0:03

This is the Pitchfork Review. I'm Pooja

0:06

Patel, the Editor-in-Chief, and today

0:08

we're talking about one of our favorite events of the year,

0:10

the Pitchfork Music Festival.

0:12

Here with

0:15

me are Reviews Director Jeremy Larson

0:17

and Managing Editor Amy Phillips. Welcome.

0:20

Hello, Pooja. Hello. So

0:22

every July, we pull off this amazing feat.

0:25

We gather a group of our favorite artists and some

0:27

up-and-coming bands to play at Union Park

0:29

in the middle of Chicago. It's a three-day festival

0:32

and every year it truly feels

0:34

like we pulled off a miracle, like it

0:37

will this weekend. But

0:39

before we get to this year's festival and some

0:41

of the things that we're looking forward to, let's

0:44

start at the beginning. Amy, you have been

0:46

to every single one

0:48

of

0:48

the Pitchfork Music Festivals

0:50

in Chicago. Is that right? I missed

0:53

one, 2017, because I had a three-week-old

0:56

baby. But other than that, yes, I

0:58

have been to every single one. No excuse. And

1:01

you were at Pitchfork then. Yes, it was 2005.

1:03

It was the Intonation Festival curated

1:06

by Pitchfork. Anyway, it became the Pitchfork

1:08

Music Festival the following year, but that

1:10

first one was truly one

1:12

of the most

1:14

– there's really no better word than just magical

1:16

experiences of my life because

1:18

we were this very small

1:21

staff

1:22

that didn't know anything about

1:25

running a music festival. The idea

1:27

was just to have a kind of IRL,

1:30

real-world version of the

1:32

website in a way. Like, here are all

1:35

these bands that we've been championing.

1:37

And they were all very tiny. I mean, the headliners

1:40

were Tortoise and the Decembrists.

1:43

It was the biggest crowds

1:45

that most of these bands had ever played to. And

1:48

it just felt like this real

1:50

moment in D-rock

1:53

was just coming into the peak of its cultural

1:55

relevance. It was also the same

1:58

summer that Lollapalooza debuted in Chicago.

1:59

as a single city festival.

2:04

It had of course been touring this juggernaut

2:06

throughout the 90s and then kind of petered out. So

2:08

we were really this underdog,

2:11

small, anti-Lala Palooza.

2:14

We just couldn't believe that we pulled it off.

2:17

I say we and full

2:19

well I was not involved in the planning of this festival

2:22

at all. But just the feeling among the

2:24

staff

2:24

was, holy shit,

2:27

we can't believe this happened all these people came and

2:29

everybody's having such a great time. And even the bands were

2:32

just

2:33

flabbergasted. At the time Pitchfork

2:35

was based in Chicago. Yes. So

2:37

the staff was there. It was this

2:39

hometown, homegrown, community

2:42

first, local festival.

2:44

Very much. And Jeremy, you've been going

2:46

forever too. I don't know,

2:48

I'm a bit ashamed to say this. I'm a bit embarrassed

2:51

to say this. But my

2:53

first Pitchfork Fest was 2019.

2:56

I was actually there, I

2:58

was at that first festival in 2005. I

3:00

was home from college and I volunteered.

3:04

I have many memories of that first festival. One of which

3:06

was watching the Hold Steady drink

3:09

about a case of beer and half a bottle of Jameson

3:12

through like a 35 minute set. That

3:15

kind of blew my 19 year old mind. And

3:18

then there was this

3:20

band called Death From Above 1979.

3:22

I was obsessed with the band. Yeah, they're

3:24

great. That Man Mastercraft, yeah. They're

3:27

terrific. And they played their,

3:29

I did one album at that point and they basically played

3:31

the entire thing. And they played it in

3:34

the corner of Union Park where there was a baseball

3:36

field. And at that point, the people

3:39

at Pitchfork didn't realize that you need to

3:41

cover up the baseball field with these rubber

3:43

mats.

