but with music that pushes gently into uncharted territories. A perfect start to the day, and a round of applause to the bookers of Pitchfork, for bringing forth an eclectic music cast throughout the entire festival.
Next up: Parquet Courts. And right from the get go, with the song "Master of My Craft," things got unruly with bodysurfers, lots of pushing and shoving from the front of the stage, and genuine hooligan behavior that added to the caterwaul of discontent and release.
The band was in on the fight, especially with guitarist Austin Brown releasing unholy wails from his guitar, taking it off and pretending to bash his head with it and sliding the strings along his mic stand.
As their set continues, the storm clouds come rolling in, and then the announcement comes to evacuate Pitchfork. The evacuation and suspension of Pitchfork lasted about an hour and twenty minutes, making Kurt Vile's and Amber Mark's set both casualties of the lineup for Day Two.
After the brief thunderstorm delay, we're back in business with English - French ultra cool avant pop from Stereolab. You know things are going to be fine and dandy with an announcement from Laetitia Sadler, saying "Hope you enjoy our set of light French disco."
Although that seemed weak when announced, Stereolab's music is anything but meek.
Lounge instrumentals abound, Sadler added the flair of comfort and cool, and possessing unorthodox time signatures intact, even after all these years.
A definite highlight from all things Pitchfork.
Up next: The quirky fun of chamber pop / folk rock coolness from Belle and Sebastian, with Stuart Murdoch enlightening everything and upping the ante as their set went forth. What started off their set with slight restraint, ended up celebratory when Stuart hopped off the stage and partook in some late afternoon fun with the audience jogging down the main runway in front of the stage. Lots of handshaking and sing-alongs, then back to the stage to finish off their set.
Belle and Sebastian know how to write songs that are impressive and hard to pigeonhole, presented in such a way that to classify them is nearly impossible. Another terrific set from Day Two at Pitchfork.
Headliners The Isley Brothers were up next, with Ronald and Ernie Isley still intact and going strong. Lead Vocalist Ronnie Isley, debonair and playing the flamboyant sophisticate, and his younger brother Ernie on lead guitar, looking badass and oh so cool down to his bandanna.
Ripping from the start, with opener "Fight the Power," into "Who's That Lady," with Ernie's swaggering guitar intro still sounding so fresh and clean, into the sexy and slinky "Between the Sheets."
This was a night of celebration of all things R&B, straight up Rock n' Roll, heavy doses of soul, and a mix of Funk with Doo -Wop. You could tell they were having a grand old time, with backup dancers and sexy models providing the necessary bells and whistles depending on whatever song they were playing.
A downright party from beginning to end with The Isley Brothers, closing out Day Two from Pitchfork.
They grow up so fast. Riot Fest turns 15 this year. To think, they've had teenage angst since they were pre-teens. We all knew it could get wild when they really blossomed into full high school angst but for f**k's sake, look at that lineup! If you're one of those people that really needs to see the line-up before you go to Riot Fest, this should be all you need to put your mind at rest and your money on the table. We're not even saying that because our logo is on the poster, we really mean it!
Blink-182 is making good on their promise to play Riot Fest this year after needing to cancel last year due to health reasons. Slayer is closing out their Chicago & Milwaukee performance days at Douglas Park. Jack White will be there with The Raconteurs, Rise Against will return for the first time since playing the inaugural outdoor fest, oh, and BIKINI KILL! Need we say more. (The full line up is below, gawk for yourself!)
Full Album Performances
As Riot Fest as a reunion, the full album performance is a staple of this festival. Our good friend Wayne Coin and The Flaming Lips will be playing Yoshimi Battles the Pink Robot in its entirety. Against Me! is doing a double wammy with Reinventing Axl Rose and Transgender Dysphoria Blues. Avail will be playing Over The James, Bloc Party, in celebration of it's 15th birthday, will be playing Silent Alarm. Dashboard Confessional playing The Places You Have Come To Fear The Most, Glassjaw with Worship and Tribute, The Selecter shredding Too Much Pressure. Senses Fail will also be doing a double feature including From the Depths of Dreams and Let It Enfold You as well as Taking Back Sunday with Tell All Your Friends and Louder Now. Oh, and Ween is playing The Mollusk in full, so thats something.
