All photographs by Kendall Polidori

DAY 1 

The first day of the three-day festival was a bit more lax than usual for me. I typically find myself running from stage to stage to catch different sets, but Friday, July 19, was an exploratory day for me, and I allotted plenty of time to relax on the grass and catch two of the interview sessions led by Pitchfork Deputy Director Jeremy D. Larson.  

Rosali 

This band, headed by North Carolina-based singer-songwriter Rosali Middleman, was on my must-see list for the weekend. I hadn’t given them an in-depth listen before Pitchfork because there’s no better way to determine whether you like a band than by seeing them live. Rosali was immediate in their sound, offering sprawling, yet very clean alternative folk-rock. Middleman displayed smooth melodies, which were thrown for a loop by throaty, intentionally scratchy guitar riffs. Guitarist David Nance punched his guitar in between grooves to get the sound he wanted. The band reminded me of Sonic Youth with their interactive and energetic spirit, but with a more melodic and soothing sound.  

Jeff Rosenstock 

With the downtime I had, I ventured to the Visit Austin Lounge and Interview Stage, where New York-based singer-songwriter and multi-instrumentalist Jeff Rosenstock was being interviewed. Thing to know: Rosenstock does not listen to Steely Dan and is a fan of wearing short shorts—five inches in length to be exact.  

Rosenstock has been vocal about merch cuts at venues, and last year he uploaded a venue-by-venue breakdown of the relevant numbers from his headlining tour. That kickstarted a larger discussion among fans, musicians and music industry leaders. Asked whether he’s seen a change in the industry, he replied this way: “Well, how much is Pitchfork taking out of merch today? 20%? There you go.” 

But there’s more. “The big thing we saw happen … Live Nation got rid of merch cuts for a certain period of time [but merch cuts are back now]. But fuck Live Nation, fuck AEG,” Rosenstock said, referring to festival presenter Anschutz Entertainment Group.

He’s full of punk attitude on and off the stage—he says what he wants and brings awareness to issues, such as Nestlé being a sponsor of the festival. The company is accused of relying on slave labor for cocoa production and of promoting baby formula in developing countries where customers mix it with polluted water.

But what about the music? I’ve listened to Rosenstock and his band before but was honestly blown away by how loud and punk-driven their sound was—in the best way. The band maintains high energy throughout the set, with a flag displaying pride colors, 666 and marijuana leaves fluttering in the background. I had to put in ear plugs—that’s how you know it’s good.  

Rosenstock teeters across genres, sometimes transforming an early 2000’s punk rock vibe into modern alt indie rock. His early music projects include leading the ska band The Arrogant Sons of Bitches and Bomb the Music Industry! He is everything you look for in a performer: highly entertaining, musically sound and humorous in banter.  

Black Pumas 

I’ve seen Black Pumas before, and I find myself telling everyone they’re “perfect for a festival.” My reasoning is they have a full, soulful sound that doesn’t require you know all the words to. And being up front makes all the difference.

From the photo pit, you see artists and bands in a whole new light—you can see the sweat dripping down frontman Eric Burton’s face or how Adrain Quesadas’ fingers glide effortlessly across his guitar strings.  

Black Pumas demand attention with their “electric church,” hitting vocal ranges you might not have thought humanly possible. In a swift movement, Burton jumps vigorously off the stage and into the pit, as a slew of photographers follow him as he moves into the crowd. Burton likes to be one with the crowd, inspiring them to dance and sing along.  

The band has a lively, soulful energy that makes you sway to the beat. Black Pumas are a genre-bending band ranging from R&B and soul to psychedelia and funk rock. If you’ve never seen them live, I recommend watching their NPR Tiny Desk (Home) Concert. You’ll be itching to get to a show.  

Other artists 

DAY 2 

The afternoon lineup for Day 2 was made for me—I was truly running back and forth constantly from stage to stage for five hours straight to catch exciting artists in the indie punk, rock, alt and folk scenes. And thankfully, none of the sets overlapped too much, so I was able to get a taste of everyone.  

