Category Archives: TVD Chicago

Lollapalooza started its 20th anniversary in Chicago very strong. This annual music festival is one of the biggest taking place every summer, drawing about 115,000 attendees each day—an increase from the previous capacity of 100,000. With so many people coming together in one space, some traveling long distances to experience this festival, it’s only right they book awe inspiring acts. 2024 did not disappoint.

1:50PM: I venture to the Bacardí stage, nestled in a more tree-filled area on the north side of the park, to catch Chicago locals Blondshell make their Lollapalooza debut. This stage is interesting because they have a Bacardí activation located directly next to the stage, where attendees can enjoy alcoholic beverages while dancing to DJ’s. Luckily there isn’t any noise overlap, so the music coming from the activation does not interfere with the music happening on the proper stage. Blondshell have a relaxed sound, allowing the crowd to ease their way into day one of the fest.

3:15PM: Lollapalooza does a great job of booking both national and international acts, such as South African songstress Tyla. Her stage has a giant blow up Tiger smack dab in the middle with the screen behind it displaying graphics resembling what you would think you’d see if you were on a safari trip. Backed by many talented dancers, Tyla’s moves and vocals really shined throughout her set. Some of the choreography was reminiscent of a renaissance painting, with Tyla skillfully centered amongst her dancers, perfectly creating a picturesque moment.

5:00PM: I don’t think I’ve ever witnessed a crowd this large at Lollapalooza before, especially not in the middle of the day on a Thursday. This has to be the single largest crowd at any performance in Lollapalooza history; I’d estimate at least 70,000-80,000 people are here to witness Chappell Roan take the stage.

Chappell Roan’s career has seemingly blown up to legendary status overnight. Her performance easily proves why. Dressed in a lucha libre style outfit, with the stage set up as a boxing ring around the drum set and various workout equipment scattered throughout with bodybuilders performing different moves the entire time, Chappell lit up the stage with her energetic stage presence and impressive vocals, not missing a single beat as she traipsed around the stage. This is going to be a very hard set to beat.

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Pitchfork Music Festival 2024 is going out with a bang! The last day of this year’s iteration holds probably the most stacked lineup of the entire weekend. Whether it’s a seasoned artist or an up-and-coming performer, not a single moment of the day was a bore.

Model/Actriz really caught our eye, with what is likely the best set of the weekend. Not only was the music getting everyone moving, but the band themselves put on quite the show. Entering the stage in heels higher than I’ve ever thought about wearing, frontman Cole Haden strut across the stage, slowly applying bright red lipstick in front of the crowd. It’s the first time this weekend that I’ve seen a performer jump into the crowd and stay there for a majority of the set, even getting everyone to kneel down at one point. This set is one to remember.

It wasn’t long until the highly anticipated set from Rock and Roll Hall of Fame member Grandmaster Flash began. Noted as the first musician to make the turntable an instrument, it was only fitting that the legendary performer packed his set with his iconic scratches. He didn’t stick to mixing a single genre during his set, even telling the crowd that “music doesn’t have a color or genre,” so his set wasn’t going to either. He sampled everything from LL Cool J, to Prince, to Michael McDonald. Everybody in the crowd had their hands up, swaying to any and every beat playing over the speakers.

Mingling through the packed in crowd, MUNA commanded their audience as if they were the headliners. While their recorded material reads more pop heavy, their live show packs more guitar riffs with a heavier feel. This feel was mirrored in the crowd, as fans were seen rocking along to the music. Even if the band took a moment to admire the crowd, the fans picked up the lyrics where they left off, reciting everything word for word right back to them. This is yet another set to remember!

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On the second day of Pitchfork Music Festival 2024, the party was in full swing! The park was packed with fans waiting to sing their hearts out to their favorite artists. It was even hard to walk between stages because if someone wasn’t standing in the crowd, they were sitting down towards the back for a more relaxed viewing experience. The day was filled with tons of acts that had everyone moving and signing along.