PLEASE STOP READING, WE'RE SUPPOSE TO BE AN ILLITERATE NATION, JUST CLICK HERE TO BUY TICKETS TO RIOT FEST 2019
WHAT: Riot Fest's 15th Birthday Party
WHERE: Douglas Park — Chicago Illinois
WHEN: September 13th - 15th
WHY: Because it would finally make your parents proud
HOW: Buy a ticket by clicking here
WHO: All of these fine folks
WHAT THE HELL? WHY HAVEN'T YOU BOUGHT TICKETS YET?!?!?!?!? WHATS WRONG WITH YOU?!?!?!?!?!?! I'M NOT SURE YOU EVEN CAN MAKE YOUR PARENTS PROUD AT THIS POINT! BUT YOU CAN CLICK HERE TO TRY ANYWAYS, THEY'D PROBABLY APPRECIATE SOME EFFORT
MORE TO RIOT ABOUT
We've been round the block a few times, if you want to see some of our past Riot experiences, click here. We have some cool interviews, pretty pictures, vulgarity — a good time all around.
Words + Photos by Bobby Talamine
Even with an early downpour of lightning and thunder, day two of Chicago Open Air had all the bands perform. No cancellations.
Alien Weaponry was the first up to perform. Their drummer started the show with a Maori War Dance and chant from behind the drum kit and displayed a tribe's pride--showing the unity and strength within this band. For such young dudes, they have presence times ten.With some of their songs spoken in their Maori language from Waipu New Zealand, it was a short and riveting set.
The Black Dahlia Murder were next up, and presented great guitar playing from Brandon Ellis and Brian Eschbach. Although in regards to vocalist Trevor Stmad, things fell flat. Almost like a phoned-in set from these guys.
Wicked as wicked comes was Fever 333’s set. Definitely one of the highlights of the day, with all three band members going apeshit at any given moment. Unpredictable to the core, making the most of their 35 minute - ish set, with vocalist Jason Aalon Butler worked his way into the crowd, and on top of the roof of the two story building stage left to belt out the last song. Drummer Aric Improta did lots more than drumming by jumping around and standing on top of his kit to get the crowd riled up (as if it's even necessary). Guitarist Stephen Harrison also worked his way into the crowd playing guitar in the middle of a heavy mosh pit. Fever 333. Crazy. Nutty. Awesome.
The next band on the lineup was In this Moment. In This Moment’s set was like a scene from Spinal Tap. It took what seemed like forever for the roadies to adjust and tweak the stage props, fog machines, and whatnot. And for what? To open the set with a David Coverdale / Whitesnake tune, followed by a hallowed occult instrumental to actual band--equals awkward. And for what?
Lead singer of In This Moment, Maria Brink, has the vocal chops, but with the stage cluttered with too many distracting props, it was hard for her to maintain the audience’s attention. Even for a brief 40 minutes.
Onto the mighty Gojira, lead by brothers Joe and Mario Duplantier. The Duplantier brothers--who hail from Bayonne, France--brought the fierceness like Meshuggah did on day one. Gojira was relentless from beginning to end with a vertical pyro...I mean jesus! No skimping with these guys. Gojira: caffeinated times ten.
Then comes The Cult, lead by Ian Astbury and Billy Duffy with accompaniment by drummer John Tempesta, which was cool. But talk about falling flat...what a bummer. Yeah, the music's still there, sort of. Hard to screw up and sink the ship with Billy Duffy, that's for sure. What was irritating during the show was mid performance, Astbury expressed trepidation with Chicago fans by explaining the lack of community and brotherhood he felt from Chicago to a rather tepid audience. With the lukewarm enthusiasm from said band, which for all intents and purposes- is flat with a capital "F.” News flash to Ian Astbury, don't piss off Chicago. Come to play, and do your damnest to try to sing upper register if at all possible please.
