Pitchfork Festival: Day 3 (Review)
by Steven Spoerl
After the threat of a storm cleared up, Day 3 was given a gentle opening courtesy of Mutual Benefit. Jordan Lee’s project released one of last year’s best records in Love’s Crushing Diamond which was featured heavily throughout their set. More than a few moments warranted an unexpected chill down the spine, a very rare feat for a band so unassuming. It was genuinely difficult to leave but it proved a little more difficult to pass up the opportunity to catch the end of Speedy Ortiz’s set while securing a good spot for Perfect Pussy. Speedy Ortiz played with their usual amount of verve, injecting their songs with off-kilter humor and small surprises. “Bigger Party“, their recent Adult Swim-endorsed single, drew a strong reaction- as did fan favorites “American Horror” off of this year’s great Real Hair EP and “Indoor Soccer” off of their excellent early EP, Sports. When everything ended in a cataclysm of precisely-controlled noise, it seemed like Speedy Ortiz were exactly where they belonged.
Once more, Perfect Pussy‘s set felt too important to be given a brief summary so it will be given a separate, full review after the Day 3 recap. Rest assured: it was an extraordinary performance that felt like a defining moment for the band. Just like a few days prior, the band following Perfect Pussy were divisive metal act Deafheaven. While Deafheaven did feel slightly out of place in the broad daylight, it did provide the festival some unexpected balance- and it was mixed to near-perfection. Drawing what was easily one of the most diverse crowds of the festival, watching the passerby reactions to the band’s signature sound was nearly as intriguing as the band themselves. Having already seen them two nights ago in a more appropriate setting, it was off to catch the heavily-acclaimed Isaiah Rashad, who delivered his set with a comfortable confidence. While Rashad’s lyrics often hit the same beat, that repetition is easily distracted from by some innovative production work. Rashad himself was an engaging presence that kept the crowd involved with natural charisma, star magnetism, and some festival-appropriate choruses. It was a nice break from the high-level intensity of the previous three acts and wound up striking the perfect balance between relaxing and exciting, offering festivalgoers a chance to catch their breath while their attention remained invested in the performance.
Dum Dum Girls kept that balance exactly where it should have been with their peculiar brand of easygoing, subtly psych-glam-inflected, dream-pop. Everyone seemed to be in a sedated trance only a few songs in, eyes fixated to the stage, where the the band was running through a set emphasizing their most recent material (most notably this year’s enchanting Too True). They’ll be back in the Midwest before too long and, as evidenced by just a handful of songs, are definitely worth seeing (catch them at the High Noon Saloon on October 23). After a brief reprieve, it was time to catch a few songs from ScHoolboy Q, a figurehead of the increasingly influential Black Hippy crew. Q’s Habits & Contradictions was one of hip-hop’s defining records just a few years ago and it’s power- and Q’s stature- have only grown since. He lived up to every expectation and delivered a set just as lively as both Pusha T and Danny Brown’s attention-demanding performances from the previous day. It was another strong example of the festival’s genre sensibility for the category and it was nothing short of thrilling to see Q take full advantage of his slot.
What followed ScHoolboy Q was an impromptu-heavy stunner of a set from Canadian duo Majical Cloudz. Devon Walsh and Matthew Otto are responsible for Impersonator, a haunting and minimal triumph of a record that stands as one of the best releases of the decade so far. It’s a record whose success no one could have predicted the extent of- just as no one could have predicted that less than two songs into their set, Otto’s keyboard (responsible for the bulk of the band’s music) would die completely. After frantic, futile attempts were made at a fix, the band embraced the dire conditions and weathered them with no shortage of bravery. Their first post-instrument-death piece was an a cappella rendition of “Bugs Don’t Buzz“, an immediately arresting performance that set the tone for what was to come. From that point forward, Walsh would graciously extend the microphone to anyone that wanted to sing one of their songs, beatbox, or even tell a joke- all while making sure the performance was kept relatively reigned in. More vocal-only renditions of songs from Impersonator were given- and loops were used whenever possible- and, for the grand finale, they took the now-useless keyboard and smashed it to smithereens in a moment of pure catharsis. It was genuinely unforgettable and wound up being a perfect transition to the next band on the schedule.
The recently reunited (and massively influential) Slowdive thankfully encountered no technical difficulties and sounded as perfect as they ever have, cranking their amps up to their breaking points and calmly making their way through a set of several now-legendary songs. Appropriately, their audience was in an entranced awe thanks to the still-spellbinding music emanating from the stage, as affecting now as it was two decades ago. This performance was one of the band’s only US dates and they made every moment of it count. After Slowdive wrapped up, there was just enough time for a brief break before Grimes took over and played to an absolutely packed crowd. Visions is now over two and a half years in the past but it’s proved formidable enough to keep serious attention focused on Clair Boucher, the artist behind the project. Grimes’ only release since then was last month’s “Go“, which earned a large amount of attention and acclaim. From the crowd’s reaction to Grimes’ set (which often felt more appropriate for a pop star than an emerging electronic artist, right down to the fan allowing Boucher’s hair to blow in the wind) it was abundantly clear that the public opinion of her has grown drastically since the release of Visions. “Oblivion” had a lot of people screaming and the audience seemed more than a little reluctant to see her leave but there was still one performer to go: Kendrick Lamar.
At this point, Kendrick is one of the few people in music who don’t need an introduction- and that showed in his set. Mostly pulling from the already-considered-stone-cold-classic good kid, m.A.A.d city he delivered one of the festivals most confident sets, while managing to keep it from tipping over into easy braggadocio, proving to be more than worthy of the festival’s ultimate headlining slot. His audience was huge and rapturous; it seemed like half of the Day 3 attendees were there solely to see the man himself. He didn’t disappoint those expectations- or even come close. Everyone who could drink was drinking, everyone who could dance was dancing, and no one was walking away disappointed. Songs like “Swimming Pools (Drank)” elicited mass crowd shout-a-longs and Lamar used his time as well as he possibly could. He’s clearly one of the biggest names in music (this is thanks in part to the fact he’s now earned a bottomless well of guest verses for just about everyone) and has no intentions of going anywhere but up. There were very few choices that would have felt more appropriate to bring everything home. It was the best-case-scenario closing to a festival that continues to get more impressive- and if that keeps up, it won’t be worth missing by the time it rolls around next year.