Lifeguard 

These young Chicago punks kicked off the festival’s second day with amplified noise rock. Despite the lead singer sitting down during the set because of a foot injury, the three members put on a spirted and angsty show. It’s exciting to see the music and art that’s coming from young Chicagoans, who, like Lifeguard, have a very rehearsed and clean sound. They know what they’re trying to achieve sonically, and it makes you wonder how much better it’ll be when they’re older and have more shows under their belts.  

The band debuted a few unreleased songs that gave me a feeling of Blink-182’s Cheshire Cat or Take Off Your Pants and Jacket eras. Singer Asher Case had that slight nasal approach of Tom DeLonge but made it grungier than pop-rock. During their set, a small mosh pit formed up front, with members of the Chicago band Horsegirl bopping along.  

Kara Jackson 

The Chicago folk singer-songwriter brought her full sound to life with a band backing her up on stage—it was my first time seeing her perform with a band, and it truthfully felt like a whole new performance. A stripped-down acoustic set is always beautiful, personal and emotional, but adding other instruments and sounds makes you remember the power of those layers.  

Chicago musicians Macie Stewart (Finom), Sen Morimoto, Kurt Shelby and KAINA joined Jackson on stage for a gorgeous, heartfelt hometown show. The magic of Pitchfork is spotting Chicago musicians and artists you admire supporting each other.  

Hotline TNT 

As the day goes on at Pitchfork, more photographers show up and flood the photo pits. For the Blue Stage, which Hotline TNT graced with their presence, the photo pit truly should only comfortably fit 10 people. During their set, 30 or more of us jammed in there together, dripping in sweat, trying to get the shot. But it was somehow fitting. The band’s cramped chaotic energy emanated from the stage, and they played so loudly I could feel the bass riffs bouncing in my chest.  

If you like loud music, you will like Hotline TNT. The New York-based band reminds me of Turnstile, only you can understand what singer and guitarist Will Anderson is saying. They have a clearer and more melodic sound that makes it easier to connect with the music. After getting my photos, I sprinted to the BenjYehuda food stand to get a falafel pita and shove it down quick before the next set.  

Feeble Little Horse 

I was honestly looking forward to seeing the Pittsburgh-based band more than anyone else performing, but their set didn’t fully live up to my expectations. It wasn’t that the band was bad. I still jammed out, but I don’t think they were quite ready to play on a big stage. It would have been more fitting for them to perform on the Blue Stage.  

It might have just been something with the band’s sound equipment or mixing because I could hardly understand the words they were singing. Wearing ear plugs and standing right in front of the main speakers, I could barely hear any singing. Lead singer Lydia Slocum’s voice is mellow and soft. And the lyrics are the main draw for me. The band could also have used a bit more confidence in themselves up there. I’d love to see them again at a smaller, more intimate venue.  

Wednesday 

Karly Hartzman, wearing black lipstick and adorned in red basketball shorts and a red corset with the strap repeatedly falling off her shoulder, dove right into a captivating set of country alt-rock. And while I already knew I liked the band, I walked away an even bigger fan because of their ability to transcend sound live vs. through streaming. Wednesday’s southern garage rock will make you feel proud of where you’re from—listening to Hartzman’s interpersonal lyrics of everyday life and growing up will make you see yourself in her.  

Though from Asheville, North Carolina, Wednesday feels like such a Midwest band to me, leaning slightly into a math rock vibe—with hints of alternative, indie and prog rock. And the steel slide guitar adds that kiss of twang. It’s an eclectic, personable band that will remind you not to take yourself so seriously, and to just go swim in a creek somewhere on a hot summer day.  

Jake Lenderman, known as MJ Lenderman for his solo music, led vocals for the band’s rendition of Drive-By Truckers’ song Women Without Whiskey.  

