Mannequin Pussy’s musical and lyrical charge is raucous, raw, angry and jangly, yet leavened with angelic choruses and delightfully impious asides — and that’s just I Got Heaven’s first song. 

From its opening track, the Philadelphia quartet's new album is redolent of riot grrrl fervor. The 10 tracks of I Got Heaven, out March 1, are laced with industrial intensity ("Of Her"), pretty and propulsive punky power pop ("Nothing Like'') and moshable speed metal duets ("OK? OK! OK? OK!").  

Founded by singer/guitarist Marisa Dabice in 2010, the quartet of Colins "Bear" Regisford (bass, vocals), Kaleen Reading (drums) and Maxine Steen (guitar, synths), Mannequin Pussy are proof that rock’s not dead. In fact, it’s being created by smart, conscious women (and one man) whose creativity is unfettered, living proof of goals that include inclusion, change and connection. And a hefty dose of raw power. 

I Got Heaven is the group's fourth album, and their second LP for Epitaph Records; it follows 2019’s Patience, and the 2021 EP Perfect. Years of DIY dues-paying have culminated in what may be a breakthrough that uplifts the quartet from scrappy indie darlings to a serious, multi-faceted rock band to be reckoned with. 

Dabice, who spoke to GRAMMY.com from her Philly home, might agree. "It's been beautiful to see the progression of this band and how much it means to people; how much it means for them to feel like they have a cathartic place to put their emotions and to feel things deeply and think critically about things and to challenge things," she says.

Post-meditation and drinking tea on a recent Thursday morning, Dabice is in the calm before the storm. A few years of sobriety, self-reflection and the catharsis of playing and songwriting finds her both self-possessed and excited as Mannequin Pussy launch their third tour April 4, with more than 20 sold out shows through May. 

As the conversation ranges from her fondness for Park Chan-wook movies to feeling part of an "iconic collective, an awakening" to working on lyrics in a 24 hour Korean spa, Dabice shares that she feels "like this is the best work we've ever done." 

The title track, "I Got Heaven," kicks off the record with such a massive punch of energy and power, it made me want to instantly join your band. Growing up, what artist or record did that for you?  

I think I've been fortunate to experience that quite a few times. As soon as you asked that question, I got the vision of watching the music video for "Maps" by the Yeah Yeah Yeahs on MTV, I must have been 13 or 14. It's such a beautiful piece of cinematic history, it bridges the gap between Yes, it's a music video, but it also makes you feel so intensely emotional because of the song and because of her performance.

Everything about that song is just like what is so phenomenal about being in a band. When you listen to a song, and you can hear it for the collaborations that went into it. There's that drumbeat you can isolate in your mind, that guitar arpeggiation that you can hear in your head, and then Karen O’s vocals on top. You can isolate, individually, how exciting each moment of that song is. That to me is what's so exciting about being in a band.

So you always knew you could sing and wanted to be a front person?

No, no, I definitely never thought I could sing. Never wanted to sing. I think even when Mannequin Pussy started, I was just screaming, but I was more like singing as a placeholder. I was [thinking], someone else will come along. 

Then, I could just play guitar and write songs, and then they can sing them. I wanted to write music; that was the thing that really propelled me and motivated me.

Did you audition any potential singers?

That never really happened. But our bass player, he also contributes vocals. So I do have someone whose voice I love for when a song doesn't feel right for my voice. We like to call it "hardcore duets," where we're both singing on a track.

**That works so well on "OK? OK! OK? OK!" which is one of my favorites on I Got Heaven. Was it initially written to be a duet?**  

It was a bit of happenstance, but I've always just loved the way that two voices on a song can really kind of elevate the emotionality, where it can feel as though you are just dropping in on a conversation that maybe you shouldn't be eavesdropping on. Or you have this kind of bystander effect of listening to the way these two voices interact with each other. 

How did that song begin?  

We started writing in Philadelphia, all at our practice space together. I was on the microphone, and I had had that, "okay, okay" in my brain for a few months, actually.  I'm very East Coast, but I liked this Valley Girl tough affectation. I had a voice memo for it. 

I did that "okay okay" and then [our drummer Kaylene] immediately started playing this epic drumbeat. Maxine and Bear were in the other corner watching her play drums and me do this vocal affectation as a top line thing and they filled in the spaces with guitar and bass. 