Now all things TOOL. Sophisticated with a simple and striking production, aided by vivid vertical LED backdrops, and solid musicianship still intact. Danny Carey came out in his trusty Kansas basketball jersey to the drumkit, followed by Justin Chancellor in a fine vest and long sleeve shirt, looking clean cut, but played as wicked and as heavy as ever. Hermit looking Adam Jones came onto the stage, hoodie up, all eyes down to guitar pedals and ready to go. Maynard James Keenan was the last one to get onstage, costumed up from head to toe in a wicked leather jacket emblazoned on the front with some alien ish cartoon, a red and black checkered tight fitting pants, sporting a shaved head mohawk of mohawks, and wicked joker makeup that gives you the feeling of dark and sinister. Keenan’s get up screamed “don't fuck with me.”
I'm exhausted in writing that, without even getting to the music of TOOL, opening with "Aenema" and "Learn to Swim" in refrain over and over and over. I'm in full bore, with Tool heading directly into "The Pot," followed by "Parabola" and "Descending"--a new song Tool has added to their setlist--along with one other new song "Invincible," which is appropriately titled.
Again - utter exhaustion from this lengthy edit for JBTV Music Television, but nevertheless...TOOL rules.
A splendid day of assorted metal, with a few hiccups, but still - oh- so- cool.
Words + Photos by Bobby Talamine
Thunderstorms, high winds, and lightning win the first couple hours of Chicago Open Air Day One, delaying the opening time from 2:30pm until approximately 4:30 pm, and delaying fans from entering Seatgeek Stadium to start the show.
The first three opening acts got knocked off the bill: Code Orange, Knocked Loose, and Vein. Leaving four remaining once the storms cleared: System of a Down, Ghost, Meshuggah, and Beartooth.
System of a Down were the usual volatile and relentless self. A long set with plenty of piss and vinegar, and the crowd eating it up and wanting more. Unfortunately there were no photos for this performance, just the quick review, and the fact that System of a Down, even though playing just a few festival dates, still brandish a mighty wallop.
Before System of a Down: Cardinal Copia and the Ghouls of Ghost. This version of Ghost front and center- showmanship. Lots and lots of showmanship, a stage dressed up with steps like a mantel to a cathedral. Heavy on backlit murals that looked like stained glass windows of sophisticated dark imagery. Musically, these guys are spot on with Cardinal Copia who lashed out vigorously from the first song "Rats" by hanging on to the last vowels with the "T" to no end, sending chills down your spine. Cardinal Copia worked the stage left and right, preaching to the masses all things dark and sinister. And so it goes with the said showmanship, with all the Ghouls making their mark with heavy guitars and drums and bass and keyboards. Nasty and oh so polished - that's Ghost.
How about Meshuggah and their version of extreme and mathematical metal? Still as fiendish and unrelenting as ever. No one comes close in the onslaught of all things Meshuggah, with Tomas Haake heavy on the backbeat and percussion, one song blasting into the next, with Jens Kidman front and center with the howl of deep throated vocals, and never losing his range or his might in song after song. The mindbending guitars of Marten Hagstrom and Fredrik Thordendal, still wildly inventive and tight as ever. Vicious- these two, both in improvisation, and physical might of said song, with Dick Lovgren holding down the fort in all things low end and complicated bass.
Openers Beartooth provide wicked party time, with the rain soaked crowd in attendance bursting forth with mosh pits after mosh pits.
As for the four bands on Day One of Chicago Open Air: It is what it is.
That said- you can never go wrong with Meshuggah and Ghost.
Might mighty fine players, these dudes.
SOCIAL MEDIA INTERN