The heat raged on, and so did Riot Fest. After night one’s stellar lineup, Riot Fest’s second day continued to showcase the exciting and diverse lineup that the festival had in store. With alternative music icon Beck as Saturday night’s headliner, the day was infused with alternative rock, pop, and everything in between.
To start the day off right, attendees had to have gone and seen Pixel Grip, a Chicago-based trio with a musicality that is quintessential dark nineties Industrial. Bringing techno together with hard rock, Pixel Grip’s music is perfect for dark club lights and punk music festivals. Frontwoman Rita Lukea is in absolute control of the stage as she stalks the floor with a primal, sensual energy. Screaming into the mic at one moment and harmonizing meticulously the next, Pixel Grip is intoxicating to listeners through their magnetic compositions and heavyweight club beats.
While tearing through their set, Lukea told the crowd that this was the biggest show they’d ever played and the biggest stage they’d ever played on. Currently on their Stamina Tour in light of the release of their recent single “Stamina,” Pixel Grip blazed through many of their most famous hits including “ALPHAPUSSY” and “Dancing on Your Grave.” With a look, sound and attitude that is intoxicatingly provocative, it’s evident that Pixel Grip is a prominent alt group that is on the rise.
Ethereal supergroup Princess Goes, composed of actor and vocalist Michael C. Hall (Dexter, Six Feet Under), keyboardist Matt Katz-Bohen (of Blondie, Cyndi Lauper) and drummer Peter Yanowitz (of The Wallflowers, Morningwood), gave an equally theatrical and grounding delivery at Riot Fest. The group is avante-garde yet down to earth in their artistry, and fans in attendance were amazed at Hall’s incredibly solid vocal range and control. Hall becomes the music, but not in a way that is overly performative or intense. Rather, in a later-era David Bowie fashion, the Dexter actor is enigmatic both in his attitude and musical capability.
Sweet Pill, a Philadelphia-based emo rock outfit, delivered a highly uplifting yet nostalgic set at Riot Fest through their signature emo sound. Equal parts melancholy and inspiring, Sweet Pill truly keeps the authentic early emo intensity alive in their music and their onstage performance.
While playing to an intensely devoted crowd, vocalist Zayna Youseff delivered an equally unwavering passion throughout her performance as the band played through many of their most famous songs, many of which are featured on their 2022 album Where the Heart Is. While playing through hits like “Blood,” and “Diamond Eyes” and closing with “Dog Song,” Sweet Pill brought forward an emotive experience for fans both new and old.
Always considered to be Chicago favorites, it’s always certain to be a pleasure when indie rock icons Beach Bunny return to their hometown – and Riot Fest. Having risen to high prominence on a larger scale within independent music, Beach Bunny have garnered for themselves a cult following of fans where Chicago appears to be a significant hub. Playing to a packed crowd at Riot Fest, Beach Bunny conveyed their signature upbeat indie rock charm to audiences, playing famous hits such as “Good Girls (Don’t Get Used)” and “Prom Queen.”
The group also played their new, then-unreleased single “Clueless,” a much-anticipated release for Beach Bunny fans. In signature Beach Bunny fashion, mosh pits and high intensity was encouraged, a perfect juxtaposition to the band’s renowned bubblegum rock musicality. Their newest single was described as possibly the group’s “least moshable song,” but this didn’t stop avid fans from doing what was most necessary.
Right before Beck was to take the stage, art rock icon and modern music visionary St. Vincent was to make her presence known on The Metro Stage. Known for her intensely cinematic and theatrical stage shows, St. Vincent brought forward a look and feel that was not to be repeated by other Riot Fest bands. With a musical style that is emotive and thought-provoking, St. Vincent played upon a smokey and sparkling stage. A perfect fit for her equally glimmering and mysterious artistry.
Performing like that of a martyr, or a musician to be remembered, St. Vincent is a musician that truly must be both seen and heard. Roaring through loved songs such as “Marigold” and “Big Time Nothing,” the highlight track (if one had to choose just one) was undoubtedly St. Vincent’s performance of “Pay Your Way In Pain.” As she screamed about wanting to be loved into the microphone while convulsing her body and shredding into her guitar, this track alone is enough to cement St. Vincent as a modern-day icon and legend.
Finally, alt-rock music legend Beck took to the stage after a much-anticipated day of legendary performances. A familiar favorite among seasoned music fans of all genres, Beck played to an insanely packed mass of avid crowdgoers dancing, cheering and swaying to the beat as he was accompanied by a theatrical and colorful stage.
