‘Pitchfork Holds a Special Place in My Heart’: A Whimsical Weekend of Music

Punk rock and rap dominated the weekend of July 19-21 at 2024’s Pitchfork Music Festival. The annual three-day festival’s lineup maintained a steady tide of enthusiasm among the patrons at Union Park on Chicago’s West Side.

Chicago-based acts Angry Blackmen, Lifeguard and Kara Jackson performed alongside international artists spanning Australia, the U.K. and South Korea. Lesser known acts such as rock band Black Duck — also Chicago locals — played the same stages as established names like Carly Rae Jepsen and Alanis Morissette.

Friday, July 19

Tkay Maidza dazzled the crowd with a feather-light voice and a star-studded black leather outfit. Her ethereal stage presence was especially impressive considering she’d traveled 40 hours from Australia to Chicago before her performance.

The Zimbabwe-born singer-rapper appeared right at home onstage, seamlessly shifting between songs spanning her decade-long career. Fans were treated to hits like 2013’s “Handle My Ego” and last year’s “Ring-a-Ling.” The festival’s heavy indie influence made her cover of Pixies’ “Where Is My Mind?” a stellar choice.

Korean DJ Yaeji took to the Red Stage with two backup dancers, playing a collection of hits from her 2020 mixtape “What We Drew 우리가 그려왔” and her 2023 debut album “With A Hammer.” At once bouncy and thoughtful, Yaeji’s signature electronic sound prompted crowds to dance to the beat. 

“I’m so excited to share my artistry with you,” the singer said during the performance. 

Yaeji finished her set with an unreleased, upbeat dance track. The DJ showed the audience how to do a custom dance move to the chorus of “Bu bu, don’t touch me.” Pressing their pointer fingers and thumbs together, then crossing their fingers in an x before pointing back at themselves, grinning audience members followed along. 

At the Green Stage, experimental electronic duo 100 gecs shocked and sparkled. Uncharismatic, abrasive and beyond genius, producers Laura Les and Dylan Brady ran through a series of hits from their two accordingly named albums: “10,000 gecs” and “1,000 gecs.”

The crowd was invigorated, pushing and pulling against one another in ecstatic lockstep. This energy shook the core of the crowd, as audience members spun their arms and shook their shoulders in time with the music.

Among the evening time slots was Sudan Archives, hypnotizing the Blue Stage with her vibrant blend of vocals and violin. Donning a polka-dot jumpsuit, the artist treated her violin bows like an archer would arrows, holding them in a quiver on her back while crawling across the stage.

“Am I good enough?” she sang, ending her set with the track “Selfish Soul” from her 2022 album “Natural Brown Prom Queen.”

“Yes, you’re more than enough,” the audience responded, with cheers, whoops and applause.

Along with his touring band, Jeff Rosenstock — known for his work in Bomb the Music Industry! and The Arrogant Sons of Bitches — ended the Blue Stage’s Friday performances with an adrenaline-spiked jam session.

Before the set began, Rosenstock rocked out off stage to System of a Down’s “Chop Suey,” defining the tone for the rest of the hell-raising performance. The sea of fans eagerly embraced crowd-surfing and parted, allowing for multiple mosh pits. Closing with the high of “WILL U STILL U,” Rosenstock cemented himself as a standout in Friday’s lineup.

Indian-British legend Jai Paul, who first gained an audience with the release of his Myspace mixtape, took the stage as the sun began to set.

There was something magical about the combination of Paul’s soaring falsettos and on-stage backdrop of fossils, prehistoric lava displays and deep sea creatures as he performed “BTSTU.”

Black Pumas, the final act of the day, blew on stage in a whirlwind of bleach-blond locs and abundant charisma. Four years out from their Grammy win in 2020 for Best New Artist, Black Pumas’ frontman Eric Burton was as dynamic as ever. 

The band caught an ineffable groove complete with Burton jumping in and out of the crowd. Infused with Texas twang and built on classic-rock stylings, Black Pumas closed out the first night with a delightful performance. 

Saturday, July 20

Legendary hip-hop group De La Soul came on in the Saturday late afternoon, bearing growing heat and glaring sun. At the start of the set, De La Soul briefly paid tribute to former member Trugoy the Dove, who died in 2023.

Audience members of all ages were drawn into the vibrant rhythm of De La Soul’s performance — a testament to the group’s enduring power and lasting impact.  

By the end of the set the duo had turned into a quartet, joined by New York rap mainstays Talib Kweli and Pharoahe Monch.

Jessie Ware, Saturday’s first headliner, was enigmatic and irresistibly glam. Decked out in a glittering peach, bat-winged onesie, Ware welcomed cheering audiences to “The Pearl Club,” as an announcer had called the stage before the set.