3:43

Like I said, this was our first time doing

3:46

anything like this. A lot of lessons have been learned

3:48

since then. But as soon as they

3:50

started playing, there was this mosh pit that started going

3:52

and it just looked like a sandstorm

3:55

because there was just this cloud of

3:58

orange baseball diamond dusk.

3:59

like just sort of hovering over

4:02

the entire crowd. For one of my first

4:04

music festivals, it's just an indelible

4:06

memory.

4:07

I want to kind of talk about like what makes Pitchfork

4:09

pitchfork-y. It's so hard to

4:12

explain to people why

4:14

we're better and different, which we are both better

4:17

and different than a

4:19

lot of the...

4:20

No bias here. A

4:22

lot of the festivals that are

4:24

like largely controlled by

4:27

Live Nation, AEG, the

4:29

like huge festival

4:32

creators. And it

4:34

shows, you know, like our VIP

4:36

seating is bleachers that

4:39

belong to a field,

4:41

you know.

4:43

The lines between the artists

4:46

and the fans are pretty thin,

4:48

you know. You see artists in the crowd.

4:51

Fans often like take selfies with artists

4:54

or, you know, you might see someone

4:57

very cool walking around.

4:59

The beauty of, and this is like full

5:02

credit to the original Pitchfork folks,

5:04

Ryan Tribor, Chris Kaske and company. The

5:07

idea of actualizing our

5:09

taste and like putting some

5:11

money behind it. Yes. Also feels

5:14

kind of powerful. And

5:16

I think that's, it is worth noting,

5:18

right? Like this is its own entity

5:21

and it's a beast to make.

5:24

We have a festival team, Seth Dodson,

5:27

Liz Pessanel, We Love You So Much. We

5:29

have a production team at Pluto

5:32

in Chicago. It

5:34

is

5:35

really important, I think, for

5:37

them and for us, which is unique

5:39

and unusual, that the festival

5:42

lineup reflects the taste of

5:45

the site. And so often that

5:47

means that these are artists that haven't

5:49

yet been given a festival tour.

5:51

That kind of curation to me just

5:54

feels really special. Not

5:56

to get email about it, but it is special.

5:59

We're kind of putting.

5:59

our money where our mouth is for

6:02

a lot of our artists there. And

6:04

to speak sort of like critically is that, you know, when

6:06

we run a

6:08

review of a band's album,

6:11

rarely are we saying how great they

6:13

are live. Like rarely does that sort of factor

6:15

into like what we're talking about with the album. But

6:17

there are some bands where you just sort of like, man, I wish

6:19

I could just talk about like how good this band is live

6:22

or like, or because that really gets across

6:24

a lot of like what's happening here, you know, and especially

6:26

like this year, like a like like

6:29

M.D.O. K or like Pong

6:31

and like Roshika Nayar, like those are like three

6:33

just off the top of my head where I'm like, their live

6:36

shows will make the album

6:38

make more sense, you know? And I think like that's

6:41

that is sort of how this

6:43

festival sort of like works in conjunction

6:45

with with like what we do and what we love

6:48

about like these some of these smaller artists and some

6:50

of these some of these bands that we really champion

6:52

to. So there is this sort of symbiotic

6:54

relationship between like what goes

6:56

into booking this festival.

6:58

Yeah. And I think this is a

7:00

great segue to being

7:02

proud of kind of introducing artists

7:05

through the website and then through the festival.

7:08

And then also the pride that we have years

7:10

later when we say I was there

7:13

first or we did that

7:15

first. And what are some

7:17

of those standouts? Like what are some

7:19

of the artists that

7:21

you saw at the fest that

7:23

you're just like, there is no way in hell

7:26

that we could get them now or or

7:29

just like that is really meaningful that we

7:31

were kind of on the ground with them.

