Highlights From Pitchfork Music Festival London 2023
Pitchfork unveils its annual music festival lineup, featuring one of the most diverse rosters to date.
Photography By: Sam Huddleston, Kimberley Ross and Matt Lief Anderson.As the calendar pages turn towards the final chapters of the year, the emergence of Pitchfork's annual music festival serves as a radiant beacon cutting through the encroaching darkness of November. With each passing day, sunlight gracefully surrenders to the pervasive shadows, and the lingering warmth of summer becomes but a distant echo in the chill of the approaching winter. However, in this seasonal transition, it is Pitchfork's festival that elevates these dreary November nights to a vibrant crescendo. This year, our fortune graced us with the opportunity to witness a kaleidoscope of musical talents, ranging from the avant-garde noise artistry of Ryoji Ikeda to the thought-provoking alternative hip-hop of Mavi, Mike, Fly Anakin, and McKinley Dixon. The psych-disco groove of U.S. Girls and the alternative rock of Sleater Kinney, while Yaeji's glitched out set and Weyes Blood's ethereal charm completed a diverse and enriching festival.
Ryoji Ikeda
The inaugural evening of Pitchfork's music festival, at least in our attendance, unfolded in the immersive noise of Ryoji Ikeda's mind-expanding spectacle at The Barbican. The esteemed artist delivered a seismic noise performance within the hallowed walls of the main hall, an auditory experience akin to a sensory assault, leaving attendees grappling with the intensity of its impact. Visually arresting, the performance unfolded against a backdrop of distorted black and white imagery, creating a visceral atmosphere that blurred the boundaries between art and audience. Ikeda's mastery over sound was truly palpable, as the forceful sonic waves prompted audience members to jump out their seat. It was like getting punched straight in the senses.
In a brilliant juxtaposition, Ikeda strategically allowed moments of respite within the tumultuous sea of noise, creating a nuanced sonic experience where abrasive compositions coexisted harmoniously with more sonically soothing entities, such as synthesised strings. This deliberate interplay showcased the artist's command over the spectrum of sound, revealing a nuanced and deliberate approach that elevated the performance beyond mere auditory intensity.
The overall effect of Ikeda's show was, in the most captivating sense, menacing. The marriage of visual and auditory elements created an atmosphere that transcended the conventional boundaries of live performance. It was, unequivocally, a testament to Ikeda's unparalleled artistry—a true maestro whose dominion over noise proved not only formidable but also uniquely irreplicable.
MAVI, MIKE, Fly Anakin & Mckinley Dixon
The subsequent evening unfolded as a veritable utopia for aficionados of alternative hip-hop, featuring the luminary lineup of Mavi, Mike, Fly Anakin, and McKinley Dixon. Our eagerness led us to the esteemed Village Underground, with a heady anticipation of witnessing the first act, McKinley Dixon. However, upon entering, we were greeted not by the harmonious strains of Dixon but by an overwhelming olfactory onslaught, courtesy of an abundance of Lynx Africa. A momentary hiccup in venue discernment, promptly corrected as we realised the show was, in fact, at Earth in Hackney. A brief journey on the bus ensued, culminating in our arrival at the correct destination.
Regrettably, our lateness meant missing McKinley Dixon, a personal point of anticipation having previously engaged with him for the magazine. Nevertheless, as the evening unfolded, it was time for Fly Anakin to take centre stage. His beats laid a robust foundation for the lyrical finesse he effortlessly delivered.
Yet, it was the tandem brilliance of Mavi and Mike that truly seized the spotlight that night, igniting the stage with an intensity akin to a conflagration. Their performances were nothing short of incendiary. Mavi and Mike, in their respective domains, elevated the hip-hop experience to unprecedented heights, proving unequivocally that the convergence of talent and stage presence can be an alchemical marvel. As the night unfolded, their mastery of the craft became the magnetic force that drew the audience into a realm of auditory enchantment, solidifying their status as luminaries within the alternative hip-hop pantheon.
U.S. Girls & Sleater Kinney
As the curtains of Friday night unfurled, the stage was set for the convergence of musical brilliance, with the much-anticipated performances of U.S. Girls and Sleater Kinney awaiting eager patrons. Our anticipation, fueled by a year-long obsession with U.S. Girls' ethereal album "In A Poem Unlimited," reached its zenith as we yearned to experience its sonic tapestry live. Alas, tonight's ambiance deviated from the fervor of previous evenings, the audience appearing lackluster and sparsely populated. It's a curious phenomenon, a lapse in crowd etiquette that occasionally pervades such gatherings.
