Discover Salt Lake magazine’s coverage of the annual independent music festival, Kilby Block Party, held each spring in Salt Lake City. We staff the festival with music-loving writers and photographers to bring you reviews, band interviews and exclusive images from the four-day festival.
Sunday marked the fourth and final day of the Kilby Block Party festival (May 18, 2025). While it was the coldest (at times) and definitely the wettest day of the rest — there were soaked attendees and large puddles to navigate around and/or splash through as constant proof — the diehards showed up early. It was not unlike rubbing shoulders with a crowd of sturdy and determined birdwatchers — wide-eyed, smiling, staring, slack jawed — only this one came with a more varied soundtrack, no binoculars required.
Nation of Language. Photo by Natalie Simpson | Beehive PhotoSuki Waterhouse. Photo by Natalie Simpson | Beehive PhotoTennis. Photo by Natalie Simpson | Beehive Photo
The sun started peeking out as The Pains of Being Pure At Heart played, and the shot of warmth was added cause for celebration. Their breezy set was a preview for the rest of the day, too, as it delved heavily into indie music territory with sets by Real Estate, Tennis (taking its final lap and on their last tour ever), Jay Som, Suki Waterhouse, Nation of Language, among a few scattered others. It felt like the dial of time got turned back a decade or two, as elements of the ‘80s and ‘90s were on full and vibrant display in most behind the microphones. In most (if not all) ways, the masterminds behind Kilby gave attendees/customers what they most wanted to hear and experience. If there were any complaints, they were drowned out by those doing all the cheering.
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Photography by Natalie Simpson | Beehive Photo
The most anticipated band of the day easily belonged to TV On The Radio, currently enjoying a welcome resurgence in popularity. As they gave an electric performance (complete with stunning visuals and political messages, reminding us that all the music they played was anti-fascist in nature), the sunset even played its own part. It dropped out of the sky for good shortly before “Staring at the Sun” paved the way for Justice as the final band of the night.
TV on the Radio. Photo by Natalie Simpson | Beehive Photo
A festival rarely gets it so right, but Kilby regularly did so. What started as a little festival competing with the more prominent ones is becoming a growing replacement. It is a thinking man’s fest that challenges itself to think outside the box and “festival better” than others. A favorite part personally was getting to ride the train to and from the festival every day, and leaving parking woes behind. Ticket prices included public transportation for all days; if it’s not something other festivals are doing throughout the country already, it’s a great idea to absorb.
As I reached the halfway point of Day Three of Kilby 2025, I assumed the line of the day would go to the electronic musician George Clanton, who said about Kilby, “This is the new Coachella; Coachella’s dead.” But ultimately, that honor goes to Hugo Burnham, drummer for Gang of Four, who emerged from behind his kit for the first and only time just as his band finished its explosive set. Using a crutch, Burnham walked to the front of the stage to leave us with two directives, of which few in the crowd would contest: “Be the resistance. Support live music.” And with that mic-drop moment, the best show I’d seen at Kilby so far came to a conclusion.
George Clanton. Photo by Natalie Simpson | Beehive PhotoGang of Four. Photo by Natalie Simpson | Beehive Photo
The appearance was part of a farewell tour for Gang of Four, the post-punk pioneers whose combination of angular rhythms, mutant-disco grooves and leftist politics galvanized a movement in late ‘70s England that still reverberates today—and, it must be said, influenced just about every band that has taken a Kilby stage, directly or indirectly.
Their show was exhilarating for every second, and I hadn’t left a Kilby set so sweaty or energized. Jon King is only the latest of this festival’s riveting, instrument-free frontmen, a theme this year following memorable sets from Future Islands and Perfume Genius. Whether crouching down, hands on his knees, and crab walking (crab hopping?) across the stage or lassoing his microphone cord in reckless bombast, King was an irrepressible force in a pale-pink button-down shirt. At one point, a member of Gang of Four’s crew lugged a heavy microwave oven onto a platform, and King proceeded to crush it into bits with a baseball bat, in time with the music, sending small pieces of shrapnel into the front section—a Gang of Four gambit dating back decades that never ceases to thrill.