7:34

Well, the biggest, of course, is Kendrick,

7:36

who we first had in 2012, I believe. Right

7:42

after Section 80. He, I believe,

7:45

released Swimming Pools either that week

7:47

or the week after. And

7:50

he played on the side stage. Ain't

7:52

doings to the face. What? 12 bottles

7:56

in the case. What? Two

7:58

pills and a half. The

8:01

craziest part about that set was about an hour

8:03

before he took the

8:05

stage, I was running the

8:15

Pitchfork Twitter account at the time because—

8:17

Amy has done every job at Pitchfork. And

8:23

someone told me, okay, Lady

8:25

Gaga is going to come and perform

8:28

with Kendrick at our

8:30

festival. You should tweet that.

8:33

So I tweeted, hey,

8:34

come see Lady

8:37

Gaga perform with Kendrick Lamar.

8:41

And then that did not happen. She was

8:43

there. She watched from the side stage. She sang

8:45

along. She had a great time. She did

8:47

not get on the stage. But I

8:50

did realize what an incredible moment it was

8:52

because it was so clear that he was a star.

8:54

Yeah, that was good. There's

8:57

a couple bands who've gone

8:59

from the middle of the day

9:01

to headliners. I know Fleet Foxes

9:03

is one of them. Back in the day

9:06

when they first released, they had a couple albums

9:08

and they played in the middle of the day

9:11

and then they headlined, I don't know, like 2017, 2018. Even

9:15

more powerful than that was Robin, who

9:18

played in 2010 right after Body Talk was released.

9:21

And then she came back and headlined in 2019 when

9:23

she put out Honey.

9:25

And

9:28

that was a huge release moment of

9:30

that headlining show for sure. Pooja,

9:32

talk about the incredible moment we had watching

9:35

Robin.

9:35

One of my favorite.

9:39

Last set of the night, Robin is playing.

9:42

Really, institutions around Chicago

9:44

have in their windows

9:47

like Gone to See Robin were closed.

9:51

And then Amy and I actually

9:54

went to the sound booth, which is low key

9:56

the best place to watch a headlining

9:59

set from.

9:59

If you ever have the chance, you must, simply.

10:02

Yeah, one way to do it is to run Pitchfork. And

10:05

we got back there and it was like Haim and

10:10

their entire family and Charlie

10:14

who had just played. And

10:16

everyone was losing their minds,

10:20

like just completely

10:23

like clutching their hearts, singing,

10:26

tearing up, just like fully

10:28

in joy of seeing Robin. And then

10:31

when Dancing on My Own came on, it

10:33

was like we were standing in the middle of 15,000 people.

10:36

I

10:39

keep

10:40

dancing on my own. Oh,

10:43

oh, oh, oh, oh. Darling,

10:48

this is our house, my truth

10:50

is in the fire.

10:52

Seeing some of the people, including

10:55

the headliners, standing next to you, losing

10:57

their shit, being a fan right alongside

10:59

you. Life highlight. And everyone

11:02

is singing Dancing on My Own.

11:05

It was incredible.

11:12

Sometimes it feels like the future

11:19

just isn't

11:21

what it used to be. But it's coming whether

11:23

we like it or not. On Have a Nice Future,

11:26

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11:28

talk to the leaders, thinkers, and innovators

11:31

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11:58

a Nice Future. episode every

12:01

Wednesday. Hello,

12:04

I'm Chris Murphy. I'm Hilary Bussis.

12:07

And I'm Richard Lawson. Vanity Fair's Still

12:09

Watching podcast is back. And this

12:11

time we're watching and just like that. I am

12:13

sorry. Our lunchtime fodder is

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not usually this lowbrow. I swear. Really?

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Who have you been eating with?

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Week by week, we'll watch Carrie, Charlotte,

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after and just like that airs on Thursdays.

