![]() ![]() ![]() Accompanied by a full band and layered visuals, Mk.gee’s DIY roots came across polished and refined. ![]() His song “You,” which kicked off his set, even made an appearance on Frank Ocean’s Blonded Radio. Starting Saturday’s festivities was indie newcomer Mk.gee, whose funk-inspired instrumentals and catchy melodies have fueled his rise to success this past year. The pinnacle of this came in the replacement of the lyrics in “Step Into My Office, Baby” to “I was burned out after Brexit/ We asked President Macron if he could fix it/ He said no.” It was a party of their greatest hits, including “She’s Losing It,” “I Want The World To Stop” and “The Stars of Track and Field,” essentially morphing into one big, happy sing along. The band brought sheer energy, led by Stuart Murdoch’s gleeful skipping and clever commentary. Taking their name from a French TV series, it was only fitting that Belle & Sebastian were Friday night’s headlining act. However, the highlight of the set was “Do You Need My Love” from 2016’s Front Row Seat To Earth, during which flashing lights completed the ethereal experience. She started off her set with 2019 album, Titanic Rising’s, first track “A Lot’s Gonna Change” and continued to play several other songs from the album while either cradling the mic or prodding piano keys. Wearing a white pantsuit and sounding absolutely angelic, it was hard not to have a religious experience. Weyes Blood (aka Natalie Mering) took the audience at the Grande Halle’s side stage to church. His set was pure theatrics, at times almost feeling like a Broadway show, mainly because of that smooth, operettic voice that seemed like it could hold a note for hours. Peck played the majority of his Sub Pop-released debut album, Pony, accompanied by a full band also dressed in suits and cowboy hats. They obeyed, basically storming the stage to dance along to his outlaw country groove and try to get a peek at who exactly is behind the fringed mask. Sporting a bedazzled red suit and cowboy hat, Peck’s signature vibrato-laden croon filled the room and commanded the audience toward him. Masked queer cowboy Orville Peck turned the small seated Studio into a full-blown rodeo almost immediately. My Dad's Time-Traveling Take on Pitchfork Music Festival 2019 With vocals reminiscent of Alanis Morissette and King Krule but at the same time all her own, Yanya’s impassioned tonality proved to be the true marker of her distinct sound. Yanya’s glow-in-the-dark painted nails moved up and down her guitar’s neck with ease as she delivered fan favorites such as “The Florist” and “Baby Luv,” as well as tracks from this year’s debut album, Miss Universe. “The Cleaner” was a standout from their set, with its repeated lyric “So I can dance” making the crowd want to do just that.īritish singer-songwriter Nilüfer Yanya’s jazz-influenced indie ballads hit even harder backed up by a full band, consisting of keys, drums, and a saxophone. Singer and drummer Ollie Judge impressively conquered both roles, his vocals a cross between speaking and yelling that served to complement chaotic rhythms. Fusing elements of math rock, psychedelia and sometimes jazz, each song seemed to build to a cacophonous climax only to come back down again. One of the most musically interesting performances of the festival, Brighton five-piece Squid, proved that punk isn’t dead - it’s just evolving. But wait, there’s more - Orville Peck and his guitarist paid tribute to Gram Parsons and Emmylou Harris’ 1974 duet “Ooh Las Vegas,” and lastly, Caroline Polachek delivered an amazing rendition of “Breathless” by The Corrs. Electro-pop trio Desire provided their take on New Order’s “Bizarre Love Triangle” and Brooklyn band Barrie sang a stripped down version of the ABBA classic “Lay All Your Love On Me.” Chromatics played their cover of Kate Bush’s “Running Up That Hill,” which is included on their 2007 album, Night Drive. Bopping from stage to stage, a somewhat surprising theme took shape: several artists opted to put cover songs in their set lists. ![]()
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