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He underlines the ironies of life and its struggles, and does a pretty great job at it.
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His music usually revolves around dark comedy. It would have been awesome to have Open Mike Eagle just rap, but I loved how he went the extra mile to make his show into a theme.
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I was very familiar with his best tracks featured from his Spotify, and he went through most of them, including Ziggy Starfish, Feel at Home, Dark Comedy Morning Show, Hymnal, and Brick Body Complex. His crowd was average in size, but most people seemed to know his songs.
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Sid : Open Mike Eagle was a great opener for me. This is not necessarily a bad thing” Day 1: Open Mike Eagle “I realized that not all artists can properly deliver live. As far as this goal I had was concerned, Pitchfork Festival did not disappoint (not counting Earl’s cancellation). While I was into a few other artists I knew I would be seeing (Tame Impala, Open Mike Eagle, Earl Sweatshirt (despite his eventual cancellation), Girlpool, Noname), I planned on making a point of seeing a bunch of acts new to me and hopefully finding a couple I would enjoy. I enjoy music a lot, but this review is going to be unpretentious, as it was my first festival, and I was not high enough as everybody else was at the festival to properly feel the vibe.) in to Pitchfork, there were only two acts that I was extremely excited to see: Fleet Foxes and Courtney Barnett. (Before the review starts, I just want to point out that I have no specific education in music. And some artists seemed like they could only entertain their niche groups of superfans from minority groups. Other artists really demonstrated how they could dominate a whole crowd, and change the vibe of the festival to their themes. They brought experimental ideas to the festival, and I enjoyed the ideas more than the performances. I realized that not all artists can properly deliver live. Lauryn Hill, Zola Jesus, and Nilufer Yanya. Those included Open Mike Eagle, Saba, Kaitlyn Aurelia Smith, Tame Impala, Noname, DRAM, Ms. Sid going to Pitchfork Fest at Union Park, I planned on focusing on a few artists that I really appreciated from my “pre-P4kfest Playlist” ( ) While you're at it, you can browse some pics of their NYC show with Alcest and Woe in 2010.As a precursor to this review, here are what our volunteer attendees expected when going to the festival: Sid was more focused on the vibe of the show, while Mike was more concerned with how the artists sounded. Listen to that one below, and check out the whole record (highly recommended) over at Pitchfork. And they're sung so passionately and emotionally - you'd probably never call this emo, but from the way he cries "It isn't real but it FEELS real" on "Burial Society," I wouldn't be surprised to see people weeping at their shows. In some dark alternate universe, the repetition of "Is this what it's like/is this what it's going to be like?" in "Defenestration Song" drills itself into your brain far enough to get this stuff on the radio. Vocals are front and center, not obscured by overdoses of distortion and reverb (though the album generally has much of both), and not shying away from the power of a pop song. But for such dark music, The Unnatural World is addictively melodic. The album falls somewhere between goth, noise, shoegaze and post-punk (touring with Swans would be a good match), and from that description you probably have an idea of the kind of dreary stuff you're getting yourself into.