12:32

So Animal Collective

12:34

headlined in 2011. And if

12:37

you've never seen an Animal Collective set, it

12:39

can be challenging. If

12:41

you're sort of not like a big fan of the band,

12:44

they can, they often will just premiere

12:46

songs that are, that have not been recorded

12:49

yet. And they just always

12:51

constantly are playing jamming and

12:53

figuring out new songs like on festival

12:56

appearances. And this was pretty true

12:58

of their 2011 headlining set

13:01

for the first 45 minutes. And then people

13:03

just

13:03

sort of, you know, watching a

13:05

sort of arms crossed, like, you know, chin scratching,

13:08

being like, yes, this is interesting. I

13:10

love this band. And then at

13:12

the very end, they go into the

13:15

closing song off of Merry Weather

13:17

Post-Pervillian called Brothersport. And that

13:19

song is sort of like a very uptempo,

13:22

energetic, you know, floor

13:24

filler, basically. And I was

13:27

sort of in the middle of the crowd and I could, everybody

13:30

just sort of rushing to the front

13:32

of the stage and everybody was

13:34

just sort of like, oh my God, finally we can move

13:36

and dance and hear a song that we all know.

13:53

It was the weirdest thing because it was, it's

13:56

like, do you know that meme of like, Prince

13:59

Harry, where,

13:59

he's giving that interview and then

14:02

back that ass up comes on and then he just hauls

14:04

ass out of there. That's basically what it was,

14:07

only it was Animal Collective's brother sport.

14:10

That was a really fun moment for me.

14:12

And Prince Harry is being called to duty

14:14

in the military. Right, exactly.

14:17

There are these moments that bands

14:19

will just pull something out special for festivals.

14:22

And I think that happens a lot at Pitchfork.

14:24

Case in point, last year, Japanese

14:26

Breakfast bringing up Jeff Tweedy, hometown

14:28

hero, to do Wilco songs. Just

14:32

amazing.

14:33

Top building a shade, voices

14:37

escape, sing sad side

14:39

songs. Turn to foam,

14:41

storm down your cheeks, bitter

14:44

melodies. Turning

14:46

it moving around.

14:49

I do want to talk about that because I feel

14:51

like, you know, for me, like we were watching

14:54

artists be fans, which is so rare.

14:57

And like that sense of community for me feels

15:00

really special and important. I'm

15:03

wondering if there are any examples of

15:06

or like favorite moments of when

15:09

artists, you just saw an artist being a fan

15:11

or just showing up. I mean, I remember

15:13

in 2019, Solange was

15:16

just

15:17

hanging out waiting for Earl Sweatshirt

15:19

to go on, just loosely

15:21

wandering about waiting for Earl.

15:24

Yeah, 2015, Haim were in town because they

15:26

were opening for

15:29

Taylor Swift on the 1989 tour. And

15:32

they had a day off and they just came to the fest and

15:35

hung out. And I remember they were really excited

15:37

to see churches.

15:38

And they were like singing along and just geeking

15:41

out to churches. I think that's really cool

15:43

that like,

15:44

hey, here's like a band that's playing

15:45

literally the biggest tour on Earth. And

15:48

they're going to spend their off day just hanging at our fest.

15:50

There's like a really funny photo of me. Watching

15:55

Brian Wilson play. Oh

15:58

yeah. And behind me is like Martin Courtney.

15:59

of real estate, just sort of like also watching

16:02

real estate. Oh, I thought you were going to say John Cusack.

16:05

Oh, yeah. Well, John Cusack was also there. I forgot

16:07

about John Cusack was like.

16:08

And Joan. I forgot about that, yeah.

16:11

So I was walking to go to that show, and I was sort

16:13

of like walking behind stage. And Brian

16:16

Wilson, I imagine Brian Wilson would

16:18

just come in in like a private helicopter

16:21

and just sort of be like dropped onto

16:23

the stage. That is how big

16:25

his celebrity is in my mind. There was like

16:27

a Toyota Corolla, an Uber,

16:29

that was like bringing him to the stage. And

16:33

he was driving. We

16:35

just sort of locked eyes for like, I would say like

16:37

a solid three seconds.

16:39

And it was a

16:41

moment that I will never forget, just sort of

16:44

looking into sort of the blank face of

16:46

Brian Wilson as he's being ushered

16:49

to the stage in a Toyota Corolla.