Not to be outdone, recent addition Ted Leo’s guitar work, so pivotal to master, left a searing imprint on the audience, which started up a mosh pit just from one of his solos. Bassist Gail Greenwood, on loan from L7 and Belly, laid down notes thicker than motor oil, and shared King’s flair for performance. If this really is Gang of Four’s final tour, I can’t imagine a more marvelous send-off.
Of course, the day had plenty of other highlights as well, starting with Panda Bear, the solo project from the Animal Collective singer-songwriter, whose Day-Glo psychedelia really hit home, adding vibrancy to the overcast afternoon. The songs flowed together without breaks, functioning like an endless groove or a multipart symphony, and manifested as perhaps Kilby’s most cohesive merger of the analog and digital, the human and the synthetic. Panda Bear’s guitar fused with electronic squiggles reminiscent of vintage video games, samples of breaking glass and other quirky sound collages, while the hectic animations shuffling behind the band proved at once distracting and appropriate to Panda Bear’s avant-pop, which felt like surf music for a five-dimensional future.
Black Country New Road. Photo by Natalie Simpson | Beehive Photo
Black Country, New Road (BCNR), which followed Panda Bear on the Kilby Stage, entered their set to a recording of the Band’s “The Weight,” an Americana classic and the first indication that their show would be an outlier among the festival’s most common genres. Indeed, it’s difficult to classify this outfit at all. I can think of no obvious antecedent, at least for this version of BCNR, which shifted some of its gears for their 2025 release Forever Howlong following the departure of their original lead singer, Isaac Wood. This version of BCNR, at least, jettisons typical song structures, and earworms are not their forte. It’s difficult music to dance to, and seems more tailored for cerebral venues—art museums, botanical gardens—than even a big-tent music festival like Kilby.
But the result, once you clued into its wavelength, was enchanting, and patient listeners were rewarded with more instrumental color than anywhere else in the lineup, from banjo and mandolin and bowed bass to accordion, flute, recorder and saxophone—and even whistling. If headliners Weezer are a dog of a band—cuddly, eager to please, easy to love—BCNR are a bunch of cats for whose affection you need to win. By the end, I certainly felt the purr.
Ovlov. Photo by Natalie Simpson | Beehive Photo
I spent a minute or two with Ovlov over on the Desert Stage and was taken with the Connecticut-based band’s infectious enthusiasm for being on the Kilby lineup, which singer Steve Hartlett called “surreal as f***,” adding “we are not professionals. We shouldn’t be here.” Even when Hartlett’s guitar cable malfunctioned, leading to a delay in the set, he was quick on his feet with a rejoinder: “We wanted to drop a song anyway.” Ovlov’s sludgy post-punk hit home with many—slam-dancers moshed to nearly everything, and there were so many crowd surfers that they collided while aloft—but it was the only set I encountered that was certifiably too loud, and having neglected to bring earplugs, I ducked out of it early.
Without further ado, the aforementioned Weezer constitute the biggest “name” on the Kilby lineup this year, and their goofy, high-concept “Voyage to the Blue Planet” tour did not disappoint. The show opened with a faux news report, projected on video, that introduced the plot: The members of Weezer have been called upon to embark on an interstellar voyage to a blue plant dozens of light years away. Another video followed, this one a five-minute countdown accompanied by borrowed sounds of a rocket preparing to launch, which led to yet another video, this one showing the Weezer guys dressed as NASA astronauts and striding toward the spacecraft. One impatient wag behind me, ready for the blessed beginning of live music, joked, “skip intro, skip intro!”