You don't usually start a song that way, right? We all had this thing that we were pouring into it. The more I looked at Bear, it was like what I'm doing is akin to an ad lib or hype man, or like this  character that should just kind of like step back and allow you to take the full breadth of the song.

It's called playing music for a reason. You're having fun, and you're playing around with different ideas and shapes and sonic textures. It was a very fun day for us doing something that felt silly, but we were all very excited by it.

That said, I’m sure there were times when creating this record wasn’t as fun?  

I mean, I cried for sure while we were making this record, during every record. Producers are really an incredible combination of roles. They're not only a tastemaker, and an engineer and someone who's there to capture and elevate, they also really take on a dynamic of kind of being a therapist and a friend to you in those dark days where you don't really know, when you get a little lost in the weeds.

Any creative person understands what it feels like to be that moment where you're too deeply in something; you need to step out into the macro in order to be able to hear the record fully and know where you're going.

I definitely had a day where I cried to [producer] John Congleton. It was like, "I don't know if this is like any f—king good. I feel insecure about it." It's also that I feel like everyone around me is so talented. And, sometimes you're like, Am I bringing enough to this? John was really wonderful. We were all in a moment of intense financial struggle. We hadn't been on tour in a long time, so money was tough. It was a combination of a lot of stresses, kind of overwhelming. So yes, sometimes it's so much fun. Other times you're crying, wondering if it's all shit.  

This is your first time working with John as a producer. Why him?

John approached us, which I love. I’m a big believer in being courted. I don't want to be out there sending flowers! John called Brett Guerwitz, the founder of Epitaph Records, I guess they were friends. Brett called me, probably mid-2021. I looked [John] up. I was like, "Oh, I definitely know this guy. He's worked on some records I f—ing love." 

Brett's never the type of person to tell us what we should be doing with our art, but he said, "I really want you to meet him and see if there's a creative vibe between you. I think this is the record that you guys should leave Philly for and do a destination record in L.A. and just really be in it."

We were fortunate enough at that point to have the support of Epitaph.

I loved the way that John spoke about music, I love his philosophy toward music. I felt like we would be in good hands, and that we would be finding the right collaborator for this. Because what a good producer does is kind of become a temporary member of the band. A band is a combination of collaborative creative energies, and as a producer, you're being invited into that world we built between us. It was really important to find someone who would mesh with our sensibilities, and our humor and our outlook and also be in a place to teach us new things and show us new things.

I read an article where you talked about I Got Heaven as having a "pervasive feeling of longing and horniness to it." Can you comment on that vibe?

As much as we joke around we are quite serious. But I think that [with] a band name like ours, for some people, that's never going to be something they can take seriously. I think that's also a reflection of the way that we see things as being inherently feminine, perhaps, or attached to the feminine or things that are not worth real time attention or recognition. But that's a totally separate conversation!

We’re very serious, yet we wanted to make a record that really felt a bit overly amorous, horny, and lustful, because that's kind of where a lot of us in the band were. We had all these jokes about lust and desire and everything because we were traveling so much on tour. Three of us in the band all experienced breakups around the same time. It led us all into a really deep solitude period of healing, where we all kind of took two years off from dating. Really separating ourselves completely and really putting ourselves into the work.

I think creative work requires the practice of solitude. That was something we also strongly felt in the making of this record; that our own solitude was also feeding our creativity. But even in moments of solitude, that doesn't mean that you can escape the fantasy of what it would feel like to be with someone again, or what it would feel like to have love and human connection in that more carnal way. This record is full of human connection but some of it is just fantasy.

The videos for "I Got Heaven" and "I Don’t Know You" were shot on a farm, as were some of your press photos, and there’s a pig on your album cover. Are you vegetarians?

We are not vegetarians. We believe in the pursuit of moderated pleasure. But more so in like, I believe very strongly in conscious carnivorism. I think that the way in which we interact with all living beings on the planet needs to be from a place of gratitude, curiosity, and respect. Respect for the animal that has not chosen to sacrifice its life to nourish you, right? I'm not someone who overindulges. I'm like a hedonist who doesn't indulge in anything.

Interesting. Seems like a long life plan!  

I quit smoking. I quit drinking over the last two years, not because I had a problem. I just felt like it was boring. It was not making me feel good anymore. Like, it's time to move on.

I don't believe in being too strict with ourselves. I think everything should allow for the moment to infer what you should do in it. I was a vegan for three years. I feel so much healthier now that I haven't put restrictions onto myself. At the end of the day, the most important thing is you getting the energy you need to perform.  