Despite the tepid audience, U.S. Girls' performance on the iconic Roundhouse stage was nothing short of sublime. Lead vocalist Meghan Remy's vocals, characterized by a resplendent beauty, transcended the limitations of the lackluster crowd. A standout moment emerged when a backup singer lent their enchanting falsetto to a Curtis Mayfield cover, adding an extra layer of auditory delight. Regrettably, the crowd's response, or lack thereof, culminated in an unfortunate denouement as Remy tossed the mic in a valiant yet futile attempt to orchestrate a sing-along.
Yet, it became apparent that the majority in attendance had a singular focus—the imminent arrival of Sleater Kinney. Like a tide, the crowd swelled out of the shadows, infusing the venue with an energy conspicuously absent during U.S. Girls' set. Sleater Kinney, in a tour de force, delivered a performance that transcended temporal boundaries, seamlessly weaving classics with new compositions from their upcoming album. The crowd, once reticent, gradually succumbed to the infectious fervor emanating from the stage. Sleater Kinney, undeniably on great form, not only resuscitated the evening's energy but also demonstrated the magnetic allure that can transform a lackadaisical crowd into a throbbing sea of enthusiasm. In the alchemy of that Friday night, Sleater Kinney emerged triumphant, leaving an indelible mark on the receptive audience, who, in turn, shed their initial reservation to revel in the musical celebration that unfolded before them.
Yaeji
Yaeji at the Roundhouse was about to be something special. Now, with the recent success of album ‘With a Hammer’, I was sure that there was going to be no holds barred when witnessing her perform live. A setlist comprised of her newest album and her first album along with EP tracks as well, Yaeji touched all bases of her discography for a night of pure dance electronica and joy. The audience was behind every dance break, urging on the hand movements that accentuate the incessant drums that vacate in her music.
“Waking Up Down”, boastful in its English sung lyrics, earnest in the Korean sung sections, showcase the duality of Yaeji and her lyricism. Of course, in the live environment, we are shaking our heads to whatever is sung by her, not knowing the intent behind the songs doesn’t ice you out of the show or mean that you are missing out when the synth line is so buoyant and cheerful. There are also moments for darker sounding tracks like “Ready or Not”, as she leans back on her chair in a motion resembling to drowning, but not too long before the chorus hits, now in full dance mode when her supporting dancers move in sync. A new addition to her setlist is her newest single “Easy Breezy”, a charming and a perfect example for her own perfectly unique honed in sound.
There’s an innate performer in Yaeji that excels in this type of environment, exacerbated by the constant light show, as the audience are subjected to a frenzy of multicolour flashes. It’s good, great even, in this way, transforming The Roundhouse into some underground rave with the help of her two supporting dancers. Breakout track ‘Rain gurl’ was a personal highlight, more in a sense that this track was released in 2017 and seeing the ascension of her career in part due to this track brings us to this point in time, playing Pitchfork Fest amidst a UK and EU tour on a very English weather Saturday.
Weyes Blood, Ichiko Aoba, Vagabon
The culmination of Pitchfork's music festival graced the illustrious Hammersmith Apollo, or for the peculiar, the Eventim Apollo. The venue proved to be the ideal backdrop for Weyes Blood's ethereal musical offerings. While Vagabon set the mood for early attendees, it was Ichiko Aoba who initiated the evening with her soothing vocals and delicate guitar mastery, prompting a couple of fainting incidents that, despite the jesting commentary on the crowd's apparent lack of composure, added an element of serene beauty to her performance. Aoba's presentation left an indelible impression on those unfamiliar with her music, highlighting the potency of a song crafted with a discerning direction, chord progression, top-line melody, and a commanding vocal presence.
The apex of the night unfolded as Weyes Blood, accompanied by her full band, took the stage. Natalie Merring, almost akin to a mythical creature at this juncture, bathed in the radiant lights, utilized Adam Curtis's visuals to enhance her sonic tapestry. The amalgamation of humanity, violence, and beauty within Curtis's footage seamlessly complemented Merring's performance. Closing with a solo rendition of the deeply personal favorite, 'Picture Me Better,' Weyes Blood showcased the transformative power of a heart-wrenching melody and poignant lyrics. Noteworthy is Merring's remarkable vocal prowess, despite battling a cold, strategically stifling any coughing until just before the final song—a testament to her meticulous preparation, fortified by the previous day's indulgence in Sunday lunch, Guinness, and Scotch.