Weezer. Photo by Natalie Simpson | Beehive PhotoWeezer. Photo by Natalie Simpson | Beehive Photo
He wasn’t wrong: This was much ado for a rock ‘n’ roll show. Weezer finally emerged, space suits and all, opening with newer material while projected animations progressed the story. Yes, we were expected to follow the narrative as well as the music, as Weezer’s craft soared above clouds, planted a “W” flag on the moon, traversed the planets and exited the Milky Way for the final frontier, en route to what Rivers Cuomo referred to as “an important and dangerous planet,” where only the music from their debut LP, colloquially called The Blue Album, can revive its barren topography.
“Hash Pipe” saw our boys arrive at a neon space station; “Island in the Sun” was, literally, an island in the sun. At one point, an alien called Bokkus, Weezer’s green-skinned nemesis, flew in front of them in a UFO and pelted them with desserts, which damaged the ship and forced it to crash-land on the “Pinkerton Asteroid Belt,” leaving Weezer to salvage components from a desolate wasteland in order to complete their flight. It’s only fitting that material from Weezer’s most angst-ridden album was the soundtrack for their existential crisis.
Weezer. Photo by Natalie Simpson | Beehive Photo
By the time the set list finally arrived at a full-album run-through of Blue—and the band had landed at its destination, with Cuomo now dressed as Captain Kirk—I all but abandoned any concept of following this kitschy nonsense and gave in completely to the music. Our group reward was the unalloyed joy of belting “Buddy Holly,” “Surf Wax America,” “My Name is Jonas” and, of course, the greatest of all modern rock singalongs, “Say It Ain’t So,” in unison with several thousand fellow devotees. The band occasionally made reference to Salt Lake City during their set, name-dropping the famous Red Iguana in the spoken-word intro to “The Sweater Song,” after which the locals in the audience went expectedly bananas. But otherwise, the band didn’t tinker with perfection, playing the songs as they appeared on the landmark album, which recently celebrated its 30th anniversary. And if we needed to go to outer space to get there, so be it.
With spring officially here, it’s time to bust out those low back chairs and start planning your festival season. Salt Lake City music fans have some great outdoor music opportunities coming up. Here’s my best-of-the-fest lineup coming to Utah for Spring 2024.
The perfect getaway for adventure travelers and music lovers. This camping, glamping, RVing trek to Cougar Ridge Resort in Torrey, UT on June 6-8, 2024 features an amazing lineup:
Just a short drive away is the Ogden Friends Of Acoustic Music (OFOAM) annual festival at Fort Buenaventura on May 31-June 2, 2024. This year’s 3-day event lineup includes:
Featuring many great performers in a bucolic setting from May–September. Look for the full 2024 concert lineup on April 16, 2024. For tickets and info visit: https://www.redbuttegarden.org/concerts/
Utah Blues Festival
Salt Lake City’s largest gathering of blues fans. The weekend event at The Gallivan Center on June 14-15 includes some spectacular blues artists like:
While you were sleeping, Christmas came early and S&S Presents has revealed its once-again jaw-dropping 2024 Kilby Block Party Lineup. What started as a literal block party outside of Kilby Court has grown into a three-day, dare we say, palooza, with national appeal. The 2024 Kilby Block Party lineup’s main dopamine hits include LCD Soundsystem (the on-again-off-again dance music juggernaut), Postal Service, Vampire Weekend and Wu-Tang Clan. At this point, other power bands on the lineup like Death Cab for Cutie, Dinosaur Jr. and Courtney Barnett seem meh, no big deal—which makes the whole thing a really big deal. The full scope of the 2024 lineup is below.
Last year, the increasingly inaccurately misnamed Kilby Block Party was the first at the expanded space of the Utah State Fairgrounds. Although we Salt Lakers can’t abide change, the fairground location turned out to be a fantastic idea with plenty of room to roam, massive stages and lots of shady spaces to take a break from the constant onslaught of music. (Although we will not say the increase in beverage prices was a welcome addition.) The 2023 Kilby Block Party’s closing night has gone down in Salt Lake Concert Lore after the mid-set Pixies and their adoring crowd were chased away by a massive show of lightning and thunder. The die-hards, however, waited it out in various fairground barns and were rewarded with a (pardon the pun) thundering set by Pavement. Check our gallery of images from Day Three.
