Category: Beyond NYS

  • Review: Pitchfork Music Festival 2013

    If Lollapalooza is the Rolling Stone of Chicago’s music festivals, Pitchfork is certainly the Pitchfork. While Lollapalooza takes place in the Windy City’s best-known park, draws hundreds of thousands of fans and showcases a massive lineup of big-name acts, Pitchfork finds itself in one of Chicago’s west-side neighborhoods, in a park that fits three intimate stages amongst its baseball field and oak-enclosed lawn.

    pitchfork 2013
    Pitchfork crowd gathering Firday night in anticipation of Björk.

    Pitchfork appeals to a more niche crowd than Lollapalooza, a musically knowledgeable crowd interested in artists that receive praise from well-respected blogs rather than popular radio stations. There is a crowd whose Midwestern kindness makes it easy to stand shoulder to shoulder with a cluster of strangers while waiting an hour for one of the festival’s headlining acts. Youngsters sporting tattoos of narwhals and wearing particularly fashionable glasses largely define the Pitchfork crowd, but certain shows do draw noticeably older audiences.

    As I waited for Björk to make her headlining appearance on Pitchfork 2013’s opening evening, a prominently senior audience holding $8 cups of Heineken surrounded my friends and I with our smuggled-in Old Style cans. By the time the 40-something Icelander took the stage, however, the entirety of Union Park tuned into the same wavelength, witnessing a performance that commanded appreciation regardless of age. With a show as captivating as Björk’s, it became clear that Pitchfork offers more than just live music; it allows groups of people, even groups of complete strangers, to connect through a shared experience, an experience that few things in life can provide.

    pitchfork 2013
    Phosphorescent performing at Pitchfork Music Festival’s Green Stage.

    R. Kelly’s headlining performance demonstrated the idea of shared experience as well as any facet of this year’s festival. Playing music that was most relevant when the average Pitchforker was still in middle school and listening to Top 40 radio while  generally unaware of any alternative form of music, R. Kelly acted as a nostalgic ending to a weekend of new memories. As I stood listening to “Ignition” for the first time in probably five years, I couldn’t help but being reminded of Junior High dances, laughing with my buddies for dancing to such nonsensical music with such unabashed joy.

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    Waxahatchee playing Pitchfork’s Blue Stage on Sunday (left) and Woods playing the Red Stage on Friday.

    While Björk and R. Kelly, along with a Saturday performance from Belle and Sebastian, represented the festival’s best-known talent playing the weekend’s most-coveted set times, it was several early afternoon shows that stood out in my mind as the weekend’s best performances. Artists like Woods and Toro Y Moi played some of the most groovin’ sets of the weekend, extending their songs into jams involving folk-rock guitar solos and indie-pop synthesizer interludes. Waxahatchee and Angel Olsen offered a singer/songwriter component to the festival, playing with backing bands and displaying their signature lyricism and vocal range.

    pitchfork 2013
    Waxahatchee

    Matthew Houck’s latest musical project, Phosphorescent put on a performance Saturday afternoon that perfectly represented his relocation from southern folk’s roots in Huntsville, Alabama to indie-rock’s epicenter in Brooklyn, New York. Drawing influence from classic country music and merging such sounds with contemporary indie-rock, Phosphorescent played a show with boot stompin’ fit a southern bar and hip-twistin’ suitable for Brooklyn’s trendiest venues.

    pitchfork 2013After releasing one of my favorite albums of the year so far, We Are the 21st Century Ambassadors of Peace & Magic, Foxygen succeeded in living up to the high expectations I’d had for their early Sunday set. Co-frontman Jonathan Rado provided psych-rock instrumentation that perfectly complimented the antics exhibited by his bandmate Sam France; the vocalist climbed the stage’s rafters, jumped off of every amplifier in sight, and sang atop equipment bridging the crowd and the stage. Midway through their set, France mockingly gave thanks to a long list of corporate sponsors. Although the statement was humorous and well delivered, such a quip would have made more sense at a festival like Lollapalooza where stages are named after beer companies and sold-out tickets are available on Stubhub for three times face value.

    Pitchfork reserved a limited number of tickets at its gates to prevent higher-priced re-sales, and promotional aspects were handled tastefully, generally involving local businesses. With food options provided by Chicagoan restaurants and alternatives to the live music including the Columbia College Book Fort, a record fair presented by Chicago’s independent Chirp Radio and the Flatstock Poster Show put on by various artists, the advertising at Pitchfork served as a platform for local entrepreneurs, students, and artists to reach an audience that could appreciate their work.

