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The Four Chord Music Festival has grown quite a bit over the last 11 years. The fest that got its start at Club Zoo in Pittsburgh in 2014 now takes place over the course of two days at EQT Park — home of the Washington Wild Things — in Washington, Pa. on Sept. 13-14. This year’s lineup is arguably the biggest yet with headlining sets from Blink-182, Jimmy Eat World, AFI, and Jawbreaker.
Festival lineups can feel overwhelming sometimes, but Four Chord keeps it interesting with lots of big-name bands and lots of up-and-comers, as well. Some highlights include:
Blink-182
The Poway, Calif. pop-punks have been disguising dirty jokes as infectious pop songs since 1992 and became one of the biggest bands in the genre upon the release of “Enema of the State” in 1999. Expect fast and loose playing, lots of silly banter, and a whole bunch of people in their early 40s singing along to songs they began relating to in high school.
Jawbreaker
Jawbreaker are often credited for inspiring most punk and emo bands beginning in the 90s. They got their start at NYU in 1986 before moving out west to California. Their blend of hardcore and heartfelt lyrics was quite innovative at the time, and they ended up touring with Nirvana in 1993. Like Nirvana, they caught heat from the cool kids for signing to a major label (selling out, as we used to call it), but their stature in the music business helped them reach a lot of kids who may not have heard this kind of music otherwise — and that’s a good thing.
Punchline
Belle Vernon’s Punchline have been making catchy and emotional pop punk songs since their beginning in 1998. They’ve toured relentlessly through the years and built a passionate fan base of people from the Pittsburgh area and far beyond. They have a new album coming out this year and they’ve been documenting their story in the epic podcast “A Band Called Punchline.”
Jimmy Eat World
Jimmy Eat World formed in Mesa, Ariz. in 1993. They released a few albums, toured a ton, and signed a record deal with Capitol Records in 1995. They put out a couple records there before deciding that the relationship wasn’t working, so they did what most bands have to do at one point or another — they got day jobs. They poured everything into their next project and shopped around for a label that got them and landed on DreamWorks in the spring of 2001. They released “Bleed American” that summer and found themselves on quite a few best-of lists later that year.
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