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2024 Headliners (as above)
LCD Soundystem
The Postal Service
Vampire Weekend
2024 Kilby Block Party (equally impressive cast of “supporting” acts)
Wu-Tang Clan
Death Cab for Cutie (performing Transatlanticism)
Interpol
Jai Paul
Joanna Newsom
Belle and Sebastian
100 gecs
Dayglow
Courtney Barnett
TV Girl
Alvvays
Dinosaur Jr.
2024 Kilby Block Party (The Rest)
And, on the interstitial and side stages, comes a word salad of bands that surely someone has heard of: Unknown Mortal Orchestra, Guided By Voices, Current Joys, Peach Pit, The Garden, Yves Tumor, Panchiko, Beach Fossils, Cautious Clay, Bombay Bicycle Club, Ty Segall, Pond, Yoke Lore, Yellow Days, Ginger Root, Andy Shauf, Slow Pulp, Petey, CSS, Ekkstacy, Yot Club, Krooked Kings, Choir Boy, Luna Li, Hemlocke Springs, Lomelda, Blondshell, Odie Leigh, Royel Otis, Abby Sage, Horse Jumper Of Love, Malcolm Todd, Fazerdaze, Model/Actriz, Arcy Drive, Annie DiRusso, TAGABOW, Water From Your Eyes, Joanna Sternberg, Kara Jackson, Gustaf, Hana Vu, 26fix, Little Moon, Blue Rain Boots, Sculpture Club, Nicole Canaan, Daytime Lover, Drusky, Body Of Leaves, Boyfriend Sushi Town, Persona 749 and….. (WHEW!) Bobo.
2023 Kilby Block Party Coverage from Salt Lake Magazine
The last day of the festival definitely went out with a bang…and when I say bang I mean literal thunder and lightning.
Highlights of the Day
The day truly kicked off with back-to-back sets by Crumb and Tolchock Trio, two talented acts who are sure to gain widespread recognition after their performances today. The Backstreet Lovers took the stage, and their performance drew in just about every single attendee there. The band is local and, of course, had to play their hit song “Kilby Girl,” which had the crowd go wild, myself included. After that, the Pixies performed, creating a massive crowd with their iconic reputation. However, the festivities took an unexpected turn when a thunderstorm struck, prompting a frenzy as half the attendees sought shelter and the other half left. Nevertheless, the festival went on despite the setback. Pavement ultimately took the stage around 10:00 pm and the dedication these fans had was unreal.
My Day at Kilby
Today was undoubtedly my favorite day of the festival. Although it was a little less hectic than yesterday, it was still busier than the first day. However, the atmosphere was much more relaxed, and the people seemed to be having more fun, probably because most of them were feeling a little delirious from the past two days of festivities. Without a doubt, my favorite performance of the day, and perhaps the whole festival, was the Backseat Lovers. I might be a little biased since they’re one of my favorite artists, but their performance was outstanding, and the audience was impeccable. But the highlight of my day was the thunderstorm. I know that may sound crazy, but running to find shelter with thousands of people all screaming the lyrics to the Pixies was an unforgettable experience. Now that the festival is over, I’m exhausted, slightly hysterical, but above all, extremely happy that I attended.
My first festival, and definitely not my last. Thank you Kilby Block Party for the craziest and best kick off to summer 2023!
Despite the rain causing a few minor setbacks, the Kilby Block Party crew persevered and ensured that the show went on for the second day of the festival on Saturday, May 14, 2023. Shades of Woodstock?
