Para leer en español: Cinco grandes momentos del Pitchfork Music Festival CDMX 2025.
Spring bloomed strong in Mexico City as the second iteration of Pitchfork Music Festival CDMX raged on. Despite threats of looming rain, trip-hop heads, ambient angels, indie fans, and ravers spent four days bringing the energy to three venues across the Mexican capital. Here are a few of our favorites:
N.A.A.F.I PRESENTS: DJ Fucci, Imaabs B2B ZutZut, untitled (halo), and Luz Luz Luz! — Thursday, May 1, Foro Indie Rocks!
All-black and sunglasses was the dress code for the first official night of the festival, curated by Mexican DJ collective and label N.A.A.F.I. Shoegaze trio untitled (halo) and experimental punk outfit Luz Luz Luz! got the crowd into the groove for the more rave-heavy sets that followed. Breakbeat, tribal drums, techno, raptor house, and remixes of Benny Benassi’s “Satisfaction” and Da Hool’s club classic “Meet Her at the Love Parade” then dominated the space as N.A.A.F.I associates DJ Fucci, Imaabs and ZutZut set the stage for a packed weekend.
Rodrigo Amarante — Friday, May 2, Estadio Fray Nano
A fat waxing crescent loomed over the stage as Brazilian musician Rodrigo Amarante crooned to an enraptured crowd. Drawing from his celebrated solo debut, Cavalo, and beyond, Amarante moved through tender renditions of “Tardei,” “O Cometa,” and more. Near the end, he even broke out into a lively samba “[he] had written for an old band.” Amarante ended his set with a sped-up version of his Narcos theme, “Tuyo,” whistling the chorus into the night. Thanking the rest of the performers on the bill and the audience, he left on a note of gratitude, calling the evening “a great gift.” No bells and whistles here: just a man, a guitar, and a tremulous voice perfect for love songs.
Silvana Estrada — Friday, May 2, Estadio Fray Nano
I was told to clear the press barricade because “there was a puppet coming.” Before I knew it, a flowing white creature made its way toward the stage, carried on sticks by six or so people before Silvana Estrada began her much-anticipated set. Backed by a full band that included a string ensemble, Estrada took the stage to present “Primera lluvia,” or “First Rain.” The beloved Mexican musician, front and center with her cuatro and loop pedals, went through a mix of songs from her debut, Marchita, and her new era: “This is more or less my first show of the year,” she teased. “I’m finally releasing an album.” Nodding to Beth Gibbons’ appearance the following day, Estrada delivered a cover of Portishead’s “Glory Box” over sparse violin and droning cymbals that propped up her powerful vocals. Her set felt like a true labor of love and community, with Estrada also welcoming Syrian American musician Bedouine, São Paulo native Tim Bernardes, and Rodrigo Amarante on stage at different points.
Earl Sweatshirt — Saturday, May 3, Estadio Fray Nano
Following a joint set from Roc Marciano and the Alchemist, Earl Sweatshirt took the stage with his DJ, Black Noi$e. Even with a packed crowd frothing at the mouth for him, he was nonchalant as usual. “I’m Earl Sweatshirt, and I’m ’bout to rap,” he announced before launching into a relaxed set that nonetheless showed off his generational skill on the mic. “Quest/Power” and unreleased live-show favorite “Setting the Mousetraps” were particular standouts, with Earl getting the crowd jumping and singing back to him, language barrier be damned. Lightning throughout the show, and the drizzle that followed, didn’t deter fans from staying until the last song and hanging on Earl’s every word.
James K, Edgar Mondragón and IMGN — Sunday, May 4, Casa del Lago UNAM
Pitchfork Music Festival CDMX’s second edition closed with a day of ambient music near the lake in the Bosque de Chapultepec, Mexico City’s famous central green space. Mexican experimental electronic producer Edgar Mondragón teamed up with VJ Erik López’s project IMGN for an audiovisual experience called E-ENFOQUE that veered between eerie drone and soothing tones. Afterward, in a little forest awning, James K was set up next to the Casa del Lago. Sunlight streamed through the trees and glinted on the nearby lake as the blips, electronic flourishes, and amplified echo of her electric guitar melded with the sound of chirping birds and boats pedaling through the water. Folks took a moment to lay in the grass, close their eyes, and breathe. After a long weekend of dancing, it felt like a well-deserved and gentle ending.
