Pitchfork Music Festival 2017

I’ve been moaning for years about how seldom two of my favorite musical artists — the Feelies and PJ Harvey — play in Chicago. One of the great things about being a music fan in Chicago is that you get a chance to see just about every touring artist. But there are a few bands and singers who bypass the Midwest or simply don’t tour all that much. Since the Feelies went on hiatus around 1991 and then reunited, the New Jersey rock band had played in Chicago only one time, at Millennium Park in 2009. That year was also the last time British singer-songwriter PJ Harvey had played in Chicago; when she released her recent records, she played only a handful of U.S. shows.

So, you can imagine how thrilled I was — along with other Chicago fans of the Feelies and PJ Harvey — when it was announced that both of them were coming to the Pitchfork Music Festival. And they were just two of the artists that made for an especially strong and diverse lineup at this year’s festival, which took place this past weekend (July 14-16) at its usual location, Union Park on Chicago’s West Side. Not surprisingly, as it turned out, the sets by PJ Harvey and the Feelies were two of my favorite moments in a really fun weekend of live music (which was made more enjoyable by the delightfully temperate weather).

Holding a saxophone aloft like a talisman, PJ Harvey made a dramatic entrance as the musicians in her large band banged drums, making the concert feel like some sort of pagan ritual. After opening with songs from her most recent album, The Hope Demolition Project, Harvey seemed to be running backward through her discography, but she eventually circled back to the new songs, with the voices of her bandmates adding to the power of the chorus. As always, Harvey was a riveting presence at the center of the stage. (Set list.)

The Feelies got off to a slightly late start, because the previous act playing on the other side of the field, George Clinton, ran several minutes past his scheduled time slot. That may seem like a minor point — and yes, I was also excited to watch Clinton, the 75-year-old godfather of funk, jamming with his Parliament/Funkadelic group, whom I’d never seen before — but Pitchfork is designed to run on a pretty tight schedule. Once the Feelies started playing, the band hit a couple of wrong notes — that’s hardly an egregious crime, and yet it was surprising, considering how precise the band typically sounds. Once the Feelies had found their footing, however, the group was in top form, strumming its trademark chords to those driving rhythms. (Set list.)

Here’s the rub: As much as I enjoyed seeing both the Feelies and PJ Harvey playing in the beautiful weather in front of crowds in Union Park, I was left wanting more. I’d love to see longer shows by both of these bands, as opposed to these typically condensed festival sets that last an hour or so. (I’m jealous of those who saw the Feelies playing a full show at El Club in Detroit on the following night.) But I will take what I can get. And in general, shorter sets do create a livelier feeling at music festivals.

This year’s Pitchfork experienced some logistical problems — including long lines at the entrance on Friday. And when the big field got crowded at the end of the day, it wasn’t fun to make my way through the throngs of people. And this may be stating the obvious, but depending on where you were at any given moment, your experience of the festival may have been completely different from my own. I watched Harvey’s show from a spot near the stage, but then as she began playing the final song of her set, I started needling my way back through the crowd to reach the photo pit for the next show, by Saturday’s headliners, A Tribe Called Quest. By the time I’d reached the back part of the field, Harvey was still playing, but I could barely hear her music at all. In that part of the park, it was hard to tell that a concert was even going on.

Other highlights for me over the weekend included the resonating shoegaze guitar wall of Ride; the sultry, moody songs of Angel Olsen, which often built to ferocious climaxes; LCD Soundsystem’s dance party (even if it was a bit of rerun from previous fests); George Clinton’s nonstop groove; the boundless enthusiasm and catchy riffs of the garage rockers Priests, Cherry Glazerr, Jeff Rosenstock and NE-HI; Thurston Moore, still doing music that sounds like Sonic Youth (and why the hell not?); the enthralling songs of Mitski, who seemed almost stoic during the early part of her set (I wasn’t able to stay for the whole performance, which reportedly climaxed with a “primal scream”); Colin Stetson’s stunningly muscular saxophone minimalism; A Tribe Called Quest paying tribute to its recently deceased member, Phife Dawg, with an energetic set; the beautiful and passionate vocals of Jamila Woods; and R&B star Solange’s elaborately staged visual and audio spectacle.

Photos of Day 1 / Day 2 / Day 3

Pitchfork Music Festival 2017: Day 2 Photos

Photos from July 15, 2017, the second day of the 2017 Pitchfork Music Festival in Union Park, Chicago. (Click on these links to jump ahead to the photos of an artist: Jeff Rosenstock, Weyes Blood, Cherry Glazerr, Arab Strap, Mitski, George Clinton, The Feelies, Angel Olsen, PJ Harvey and A Tribe Called Quest. Photos of Day 1 and Day 3Read my blog post about the festival.