Highlights of the Day
The festival truly kicked off with an electrifying performance by Goth Babe. Their inventive antics, including tossing a blown-up watermelon floaty into the crowd and inviting an audience member to ride it, set the tone for an unforgettable performance. Caroline Polacheck, Gus Dapperton and The Moss were also massive hits, drawing in huge crowds. While Hippocampus delivered their highly anticipated performance, the former fell flat for me, lacking the energy and excitement of other acts. Overall, The Strokes definitely stole the show with their stunning visuals and unparalleled stage presence, cementing their position as the night’s top act.
My Day at Kilby
Day two of the festival proved to be a lot more enjoyable than the previous day, thanks to the larger crowds, more artists that matched by preferences, and an overall better atmosphere. Although earlier in the evening, if you had asked me to name my favorite performer, I would have undoubtedly said Goth Babe. However, it was the lesser-known group, Osees, that truly stole the show for me. Despite being unfamiliar with their music before the event, I decided to give them a chance and it turned out to be the best decision I made all night. In my opinion, their performance was the highlight of the entire event.
Super stoked for Sunday, let’s make the most of our final day and go all out in style!
The first day at Kilby Block Party proved to be anything but ordinary. Unlike last year’s festival the larger State Fair Park setting gave us all room to move around without getting jostled or crushed. There was plenty of places where people could just sit down, grab a beer and relax. However, it was all about the music, which featured incredible performances that kept the energy high from start to finish.
Highlights of the Day
The festival featured several noteworthy bands, but six in particular left a lasting impression. The first was Sunhills, a local group that kicked off the festival with an electrifying performance that got the crowd moving. Lucius, Noso and Japanese Breakfast were the afternoon’s biggest draw. Dominic Fike’s set was another crowd-pleaser, drawing a massive audience. However, the biggest highlight of the day can be summed up in three words: Yeah Yeah Yeahs. As soon as they stepped up on the stage, it was made clear that this was the performance everyone was looking forward to seeing, featuring incredible vocals and energy that left the crowd awestruck.
My Day at Kilby
Aside from the long wait to get into the festival, my day at Kilby Block Party was anything but long. The abundance of food trucks serving a variety of cuisines, from Thai dishes to classic burgers and fries, was impressive and sure to satisfy any craving you might have. While the beer selection was somewhat limited, the Squatters Juicy IPA definitely did it for me. Of all the performances, Ritt Momney was definitely my favorite. They played to a perfectly sized crowd as the sun began to set, and their connection with the audience was palpable.
For all you day two comers, please bring sunscreen, a water bottle, and trust me don’t stress about the size of your bag, they truly do not care.
As the temperatures start to rise and the days grow longer, we know that summer is just around the corner. And for many of us, that can only mean one thing—festival season! The much-anticipated Kilby Block Party is back, bringing with it a fresh lineup of the best indie bands that Salt Lake has to offer. To help you make the most of your time at the festival, here’s everything you need to know before you go.
What To Expect
There are a few things to keep in mind when attending the Kilby Block Party. Firstly, if you’ve attended the festival before, you can expect it to be much larger this year as it is being held at the Utah State Fair Park, the biggest venue the festival has ever used. This means larger crowds and longer lines.
Secondly, it’s important to bring water bottles to stay hydrated throughout the day. I recommend bringing a Camelbak. Remember to empty your water bottle before arriving, as there will be refill stations available at the festival. Also, keep in mind that there will be limited shade, so make sure to bring sunscreen!
Thirdly, use Uber! There will be limited parking and driving may lead to unwanted headaches. However, if you do choose to drive, keep in mind that there will be no re-entry once you leave the festival grounds, except for 3-day GA, VIP, and SUPER VIP ticket holders. Lastly, expect plenty of food trucks, booze and a whole lot of fun!
Festival Logistics
When and Where– The Festival’s gates open at 12pm and run till 10 pm each day. It’s located at the Utah State Fair Park, where there will be limited parking. You can purchase a ticket for the premium lot here, if not, the secondary lot is paid on-site and is first come first serve.