I read that your song "Spilt Me Open" was written a day after taking acid. Is that a group activity or did you try to utilize it as a creative tool?

The story behind it is actually quite wholesome. Maybe the most wholesome LSD story! Our band vacations together. Maxine's family has a small off the grid cabin that’s been in her family for generations. No electricity, no internet, in New Hampshire.  

I'm a believer in a yearly psychedelic trip. I think it kind of realigns the system and gets your brain functioning in a healthy and creative way. And maybe helps you purge some things that you need to purge. Again, hedonist but not excess. Experimental, but not dangerous. Maxine and I took acid and usually it’s a day of being naked in nature. I forced everyone to listen to Paul Simon for 24 hours. 

The next day, we were laying around next to the lake, just me and Maxine, coming down from our trip. She started playing the beginning chords of "Split Me Open" on acoustic guitar. I was laying down next to her, and kind of had a similar experience when she started playing it. I immediately started singing along; a lot of those lines would end up in the final version. The song just kind of spilled out of us.   

What is success to you?

On one hand, I feel like success on a more spiritual level feels as though you are being seen, understood and accepted for exactly who you are, and your creative output. People connecting with our music in a way that is immensely thoughtful. 

I think success on a material level, especially for artists, means that you're paying all of your bills through your own creativity; your own creative talents are actually what is sustaining your life. That, to me, feels like a really beautiful combination. Where if it was just the one — just the material without being seen and understood? I'm not sure it would feel as rewarding.

For Laura Jane Grace, Record Cycles Can Be A 'Hole In My Head' — And She's OK With That

Alternative music triumphed in 2022, glistening with ambition, sincerity and yearning.

The Recording Academy introduced several new categories for the 2023 GRAMMY Awards, including an addition to the alternative genre's honors: Best Alternative Music Performance. Together with Best Alternative Music Album, these two categories celebrate the alternative genre's greatest music makers.

In the recently added Best Alternative Music Performance category, Arctic Monkeys are nominated for their down-to-earth track about a doomed relationship "There'd Better Be A Mirrorball," alongside Big Thief's folksy "Certainty" and Florence + The Machine's acute "King," which both examine a precarious future with sharpness and heart. 

Best New Artist nominee Wet Leg's tongue-in-cheek wit shines through on "Chaise Longue." In the same category, the Yeah Yeah Yeahs and Perfume Genius unite with a beautifully ominous quality on "Spitting Off The Edge Of The World."

Embracing visionary eclecticism, the following albums are nominated for Best Alternative Music Album: Arcade Fire's WE, Big Thief's Dragon New Warm Mountain I Believe In You, Björk's Fossora, Wet Leg's Wet Leg, and Yeah Yeah Yeahs' Cool It Down.

Listen to all of the above songs and albums in this comprehensive playlist of the Alternative Music GRAMMY nominees at the 2023 GRAMMYs.

Check it out on Amazon Music. Find out who wins on Music's Biggest Night on Sunday, Feb. 5!

Playlist powered by GRAMMY U.

2023 GRAMMY Nominations: See The Complete Nominees List

Call it Tumblr revival or post-quarantine activation, but this year saw plenty of established alternative and indie rock musicians make highly anticipated returns with fresh albums.

Of that set, plenty were recognized in the 2023 GRAMMY Awards’ inaugural award for Best Alternative Music Performance. Arctic Monkeys’ orchestral single “There’d Better Be A Mirrorball," Florence + The Machine’s triumphant "King," and Yeah Yeah Yeahs' first song in nearly a decade, "Spitting Off The Edge Of The World," featuring Perfume Genius, are all up for the trophy.

These long standing musicians are joined in the category by two acts who more recently got their breakthrough moment: Big Thief, who was recognized for their folksy track, “Certainty,” and Wet Leg, who is up for their viral hit, "Chaise Longue.”

The 2022 Best Alternative Music Performance, which aims to honor and uplift the alternative genre, is just one of the new categories that have been introduced for the 2023 GRAMMY Awards. It will exist in tandem with the Best Alternative Music Album category — which was established in 1958 and was referred to Best Alternative Music Performance in 1991, and from 1994 to 1999. 

Having both categories will provide more opportunities for the Recording Academy to recognize the diverse communities of musicians and creators who work in the alternative genre. 

