Faster Than Sound: Every Pitchfork Festival Artist Went to Austin This Year: My Chicago Trip Is Your Fall Summer Ticket Opportunity – Music

Indigo De Souza at Pitchfork Fest (Photo by Rachel Rascoe)

I wanted to listen to the Philadelphia band The hive mind on the recommendation of a friend and even had their local concert in March on my calendar, but never made it. Finally focusing on rock experimenters’ bubbly use of unexpected, industrial sound design at Chicago’s Fork Festival last weekend, all I could think of was: Shit, that would have been amazing in Austin at the ballroom!

To save you the regrettable and destined-to-listen moment, I’m offering you a rundown of the festival artists entering locally. All have tickets waiting for your doodle. Now you’re probably wondering: Rachel, you’re a local music journalist – what are you doing attending a festival hosted by a publication that has never accepted any of your freelance pitches?

Well, a few the Chronicle-ers attend the Alternative Media Association Convention hosted by the Chicago Reader this week, and I thought I would take the opportunity to attend my very first music festival outside of Texas. I really enjoyed existing outdoors below 107 degrees Fahrenheit and jumping between three close stages with minimal scenery conflict. Sunday I enjoyed Toro and me essential “Who I am” in the middle of Union Park while listening Cate LeBon start behind my back. It made me miss Fun and fun party and I wish Austin could have a medium-sized festival there again.

Besides convenient public transport, other splendid experiences have included the Portuguese-born Danish singer Erika de Casierplays for the first time in an American festival, hearing monaleois viral “We Not Humping” live, and Tirzahis wonderfully offbeat instrumentation, as those crowd members who only wanted “Holding On” thinned out. With ACL and Levitation wrapped in October, I hadn’t been to a festival since the Astromonde tragedy, and found headliners extremely attentive to crowd members passing out with several mid-song stops for raised hands.

Lots of Austin faces, like photographers Daniel Cavazos and Pooneh Ghana, Ground control tour agent Timmy Hefnerand extraordinary off-stage production Monica Skinner, made me feel not so far from home. Although I felt quite strange when my UK roommate asked if Pitchfork was a “mountain music” festival, perhaps a confusion made worse by my Texan status and frilly outfits.

Kaina

August 29, Mohawk with Helado Negro

RIYL: Mellow R&B and upbeat rock exploring positivity and persistence

Alongside the Chicagoans Cupcake Ke and Nameless, Kaina Castillo represented his hometown at the festival after pitching artists from the region Nnamdi and Sen Morimotoit is Sooper Records. The singer’s standout voice set a soft, moonlit tone for the calm resistance explored in March It was a house – better accompanied live in waves of Latin jazz and falling semi-psychedelia, rather than the occasional heavier rock interruptions from bandmates that aren’t present on the recording. The Guatemalan-Venezuelan artist’s lyrics fused beautifully into a velvety Spanish-Japanese duet with the keyboardist Morimoto from their 2019 song “Could Be a Curse.” The duo looked extremely tender looking at each other from half a stage away.

Indigo De Souza

September 1, Moody Theater with Courtney Barnett and Ethel Cain

RIYL: Sharp indie rock catharsis from a superhero singer-songwriter and band

Even in the pouring rain, a long line happily waited to meet Indigo De Souza after his electric set of the afternoon. With lightning-striking guitar and dizzying loops, the guitar-driven, bouncy bandleader stood like a charismatic indie rock superhero – fully embracing the grungier, more energetic side of her old folktronic recordings. . The Asheville, NC-launched artist has maintained a sharp, lucid delivery of catalog selections spanning vulnerability and the release of rage, especially with 2018’s title line “Take Off Ur Pants.” I also heard some serious pent-up potential in the “Bad Dream” repeat: “The girls are fighting / I have trouble sleeping.”

Ethel Cain

September 1, Moody Theater with Courtney Barnett and Indigo De Souza

RIYL: pre-game for the concert with images of haunted small towns

Ethel CainThe elaborate Southern Gothic universe of gunne sax dresses and facial tattoos manifests on stage in mismatched styles. Alabama and Georgia college sweats. Without frills, the rural Alabama pop figure looked like he had escaped from a religious complex, complete with a drummer and guitarist and a cinematic backing track. The singer presented a more sober and dreamy edition where the singer-songwriters integrating the iconography Lana Del Rey and Chelsea Wolfe have tread. The subtlety would create an odd mainstream pop ensemble, but that’s probably where his online cult is heading. The tattooed hands never left the mic stand, giving way to remarks about a country singer’s earnest talent on “Family Tree.” Other than a brief harmonica intro to “Crush,” I left with no more personal information about the enigmatic Cain than before.

Magdalen Bay

Sunday October 9 and 16, ACL Fest

RIYL: a sampling of synthesized pop nuances sung through a Britney Spears microphone

With the clarity of a children’s television character, Mica Tenenbaum said horizontal musical partner Matthew Levin“Matt, wake up, we’re in Pitchfork.” I had followed the duo since the internship Luminelle RecordingsTexas-based music blog record company Gorilla versus bear, while many fans were routed via surreal green-screen social media clips. Experiencing an 80s synth-pop overkill in recent years on “Dawning of the Season,” I was warmed by the grittier 2000 turbulence of “You Lose!” Tenenbaum’s vocals, clad in a leotard, easily disputed dynamic choral take-offs with guitarist/producer Lewin and a live drummer, humanizing the band’s brilliance. Computer music inspiration. The stage presence of the singer, between fairy and aerobics instructor, embellished the welcome evening.

Japanese breakfast

Sunday October 9 and 16, ACL Fest

RIYL: follow transcendent cultural news

I am not sure Japanese breakfast requires no introduction, as the main michelle zauner continues small group rollout of 2021 blockbuster memoirs Crying in H Mart (upcoming film adaptation) and Grammy-nominated 2021 record Jubilee. She absolutely earned next-level accolades with years of successful alternative pop. (Here I will shout my friend Tyler AndereAustin-based A&R representative for Father/daughter registerswho booked the three Saturday Pitchfork headliners – Lucy Dacus, Japanese breakfastand Mitsky – back in 2016 in an East Austin South by Southwest house show for their music blog Portals. We should all obviously trust their taste.) JBrekkie went über-Chicago with a guesting Jeff Tweedy for “Kokomo, IN” and Wilco“Jesus, etc.” – which Zauner cited as the inspiration for the strings in his recording. A skipped sax solo on “Slide Tackle” set up the Korean American icon for a triumphant finale, which is sure to delight Zilker.

Spelling

October 20, Mohawk

RIYL: strange and exuberant pop compositions from a former primary school teacher

Friday’s pouring rain was most appropriate for a radiant and theatrical pop spirit Spellingoutlet based in Oakland Chrystia “Tia” Cabral. After twirling vigorously enough to knock her over Korgsinger broke the anachronistic charm of her increasingly ominous music with a contemporary reference: “I feel like I need to make a Hillary Duff cover”, with a line of “Come Clean”. A violinist and two backing vocalists backed the live recreation of the grand orchestration on the 2021 album The spinning wheel. The set time only allowed for a handful of extended expeditions, like the nearly six-minute “Little Deer,” and I’d like to know more about its Austin title.

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