Natalie Prass and Jessica Pratt don’t actually sound anything like each other. Prass makes warm, jazzy, heavily orchestrated pop-soul, while Pratt makes quiet, spectral folk. But they both make relaxing music, they both released albums on the same day, and they both have almost the same last name. So at least in my brain, the two are inextricably intertwined. And maybe the same is true of Pitchfork’s organizers, who booked the two of them to play practically back-to-back. Prass opened one of the two main stages, making for an extremely pleasant introduction to the weekend. And after Prass (and a spacey, improv-heavy Ryley Walker set), Pratt brought her hushed sound to the third stage. Both probably work better in small clubs, where you can focus attention. Here, they were both more or less background music for thousands of conversations, Pratt especially. But they were great background music.