It's pretty funny watching a field full of people all staring at the same thing -- nothing.
DJ Shadow, the highly influential mixmaster Josh Davis, performed his turntable set from inside a large white globe. On the Red Stage on Saturday evening sat the globe, with various psychedelic projections hitting its surface (not the full array he's given to other crowds in the dark, however), and inside -- allegedly, at first -- was Davis, knitting together his breakbeats and samples. The crowd cheered, and stared at the white globe. On a video screen to the east, cameras within the sphere showed Davis hard at work spinning his tables, toggling switches, cradling headphones to one ear and syncing up the next sound, beat or piece of music.
His mixes are exciting, no doubt -- the thumping bass must have vibrated windows in Lakeview -- pushing funk, rock, slow jams, jazz, ambient music, whatever works through the stacks. But the gimmick was a strange gambit in a penultimate slot before nearly 20,000 people. Midway through the show, the back hemisphere of the globe spins around, revealing an opening and showing Davis to the crowd for the rest of the set. (A good thing, too, otherwise you couldn't help but wonder if Davis wasn't lying on a beach in Brazil, sending just the globe, a reel-to-reel of the music and that synced video out on tour.) The fourth DJ Shadow record in 15 years, "The Less You Know, the Better," will be out this fall, and here's hoping we next see him indoors and in the dark.
The transition from DJ Shadow's club atmosphere to the sweet, earthy folk of Saturday night headliner Fleet Foxes was a radical shift, emblematic of the catholic tastes of Pitchfork fans ...
Fleet Foxes leader Robin Pecknold joked early in his band's set about playing the Pitchfork festival three years ago, saying it was "super fun" and they followed rapper Dizzee Rascal, who handed off the set by saying, "F--- that folk sh--!" Pecknold chuckled, then straightened up. "I hope he'll be making a return appearance, too," he said.
The fact that Fleet Foxes not only returned to Pitchfork this year but held down the Saturday night headliner slot -- mightily successfully -- says much about how they've come along as a band. When they played here in 2008, they were still linked musically and lyrically to the "Blue Ridge Mountains," but the follow-up -- the dense and tightly woven "Helplessness Blues" -- is more worldly, with a greater diversity (and proficiency) of instruments. That mass of music, as opposed to just a set of pretty harmonies, made for a rich and rewarding set that employed mostly acoustic instruments for repeated crescendos and thundering.
Those trademark harmonies were a lynchpin to the show, of course, but now the band frames them within each song -- using them to open a song ("Drops in the River") or to spotlight a heartfelt moment in the middle (the breathtaking pause in "Bedouin Dress"). But even the signature vocal rounds of "White Winter Hymnal" gave away the band's newfound confidence as players -- of acoustic guitars, mandolins, upright bass, some organ -- as well as singers; the song on Saturday stepped out with a stride not heard before, a new eagerness to strum harder and chug faster and get where it was going -- which was, of course, a similarly urgent "Ragged Wood." In "The Protector," they again started softly, carefully, with their traditional and subtly churchy singing, but by the time Pecknold sang, "You run with the devil," they'd clearly abandoned their hymnal for the excitement of that ragged wood. Hallelujah.