Wristbands– There will be two options to exchange your tickets for wristbands. If you want to skip the line you can receive your wristband on May 11th, from 5 pm to 9 pm at the following locations:
Kilby Court: 741 Kilby Court, Salt Lake City, UT 84101
Blue Gene’s: 239 S. 500 E., Salt Lake City, UT 84102
The Depot: 13 N. 400 W., Salt Lake City, UT 84101
If these times and locations don’t work for you, you can always exchange your ticket for a wristband when you arrive at the festival.
North Entrance: 300 N. 1050 W.
East Entrance: 200 N. 1080 W.
Please do not lose your wristband! There are no exchanges and if you lose it and you will have to purchase another ticket.
Allowed Items– Like most festivals, there is a list of items that are permitted and prohibited for attendees to bring. To help you prepare, here are some of the items that you are allowed to bring with you:
Bags: The Kilby Block Party has specific guidelines regarding bags. Clear bags are permitted but must not exceed 12” x 12” x 6” in size. Alternatively, small bags that are not clear are also allowed but can only have one pocket and must not exceed 4.5” x 5.5” in size.
Water: Reusable water bottles and hydration packs are permitted but they must be empty when you arrive at the gates. However, there will be multiple areas at the venue where free water refills will be available
Other items permitted: Polaroid and Film cameras, e-cigs, strollers, hand sanitizer, sunscreen, earplugs and portable chargers.
The Lineup
Friday– Yeah Yeah Yeahs, Dominic Fike, Japanese Breakfast, Cuco, Remi Wolf, Lucius, Ritt Momney, Frankie Cosmos, Jean Dawson, Alice Phoebe Lou, Deerhoof, Westerman, Julie, Momma, NoSo, Miya Folick, The Plastic Cherries, Homephone and Sunhills.
Saturday– The Strokes, Run The Jewels, Hippo Campus, Caroline Polacheck, Goth Babe, Alex G, Osees, Weyes Blood, Gus Dapperton, Indigo De Souza, Dreamer Isioma, The Moss, Wallice, Tamino, Grave Ives, Tanukichan, Sunsleeper, Kipper Snack, Hi Again, Anais Chantal and Josh Doss & The Cancers.
Sunday– Pavement, Pixies, The Backseat Lovers, The Walkmen, Surf Curse, Duster, Faye Webster, Crumb, Ethel Cain, Wednesday, Kate Bollinger, Spill Tab, Mannequin Pussy, Deeper, Tolchok Trio, Worlds Worst, Fonteyn, Backhand and Musor.
Acts I’m Looking Forward To
I’m looking forward to Hippo Campus the most, performing Saturday from 6:25 to 7:25. If I were you, I’d go see them. I’m also looking forward to The Strokes (Saturday, 8:45-10:00) and the Pixies (Sunday, 7:45-8:45). Lastly, for all you Euphoria fans go see Elliot, better known as Dominic Fike, perform on Friday at 7:20 to 8:20. Happy festival-ing!
There’s no mistaking the blunt force melody of the Pixies, as singular a sound as ever committed in seven decades of rock n’ roll. Formed in Boston by college pals in the waning ‘80s, the band, originally consisting of Black Francis aka Frank Black (pseudonyms of singer/guitarist Charles Thompson), guitarist Joey Santiago, bassist/vocalist Kim Deal, and drummer David Lovering, the foursome hooked anti-pop idiosyncrasy around limber reverb and distortion to escape teeth first from a cultural big bang that would spit out fresh worlds of alternative rock, hip hop, metal, No Depression country music, and electronica.
Maybe the Pixies didn’t reinvent fire, but they certainly found new ways to burn across four exceptional full-lengths (no strings being pulled on the vanguard “Come On Pilgrim” EP) that inspired a subsequent legion of artists. Sadly, the center couldn’t hold, and the band broke up in 1993 with members fending off calls for a reunion amid other pursuits.