Jeff Rosenstock

Weyes Blood

Cherry Glazerr

Arab Strap

Mitski

George Clinton

The Feelies

Angel Olsen

PJ Harvey

A Tribe Called Quest

PJ Harvey and John Parish

PJ Harvey has never disappointed me any of the five times I’ve seen her in concert. Each of those shows has been riveting. I’m not sure anything will ever compare with the deeply moving and cathartic experience of seeing her perform just a few days after the traumatic events of 9/11, but every other Harvey show that I’ve seen has been memorable in its own way.

She was back in Chicago on Friday night (June 12) after an absence of too long. It was too bad she did not come here to play the songs from Buy Cephalexin 500mg Without TrustedDrugstore. Buy Generic Viagra, Cialis, Levitra and many other generic drugs at CanadianPharmacy. Viagra To Buy In Uk Lowest prices for Generic and Brand drugs. ⭐️ | Best Price | http://dayofthedeadoaxaca.com/?rdf=Zovirax-Cream-Price-Cvs In Usa . 25mg-50mg-75mg-100mg and other / Online Pharmacy, Guaranteed Shipping. 24/7 Phone Support. Buy Priligy follow site Title: Where To Get Cheap Accutane - Cheapest Priligy Review Author: http://www.obscurity-online.de/where-to-get-cheap-accutane-15c9.pdf Subject | Up to 30% Off🔥 |. special reduced price. ☀☀☀ Cialis Online Bestellen Per Nachnahme ☀☀☀,Bonus Pills with every order!. Buy Now » go to link, paracetamol 125 zpfchen rezeptfrei, paracetamol met codeine alleen op recept, cel mai ieftin paracetamol Created Date: Buy Epivir Manufacturer Where Can I Buy Protonix http://emilygaston.com/?skd=Price-Zovirax-Cream Lowest prices for Generic and Brand drugs. Bonus 10 free pills, discounts and FREE SHIPPING. Cheapest drugs online - buy and save White Chalk when that album came out in 2007, but it sure was cool to see her again now, playing in tandem with musical collaborator John Parish. Their second album as a duo, the recent A Woman A Man Walked By, is a great record — better than their first collaboration, the 1996 CD Dance Hall at Louse Point. That one was a fine record, but it had the feeling of a side project, of two artists experimenting toward a combined sound. They’ve arrived at that synthesis this time around, with Parish writing strong and distinctive music and Harvey delivering striking words and vocal melodies.

As a live act, it’s strange to even think of them as a duo. Harvey is clearly the focus of everyone’s attention. Parish gets equal billing, but he stands there somewhat shyly just playing his parts. What else could you do if you’re on the stage next to Polly Jean Harvey? She’s one of those stars who’s beautiful in an unusual way, musically talented in so many ways, with a strong personality, who can make her presence felt with the smallest of gestures. At many moments Friday night, Harvey was doing little more than standing there at the microphone, calmly and coolly … what, waiting? Pausing? Meditating on the next note she would sing? And even in such minimal moments, she seemed like a lively presence on the stage.

And then at moments, the contemplative music gave way to outbursts of ferocity — as on the new record’s lacerating title track. Harvey dropped her voice to dramatic depths or let it soar to lovely highs, as the characters from her lyrics seemed to possess her. She sashayed and gestured across the front of the stage as she poured out her passion — and then danced all around her backing musicians as the song segued into its instrumental coda, the intriguingly titled “The Crow Knows Where All the Little Children Go.” For a moment, the spotlight fell on Parish as he played an extended guitar solo, a timely reminder of the fact that this is the guy who wrote all the music we were hearing tonight. On another intense new song, “Pig WIll Not,” Harvey barked like a dog into the microphone — as if normal singing was simply inadequate to contain what she needed to express.

This was a more satisfying concert than the similar show Parish and Harvey performed in March at SXSW — partly because the songs were more familiar to me now, and partly because they played a little longer, adding a few songs and stretching out some of them. It was still a bit short as concerts go, and I would have loved to hear some of Harvey’s solo music, but it seemed appropriate that this was a night for showcasing the invigorating music she’s doing with Parish.

I did not take photos Friday night, but you can see a couple of beautiful pictures by Kirstie Shanley on flickr here and here. And the photos I took of Harvey and Parish at SXSW are on my blog here, with several extra photos on flickr here.