    Foxygen’s vocalist, Sam France (top) along with the bands instrumentalist, Jonnathan Rado (bottom).

    Each individual’s experience at Pitchfork is influenced by much more than the festival’s three stages of music. It’s not just great concerts that Pitchfork provides every year in Union Park, but an environment that allows fans to share their experiences, allows local businesses to develop, and allows musicians to connect with their audience. Pitchfork may not draw the biggest audience or book the most stadium acts, but I wouldn’t have it any other way.

    Pitchfork Music Festival on FacebookTwitterYouTubeWebsite

  • The All-Inclusive Preview of Equifunk: The All-Inclusive Music Festival Part 3

    Equifunk: The All-Inclusive Music Festival is happening from August 16 to 18 this year and we are happy to announce a new series on that will bring you previews and interviews with bands that will be playing the festival.  The All-Inclusive Preview is happy to continue the series with a look at Soulive with The Shady Horns with legendary guest Maceo Parker.

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    Soulive, the headliners of this year’s festival have been together since the late 90’s and have really come into their own in the last few years.  Comprised of Alan and Neal Evans and Eric Krasno, Soulive’s funk-jazz fusion is something not to be missed whenever they are in your neck of the woods.  Starting in 2010, the band has had a ten-night residency in New York City called Bowlive, held at the Brooklyn Bowl.  It is there that they gained a reputation for putting on great shows of their own music as well as welcoming guests every night of the run to perform special sets and covers.  The Shady Horns are always at these shows and are one of the tightest and funkiest horn sections around.  They give Soulive that extra little push, raising all of the music to a new height.  Having this level of energy at Equifunk is special in itself, but they are adding a living legend to the fold on top of that.

    Maceo Parker, who has worked with James Brown as well as Parliament-Funkadelic, among others, is an icon.  He is one of the best funk and soul jazz saxophonists to ever pick up the instrument.  Maceo was there when funk was originated in the 1960’s and happily continues to keep the flag flying.  He has played all over the world and has received various awards for his playing.  In the past 20 years Maceo has focused more on being a solo artist than just play with other musicians.  This collaboration is a special one, making this festival more unique than it already is.

    This mixture of talent is one of the most exceptional headliners of any festival in the area this year.  This set will surely have the crowd dancing throughout the duration enjoying the funk oozing from these amazing musicians.  Tickets are still available here and our full preview of Equifunk can be found here.

    [youtube http://www.youtube.com/watch?v=ZAylejJtUNI?rel=0&w=640&h=360]

    [youtube http://www.youtube.com/watch?v=3_0alsFnxwI?rel=0&w=640&h=360]

  • Australian trio Sick Puppies invade Upstate New York

    Australian band, Sick Puppies, will be around the Upstate New York area a lot in August so there are no excuses allowed for missing this trio that is guaranteed to knock you on your ass.  August 3rd brings the Sick Puppies to The Paramount in Huntington, NY for our downstate and Long Island readers.  Central New Yorkers will be able to catch them on August 4th.  They will be part of 95X’s X-Fest along side Nonpoint, Otherwise and former 3DG lead singer Adam Gontier.  Along with 10 national acts there will be 10 local acts that you will not want to miss.  Then off to Delaware.  Upstate Metal’s Kate Drexel will be covering the August 2nd Virginia show to give an in depth look at the 2013 Summer Tour and what we can expect here in New York.  *here is a hint* Great music and a great time.

    The band then comes back to the Empire State to Poughkeepsie’s The Chance on August 7th and Upstate Concert Hall in Clifton Park on August 11th.  From there it is just across the pond from Plattsburgh, where they will be serving up two nights of chaos at Burlington, Vermont’s Higher Ground before coming back to Rochester for a kick-ass show at a kick-ass venue – The Armory.