Read on to learn more about the nominees ahead of the 2023 GRAMMY Awards ceremony, taking place Feb. 5 at Los Angeles’ Crypto Arena. 

Read the full list of nominees for the 2023 GRAMMY Awards here.

Arctic Monkeys — "There'd Better Be A Mirrorball"

To follow-up their loungey, high-concept 2018 record Tranquility Base Hotel and Casino, Arctic Monkeys returned in 2022 with The Car. Their seventh studio album folds in elements of jazz, traditional pop, and flourishing film soundtracks.

The album’s opening track, "There’d Better Be A Mirrorball" begins with a passage of elegant strings and piano that sets the tone for the rest of the project. Frontman Alex Turner told Variety that the song was specifically influenced by Nat "King" Cole’s 1963 ballad "Where Did Everyone Go?"

Founded in 2002, the indie rock band from Sheffield, England has received six total career GRAMMY nominations. They were first recognized in 2006 when their debut record, Whatever People Say I Am, That’s What I’m Not, was nominated for Best Alternative Music Album.

Big Thief — "Certainty"

On "Certainty," Big Thief vocalist and songwriter Adrianne Lenker describes a devotion that fluctuates like a sine wave. "Maybe I love you is a river so high / Maybe I love you is a river so low," she sings.

The stripped-down song is one of 20 that appear on the indie rock band’s sprawling fifth studio album, Dragon New Warm Mountain I Believe You. It follows the four piece's 2019 albums U.F.O.F. and Not, which have both previously received GRAMMY nods. 

While making Dragon, Lenker said she was becoming more fearless as a writer. "I definitely had a desire for things to be complex: Is this chord progression too simple? Is this lyric too simple? Is this cliche? Is this corny?," she told Pitchfork. "I feel less of that noise in my head, and more of just, 'This is what I want to sing.'" 

Florence + The Machine — "King"

"I’m no mother / I am no bride / I am king," Florence Welch repeats like a mantra on her determined pop-rock anthem "King." It marks Florence + the Machine’s seventh GRAMMY nomination since they broke out in 2009.

Written and produced by Welch and Jack Antonoff, the song captures the English artist's sudden "tearing of [her] identity and [her] desires," according to a statement. Though Welch never used to think much of her gender, being a woman in her 30s has brought upon a realization: "To be a performer, but also to want a family might not be as simple for me as it is for my male counterparts." 

"King" appears on the band’s fifth studio album, Dance Fever, which was partly inspired by the work of Iggy Pop and choreomania — a Medieval social phenomenon where groups of people danced erratically. 

Wet Leg — "Chaise Longue" 

"Chaise Longue," the debut breakout single from Wet Leg, marks the British indie rock act’s first GRAMMY nomination.

The energetic song went viral for its tongue-in-cheek lyrics that allude to academic life ("I went to college and I got the big D") and the 2004 film Mean Girls ("Would you like us to assign someone to butter your muffin"), bringing the duo of Rhian Teasdale and Hester Chambers into new visibility.

In a Rolling Stone interview, Teasdale said Wet Leg weren't "making a conscious effort to write anything," and that "Chaise Lounge" came from "that 13-year-old girl sleepover head space."  The song leads their self-titled first album, which debuted at No. 1 on the UK charts only two years after Teasdale and Chambers decided to become a musical duo. 

Yeah Yeah Yeahs feat.  Perfume Genius — "Spitting Off the Edge of the World"

The Yeah Yeah Yeahs returned this year with their first song in nine years: "Spitting Off The Edge Of The World," an insurgent indie rock track that confronts the climate crisis.

Produced by longtime collaborator Dave Sistek of TV on the Radio, the song is a duet between frontwoman Karen O and Perfume Genius that is equal parts vulnerable and resolute. "Spitting Off The Edge Of The World" was the lead single from the Yeah Yeah Yeahs’ long-awaited fifth studio album Cool It Down.

First breaking out in 2000, Yeah Yeah Yeahs have received three previous nominations for Best Alternative Music Album: 2003’s Fever to Tell, 2006’s Show Your Bones, and 2009’s It’s Blitz!

Where & How To Watch The 2023 GRAMMY Nominations

Far from the underground, the indie dance music released between 2000 to 2010 has become iconic and pivotal. At the beginning of the millenium, the genre showcased emerging artists from developing countries and NYC DIY circles, whose global sounds influenced contemporary mainstream pop.