Sweeping Promises 

Rock duo Lira Mondal and Caufield Schnug—originally from Boston, and now based in Lawrence, Kansas—played an amped set of prog rock with a groovy twist. Singer Mondal has a unique, demanding voice met with very emotive facial expressions that let you know how you should be feeling.

Schnug moves around in jiving motions for the entirety of the set, with his mid-length hair flopping playfully. The band is grateful for the experiences they’re having and don’t take it for granted. They have an infectious, vibrant aura that makes for an interactive and amusing set. Sweeping Promises is a refreshing take on the post-punk revival, reminding me of bands like Bush Tetras and the B-52’s.  

The band also took a moment to thank writers and critics for covering the punk scene and beyond. “Writers and critics nurse the music. Without them, there is no music,” Schnug said before diving into another song.  

Other artists 

DAY 3 

The final day of any festival is always a bit slow-moving as fans try to make it to the end while still enjoying the music and experience. For me, the day flew by weirdly, thanks to exciting moments. I saw Joanna Sternberg perform and shoting photos of Brittany Howard. then I got kicked out for taking my phone out—a mistake I won’t make again.  

Mannequin Pussy 

This Philadelphia-based punk and indie rock band was a main draw to Pitchfork for me this year. Every chance I have had to see them live had always fallen through, and I had heard amazing anecdotes about their performances. They’re one of the most talked-about modern punk bands today—and for good reason.  

As I stood in the photo pit waiting for the band to kick it off, my whole body was thrown into a buzz from a deep, amplified bass. Chicago singer and multi-instrumentalist Macie Stewart joined the band to sing background melodies, as lead singer Marisa “Missy” Dabice expressively saunters around the stage singing/screaming, her eyes peeking over her sunglasses.  

Dabice has a bit of an Amy Winehouse look and energy but holds her own punk attitude—whispering while talking to the crowd, and then suddenly yelling “I don’t respect any religion, I don’t respect any government, I don’t respect any politician!”  

The band deserved a bigger stage, considering the vastness of their sound and the number of people who flocked to them and crammed in around them. Dabice’s microphone had a slight fuzz or fade effect that makes her screams less intense and tolerable, almost melodic. Her mic went out at one point, forcing a tech guy to come on stage to fix it.  

For those new to Mannequin Pussy shows, which included me, Dabice ran an experiment: Scream at the top of your lungs and release any inner energy. It works.  

• 

• 

• 

• 

Crumb 

The psychedelic-rock band from Brooklyn offered a refreshing, laid back set—the kind that has you close your eyes and sway your body. The band maintains a dreamy shoegaze sound, with groovy bass and synthesizers. Their music is equally desirable for a relaxing experience and an elongated rock jam session. The band has a hypnotic sound that pulls you in and doesn’t let go until the last note of the last song.  

In May, Crumb released their third studio album AMAMA, an abstract poetic journey through the band’s time together. It hears a clearer and openly creative version of themselves, with room for experimentation and carefree grooves.  

Brittany Howard 

Best set of the weekend, hands down. Howard is angelic and airy of stage, with a flowing dress that makes her larger than life as she twirls. Howard’s message and voice are clearer than ever—emanating confidence and self-love. Her artistry and talent as a singer and multi-instrumentalist are undeniable, and when she picks up the guitar it does the talking for her.  

Howard has an impressive vocal range and a passion that seeps through her songwriting, an interpersonal journey through her life. Joined by back-up singers and a full band, Howard has an over-reaching sound of psych-rock and smooth soulful ballads. Her songwriting asks the question, “what now? What’s next?” And it’s nearly answered by her performance: To soak in the moment, to be present, all while looking ahead with trust in yourself and those around you. You can’t always control what happens, but you can control how you deal with it—and you can always dance it off.  

Other artists

Kendall Polidori is The Rockhound, Luckbox’s resident rock critic. Follow her reviews on Instagram and X @rockhoundlb, TikTok @rockhoundkp