    For more information on the tour go to: http://www.sickpuppies.com/events/

    To buy the new Album, Connect visit iTunes: https://itunes.apple.com/us/album/connect-deluxe/id646984341

  • Review: HOLLYWOOD UNDEAD Brings the Undead to Life at The Fillmore

    No more waiting, the fans were ready for Hollywood Undead to take over, to bring the party to the stage. The mixed animated chatter died once the lights dimmed and a purple and white hue brightened the stage. An ominous introduction filled the eager ears of the fans, when all of the sudden the opening notes for “Undead” began to bounce off the walls of The Fillmore.hollywood undead

    All of Hollywood Undead came out with their masks; Charlie Scene wore black matte spectacles with a gray bandana that read CHARLIE SCENE; J-Dog wore a white mask with gas filters on the cheek and red glowing burned eyes; Johnny 3 Tears wore a mosaic mask with a 3 on the left side of his face as well as a butterfly pattern on the right side; Da Kurlzz had on a white mask with two different sides, the left, sad with the mouth open, and the right, burnt and evil, both features with great wrinkles; Funny Man wore a black cloth mask with a silver pattern on it, in the style of Mexican masked wrestlers Lucha Libre; and finally, Danny, a gold mask with strict features and a Latin cross made from the casings from bullets. The crowd lost it as soon as they began to perform the first song; some even began to crowd surf. Next song to play was “Tendencies”, the fans continuing to sing along whole-heartedly, and the band members pointing to a few of them and dancing around to the beat of the song. Following was “Been to Hell” then the band took of their masks to continue performing the next song, their current single, “Dead Bite”. Through the speedy setlist, the band played their classic songs including, “Up in Smoke”, “Kill Everyone”, and “City”. Very catchy tunes indeed and the vibe they created on the stage was definitely indescribable, one had to have been there to experience the party they had on stage. The fans danced along to the beat and rhythm of the songs “California” and “From the Ground”, as the crowd sang along to the killer lyrics Hollywood Undead was throwing at them.

    Oh, but the party does not end there, they continued with more of their fantastic classics, “Delish”, “Comin’ In Hot”, as well as the ridiculously cheery song, “Bullet”, and a song they dedicated to the troops, “Paradise Lost”. After the performance of “Another Way Out”, they carried on with “Young” to which their original backdrop of the cursive HOLLYWOOD UNDEAD on top of a white fading to gray background was suddenly dropped and revealed a black and white vertical striped backdrop with the band’s symbol, a dove carrying a grenade on each of the black stripes.

    Subsequent to the performance of “Hear Me Now”, the lights shut off and the band exited the stage, then the overhead lights began to turn on, causing the fans to chant for an encore. Then someone in the speakers above announced that the band was finished for the evening, and subsequently encouraged the fans to chant “everywhere I go”. As the fans continued to chant, the opening notes to “Everywhere I Go” played, causing the fans to cheer out with excitement as the band stepped out from the shadows to finish their set. The grand finale was “We Are”, to which Johnny 3 Tears had to stop it after singing the beginning chorus because he admitted to messing up, then the band started the song from the beginning and continued to play without any further flaws. They left the fans wanting more and in a crazed hype.

    Overall, Hollywood Undead knows how to bring the party to the stage and they brought the undead to life. Prior to the beginning of the evening, Upstate Metal’s Kate Drexel had the opportunity to interview Johnny 3 Tears, which can be seen below. Be sure to check the band’s Facebook page to see if the party will be coming to a town near you, this is a band you will not want to miss out on.

  • Review: ESCAPE THE FATE Conquers The Fillmore

    IMG_3830After the excitement that 3 Pill Morning provided for the fellow concert junkies, the adventure was not going to end there, it was Escape the Fate’s turn to take over the stage. The lights dimmed to a blue mixed with a red hue, a very ominous setting. As soon as the intro started to play, the fans went crazy as the band members, Craig Mabbitt (vocals), the Money brothers, Bryan “Monte” and Michael (both guitarists), Thomas “TJ” Bell (bass), and Robert Ortiz (drums), stepped into the light. The band then performed “Choose Your Fate” and the band’s current single, “You’re Insane”, from their latest album Ungrateful. After the performance of “10 Miles Wide”, the band took a brief break while Mabbitt took the chance to announce their release of their latest album and asked the crowd if they got it. A dedicated fan by the name of Trey Wellington shouted out louder than the others that he bought the record on its release day, and Mabbitt walked over to him, shook his hand as well as fist pumped it. He then dedicated the next song, “Ungrateful” to Wellington and proceeded to unleash his bloodcurdling screams. Following was “Issues” and a track from Ungrateful, “Until We Die”; the energy from the band and the ever-adoring fans were absolutely insane.

    IMG_3821After the performance of “Gorgeous Nightmare”, a pair of lacy purple underwear was thrown upon the stage. Mabbitt picked up and thanked the fan that threw them up there, a mystery it shall remain.  The band finished the set on a killer note with “Fire it Up” and “This War is Ours”.

    Overall, they put on one hell of a performance, Mabbitt’s screams continued to haunt the back of the fan’s minds as they left the venue in such a giddy mood…however, the evening was not about to end there, for it was then Hollywood Undead’s turn to rock the stage.

  • Review: ALL HAIL THE YETI Crushes The Fillmore

    IMG_3676The excited mixed chatter from the concertgoers died down as soon as the overhead lights dimmed, hinting it was All Hail the Yeti’s time to rock the stage. The music playing above quietly turned into a swamp-sounding ambience, the lights shined blue, red, and a forest like green to set the heavy mood. One by one, the band members emerged from the shadows, Connor Garritty (vocals), Craw NeQuent (guitar), Nick Diltz (bass), and Steve White (drums). As soon as the band started to perform their first song, “Deep Creek”, Garritty unleashed an almighty, bone-chilling scream, one that would make the neck hairs stand up. Following was “When the Sky Falls” filled with intense beats provided by White, Garritty’s screams intensifying, and Craw released his killer guitar skills. By the third song, “Suicide Woods”, the crowd definitely got into the band enough to heighten their head banging. The band continued with the last few heavy songs “After the Great Fire”, “Bloodguilt” and “The Art of Mourning”.

    Hearing their set brought Upstate Metal’s Kate Drexel back to when she interviewed Nick Diltz and Craw NeQuent on March 30th, when the band opened for In This Moment at Upstate Concert Hall, during sound check. To say the least, it ended up being an entertaining interview. “The band used to be called just ‘Yeti’, there was just the single word for a long time and we ended up having to change it a couple years ago ‘cause of some legal issues, there was another band called ‘Yeti’. So All Hail the Yeti was sort of like our battle cry anyway, we had it on a lot of our promotional stuff and all our URLs were ‘/AllHailTheYeti’ so it was kind of a pretty natural change,” said Diltz when asked about the history of the band name. He then proceeded to explain that a yeti is the Himalayan Nepalese term for “bigfoot.” “The singer and I are like real enthusiasts of all that kind of stuff…cryptozoology and bigfoot and all that kind of folklore and stuff and also we thought it fit the sound, just kind of heavy, slow moving, crushing kind of persona,” he continued. “Backwoods,” chimed in NeQuent. “Yeah, backwoods…mythical, larger than life all of that stuff we feel like applies to the sound and the band also.”

    IMG_3697The description of the band’s sound that Diltz and NeQuent provided can be heard throughout the set as well as the band’s influences including Waylon Jennings, Jerry Reed, Robert Johnson, Dimes, Zakk Wylde, BB King, John Lee Hooker, Down, Crowbar, and many more. “I think that one of the greatest things about this band is that we all have kind of an eclectic musical taste; we’re all kind of different in what we listen to. We listen to so many different things, like there are so many metal bands that they listen to just metal and they live that metal life and they wear metal t-shirts and they go to metal shows…we’re just, I feel like we’re kind of…we just go so much further beyond that with our influences.” As for what their music reflects about the band, the answer to that question was briefly interrupted by banging drums. “Someone’s banging on the door let me go answer it…Hold on a minute!” shouted Craw. A moment of laughter was shared between the three before Nick proceeded to answer. “It’s the reason why I play metal, it’s so much more of the fact that I like it, obviously there’s more to my lifestyle than just making metal music but I choose to make metal because it’s fun, there’s something about it, just that energy, that pounding rush that you get from making it and the crowd response from the fan base so it’s…it’s such a unique style, it lets you get so much energy, you get to be all aggressive,” said Diltz. “It’s not formulated, we don’t go inside the studio and go ‘ok, we’re gonna sound just like this.’ It is what it is, whatever you feel that day. If you’re pissed off, cool…” added NeQuent. Before the next question could escape Drexel, the heavy banging of the drums commenced yet again. “I’ll be right there, girl! Shit!” shouted Craw, causing all three to bust out with laughter.

