Pitchfork Music Fest 2019: Robyn, Haim, Charli XCX, Snail Mail, and More

Completing its 14th run this year, Pitchfork Music Festival brought an abundance of cultural and musical diversity to Chicago’s quaint Union Park, along with pockets of extreme heat and a torrential downpour, the latter which caused a mid-day evacuation on Saturday and delays on Sunday.

This year’s festival did not disappoint in the slightest, with over 40 new and seasoned veteran acts performing between July 19th and July 21st. A plethora of distinguished female solo artists and groups fit the bill— in fact, more than half of Pitchfork’s 2019 sets featured one or more female member, a significant shift from other major indie festivals like Coachella and Lollapalooza.

Headliner Robyn lit up the main stage on the final day of the weekend, showcasing songs from her 30 year career and performing for an insanely huge crowd. The much anticipated Haim closed out Friday night’s festivities, a moment that held a unique significance as their first headlining festival show ever.

English pop artist Charli XCX gave an outstanding performance and covered hit tracks like “1999,” “Gone,” Icona Pop’s “I Love It,” and “Spicy.” Japanese group Chai put on a joyful, bouncy live show that kept the energy going full force. It was irresistibly over the top and worth the watch.

Tucked away in a scenic corner of Union Park, mature trees enveloped the Blue stage and provided an abundance of shade, a perfect intimate backdrop for Nashville’s charming indie rocker Soccer Mommy. Sophie Allison is known for her blunt honesty and grunge-influenced guitar riffs. She played nine songs total, including favorites like “Your Dog,” “Cool,” and “Scorpio Rising.” Snail Mail took the same stage later in the weekend, opening with “Heat Wave”— quite fitting, indeed— off of debut album Lush, and saving “Pristine” and “Speaking Terms” for the end.

Chicago singer, poet, and activist Tasha performed early on Sunday, delivering a gorgeous performance full of folk and soul while wrapped in a flowy custom-designed dress by Chelsey Carter.

Pitchfork festivalgoers are undeniably fashion-forward, and this year was no exception. Bold patterns and vibrant neon colors stood out across the park, while others found comfort in neutrals and vintage thrift store finds. The scene was slightly reminiscent of the House of Vans show with Julien Baker a few weeks back, where plain commonfolk clothes were few and far between.

On Friday evening, vocal powerhouse Mavis Staples was a force that could not be matched. The soul matriarch touched on civil rights with songs like “No Time for Crying” and “Freedom Highway” while dancing across the stage like someone half her age— she’s 80 by the way. Staples has achieved great acclaim throughout her career, securing a spot in the Rock and Roll Hall of Fame in 1999 and the Blues Hall of Fame in 2017.

Other standout artists could be found throughout the three-day festival, including Saturday’s Ric Wilson, who performed a previously unreleased track with Lane Tech’s senior class marching band. At one point, he jumped off the stage to shuffle his way through the audience with a huge smile on his face. This was the first festival appearance for the young Chicago Southside rapper.

Another Chicago artist, Whitney, made their return to Pitchfork with their trademark indie rock sound. Led by founding members Julien Ehrlich and Max Kakacek, the band played a handful of songs off 2016’s Light Upon the Lake, including “On My Own,” “Follow,” and “No Woman,” and debuted a handful of new songs from their upcoming album Forever Turned Around, scheduled to come out next month.

We’re looking forward to next year’s Pitchfork Music Festival and seeing what their team has in store.