Albums from this era blended traditional pop and R&B with European house, industrial music and trip house by Prodigy, Massive Attack, and Portishead. Many ditched guitar-driven production in lieu of 808 drum machines. Bands from this era were pulling influence from early trip-hop pioneers like Prodigy, Massive Attack, and Portishead which medled hip-hop beats with Gothic, ethereal vocals.

The sound created was as much hip-hop as it was post-punk. Bands from this era were pulling influence from early trip-hop pioneers like Prodigy, Massive Attack, and Portishead which medled hip-hop beats with Gothic, ethereal vocals. They also were an evolution of groups like Depeche Mode, Television, Gary Numan, and the Pet Shop Boys, who harnessed lo-fi pop melodies that utilized synth-based production. Indie dance also eschewed the bombastic arena sound of the late 2000s. Instead favoring a minimal, almost simplistic arrangement of economic drums and synth.

As a genre, dance music helped loosen inhibitions. From its inception in the 1970s, it encouraged experimentation — both in its production and in its lyrics. In some ways, early aughts indie dance bands like CSS, Cut Copy, Yeasayer, and Neon Indian laid the groundwork for younger Millennials and Gen Zers to claim their identities, and challenge notions of gender and sexuality.

Indie dance of this period was led by innovative female artists of various sexual, gender and political identities. Artists like Santigold, Goldfrapp, Karen O, Yukimi Nagano and the genre as a whole, were driven to fight sexism, racism, and class warfare. We’ve rounded up five female artists who made a profound impact on indie dance music and whose albums became the blueprint for the current radio sound.

M.I.A. - Kala (2007)

M.I.A. was part of the post-9/11 dance renaissance led by producers like Diplo and Switch — two of her closest collaborators — and came on the scene in 2005 with an Arular, an abrasive and original album that mixed dancehall, punk, electronic music and rap.

With the arrival of Kala, the British-born Sri Lankan rapper would influence pop’s aesthetics and sound for the next 15 years. After Kala, Diplo would go on to collaborate with global acts like Major Lazer, Madonna, Chris Brown, Justin Bieber, Joji, and Bad Bunny, advancing the genre-fusing style he made famous with M.I.A. Since the song’s gun shots and cash register sound effects announced itself in 2007, M.I.A.’s "Paper Planes" has played everywhere —  in movies, television, the radio — and has been remixed by major rappers, including Lil Wayne, Jay-Z and Kanye West.

Kala received almost perfect reviews by tastemaker publications, landing on NME and Rolling Stone’s "Greatest Albums of All-Time" lists as well as Billboard's "Year-End Top Electronic Albums" of 2007. While "Paper Planes" was a huge international hit, the rest of Kala was equally profound for its blend of Bollywood, hip-hop and Brazilian funk, as well as its embrace of DIY recording techniques and rave culture. M.I.A. also built upon the political manifesto of her debut album, penning  songs around issues of motherhood, poverty, gentrification, industrialization, and late-stage capitalism.

Lykke Li -Youth Novels (2008) 

Swedish artist Lykki Li crafts short bursts of pop and dance music perfect for laissez-faire dancing with friends. It’s easy to see how her songs influenced TikTok dance crazes, such as "I’m Good, I’m Gone" which could easily be scored by singles from Li’s debut album, Youth Novels.

The album predated the fragile, Lilithian vocals of artists like Grimes, Sky Ferreira and FKA Twigs, each of whom is influenced by Li’s Euro-centric pop sensibilities. The album is sparse on lyrics, as heard on "Melodies & Desires" and "This Trumpet in My Head" with Li often repeating the same line ad nauseum, creating a trance-like rhythm.

This effect comes from Björn Yttling of Peter, Bjorn, and John, who produced the album and was instrumental in creating the borderless sound of 2000s-era indie dance music. (He also produced records for Camera Obscura, Primal Scream, Robyn and the Shins). The resulting  sound was progressive, atmospheric and contemplative — a first for this era of indie dance artists.  While Li was asking much of her listeners, she did so knowing they could handle it.

Yeah, Yeah, Yeahs - It’s Blitz (2009)

The Yeah, Yeah, Yeahs' It’s Blitz was listed on over 20 best of lists for 2009, and added to 1001 Albums You Must Hear Before You Die. The album’s punk sensibilities are evident from the jump, and Karen O.’s larger-than-life vocals send an uppercut through the established boy’s club of electronic music. The album’s cover, the now iconic egg-smashing hand, was an apt visual representation of what the album would bring sonically.