16:51

Jeremy, can you talk about Chief Keef, just

16:53

because I think that's a good example? Absolutely

16:55

I can. This is the losing

16:58

my edge portion of the podcast, where I was

17:00

there. I was there

17:03

when Arab music brought out Chief Keef

17:05

in 2012 to play his

17:08

hit song, Don't Like. That was,

17:10

I don't think anybody expected that. I don't think anybody,

17:12

I didn't know that was going to happen. Did you

17:14

know, Amy, that that was?

17:16

I think we knew it was a possibility.

17:19

I believe it was

17:21

like, this is maybe going to happen, but nobody

17:23

count on it. Who knows? And

17:25

then when it did,

17:26

it was very exciting. Certainly

17:28

nobody in the crowd expected it. And then at that

17:30

moment in 2012, Don't Like was peaking. It

17:35

was just, I think Kanye already sort

17:37

of took it

17:38

and redid it for his song

17:40

and that amplified it. But at that point,

17:43

Chief Keef was a Chicago royalty. And

17:46

he came out and people just lost their mind when

17:49

he did Don't Like. Oh,

17:50

fuck, nigga, that shit, I don't

17:52

like. A snitch, nigga,

17:55

that shit, I don't like. A

17:57

bitch, nigga, that shit, I don't like.

18:06

And there was, you know, I think there was like 20 people

18:08

on stage, just sort of like one of those moments

18:10

where like the whole crew was there and like the entire

18:13

Chicago drill scene just like

18:15

showed up in Union Park. That was, that

18:17

was a really cool sort of like Chicago moment too.

18:20

Or I mean, like just was

18:22

it last year? When did Angel

18:25

Olsen play? 21 I think. And

18:27

Sharon Van Etten just showed up on

18:29

her Instagram tease that she was

18:32

flying to Chicago.

18:33

And they played their wonderful

18:35

duet, Like I Used To song

18:38

of the year 2021 in my book, one

18:40

of top five really, really good songs.

18:59

So she literally flew, like flew

19:03

to the fest to appear unannounced,

19:05

you know, just to hang out with her friend on

19:08

stage.

19:08

That was really cool. That was a great

19:10

moment.

19:27

This is Flea for this little light, a

19:30

podcast about falling in love with music.

19:32

I started a nonprofit music school

19:34

about 20 years ago called the Silver

19:36

Lake Conservatory of Music. And

19:39

the reason that I started doing this podcast

19:41

was to benefit the school, but it's

19:43

specifically also about music education

19:46

because everybody has a different way. Every

19:49

single one of them is so interesting, fascinating

19:51

to me. I'll be speaking with Rick

19:53

Rubin, Thundercat, Stewart Copeland,

19:55

Margo Price, Corey

19:57

Henry, Cynthia Arevo, Sheila

19:59

E. one of my favorite people on the entire

20:02

planet, Patti Smith. Do you

20:04

remember when you first started listening

20:07

to music and you knew what was making what

20:09

sound? Like, oh, that's the bass, that's the guitar, that's

20:11

the saxophone.

20:11

No, truthfully, I've never been

20:13

like that. My mind is filled with words,

20:16

not so much sound or notes, but I'm

20:18

moved by music. Please listen

20:20

and follow This Little Light, a presentation of

20:22

Cadence 13 on the Odyssey app or

20:24

wherever you get your podcasts.

20:26

I think we got it.

20:28

Hey y'all, I'm Sam Sanders, and I want to tell y'all a

20:30

little bit about a new podcast that I co-host

20:33

called Vibe Check. But first, got to introduce

20:35

my co-hosts. Hey y'all, I'm Saeed Jones.

20:38

And I'm Zach Stafford. On Vibe Check, the

20:40

three of us talk about everything, from

20:42

Beyonce to political violence,

20:45

to which candy is the gayest candy?