We started off the day with local folk musician Kara Jackson. Kara’s sweet vocals feel like honey in your ears as she recites her poetic lyrics for everyone in Union Park to enjoy. She dazzled on stage with bright pink hair and a gorgeous denim dress. Her performance was enhanced by her backing band of all-star Chicago musicians, many of whom have graced the Pitchfork stage with their own projects.

After easing into the day with Kara Jackson, it was time to get angsty with Wednesday. The energy from front woman Karly Hartzman was intoxicating, with many fans in the crowd matching her energy and thrashing around. During the set, Hartzman reflected on the state of uneasiness some people have been feeling lately due to politics, lamenting that a lot of the crowd had “anger and sadness you want to let out and I do too; we can do it together,” calling for the crowd to unleash any of their pent up feelings by screaming along with them. And that they did!

For all of the old school hip-hop heads, getting to see De La Soul live was a special treat. Their Pitchfork performance was their first since the passing of original member Dave Jolicoeur in 2023. This highly anticipated set delivered, with guest appearances from Pharoahe Monch and Talib Kweli. Seeing the passion radiating from the surviving members, and how strong their bond is as they riff off one another on stage, proved why De La Soul are legends and will continue to be.

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Pitchfork Music Fest started its 18th year at Chicago’s Union Park with a bang. The sun was shining, not a single rain cloud was present, and smiles were plastered proudly on attendees faces. This year’s festivities brought promise that anyone and everyone was sure to have a great time, with artists from multiple genres being represented across the board. Whether you wanted to dance, to cry, to thrash, or something in between, there was a set for you.

Tkay Maidza, a 28-year old Australian R&B/Hip-Hop artist, travelled over 40 hours to perform for her packed crowd, and if she was feeling any effects from her long travel time, it certainly did not show. Donning a black leather outfit with stars and the word “fame” fashioned on the back, Tkay commanded the crowd with her infectious rhymes and mesmerizing stage presence. Switching between quickly timed rhymes and euphoric poppy tracks, the crowd was treated to a set that was sure to wake them up and prepare them for the rest of the weekend.

Continuing with the Hip-Hop theme, billy woods & Kenny Segal, the collaborative act comprised of the rapper and producer respectively, performed a selection of tracks from their highly revered albums Hiding Places and Maps. A visceral listening experience on its own, hearing billy woods recite his relatable perspective of traveling over Kenny Segal’s jazz inspired backing tracks is even more impactful live.

Yaeji packed a punch during her slot, bringing on two backup dancers to help get the crowd jumping to her house infused electronic set. Between having a dancer push Yaeji around the stage on a rolling chair while pretending to drive a car, to synchronized movements that had Yaeji and her dancers hit their feet on every inch of the stage, there wasn’t a dull moment during her hour long set. The dancing crescendoed during the last track, “raingurl,” with many fans continuing to sing the song long after the set concluded.

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After a brief hiatus and tour cancellation last year, Chicago was treated to a night full of boot stompin’ with Orville Peck as he brought his Stampede Tour through the Aragon Ballroom. In support of his most recent collaboration album, the Stampede Tour brought out a mixture of the soothing yet soulful sounds of Peck’s country crooning.

Country music is currently on a rise in popularity with artists like Beyoncé and Post Malone venturing into the genre, and Orville Peck is a front runner for helping diversify the country fan base. Looking around the packed Aragon Ballroom, you see some fans that are old and some that are young, some that are wearing complete neon outfits and some that are wearing Western wear, and some that are belting back the lyrics to every song, and some that are comfortably dancing along in their own world. Peck looks proudly over the crowd many times throughout the night.

Walking across the stage with a huge smile plastered on his partially masked face, Orville Peck starts the show with the first single he released back in 2018, “Big Sky.” He follows this with “Roses are Falling,” and takes the time to grab a rose from a bouquet he has at the back of the stage and pass it out to a fan in the front row—an act that he continued to perform with various fans throughout the night.

