More about: Pitchfork Music Festival

Pitchfork Music Festival launched its first London event in 2021. Counting its second year, organisers are excited to see things take off in a bigger way. An nicely expanding European festival concept, the first ever Berlin edition was held this year. 

Based on a multi-venue format, the ambition behind the festival is to translate the creative strength and association of the Pitchfork brand to the live environment, representing diverse, high-calibre alternative talent across select, iconic music venues and clubs in the city. Derived from the Chicago based, US version, the festival began in 2006, and has been going from strength to strength, acting as a trusted voice in music.

The calm, autumnal vibes on this Sunday evening may be as a slight hindrance, in terms of bringing the final day of the London festival to an instant boiling point of sheer energy, excitement, and entertainment. While it is undisputed that everyone here is a dedicated music fan, the lines between the acts that generate a buzz versus the artists that maybe don’t, seem blurred. 

Distributed over two floors, Roundhouse and Roundhouse Studio supply the respective spaces. First up on the bill is alt-rocker Gretel Hänlyn in the Studio. It’s a pleasantly curated set of songs that presents her sound, displaying the folky element as much as the raw, more grungy edges. Vocally sharp and on point, it is a bright, nuanced intro.

Also performing in the studio is Yot Club. Self-sufficient to the bone, it seems, Nashville based singer and producer Ryan Kaiser writes, records and mixes his own music, and this Pitchfork gig provides a boost of energy at a point when there is a thirst for it. With shimmering songs and an upbeat presence Kaiser shows lots of promise, and he definitely is one to look out for.

Meanwhile, we are back on the main stage. As soon as Welsh singer-songwriter Cate le Bon walks on, with a full band, excitement starts to build. With a richness that fills the room, she plays an absorbing set. The experimental nature of the music represents a magnificent change to what has been happening prior to this moment. Keeping the performance varied and compelling, the synth-laden, atmospheric ‘French Boys’, the more melodic ‘Moderation’ and ‘Rock Pool’ with Courtney Barnett are engaging, entertaining moments.  

Nevertheless, and not surprisingly, headliner Courtney Barnett’s performance is the full highlight of the night. The slacker rock inspired, Melbourne residing guitarist and songwriter is all game. Playing to all her strengths, the hour and a bit long set offers everything you had hoped for and more. It rocks, but thought and emotion are both involved. 

Blending songs from ‘Things Take Time, Take Time’ from last year with other track favourites, Barnett inspires with a good amount of guitar riffage, attitude and collectedness. The measured, at times, semi-spoken vocals seem as if they are sprinkled across the set, sprinkled with consideration. The bluesy, the more Pavement-echoing moments are all there, while The Velvet Underground vibe lingers throughout. It really works.

Cheered by the crowd, there are several standalone moments, but the introversion of ‘Rae Street’, the more outward looking ‘Sunfair Sundown’ are included. The latter track is a song she wrote for none other than Cate le Bon, who is a friend. Ending the night on a high is no bad way to go.

Pitchfork Music Festival’s London edition is still developing, which is fine. It is right on track, on its way to something awesome. 

See the shots of the day, captured by Rachel Lipsitz:

Grab your copy of the Gigwise print magazine here.

More about: Pitchfork Music Festival