O. has that feverish, tremor hitch of Iggy Pop, featuring gnarls, yips, and barks punctuating a synth-laden album full of rock-influenced left turns. O. is most threatening when she breaks from cryptic and vague to vogue and vamp on tracks like "Heads Will Roll" and "Dragon Queen." These are infectious, groovy numbers that ushered in a new age of dance vocalists who were interested in deconstructing the genre’s patriarchy.

While the album’s production doesn’t reinvent the wheel, the overall vibe carries a real sense of danger. As America boils over from inflation, crumbling democracy and a never-ending pandemic, it may be the perfect time to revisit It’s Blitz and dance the ennui away.

Le Tigre - Feminist Sweepstakes (2001)

Formerly of Bikini Kill, riot grrrl icon Kathleen Hanna used multiple projects and mediums to work through her left-wing socio-political theories and assertions. Of the lot, Le Tigre was undoubtedly the most danceable, slyly presenting feminist and anarchist ideology in light-hearted, lo-fi pop.

From the album’s opening line of "For the ladies and the fags, yeah, we're the band with the roller-skate jams," you know you’re in for a fun time.

Feminist Sweepstakes was the first Le Tigre album to feature JD Samson, whose   background in performance art and queer-theory sharpened Le Tigre’s already rebellious focus. But the album doesn’t let itself become too bogged down by all the political mining. Cheesy electronic beats, new wave keyboards and rollicking drum machines keep the album fun, while catchy choruses hide a crash course in sexual politics.

While songs like "Fake French" and "Well Well Well" glide between rap and post-punk influences, Hanna’s lyrics  on "FYR." feel ever more prescient in a post- Roe v. Wade America. In one of the cheekier references to the film Psycho, Hannah sings: "One step forward, five steps back/ One cool record in the year of rock-rap/ Yeah we got all the power/ getting stabbed in the shower/ And we got equal rights on ladies' night."

CSS - Cansei de Ser Sexy (2006)

Sex was always an integral part of indie dance music in the 2000s — you felt it as you bumped close to strangers in the dance clubs, or in long drives with crushes, windows down and speakers blaring. This can be felt in CSS’s "Music Is My Hot Hot Sex," a sultry punk-inspired song which likens music to foreplay through erotic metaphor.

The Brazilian band mostly sang in Portuguese, so their vulgarity and feminist lyrics largely went unnoticed by American audiences. Today, dancing to languages you may not speak is familiar ground for Americans (see Bad Bunny, for example), but it was new territory in 2006. CSS' in-your-face singing style was edgy and engaging, and expanded dance music to include non-English speaking artists who were fluent in sex, drugs and rock 'n'roll — essential ingredients to any dance floor ruckus.

10 Essential Colombian Albums: From Salsa To Cumbia & Reggaetón

For its milestone 15th year, Pitchfork Music Festival has announced its 2020 lineup.

Taking place in Chicago's Union Park this summer, GRAMMY-winning group The National, GRAMMY nominees Run The Jewels and the Yeah Yeah Yeahs are set to headline the festival's main stage on the weekend of Friday, July 17 through Sunday, July 19.

The festival will also host performances from additional GRAMMY winners and nominees, including Big Thief, Thundercat, Tierra Whack and Caroline Polachek across three days and multiple stages.

Other artists featured on the festival’s lineup include Angel Olsen, Yaeji, Waxahatchee, Maxo Kream, Kim Gordon, Twin Peaks and Danny Brown, among others. Pitchfork Fest will also serve as the home of the first Fiery Furnaces performance in 10 years.

Both general admission and Pitchfork PLUS passes are available for purchase starting today. Three-day general admission passes are available for $185, while PLUS passes, which include access to private bars, curated food experiences, shaded seating and an elevated viewing platform of the festival’s Blue Stage are available at $385.

Read More: Pitchfork Fest's Adam Krefman On Lineup Diversity, Reasonable Prices & More

Single-day passes are also available, with single-day general admission running at $75 and single day PLUS passes costing $160. Tickets can be purchased here.

Although the festival does not take place until mid-summer, in celebration of the festival's rollout Pitchfork is hosting a series of free parties at the Chicago Athletic Association tonight (Feb. 19) and tomorrow (Feb. 20). More information on the Pitchfork kickoff parties is available here. According to a statement, Pitchfork will host additional 15th-year experiences which will be announced soon.