"Bonnaroo brings good vibrations for all"
For fans of live music, Bonnaroo is heaven on earth. Though some may have qualms with the festival due to its massive size and the inherent impossibility of seeing all you’d like to see, the festival’s capacity allows for an experience unlike its competitors.
It’s important to have an open mind and be willing to end up at whichever show the moment takes you to; these might end up being some of the best, because there’s no feeling like moving to the beat of a favorite artist with 90,000 other people.
As someone who came of age to the tunes of the early 2000s, there could not have been a better headlining combo than Kanye West and Jack White. Both stand out as passionate performers who throw themselves entirely into their craft and are clearly (and rightfully) opinionated about their trade.
Though it seemed like hordes of people began leaving Ye’s set during his infamous rants, it was a refreshing reminder that although the tracks sounded impeccable, we were in fact at a live show.
Both artists drew on their wealth of options. West showcased the variety of sounds his discography boasts, from “Heartless” to “Can’t Tell Me Nothing,” dropping verses from his featured tracks along the way. White showed off his solo skills, while taking detours to play favorites from The White Stripes and The Raconteurs catalogs.
Bonnaroo also played host to a plethora of British acts that have been tearing up the music scene lately, including Arctic Monkeys, CHVRCHES, Disclosure and Sam Smith to name a few.
Bonnaroo performances are an experience unlike any other—a must attend for any music addict who can get past the dust, heat and fear of missing out.
—Cheyenne Langkamp
"The dream of the nineties is alive and well at this year's Lollapalooza"
The 90s were alive in Chicago: though I knew I stood in the mud-laden Grant Park field at Lollapalooza’s 2014 festival, part of me felt as though I was back in a sweaty, middle-school gymnasium once Outkast took the stage Saturday night.
In their seemingly endless set, the duo spared no expense to give the people what they wanted. Amid both Big Boi and Andre 3000’s own hits, there was a healthy portion of the classics, including “Roses,” “Ms. Jackson” and “Hey Ya!,” allowing ample time to shamelessly shake it like a polaroid picture.
There was a potpourri of performances, with appearances from Eminem and Skrillex and everything in between. The essence of Lollapalooza can be contained in the muddy, rain-riddled set performed by The Avett Brothers Sunday. Evoking feelings of hippie-ideals and festival-mentalities, the folk-rock band serenaded the souls who braved the storm and demonstrated what an outdoor music fest should sound like.
Conversely, Alex Turner made me okay with the prospect of him only calling me when he was high. The swagger he brought to The Arctic Monkeys’ set fell nothing short of spectacular, as he crooned tunes—mostly from the band’s new album—with hair grease and a comb on hand. However, one of my biggest critiques of the three-day concert schedule very well may have been the decision to place Phantogram at the same time as the British import. C’mon guys.
Ladies: if ever you find yourself feeling down on your dancing abilities, find comfort in the fact that Lorde is quite possibly one hundred times more spastic. I’m not confident in my ability to comment on her singing, as I was so mesmerized by the continuous flailing and seizing of the 17 year-old wunderkind.
While seeing the Perry’s Stage is an experience anyone attending Lolla must have, seeing Iggy Azalea perform is one that I would wish upon no one. Maybe I-G-G-Y was having an off day, but her set was anything but memorable.
I am nearing the end of the third stage of grief for not having seen Kate Nash, Courtney Barnett and Vance Joy. Cross your fingers that my bargaining with the Lolla Gods is successful and these foreign phenoms will bless me with an opportunity to see them again in the near future.
The three-day binge of blood, sweat and (sometimes) tears (of joy) never fails to disappoint and this year was no exception. Though my Converse were ruined and my bank account is still undergoing rehabilitation, Lollapalooza only left me wanting more. So. Peace. Love. Chicago-style hotdogs.
—Emily Gerber
"Rap and females dominate at Pitchfork"
Pitchfork is certainly one of the smaller summer gigs to catch, but that’s part of its charm. With only three stages that are all within walking distance, it’s easy to see at least a portion of every act of interest.
But for those who hope to turn every live show into a party, Pitchfork might be disappointing at times. So much of the experience at festivals depends on the vibes emanating throughout the crowd, which at best can create a similar experience for the last row as those pushed tight against the barricade in the first. At times I felt like I was at a show with statues rather than live human beings.
Still, for rap fans in particular, this might have been the best investment of your summer. There seemed to be an endless supply of top-notch names, starting with a hype Danny Brown set early Saturday and ending with the unparallelled Kendrick Lamar Sunday night. A personal favorite came in the form of ScHoolboy Q on Sunday afternoon. The crowd was loosened up by this point and more than willing to nod along to “Collard Greens” and “Studio.”
After an insane performance at Bonnaroo earlier this summer, Pusha T pulled a complete 180 and for one reason or another only played 30 minutes of an hour long slot.
For its size, this year’s Pitchfork also managed to present a good bit of variety, offering up mellow shows like Neutral Milk Hotel alongside uncomfortable yet entertaining screechers like Deafheaven.
Pitchfork also hosted a slew of unique female performers such as Grimes and St. Vincent, both of whom showcased some of the most commanding stage presence of the festival.
Those who are new to the festial scene or prefer smaller productions with room to explore new talent should keep an eye out for next year’s line up.
—Cheyenne Langkamp
