From the looks of these tracks, Smith’s “relentlessly doom and gloom” description of Songs of a Lost World is accurate.Īnother exciting piece of news from The Cure’s Latvia gig was the apparent return of Perry Bamonte, who has rejoined the band for the first time since his 1990 to 2005 tenure. The second new offering proved equally cinematic, stretching out for 10 minutes with a militaristic drum riff over melancholy synths. “Endsong,” meanwhile, naturally closed out the band’s main set (two encores followed). “This is the end of every song that we sing,” he eventually croons. “Alone,” a seven-minute “Plainsong”-adjacent number, opened the show in typical Cure fashion, with Robert Smith walking on stage without a guitar to take in the crowd during an extended instrumental intro. The 25-song setlist included two new songs called “Alone” and “Endsong,” which are presumably taken from their long-awaited new album Songs of a Lost World. The Cure kicked off their European tour with a concert in Latvia on Thursday night. My father and I had attended seven Pitchfork Fests together between 20, heading to Chicago’s Union Park from the northeast nearly every July and covering the indie-music Mecca side-by-side.The post The Cure Debut New Music at European Tour Kick-Off: Video + Setlist appeared first on Consequence. Yet the pandemic wiped out Pitchfork 2020, and we couldn’t make it to Pitchfork 2021 since it had been bumped to September last year. Touching down in Chicago this year, it felt like a lot longer than three years had passed. The last time we had set foot in Union Park, “Old Town Road” was the biggest song in the country, Joe Biden was still debating Kamala Harris in presidential primaries, and even the fest’s most in-the-know hipsters hadn’t heard of Covid. So returning to Pitchfork Fest this year with my dad, who was dutifully taking notes in his little pad during every set we caught over the weekend (July 15-17), felt like a warm blanket, even during a rain-heavy and mud-caked year like this one. Sure, the festival’s atmosphere is half the fun: the technicolor outfits and hairstyles, the gonzo t-shirt slogans (top prize this year goes to the twenty-something rocking the “I Love My Penis” tee), the too-crowded record fair, the left-field brand activations (a Philadelphia Cream Cheese pop-up? Why not!). But more than perhaps any other Pitchfork Fest, we were laser-focused on the music - discussing the high points of each set, often after swaying, head-nodding and clumsily dancing. My dad absorbed a wide spectrum of previously unfamiliar acts and left mostly impressed… even when the noise messed with his late-sixties flow. With that in mind, turning the highlights of Pitchfork Fest 2022 into an interactive, dad-endorsed playlist made sense as a means of capturing the moments of a weekend brimming with memorable music. Here are the 15 songs that highlighted my dad’s 2022 Pitchfork Fest and his commentary for each, followed by a handy playlist for listening at the end. Let’s kick off this playlist with a late-festival groove: as the sun set over Union Park on Sunday, Chaz Bundick and his Toro y Moi cohorts seized the opportunity to throw down within a lineup that was relatively light on dance acts. My dad, by no means a chillwave connoisseur, was up and shimmying - how can you not during songs like the riotous set-capper “Freelance”? “This was a party set,” he said. Plus, plenty of oooh oooh’s to sing along to!” “They’re a really excellent band with a strong leader and material. His one note? Too many props, from an oversized clock to a silly string can, which my dad thought were “not necessary.” I couldn’t disagree more - more fun props at pop shows! Magdalena Bay make rock-solid alt-pop with energy to spare, and my dad got into the groove along with the rest of their impressively large audience to the rubbery “Secrets (Your Fire).” “Their songs had driving beats that were very danceable, and their vocalist was high-energy,” he said. Prior to Erika de Casier’s Sunday afternoon set, I described her sound to my dad as something resembling Janet Jackson’s ’90s output. “That was accurate,” he said after seeing the Denmark native spin her sensual R&B stories over programmed synths and live percussion. De Casier’s 2021 album Sensational rightfully established her as a critical darling stateside, and her live show more than did justice to the project my dad believes that she “needs a few more upbeat dance numbers” in her set, but until then, “Busy” got the boisterous crowd up and moving. Pitchfork Fest was light on legacy acts this year, but the Roots closed out the festival like old pros, playing their hits (yes, “Seed (2.0)” is still unstoppable), mixing in some hearty covers (including Kate Bush’s “Running Up That Hill” crossed with Outkast’s “SpottieOttieDopaliscious”!), and never flagging during 90 minutes of action.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |