Hey geeks! Well, it’s here: the post about Pitchfork I promised you. Before I get to that, let me just share with you my reaction to Harry Potter and the Deathly Hallows Part 2…
“(Sob) It (sob) …pretty much (gasp) perfect (sniffle)…Snape (sob)…Alan Rickman (gasp)…Oscar (sob)…(incomprehensible muttering).”
You get the gist. Full, less emotional reaction/totally unbiased review coming your way later this week, probably after I see it again.
In the meantime, I have plenty to write about—Pitchfork Music Festival, and my 5-day stay in the Windy City. A quick recap of some trip details before I plunge into the bands: we took the MegaBus to Chicago from Iowa and stayed with some new buddies, courtesy of Couch Surfing (a great way to meet fellow awesome people & nerds alike).
We arrived Thursday afternoon, and after being greeted warmly by our awesome Couch Surfer hosts, we hit up the beach near Loyola for a few hours before making our way to B-Dubs and the (squee!) Harry Potter premiere, decked out in all our Potter glory.
The next day, we headed to Union Park for Pitchfork. As such happens with all music festivals, we did not see everyone play, but I’ll give you the lowdown on who we did see. First band we hit up was tUnE-YarDs, the nearly one-woman band dreamed up by Merill Garbus. With a little help from Nate Brenner on electric bass and a sick sax solo from Matt Nelson, the tUnE-YarDs killed it. Their set was dance-able while still managing to mingle dissonance and soaring harmonies, all courtesy of Garbus and her loop machine. Garbus’s voice, though, was the highlight for me–I loved her throaty yet eclipsing vocal style. And for some reason I never dig chick singers.