    IMG_3658Apparently, this tour with Hollywood Undead wasn’t All Hail the Yeti’s first cycle with them; previously, they did a Canadian tour with the rap/metal band. “We’re actually surprised at the fans, how they reacted to us because they’re kind of a metal hip-hop band, or whatever you wanna call them but their audiences go from like literally ten years old to the parents to everywhere in between, but honestly by the second or third song, you know, hitting the gas, everybody started moshing so it’s pretty damn cool to see that,” said Nick before the guitar riffs from the tech crew began to interfere with the interview plus the heavy banging of the drums. “I don’t know if you can hear us now! There’s a little bit of construction going on! It’s Van Halen, they’re fixing my yard!” yelled Craw over the noise. “Goddammit Eddie!” Both Drexel and Diltz got into a pretty big laughing fit before she could ask the last question as well as her favorite one: what does music mean to you? “Everything. I was born living and breathing and feeling music and from an early age, I was always just like this is something I need to do, it speaks to me and I understand it. Not everybody gets to do this and so I shouldn’t take it for granted. We’re all here for the same reason, we’re hear to make music because we love it and because this is something we’ve always dreamed of.” As for Craw’s response: “Absolutely everything! Sacrifice and adaptation are two words that I live by, because you have to sacrifice everything to do this and you have to adapt to whatever comes your way, and I’ve been doing this for a little while now and I love what I do. You have to love it.”

    Be sure to check out All Hail the Yeti’s self-titled album, available for digital download and check their Facebook for upcoming tour dates. This band can put on one HELL of a show.

  • Review: 3 PILL MORNING Suits Up at The Fillmore

    IMG_3699The crowd was still hyped from the performance that All Hail the Yeti put on for them but they were in for a treat as Minneapolis’s very own 3 Pill Morning was ready to hit the stage. The venue darkened once again and the music quieted as the band’s electronic-sounding introduction took its place, and one by one, the band members made their presence known; Jeff Stebbins, Ryan Welch (guitar), Ryan Lee (bass/vocals), and Trent Laugerman (drums), all wearing suits in support of their debut record released last year, Black Tie Love Affair. “It’s actually a lyric in one of our songs called ‘Skin’ and we pulled that out and we liked the Black Tie Love Affair concept and that’s even kind of come even further to our stage show and us wearing suits on stage and all that kind of stuff, so it’s become what this whole album is about and it’s been really cool,” explained Stebbins to Upstate Metal’s Kate Drexel, when asked about the album title.

    IMG_3747The band began to play their first song from the set, the one that really set the mood right, “Revolution”, followed by “Nothings Real”. The fans sang along to the lyrics passionately, some having a look on their faces as though they can relate to them. Earlier in the evening, Stebbins mentioned that the inspirations used to write the album were based on life experiences, “you know, stuff you see day in to day out, ranging from relationship stuff to stuff you see other people doing that drives you crazy to that sort of call to action kind of things, you know, life, just living.” The next to play was the band’s current killer single, “I Want That for You”; the crowd bounced to the beat and mouthed the words in an excited manner. “They evolve singing lyrics into a cell phone or typing some stuff out, a guitar riff or whatever just pops into the top of our heads. It really varies on every song. The cool part about it is you’ll never know where it’s going to come from or how you got there but it gets there eventually,” explained Stebbins when asked about the evolution of their song ideas. Subsequently the band played “Take Control” to which Stebbins encouraged the crowd to wave their arms from side to side, then “Rain” and the band’s first single, “Loser” played next. “We played a lot of amazing ones, you know, right now, I’d have to say The Fillmore in Detroit…it’s got some really cool architecture to it, a really awesome room. Same thing with the House of Blues in Boston, just massive, really cool vibe there. Those two are definitely at the top of my list,” said Jeff, explaining his favorite venues and why. The band’s vibe was through the roof, just absolutely intense and incredible; Lee and Welch rocking out hard to their bass and guitar, Laugerman beating the drums with such fierceness and Stebbins, filled with such energy, jumping as high as gravity allowed him.

    IMG_3739The last song on their set was “Skin”, and Jeff shared his answer to Drexel’s last question as well as her favorite: what does music mean to you?: “It’s changed so much over the years; I mean music to begin with was just a way that I could find a link to what I was going through and somebody I had written a song about and being able to sing about it and express myself about it. Now music has become more an opportunity to make a living and a career and something that’s a part of me every single day, you know, it’s what I do now, instead of being able to experience it as a listener or something like that. To begin with, it’s just what helps shape who you are and helps you get through those tough times or celebrate the good times, too, so it does a lot of different things for different emotions and experiences.”

    All in all, the band can put on a killer performance with such high energy. Be sure to check their Facebook to see when they hit a town near you. Black Tie Love Affair is available for digital download. If you want a good time, go see this band, they certainly know how to put on a show!

