Chicago – Oh, Sunday! The last day of any festival can seem like the worst. Everyone’s tired. Sunburns and hangovers are a plenty. Your feet may not want to comply, making for a lazy afternoon spread out on the lawn. While this was the case at times on the final day of Pitchfork Music Festival 2016, there were some real troopers toughing it out, singing and dancing their hearts out, especially over at the Blue Stage when NAO gave us all a taste of her upcoming debut album. Sunday also brought Chance The Rapper (when he joined Jeremih on the Green Stage, performing “Angels” from Coloring Book), tons of sensuality when Miguel gyrated all over the Red Stage (man, could we all have used a cold shower after his outstanding performance), and a handful of new bands, including one that managed to steal the award for best performance of Pitchfork 2016 away. Without further ado, let’s talk about those new bands!
HOMME
Jeremih wasn’t the only one to share the stage with a fellow Chicagoan. When I spoke with the ladies of HOMME, in our Best New Bands interview, Macie Stewart and Sima Cunningham confided in me they had something up their sleeves for Pitchfork. Well, that surprise something came by way of Marrow drummer Matt Carroll making the art-rock duo a trio for the day. Homme was absolutely fantastic, especially with the added drums! The harmonies, the guitars, just everything about the set was fabulous! In our interview, Macie indicated that she sometimes feels a bit insecure with her guitar playing, but “Bully Clouds” showed she shouldn’t feel an ounce of insecurity. “Fingerprints” left members of the audience captivated. In the crowd, family and friends were everywhere to be seen, from Macie’s little sister rocking out front and center, to Peter Cottontale watching from beneath a shaded tree. No doubt the support made Homme feel all the more excited. When not singing or shredding, Sima wore a wide smile. Macie did, as well. Their happiness spread. It was the perfect start to the afternoon, over at the Blue Stage.
NAO
Midday, British singer Neo Jessica Joshua, better known as NAO, brought her exceptional mix of electronica, soul, funk, and R&B to the Blue Stage. She also brought a full crowd who danced and sang along word for word to songs like “So Good” and “Fool To Love.” It was obvious fans enjoyed hearing some new material from her upcoming debut For All We Know. Personally, I was pleased to hear NAO sing “Good Girl” and belt out the lyrics “He wanted a good girl / I wanted a god / And lights never change.” (Clever, right?) I wasn’t alone. The moment NAO broke into “Good Girl,” the crowd went wild. When it came to “In The Morning” and “Bad Blood,” she nailed the nigh notes. Fans applauded in approval. Close to the end of her set, NAO noted, “This set time is going very quickly.” Indeed, it went too fast. But I’m sure she’ll soon be playing larger stages, with longer set times. In 2014, FKA twigs played that very same stage, and this year she headlined the largest Pitchfork stage. I have no doubt NAO will do the same, especially given the current 90s revival. R&B is beginning to again find the love and appreciation from the mainstream as it did in the 90s and early 00s, and I have a feeling NAO is just the woman we need to keep it around.
Neon Indian
Just when you felt like you were coming down, hitting a brick wall, Alan Palomo of Neon Indian was there to pick you up with some irresistible dance tracks, like “Dear Skorpio Magazine,” “Annie,” and “Deadbeat Summer.” Between notes, Palomo looked deep into your eyes with a devilish smile, letting you know you’re in for an afternoon of fun, if you just let loose and follow his lead. And while the clouds above looked as though they were about to unleash something nasty, the storm never came – well, it did, but shortly past 10p.m. after the fest closed out – making one ponder, “Did Neon Indian magically dissolve the storm? Were Palomo’s crazy moves a reverse rain dance?” Regardless, the festivalgoers seemed happy to not have an afternoon rainstorm bring the festival to a halt, like last year. Neon Indian ended the set ended with fan favorite “Polish girl.” People danced around the field as if they had no cares in the world.
Thundercat
With his set starting late, having to compete with the star power of Miguel, I wondered how big of a crowd Stephen Bruner – aka Thundercat - would draw in, but it seemed those who know of the awesomeness that is Thundercat knew enough to stick it out. They were rewarded tenfold as Thundercat and his band brought the funk. And the jazz. And soul. Fans moved to the rhythms. Bruner demonstrated that he is the absolute master of six-string bass. While sound from the Red Stage bled over, giving the crowd a taste of the sexiness that is Miguel, Thundercat wasn’t phased one bit. Neither was the crowd. Everyone seemed to fall into a jazz-induced trance.
FKA twigs
I was all set to hand over the award to Best Pitchfork 2016 Performance to Anderson .Paak, but then along came FKA twigs. The British alternative R&B sensation proved she is worthy of the hype surrounding her. I remember seeing Tahliah Debrett Barnett, aka FKA twigs, headline the Blue Stage at Pitchfork in 2014. The Blue Stage is set aside for up and coming acts, most of whom are usually just starting out. At the time, there was quite a bit of buzz around Barnett, as she was preparing to release her debut LP1. While she was still a little wet behind the ears, you could tell FKA twigs was special. Her uniqueness would only grow, as Barnett became more confident as an artist and embraced another talent of hers: dancing. When I caught FKA twigs at Lollapalooza last summer, the former backup dancer had fully mingled singing and dancing, making her show true performance art. It was fascinating. She is fascinating. I knew her headlining set on the Green Stage at this year’s Pitchfork Music Festival would be remarkable, but I had no idea it would be so magical. The set started off with an intro – showcasing her latest song “Good To Love” – and a choreographed storyline around with dancer Kaner Flex. “Water Me” followed, along with more and more dancers. I could not keep my eyes off the stage. She and her dancers are captivating. And her songs have gotten even more abstract, at times cradling the line between music and sound installation, embracing the avant-garde. FKA twigs is pure genius.
As always, Pitchfork delivered some of the best music around. We can’t wait to see what new music Pitchfork 2017 will have in store! Until then, relive P4k 2016 with our Friday and Saturday coverage. Follow Best New Bands on Facebook and Twitter.
Photography by Sarah Hess for Best New Bands.
Sarah Hess
After attending The School of the Art Institute in Chicago, Sarah went on to study education at Dominican University, earning a degree in history. When not teaching, writing, or taking in a show, she is most likely to be found with a camera to her eye or hanging out in a darkroom.
You can follow Sarah Hess on twitter at @Sarahhasanh and view her music photography on her website: smhimaging.com.
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