Performing a healthy mix of tracks from each of his releases, the highlights of the night were his performances of the newest tracks, all of which were released as duets: “Conquer the Heart,” “How Far Will We Take It?,” “The Hurtin’ Kind,” and “Cowboys Are Frequently, Secretly Fond of Each Other,” the latter being a collaboration with Willie Nelson.

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Little Big brought the heat to a packed house in Chicago, performing a slew of their viral tracks, as well as soon to be classics from their latest record Lobster Popstar.

Looking around the concert hall, you can spot fans in a variety of costumes, such as a full Adidas tracksuit akin to the ones worn in many of the band’s videos, Lobster headbands, head to toe neon, a fur suit, and overall graphic t-shirts with funny images of the band. The crowd knew they were going to be in for a night of dancing, and they did it in style! Little Bis also donned their own costumes, such as the Sailor Moon outfit front man Ilya started the show off with, and the all white, bedazzled Adidas tracksuit styled to look like an Elvis suit that he changed into mid-set.

Infusing quick witted lyrics with high energy techno rave beats, the Saint Petersburg natives are able to voice their stance on world matters while still having fun. Their track “Generation Cancellation” is a take on their condemnation of the Russian invasion of the Ukraine. This was highlighted during their set by projecting “NO WAR” on the LCD screen behind them while they performed the high energy track, spinning around while they did so.

Highlights from the set included referring to the unborn child of Ilya and front-woman Sonya as “Little Little Big” directly after introducing themselves as Little Big, performing their viral track “Skibidi,” and evoking the crowd to follow along with the accompanying dance, and commanding the entire crowd to crouch down to the floor before springing up and jumping around in time with the music.

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Two Door Cinema Club sold out the Riviera Theatre in Chicago on Thursday, March 7th in support of their 2022 album Keep On Smiling. Joywave was brought along to provide support for this leg of the tour.

Fresh off the release of their new single “Brain Damage,” Joywave stormed the stage to an audience full of fans dancing along to their catchy tracks. Looking into the crowd, you see attendees instantly start bobbing their heads, whipping their hair, and letting their hands fly up. Some fans have even put on the tie-dyed shirts that they freshly purchased at the merch table. Starting off their set with the dance heavy “Somebody New,” Joywave instantly proves that they’re here for a good time. Towards the latter half of their set, they announce that they will be back in Chicago on a headlining tour in September, and tickets go on sale in May.

Two Door Cinema Club was up next. With riffs that make it feel like it’s summer, it’s hard not to dance around and have a carefree mood while their set goes on. They open their set with a track off their most recent album, followed by a track from their first album. They play this back and forth through their entire set, mixing in old with the new, perfectly balancing their body of work for all to enjoy. They even performed their recently released single, “Happy Customers,” for the first time live, which was promptly followed by deep cut “Costume Party.” Both tracks elicited a positive response from the crowd, with many attendees trying to push forward so they could get even closer to their favorite band.

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On Wednesday, November 8th, actor, comedian, and musician Zack Fox had the crowd laughing and dancing at the same time while he performed at the Metro in Chicago, IL. Storming the stage shortly after finding out that the SAG-AFTRA strike had come to an end, Fox was in rare form, giving the crowd his all and even commenting about how the crowds in Chicago can get a performer very pumped up.

Fox calmly walked on the stage, stopped at his looping machine, and proceeded to tell a joke about how he liked how white women get zen at yoga classes. Continuing with that joke, he started to play meditation music and led the crowd through a breathing exercise, laughing while doing so. He kept with the joke, playing the meditation music between some of his songs throughout the night.

Eloquently delivering a smooth flow over carefully crafted beats, you can’t tell that Fox interpolates comedic lines into his lyrics, such as “This the trap game Abraham Lincoln / Four score and 16 bars ago” from his collaboration with Kenny Beats “Jesus Is The One (I Got Depression).” Ending the night with crowd favorites “dummy” and “fafo,” everybody in attendance left the venue smiling and wanting more.

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One of the best live bands in the world, My Morning Jacket finished off their fall tour with a three-night run at the historic Chicago Theatre.

Together now for 25 years, the band seems to be aging like fine wine. Collectively they are a mesmerizing force, riffing off each other so that each song becomes a joyful journey. One minute you’re headbanging, the next you’re tearing up—especially when Jim James hits those high notes.

To be in the moment with this band and this fanbase is something special.

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What started out as a one time collaboration for an album by two hip-hop juggernauts, Run The Jewels celebrated 10 years as a super duo with four album releases under their belt, by performing in four different cities for four nights, each night consisting of a full play of one of their four albums. Chicago fans were in for a treat as they were one of the four lucky cities chosen for these special performances, and we were present for night three of this epic event.

El-P reminded the crowd at the beginning of the show that they were going to be playing their third album all the way through. Meaning, they weren’t only playing “just the bangers” from each album, but they were going to get through every single track, including the ones that they never put in touring rotation.

Run The Jewels are infectious when they perform live, which is a huge part of why they’ve been together for 10 years and why the fans keep coming back for more. Each night of their four show run in Chicago was completely sold out, and that included special four packs of tickets for super fans that wanted to attend every single night.

You can tell while watching El-P and Killer Mike on stage just how much they love performing together in front of their fans. There is never a moment when a smile isn’t plastered on one of their faces. The energy that they exude onstage feeds the energy of the crowd, and getting to watch this amazing spectacle from the outskirts of the crowd is exhilarating. El-P and Killer Mike run and jump around the stage, while the fans are banging their heads and bouncing around in the crowd.

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3:15PM: Pesky rain pushed the Riot Fest gates today. A bunch of the bands on the front end of the lineup lost their set times. A true bummer, but a festival reality.

4:08PM: Brit rock and shoegaze pioneers, Ride seem to have coaxed the sun out of hiding. Their songs are the perfect musical accompaniment to the much appreciated warm rays.

4:55PM: AFI’s Davey Havok pauses their high energy emo punk set to give some love to this evening’s headliners, The Cure. “Every band playing here…was influenced by The Cure.”

6:12PM: The Dresden Dolls are performers through and through. They look to be having the time of their lives up there—the fans sure are! The reunited duo also busted out some great covers, including Black Sabbath’s “War Pigs” and Beastie Boys’ “Fight for Your Right” with surprise guest, former Hole and Smashing Pumpkins bassist Melissa Auf der Maur.

6:59PM: It’s been a bit of an anticlimactic day because of the rain delay and photography restrictions for certain bands, such as The Mars Volta. I feel like the day has just begun but we’re winding down to a close. While I would’ve loved to photograph The Mars Volta, I’m grateful to have been witness to their commanding, hypnotic set.

8:31PM: There’s no shortage of tears during The Cure’s Riot Fest finale set. It’s an emotional and fitting ending to a weekend packed with memorable moments.

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2:03PM: Punk Rock and Paintbrushes has a pretty sweet little gallery tent to the left of Riot Fest’s Roots Stage. It’s filled with musician originals, including work from Dave Navarro, Chad Smith, Matt Skiba and more.

2:34PM: Jehnny Beth is a force. Her solo work is less punk rock and more industrial than her work with Savages. No one seems to care about the rain; all eyes are on her as she caps off her set with an excellent cover of Nine Inch Nails’ “Closer.”

3:19PM: At least 30 couples are getting married at Riot Fest this weekend and I just got to witness one of them. Congrats to the happy newlyweds, who if I’m not mistaken, were both named Brynn!

3:36PM: You can always expect to see the following at Riot Fest: mohawks, witty t-shirts, black on black on black, Doc Martens, kilts, tattoos for days, lots of eyeliner. And today: juggalos and juggalettes.

4:02PM: “We’re Sweden’s third worst band,” lead singer of the Viagra Boys, Sebastian Murphy, jokes. Their dance punk set is a party and the crowd surfers are out.

5:00PM: With Head Automatica, Daryl Palumbo explores his indie rock side. It’s a different vibe than the hardcore style of Glassjaw, but compelling nonetheless.