  • Preview: SEVENDUST to Black Out the Northeast with DEVOUR THE DAY and OTHERWISE

    This week, Sevendust makes their mark with killer openers Devour the Day and Otherwise in the Northeast area, including Poughkeepsie, NY tomorrow night.

    Sevendust:

    Formed in 1994 in Atlanta, GA, Sevendust consists of Lajon Witherspoon (vocals), Clint Lowery (guitar), John Connolly (guitar), Vince Hornsby (bass) and Morgan Rose (drums). Since the successful release of their debut self-titled record in 1997, Sevendust has a total of nine records and 30 singles, including their recent album, Black Out the Sun. They made an appearance at this year’s Rock on the Range on May 19th. This band is eager to show the crowd what they have up their sleeves.

    Otherwise:

    Hailing from Las Vegas, NV, the Patrick brothers, Adrian (vocals) and Ryan (guitar), Andrew Pugh (guitar), Vassilios Metropoulos (bass), and Corky Gainsford (drums) are more than ready to knock everyone out of the ballpark with their never-disappointing performance of songs off their record, True Love Never Dies. To say the least, these Wise Guys are ready to knock everyone out of the ballpark.

    Devour the Day:

    From Memphis, TN, former members of the alternative metal band, Egypt Central, Blake Allison (vocals) and Joey “Chicago” Walser (bass) created the band now known as Devour the Day in 2012. Their debut record, Time & Pressure, was released on May 7, 2013 and have been touring since with tour members, Jeff James (guitar) and Dustin Schoenhofer (drums). They are more than ready to crush the stage with their unique style in music.

    All in all, a killer lineup, though it may last a short while. Below are the following tour dates, this is one performance you will not want to miss.

    Dates:

    Poughkeepsie, NY – 7/23

    Dewey Beach, DE – 7/24

    Allentown, PA – 7/25

  • Pitchfork Music Festival 2013 Starts Tomorrow

    pitchforkPitchfork Media will hold it’s eighth annual music festival this weekend, July 19-21, 2013 in Chicago’s Union Park. While 3-day passes for the festival sold out in early June and single-day tickets for Sunday are no longer available as of Wednesday, some Sunday tickets will be up for purchase at the festival’s gates to prevent higher-priced re-sales, and tickets for Friday and Saturday are still available online for a limited time.

    Along with a lineup consisting of headliners Björk, Belle and Sebastian, and R. Kelly, Pitchfork will feature a record fair sponsored by  Chirp Radio, the Flatstock Poster Show presented by the American Poster Institute, the Coterie Craft Fair, and the second annual Book Fort featuring various vendors and panels of authors and journalists.

    ’s full Pitchfrok 2013 preview coverage can be found here. Follow @ and @QuinnDonnell on Twitter for live coverage of the festival.


    Set times and stage locations are provided below.

    Friday, July 19

    8:30 Björk (Green Stage)

    7:20 Joanna Newsom (Red Stage)

    6:25 Wire (Green Stage)

    6:15 Mikal Cronin (Blue Stage)

    5:30 Woods (Red)

    5:15 Angel Olsen (Blue)

    4:35 Mac Demarco (Green)

    4:15 Trash Talk (Blue)

    3:30 Daughn Gibson (Red)

    3:20 Frankie Rose (Blue)

    Saturday, July 20

    8:45 Rustie (Blue)

    8:30 Belle & Sebastian (Green)

    7:45 Andy Scott (Blue)

    7:25 Solange (Red)

    6:45 Low (Blue)

    6:15 The Breeders play Last Splash (Green)

    5:45 Ryan Hemsworth (Blue)

    5:15 Swans (Red)

    4:45 Metz (Blue)

    4:15 Savages (Green)

    3:45 Merchandise (Blue)

    3:20 …And You Will Know Us By the Trail of Dead (Red)

    2:50 Parquet Courts (Blue)

    2:30 Phosphorescent (Green)

    1:55 Julia Holter (Blue)

    1:45 Pissed Jeans (Red)

    1:00 KEN mode (Blue)

    1:00 White Lung (Green)

    Sunday, July 21

    8:45 TNGHT (Blue)

    8:30 R. Kelly (Green)

    7:45 Glass Candy (Glass Candy)

    7:25 M.I.A. (Red)

    6:45 Evian Christ (Blue)