20:47

You have an ask, just tune in. Yeah,

20:49

we literally talk about any and everything on our

20:51

show. Absolutely, join our group

20:54

chat, come to life, follow and listen to

20:56

Vibe Check wherever you get your podcasts.

21:00

I also think one of the unique things

21:02

about the festival is that

21:04

everyone has a sense of humor about

21:07

the whole thing. The

21:10

artists definitely understand that we

21:12

are one of the last critical

21:14

music publication standing period.

21:17

And so they might have their

21:19

own opinions about things that have run on this site,

21:22

for example. Though

21:25

by them being there, that is kind

21:27

of a understanding

21:30

that we as a publication or

21:32

many of the people on staff are really

21:34

big fans,

21:36

even if we didn't love one album

21:38

over another. And I feel like

21:40

there is that level of trust and

21:42

kind of camaraderie between the artists and the

21:44

publication that shows up at the festival,

21:47

even when things are not exactly

21:49

aligned in

21:53

their world.

21:55

Most iconic

21:57

in recent memory is when St. Vincent.

21:59

headline? Yep. I

22:02

wasn't at that set actually, Amy,

22:05

what happened there?

22:07

So it was during a kind

22:09

of like skit that

22:11

she does in between songs where

22:14

she makes a pretend phone call and

22:16

there's crowd interaction, you know,

22:19

in the classic like, that's

22:21

not loud enough, you know, let me

22:23

ask it again thing she said, I give

22:25

that response a 6.7, which is what we

22:28

had given her most

22:29

recent album and everybody

22:32

laughed. Nice little, nice little ribbing

22:34

there. Good sport. I remember Zola Jesus in I think 2018 or 2019 getting

22:36

up there and saying

22:45

this set is dedicated to 5.9, which

22:47

was what we had given her last album.

22:49

It wouldn't

22:52

be a JPEG mafia set if there

22:54

wasn't a fuck pitchfork chant

22:57

going on. So look forward to

22:59

that. It's fun.

23:00

But I do, you know, the fact

23:03

that he's back again is because there is

23:05

some kind of understanding there. Oh

23:07

yeah. It's, it's I

23:09

mean, like, I don't even know if it's in good fun, but it's just this

23:11

sort of like, well, okay, now you have a, you have,

23:14

you literally have the microphone.

23:16

So speaking of JPEG mafia, who's

23:19

playing the festival, what are you most

23:21

excited to see? Two bands that I'm really

23:23

looking forward to. Um, one is

23:25

a Soul Glow. We,

23:27

we never booked like a ton

23:29

of like heavy bands, but there's always

23:32

one or two every year. And

23:34

every year they just sort of like

23:36

lay waste to the festival grounds.

23:39

And I feel like Soul Glow is really going

23:41

to do that. They're a great hardcore band. Their

23:43

record from last year is called

23:46

diaspora problems. A great

23:49

single off of that is called jump

23:51

or get jumped by the future.

24:00

And they'll buy my tree even though it is a

24:02

red letter to have a new search. I

24:04

am a third and I'm a cyborg tiger.

24:07

I feel like people are just going to lose their minds. I

24:09

think they're just going to sweat it out, start

24:11

a pit, and just really come away with

24:13

a new favorite live band in solo.

24:17

And an act that I've never seen but have seen

24:20

in different kinds of iterations is

24:23

The Smile, which is Radiohead

24:25

asterisk. Johnny Greenwood, Tom

24:27

York, and drummer

24:29

Tom Skinner. And they

24:32

had a great album last year. And they're

24:34

performing a lot of songs off of that, plus a

24:36

bunch of new songs

24:37

that are not released. I think

24:39

he said they have a whole canon

24:41

of songs that they've been working on.

24:43

That new track, that Lucy,

24:45

Bending Hectic, has one

24:49

of the greatest climaxes I've heard

24:51

this year. And just hearing that

24:53

live at the fest is going to roll.

24:56

Despite these

24:59

things, despite

25:03

these

25:05

arrows, I force

25:08

myself to.