5:16PM: Frank Turner and the Sleeping Souls have attracted a massive crowd over at the Rise Stage. With confessional lyrics and an energetic stage presence, I can see why.

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12:45PM: Riot Fest is back in Chicago for its 18th year and the lineup is stacked, as has come to be expected from the three-day (primarily) punk and metal festival. This fest in particular has a knack for convincing bands to reunite, convincing bands to play albums in full, and convincing bands who seldomly tour to dust off their instruments for a romp.

1:02PM: Nashville and Third Man Records’ Olivia Jean gets things going on a perfectly sunny Friday in Douglass Park. The look is rockabilly goth and the sound is garage rock.

1:41PM: When I was younger, my love of Elliott Smith led me to discover a slew of Portland, Oregon bands, one of whom was Quasi. So it’s awesome to see Sam Coomes and Janet Weiss recording music and touring together again.

2:18PM: George Clinton is 82 years young and still funkin’ touring! Parliament Funkadelic are tearing the roof off the sucker, wasting no time playing the hits.

2:44PM: I’m a sucker for political lyrics, especially if you happen to be a British band, so Yard Act is an early highlight. I have a feeling we’ll be seeing a lot more of them in the future.

3:39PM: Kim Gordon saunters around the stage while her young, talented band rips. She’s in no rush; she’s in command.

4:37PM: While I listen to The Interrupters cover Billie Eilish’s “Bad Guy,” I wander around the grounds, checking out the Logan Square Arcade tent and Riot Mall. The arcade has some pretty sweet games, including several Foo Fighters pinball machines, and the mall has a lot of vendors selling hemp edibles to teenagers. I catch some skateboarders on the halfpipe before making my way to the Rise Stage for my most anticipated set of the day.

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Hozier’s rich vocals cascaded across the sold out audience at Huntington Bank Pavilion in Chicago on Tuesday night, providing a transcendent, spiritual, and undeniably unforgettable journey of sound.

Known perhaps best for his hit “Take Me to Church” (which celebrated its 10 year anniversary the following day), Hozier’s storytelling combined with influences of soul, folk, and rock has allowed him to continue creating a steady stream of hits since his debut EP release in 2013.

An expert at making the crowd of 30,000 feel like personally invited guests, Hozier expressed his excitement towards promoting his newest album Unreal Unearth, telling Billboard: “This is the first time that I’ll be singing songs in the Irish language or singing parts of songs that are in Irish Gaelic. So I’m really excited to [play] Madison Square Garden or Hollywood Bowl, and sing in Gaeilge [the Irish language]… and watch as, hopefully, concertgoers and fans learn those lines and maybe even sing it with me.”

Prefacing his new song “To Someone From A Warm Climate (Uiscefhuaraithe),” Hozier explained that this title translates to “the feeling of cold only water brings.” A slow, melodic break in the middle of his set, it was a stunning moment to see Hozier’s wishes come true as the dedicated crowd sang along.

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With nostalgia bleeding into every note, Arctic Monkeys took to the United Center stage on August 27th for the second show of their North American tour.

Whether it’s the porthole screen that projected a ’90s filtered look of the live performance, the band’s effortless style or British charm, the crowd of 20,000 strong were hanging on every word that lead singer Alex Turner had to bestow.

Since the band was formed over 20 years ago, I expected the crowd to be of a more mature age, yet I was met with an eager barricade of mostly those in their teens and early 20s—even seeing young children with their parents, excitedly pressing their bedtimes.

Opening with “Sculptures of Anything Goes” from their 2022 album The Car, the indie band then moved back in time to their 2000’s hit “Brainstorm.” The sheer range of emotions, tempos and genres explored while all still sounding exactly like the Arctic Monkeys is a feat not many bands can execute with such grace. Speaking to The Guardian in 2022, Turner expressed of his songwriting journey, noting that “you have to be comfortable with the idea that things don’t have to be a pop song.”

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