David Lovering, who post-Pixies continued to drum off and on with Frank Black and Santiago (in The Martinis) as well as for Cracker and various others, found a second life in the realm of magic and illusion, reinventing himself as a scientific phenomenalist who combined a background in electrical engineering with performance art and comedy.
“With the Pixies, I’m behind a drum set and I’m behind three people, and I’ve never had a problem with that,” Lovering said in a mid-April interview. “My first magic show was just myself and 10 people– and I could’ve wrung my t-shirt out and filled a Dixie cup with the sweat because it was nerve-wracking! But magic has been wonderful because it builds confidence. The years that I’ve done it, you’re dealing one on one with people and it just changes you. I could do public speaking now at a whim, it’s just the easiest thing in the world and it’s all because of magic. I’m very grateful to it.”
In 2004, the Pixies announced their return with a tour culminating in a 20-song set at the Coachella Valley Music and Arts Festival in Indio, California that mined cuts from the four seminal albums “Surfer Rosa” (1988), “Doolittle” (1989), “Bossanova” (1990) and “Trompe Le Monde” (1991).
“I think when we got back together then in 2004, there was a lot of discussion of the way this was going to be for one tour, this and that, and it kept going—and it kept going. We had just been going on our old laurels,” said Lovering, 19 years after the Pixies reformed. “We’d been playing the old material for seven years, and it got us thinking. I think the epiphany in 2011 was, “Wow, we can’t do this anymore. We have to do something new. And that’s how “Indie Cindy” came about.”
Initially released as a series of EPs, “Indie Cindy” resurrected the Pixies as creators, this time without Deal, to prove themselves amid an alt-rock landscape they’d pioneered in another century.
“People talk of pressure and I think that we had some internal pressure just thinking about it, you’re thinking, ‘Oh, jeez, this album’s gotta be as good as the last one we did!’ So there was that,” Lovering said. “But there was no formulation. I’m not saying we didn’t put our best forward, but there wasn’t anything to upstage it. There wasn’t a conscious effort to make it better than what we had or to go back and top that. It was just what we were doing at that point.”
The band recalibrated in 2016 with the album “Head Carrier” (so named for decapitated martyr St. Denis), adding soon-to-be-permanent bassist Paz Lenchantin (A Perfect Circle, Silver Jews, Jenny Lewis) as well as producer Tom Dalgety into the mix.
“Paz is a fantastic player, she’s a great musician, just a great person overall– wonderful to be around,” Lovering said. “She’s so good, she makes me step up my game and play better because I don’t want to be embarrassed. It was a nice breath of something new, and I think we were jokingly calling it “Pixies Version 2.0” or something like that, but it’s been fantastic. She’s definitely given everyone—because she is younger—a spark.
“Beneath The Eyrie” followed in 2019, along with what was supposed to be a globe-spanning tour. But COVID-19 and the ensuing pandemic sent the Pixies home, grounded but not necessarily uncertain. For Lovering, the unexpected break provided an opportunity for carpal tunnel surgery on both hands, which in addition to rejuvenating his drumming also provided enhanced dexterity for the magician’s ever-improving card tricks and sleight of hand.
“Doggerel,” the Pixies’ latest effort, could be their strongest post-reunion album to date. Realized through a combination of quarantine tracking and sessions at Vermont’s Guilford Sound, “Doggerel” is this incarnation at their most mature and fluid. Santiago has called the record “Doolittle Senior,” though tracks like “Nomatterday”, “Vault of Heaven”, “Haunted House,” and the Leonard Cohen-dipped title track evoke classic Pixies mythology without recycling. This isn’t nostalgia; it’s experience.
“We all played very, very well on [“Doggerel”]. I think that’s Joey’s comment, why it was like ‘Doolittle.’ And I think that the song content that Charles came up with is exceptional. I think that “Doggerel” stands out (as) different than all the albums from after the reformation,” said Lovering. “We’re getting older. Not all music that we’re going to do is going to be heralded back to what we’ve done in the past, but it’s where we are in our lives. We’re better musicians, and I think that showed, especially with a producer [Tom Dalgety], who now is working with us for a third album, who knows us.”