    6:15 Toro Y Moi (Green)

    5:45 Chairlift (Blue)

    5:15 Lil B (Red)

    4:45 Sky Ferreira (Blue)

    4:15 Yo La Tengo (Green)

    3:45 Waxahatchee (Blue)

    3:20 El-P (Red)

    2:50 Blood Orange (Blue)

    2:30 Killer Mike (Green)

    1:55 Autre Ne Veut (Blue)

    1:45 Foxygen (Red)

    1:00 DJ Rashad (Blue)

    1:00 Tree (Green)

    Pitchfork Music Festival on FacebookTwitterYouTubeWebsite

  • NYS Music Heads West to Pitchfork Music Festival

    As a student in Upstate New York and a Midwestern native, I know a thing or two about catching a ride, hopping on a train, or—when it’s financially possible for my tuition-dominated budget—buying a plane ticket and heading to Chicago. While these trips usually take place over holidays, the ends of semesters, or any other event dictated by university scheduling, Pitchfork Music Festival is as good a reason as any to travel to the Windy City for a mid-July weekend.

    PitchFork

    Taking place in the west side’s Union Park July 19-21; this year’s festival will feature headlining acts from Björk, Belle & Sebastian, and R. Kelly. While the opportunity to see one of Iceland’s most iconic musicians, a group of indie-folk legends, and Chicago’s king of R&B is reason enough to make the trip west, it’s the entirety of Pitchfork’s 2013 lineup that makes it one of this summer’s most appealing festivals.

    Here’s a day-by-day overview of the acts I hope to see between stocking up on as many free Kind bars as possible and digging through the Chirp Record Fair:

    On Friday, gates will open several hours later than the festival’s two succeeding days. Although a delayed start time brings about a smaller number of performances on Pitchfork’s opening day, I’m certainly not worried about a shortage of exciting acts. My first stop will be the green stage, where Mac DeMarco will probably be wearing his backwards baseball cap and his faded, appropriately too-big button-up that compliments his jangly Canadian surf rock so perfectly. Shortly thereafter, I’ll catch some of Angel Olsen’s set, where the longing and the range in her vocals will remind me of Roy Orbison, and I’ll feel conflicted when I decide to leave early for Woods at the red stage. For a moment I’ll feel like I’m in California as Woods plays their west coast folk rock and I appreciate Union Park’s distance from the Chicago Loop, but a set from Mikal Cronin will remind me that I’m at my fourth fantastic performance of the day and there’s no where I could possibly be other than Pitchfork Music Festival.

    Phosphorescent is the act I’m most looking forward to on Saturday; with a 2:30PM set time, it’s also one of the first acts I’ll see on day 2. I recently became a fan of Phosphorescent after Matthew Houck released his 6th album, Muchacho, under the luminous moniker. Houck’s laid-back alt-country will be a suitably contrastive introduction to an afternoon/evening of punk rock (Pissed Jeans, Parquet Courts, Metz) and electronic instrumental music (Ryan Hemsworth, Andy Scott, Rustie). I haven’t yet figured out how I’m going to make it to all of these shows while finding time for The Breeders, who will be playing the entirety of Last Splash and Solange, who performs soul-infused, hip hop-influenced R&B much like her sister with a similarly mononymous name, Beyoncé.

    Chicagoans Tree and DJ Rashad will play opening sets on Sunday, representing the city’s underground hip hop scene and the recently evolved footwork genre. Foxygen takes the red stage at 1:45, playing a show I’ve been waiting for since the release of We Are the 21st Century Ambassadors of Peace and Magic in January. The psych-rock duo, whose music takes cues from 70’s acts like the Rolling Stones and Velvet Underground, are known to put on a wild performance, complimenting their energetic, occasionally frantic music. At 3:45 Waxahatchee will play the blue stage; whether it’s just Katie Crutchfield and her guitar—much like the majority of her debut album, American Weekend—or she plays with the full band featured on this year’s Cerulean Salt, doesn’t particularly matter to me, as both styles display the candid songwriting and the  wistful melodies that make her set one of my most anticipated of the weekend.

    With tickets still available at $50 per day, it’s not too late to plan a weekend trip to Chicago and be a part of Pitchfork Music Festival 2013. If such a plan isn’t necessarily feasible until next year, however, I’ll be back next week with a recap of the festival’s best shows, photos from all three days, and an approximate number of personally consumed Kind bars.

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