25:11

If you're a fan of Radiohead, it's not

25:13

that you know what to expect from a Radiohead show, but

25:15

there's a grandiosity to a Radiohead show.

25:18

Narrowed down to these three musicians, they

25:22

have a lot more fun on stage. They're a lot looser.

25:24

You can just tell this is a really great artistic

25:27

outlet for these three people. And I think

25:29

that's going to really reflect

25:32

in the live setting. I'm really looking forward to

25:34

that.

25:35

Yeah, I am really, really,

25:37

really excited to see Coffee.

25:39

I feel like Coffee

25:41

puts out a song of the summer every

25:44

year almost, between lockdown

25:46

and pull up and toast.

25:48

Yeah, I'm balling a life, man. Me,

25:51

I'm for time. God, for the journey. The earnings,

25:53

I just get a plus. I'm

25:56

back to do the most. Yeah, miss it. Listens

25:58

for the memories. Her

26:01

last album was also just equally

26:03

so easily breezy and danceable and chill

26:05

and vibey.

26:08

To

26:18

have her and Colella back to

26:20

back, I look forward

26:22

to laying flat on the ground, staring

26:25

into the sky. I missed

26:27

the Always tour last year,

26:30

so I can't wait to see

26:32

freaking Belinda Says Song of

26:35

the Year 2022 live!

26:58

It's a huge stage and they're opening

27:00

for Asterix's almost radio head,

27:02

so super, super excited

27:04

for that. Amy, what about you?

27:06

I am ridiculously excited to see

27:08

Charlotte and Bullis. I

27:11

loved their record from last year.

27:14

I think it is going to be just a huge,

27:17

fun dance party that

27:19

is going to make me feel great.

27:27

I am also

27:29

a big, old softie, so I'm very excited

27:32

for Bonnie there.

27:47

Are there any kind of lower

27:49

on the bill acts that you think

27:51

might hit this spot that

27:53

we've been talking about earlier? You might

27:56

see them return to the festival, you should catch

27:58

them now before they're too big.

27:59

Well, on the opposite end of

28:02

the spectrum, a wonderful

28:04

band, Palm, is retiring. And

28:06

this is one of their final shows. And

28:09

they're playing Saturday at 1.45. And

28:11

I mean, honestly, if you've never seen Palm,

28:14

they're gonna screw with your rods

28:16

and cones and everything in your

28:19

brain. It's really great. Don't miss that

28:21

set.

28:21

Amy, what about you? Okay. Well,

28:25

we all know is

28:27

gonna be a huge star, most

28:29

likely, is Yaya Bay, right? I

28:32

think Yaya Bay in a couple of years,

28:34

we're gonna be like, we can't afford

28:36

Yaya Bay. I'm really

28:39

interested in seeing Emdu Makhtar play

28:41

the fest. I've

28:44

only seen them play

28:46

at BAM, which is a small-ish

28:51

venue in Brooklyn. And

28:53

they feel like they're made for a small

28:57

room, but their music feels hot

28:59

to me. Desert. Yep. Exactly.

29:03

Between them and Palm, there's a lot

29:05

of jamming happening.

29:05

A lot of shredders. A lot of shredders.

29:08

Emdy Lenderman shredding. Illuminati

29:10

hotties, they're gonna shred. Emdy Makhtar

29:12

shredding, Smile shredding, Big Thief, they're

29:14

gonna shred. Good year for shredders.

29:17

Yeah. It's pretty good. Good

29:20

year for shredders. Well,

29:24

Jeremy and Amy, thank you for being here. This

29:26

was really fun. Thanks so much, Bhujan. Thank

29:29

you. The

29:36

Pitchfork Review is a production of Conde Nast.

29:39

Katherine Fenelosa at Rococo Punch is our senior

29:41

producer. James Trout at Rococo

29:43

Punch is our technical producer. Jessica

29:45

Gramolia is our music supervisor. And

29:48

Pooja Patel, thanks for listening.

30:06

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