Her dance-hall hits rolled over the crowd with ease, bringing her eighties-inspired sound to the forefront. 

Pop legend and gay icon Carly Rae Jepsen wrapped up the shows on the Red Stage Saturday night. Prowling around the platform in a shimmery silver dress, she sang familiar hits like “I Really Like You” and “Call Me Maybe,” as well as newer tunes from her 2022 album “The Loneliest Time.”

“Pitchfork holds a special place in my heart,” Jepsen said between songs.

Toward the end of the set, one adoring fan gave Jepsen a Minecraft diamond sword — a gesture which has been a meme since 2018, according to the Chicago Tribune.

As if emerging from a pearly gate crafted from bright white lights and smoke machines, DJ Jamie xx descended from the heavens to close out the second night. The set ran through a few of Jamie xx’s club hits, including “Life.”

Continuing the energy brought by Carly Rae Jepsen and Jessie Ware, Jamie xx wordlessly delivered audience members across Union Park to a state of nirvana.

Sunday, July 21

Jazz artist Nala Sinephro was a welcome respite from the broader bustle Pitchfork. On the relatively secluded Blue Stage, Sinephro and her band created a beautiful, blissful arrangement of harp, saxophone, drum and keyboard. 

New York punk outfit Model/Actriz brought a midday jolt of energy, giving the audience a heavy dose of industrial sound. The band’s vocalist Cole Haden jumped into the crowd throughout the set and stared down audience members in the pit.

Crowd members jumped, kicked and spun in tune with the band’s sound. 

Indie darling Jessica Pratt brought her silver-tongued Laurel Canyon stylings to the Green Stage. Her high and dry vocals soared over stripped-back instrumentals.

“It’s a bad day to be dressed like a pallbearer,” Pratt said, referring to her all-black suit as she baked in Sunday’s glaring sun. 

Pratt seemed slightly frustrated throughout the set, coolly and wordlessly shifting from song to song. She left as quickly as she came, a brief “thank you” into the mic as a parting gift. 

Mannequin Pussy’s set was, as their name suggests, both explicit and exciting. Lead singer Marisa “Missy” Dabice titillated the crowd by contrasting an exaggeratedly breathy voice with deep, disjointed shrieks.

“I’d like to dedicate this next song to all your god-fearing parents,” she informed the crowd in the lead-up to “I Got Heaven.”

Dabice called on all the men in the crowd to raise their hands and scream “pussy” in unison as a unique, albeit edgy, way to psych up the audience.

Hip-hop legend member Grandmaster Flash ran onstage to cheers from the crowd but couldn’t keep them engaged for much longer. Despite the DJ’s status as one of the forerunners of the genre and inventor of the “quick mix theory” — often associated with early hip-hop sounds — something just didn’t click. 

“It’s okay to dance, y’all, it’s okay,” Grandmaster Flash said over and over again, but unfortunately, very few bodies seemed compelled to move. 

Straight out of the Phoebe Bridgers hit factory came MUNA, the queer alternative girl group du jour and first headliner to perform on Sunday. The band played a slew of their sometimes upbeat, sometimes reflective — but always sincere — songs, including “Number One Fan,” “Pink Light” and “Stayaway.”

The trio led into their final song, by calling for a free Palestine and voicing support for “the revolution.” 

Following MUNA was Brittany Howard, the former frontwoman of the rock outfit Alabama Shakes. An immensely powerful vocalist and absurdly talented performer, Howard’s set was a testament to her illustrious solo career.

Eccentric punk band Les Savy Fav easily had one of the most engaging performances of the weekend. Lead singer Tim Harrington commenced the quirkiness by riding a Lime scooter around the crowd. Harrington, sporting a neon orange beard and a bare chest covered in tattoos, later poured beer down an onlooker’s shirt and performed “magic tricks” with a blue tarp, among other shenanigans during the set.

Closing out the festival Sunday night was grunge mainstay Alanis Morissette. The singer brought Pitchfork the same air, attitude and affection she’s carried since her heyday 25 years ago.

Morissette’s on-stage backdrop displayed facts regarding worldwide injustices women face.The songs in Morissette’s set touched on some of her personal experiences with these issues.

Morissette brought MUNA back onstage to sing the first verse of “Ironic,” and she performed other top hits like “Hand In My Pocket” and “You Oughta Know.” The set culminated in a performance of “Thank U” specifically dedicated to her fans. 

After Morissette’s performance officially ended, attendees made their way to waiting buses and hovering trains at Ashland, grinning and jubilant. 

Some audience members made their way to a series of after shows at local venues, featuring many of the performers from earlier in the day, and others went home. Despite leaving for different destinations, the crowd in Union Park seemed to share the same feeling of fulfillment from the festival weekend.

This story was written by Audrey Hogan and Mao Reynolds.