Opening with his hit song “Devils Haircut,” Beck played a variety of hit songs across his entire discography with a healthy amount of conversation, playful banter and music throughout his set that kept listeners engaged and entertained. In the latter half of his set, Beck assuredly played his hit song “Loser,” before closing the night with “Where It’s At” not soon after. Expressing a sense of light-heartedness and familiarity within his set, Beck’s headlining performance was a sensational close to Saturday night before Sunday’s imminent brutality.
Day 3
After two straight days of brutal torment from the sun, Riot Fest devotees got a break from the heat by facing an entire day of downpour. However, it’s a naive misconception to believe that things like rain and mud will stop punks from having a good time. If anything, rainfall was the perfect way to fuel the intense heaviness and rage that Sunday would bring forth. With thrash metal titans Slayer as that night’s headliner, Sunday’s lineup leaned more towards metal and hardcore as opposed to anything indie or pop.
To coincide with Slayer’s headlining performance – their first show in five years since announcing their retirement – Riot Fest gave metalheads a well-deserving order of sets for the third and final day of Riot Fest. In order, Sunday saw Mastadon, GWAR, Lamb of God, Rob Zombie, and Slayer all play back to back, sure to melt the faces of those in attendance. While Riot Fest is typically a punk festival, the heaviness that was given to us on Sunday was served on such a chaotic and unbridled silver platter that music fans might wonder if such a perfect intensity and excitement may be delivered in a single day ever again.
To start the day off easy, Folk Punk band Doom Scroll brought forward their lighthearted, acoustic punk sound to the NOFX Stage. With a musicality that is intensely relatable and humorous, Doom Scroll is the kind of band with mosh pits you would expect to find a person dressed as a banana in (and there was). Combining true punk intensity with folk musicianship and craft, Doom Scroll carries themselves with a unique persona and capability.
The group ended their set with a definitive track titled “Boss Fight,” a song they said was about the videogame “Dark Souls.” A band as talented as they are relatable, there is no doubt that the Colorado-based band will continue to pave their way as significant figures within the modern punk scenes.
With pure rock and roll energy and unmistakably authentic sound, Irish rockers Sprints can only be given one critique – that their set wasn’t longer. Having opened for Pixeis and IDLES and regarded as one of rock’s most exciting up-and-coming groups, Riot Fest was thankful to be graced by Sprints’ presence. Amidst the rain getting heavier and the temperature slightly dropping, the group did not express any hint of slowing down with their playing.
Playing their most well-known hits such as “Heavy” and “Adore Adore Adore,” Sprints carried through their set with a seemingly never-ending energetic charm and suave musicianship. With a set that was exciting and intense, rock and roll should expect to hear much more from Sprints in the near future.
San Jose, California-based hardcore punk outfit Sunami slammed through one of the day’s many intense sets, diving headfirst into setting the tone and energy for the remainder of the day. As rain continued to pour, moshers were mud wrestling, moshing and slinging mud through the air as Sunami delivered back-to-back brutality in their set. As fans grew more unhinged in their excitement, Sunami encouraged the crowd to “make security work for their fucking money,” as it was put.
Driving through fan favorites like “Dirty Work,” “Y.A.B.” and “Y.S.A.B.,” it seemed like Sunami’s set was an initiation for something life-altering. You make it through the Sunami, and you can face anything that may come your way.
One of the most prominent names in the world of hardcore punk today, GEL has seen massive success in the last couple of years. Having just released their latest EP Persona, Gel delivers hardcore that carries with it a certain form of polished composition. While this doesn’t mean the music is any less brutal or unhinged, it’s needless to say that GEL’s artistry is intoxicating in a way that makes them stand out from other hardcore punk groups.
Similar to Sunami’s set which took place just minutes before, GEL saw an equally chaotic and unforgettable energy from the crowd. Fans were throwing one another in the mud before any music even began, and as soon as the first guitar chord was played mud was thrown, faces were slammed into the sludge and chicken nuggets (yes, chicken nuggets) were thrown onstage from an unknown location or perpetrator. As GEL played a number of songs off Persona as well as their two preceding albums Only Constant (2023) and Violent Closure (2021), music fans were continuously assured that Sunday would not be a day for rest and relaxation.