As the Pixies prepare for their latest tour, Lovering is excited to share “Doggerel,” but equally energized by the challenge of playing no set list shows that will pull from every pocket of the band’s catalog.
“I think we’ve perfected it,” said Lovering of the no set list approach. “We call it our schtick because we know what the first song is and our soundman knows what the first song is and our lighting director knows what the first song is. After that, it’s all just by Charles and us with hand signals or him talking to a microphone that we only hear. We’re able to coordinate the show and work it and go through songs, and I must admit it’s fun. You don’t know when the set’s going to end!”
But Lovering’s true joy comes from seeing the band’s unfolding legacy reflected in the new (and growing) generation of Pixies fans.
“Back in 2004 when we played Coachella, it was a sea of kids that weren’t even born, probably, when we were originally a band—but they knew all the words,” Lovering said with a laugh. “When I look at our audience before the doors open, it’s a sea of kids that are 15, 16, 17, 18, and going up from there. And they’re waiting to get in for general admission to get in that front row! To see a whole front row with kids in there, that know all the words to the new material—and people my age are in the back waiting for all the old stuff, it’s something else to see. That’s our audience now, and I feel very fortunate as a band to have it. I feel like we’re the Grateful Dead of alternative rock.”
The Pixies are coming to Salt Lake for the Kilby Block Party May 12-14, see the full lineup here.
S&S Presents announced the 2023 Kilby Block Party lineup on Tuesday, and it’s their biggest ticket yet. Previous festival headliners included heavy hitters like Pheobe Bridgers, Mac DeMarco and Choir Boy. The strong rank of performers drew thousands of fans to Library Square, where festivalgoers got a taste of their very own Salt Lake Coachella (complete with overpriced food trucks and not enough shade structures).
We thought it couldn’t be done, but the now three-day 2023 Kilby Block Party is set to eclipse its predecessor with big names like The Strokes, Yeah Yeah Yeah’s, Pavement, Japanese Breakfast, Pixies and more. The fourth annual event is also moving closer to its west-side roots to the Utah State Fairpark. Attendees can expect a bit more space to stretch out this year, and hopefully more opportunities for local vendors, artists and entertainment.
Of course, a Kilby function wouldn’t be complete without the addition of local musicians, which Salt Lake has no shortage of. Acts like Ritt Momney, Sunsleeper, Tolchock Trio and more will take the stage at the festival, and many more indie artists from across the world are set to infuse Salt Lake with some alternative spice.
Tickets are on sale now, and are expected to sell out quickly. Last year’s event sold out in just over a week. The 2023 Kilby Block Party is May 12-14th.
The full lineup here:
Headliners: Yeah Yeah Yeah’s, Pavement, and The Strokes.
Supporting acts include: Pixies, Run The Jewels, TBA, Japanese Breakfast, The Backseat Lovers, Hippo Campus, The Walkmen, Caroline Polachek, Cuco, Goth Babe, TBA, Parquet Courts, Surf Curse, TBA, Osees, Faye Webster, TBA, Lucius, Gus Dapperton, Ritt Momney, Crumb, Ethel Cain, Frankie Cosmos, Jean Dawson, Indigo De Souza, Alice Phoebe Lou, Deerhoof, Dreamer Isioma, Wednesday, Kate Bollinger, Mannequin Pussy, Westerman, The Moss, Tamino, Spill Tab, Wallice, Julie, Momma, Grace Ives, Noso, Miya Folick, Tanuckichan, Tolchock Trio, Deeper, Sunsleeper, Worlds Worst, The Plastic Cherries, Kipper Snack, Fonteyn, Backhand, Hi Again, Homephone, Anais Chantal, Musor, Sunhills, Josh Doss & The Cancers
Find our coverage of the 2022 Kilby Block Party here!