No band in the history of modern music has brought forth as much controversy, gore, dark humor and blood as that of GWAR. Composed of intergalactic monsters from planets beyond our mere mortal comprehension, GWAR tours across the world to douse audience members in blood and kill them once the show has commenced. At Riot Fest, with such an insanely energized day already, there was no doubt that GWAR would not disappoint. Having just performed at Knotfest in Iowa the day before, GWAR was fully prepared to give a festival audience exactly what they needed.
Audience members in the first few rows were given numerous chances to be drenched in bodily fluids; their first chance was when blood was spewed from a chainsaw guitar, and not soon after a person dressed as the Prime Minister of Israel was soon brought on stage only to have his face and chest peeled off before spraying the audience with, yes, even more blood as GWAR performed “Hail, Genocide!” Not soon after both a “contest winner” and “Taylor Swift” were brought on stage, both of whom were treated in the same manner. As GWAR tore apart their unknowing victims, brash jokes were made about everyone from P. Diddy to Dave Grohl. Ultimately, a GWAR show will prove that, no matter who you are, nobody is safe from the carnage.
One of the most prominent outfits in today’s modern metal scene, Lamb of God sonically sounded absolutely exceptional during their Riot Fest set. Marking the performance as their inaugural Riot Fest debut, frontman Randy Blythe said to the crowd, “We’ve come to our first Riot Fest to do one thing and one thing only. To fuck this place up.”
The band held true to their promise as they roared through their most popular hits such as “Now You’ve Got Something To Die For,” “Walk With Me in Hell” and “Memento Mori.” Lamb of God closed with “Redneck,” a perfect close to a heavyweight performance featuring exceptional pyro and even more stellar musicality.
No other musician in the world of rock and roll has become such a household name like that of Rob Zombie. Whether it’s through his music or his cult horror films, Zombie has utilized alternative Americana to create a universe that is disturbing yet sexy, intoxicating yet fear-inducing. Zombie is a definitive figure when it comes to the complex relationship between rock music and horror films, and over the course of his career he has astounded audiences with his devotion to the macabre and the comedic.
With Riot Fest marking his last show of 2024, having just concluded his Freaks on Parade Tour alongside shock rock icon Alice Cooper. Opening his Riot Fest set with “Demon Speeding,” Zombie played a wide array of tracks through his entire discography, including White Zombie hits “More Human Than Human” and “Thunder Kiss ‘65.” His stage setup is unprecedented, featuring his song’s coinciding music videos playing on large screens and blood-red lights drenching the entire stage. Zombie played “Superbeast,” “The Satanic Rites of Blacula,” “Living Dead Girl” and “The Lords of Salem,” to name a few, before ultimately ending with none other than “Dragula.” With a liveshow as addicting and theatrical as any other one of his artistic pursuits, Zombie was exceptional when it came to his Riot Fest set.
After three decades of making themselves known as one of the biggest bands in thrash metal history and garnering a number of hit songs and an ever-present devoted following, Slayer embarked on a farewell tour throughout 2018 and 2019 before officially retiring. However, months before Riot Fest ever hinted at announcing a lineup for 2024, it was announced that Slayer would return to the stage to headline at Riot Fest, marking the first live show the band has played in five years. Before Slayer took to the stage, there was an unspeakable, indescribable energy that filled the air. Hours earlier, when the fest had yet to start, fans who were complete strangers were screaming one word to another across the fields of Douglass Park: “SLAYER!”
Devoted Slayer fans may have been delighted to see that the band mostly played songs from their earlier years, particularly tracks off both Reign in Blood and Seasons in the Abyss. Despite not playing together in nearly half a decade, the group sounded sensational, as though the band never stopped playing together in these last few years. Energy among the crowd was equally intense, as the band opened with “South of Heaven,” and tore through hits like “Repentless,” and “Dead Skin Mask.”
This performance also brought forward underrepresented fan favorites, as Slayer played “Reborn” for the first time since 2014. Additionally, Slayer also played “213,” their first time playing the song live since 1998. For their closing songs, Slayer chose to play, in order, “Raining Blood,” “Black Magic” and, undoubtedly, “Angel of Death.”
Bringing a close to their much-awaited live return, as well as a close to an unforgettable Riot Fest, Slayer reminded music fans that any band, song, festival or album can be somebody’s God they choose to worship and dive into the mud for. And there may have been no more iconic group to lead followers into holy communion than that of Slayer.
See you next year, Riot Fest.
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WORDS BY JUSTICE PETERSEN
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PHOTOS BY RANDAL HICKS
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