Tag: bands

In the grip of a dark and gloomy Chicago winter’s day on March 16^th, I had the pleasure of being able to see Weatherday and Your Arms Are My Cocoon put on a great performance at Subterranean.  Despite the chilly weather and frustrating CTA delays that threatened my arrival time, I grabbed a coffee on my way there as a lifeline for the long St. Patrick’s Day weekend. The coffee proved to be essential, helping me appreciate the energy and excitement pulsing throughout the venue.

CTA delays caused me to miss the opening set by Sweet Bike, but I arrived just in time to catch Summer 2000’s set. I had never heard them before, but I enjoyed seeing their set, with a sound combining emo, twinkly guitars, and great riffs. One of their members stood directly in front of a mini keyboard, loaded with all kinds of fun sound effects to play during and between songs. After seeing their set, I felt inspired to practice guitar more.

Up next was Your Arms Are My Cocoon, a classic (and fast rising) emo band from Chicago. Their set was great, showcasing a lot of skill together with several newer songs of theirs. Despite not recognizing a single one of their newer songs that they played that night, their set was still captivating and made me want to dive into their newer discography. Their first EP offers a great snapshot of their sound, with a great mix of sad songs with twinkly guitars, and more upbeat fast paced songs and screaming, all tied in with a bit of melancholy. 

Finally, Weatherday took the stage in what marked their first show of the entire tour. Having missed them last year when visa issues forced them to miss their first few dates of Panchiko’s tour, this performance felt like a long time coming for me. They delivered a great set, combining a balanced number of fan favorites and unreleased tracks from their upcoming album. The crowd (and pit) instantly erupted as they launched into “Come In,” one of my personal favorites that happens to also be their most popular song. “Come In” has followed me for years throughout my life, and it never gets old or loses its impact. With a great upbeat tone, shouting vocals, and shimmering guitar, I always find myself coming back to it, so I was super happy to be able to see it live – especially with Weatherday making the journey all the way from Sweden.

I found all of the bands’ performances at Subterranean to be great, proving to be a fantastic end to my St. Patrick’s Day Weekend and a start to my finals week. Be sure to check out Your Arms Are My Cocoon’s newest album, along with Weatherday’s newly released album Hornet Disaster. I highly recommend catching Weatherday on one of their upcoming tour stops!

On the evening of Saturday, February 15, Good Neighbours and Foster the People’s concert at The Salt Shed was nothing short of electrifying.

First to perform, Good Neighbours brought lively energy all the way from East London to Chicago. The band performed their self-titled EP with the hit song “Home,” which has over 372 million streams on Spotify and counting. The second I heard “Home,” I got a sense of nostalgia from all the Instagram reels I have heard using this song. I also thoroughly enjoyed their new song, “Ripples,” which, like “Home,” maintains their signature touch and vibe. For all the film people out there, check out their new music video as well! Good Neighbours also did a beautiful cover of Lana Del Rey’s “Video Games.” Their energy throughout the set was unreal; an instant serotonin boost for the gloomy winter days. If you get the chance to see Good Neighbours live, definitely do it. You can let loose to their danceable music and you will not be disappointed.

Next, nostalgia filled the room when Foster the People jumped onto the stage. I felt like I was in elementary school again with their specific sound. The lead singer, Mark Foster, brought his charismatic presence and sonorous voice to fill the entire room of the Salt Shed. He was extremely interactive with the crowd and even me in the photo pit, leaning down to smile into my camera! The barricade was full of committed and true fans who knew every lyric, and I really appreciated how interactive and truly grateful Foster the People were toward their OG fans. My favorite songs they played were “Pseudologia Fantastica” and “Chasing Low Vibration.” “Pseudologia Fantastica,” reminded me of the band Tame Impala with similar synths and vocals. “Chasing Low Vibration” sounded very calculated to every beat and like a song I’d ride my bike to in the summer. The show felt like a long journey with all the nostalgic tunes. Of course, everyone went crazy when their song on Spotify with over 2 billion streams, “Pumped up Kicks” played, and, truly, I think I met my younger self there.

On March 9th, I had the honor of seeing Three Days Grace and Disturbed at the United Center. It was a show that put the word epic in its place. As I entered the massive stadium, I saw it filled to the brim with incredibly devoted fans wearing merch and excited faces. I walked into the middle of Three Days Grace’s set immediately greeted with the first song I ever learned on guitar, “Animal I Have Become,” bringing back so many memories.

Three Days Grace had a fun and engaging stage presence, and the first thing I remember is how much lead vocalist Adam Gontier adored Chicago. He shared many moving personal anecdotes including his journey leaving the band and returning with pride. Each anecdote was paired with great musical transitions.

Every so often, he would lead the crowd in chanting “Three Days Grace,” and the last time he led these chants right into “I Hate Everything About You.” It was an incredible way to end their set. 

After 3DG’s set was over, I was giddy to see what Disturbed would bring. I was in no way prepared for what was to come. Disturbed opened their set with some cool visuals before David Draiman wheeled out wearing a straight jacket and a face restraint. Draiman was unbuckled and removed his mask as the drums started and the band broke into the first song. It was an incredibly heavy, rhythmic performance that foreshadowed what the rest of their set would bring. 

Disturbed’s  25th-anniversary tour of The Sickness did their debut album so much justice. With the original bassist Steve “Fuzz” Kmak reunited with the band for the first time in around 22 years, the music made on stage that Saturday was almost indistinguishable from the greatness that the album itself produces, but with that added magic of live musical performance. Disturbed performed “Down with the Sickness” second, which was incredible to see. Fuzz played bass for the first half of Disturbed’s set and John Moyer played bass after intermission.

The first half of their set included Draiman laughing the most menacing laughs I’ve ever heard in person, fire climbing up the set of risers on stage, and a point in the first half when an electric chair rose from the center of the thrust stage. Draiman was escorted downstage by a security guard sporting a bright orange prison uniform. In a shocking display, the guard sat him down and “electrocuted” him. Blood ran from his head as he started the next song. It was a Disturbing, but engaging scene.

Disturbed’s fans are incredibly devoted and it is clear why. Near the end of the show, after a huge blow-up version of their mascot “The Guy” rose on stage with fire blazing everywhere you can imagine (like diagonally in the air over drummer Mike Wengren), a screen descended showing a projection of the inside of a cathedral. Violinists came on stage and a piano rose from the center of the stage. With crazy contrast, Draiman started singing a beautiful version of “The Sound of Silence” by Simon & Garfunkel. As he performed the tune, the piano erupted in flames. It was a beautiful sight.

The penultimate song was “The Light” from Disturbed’s 2015 album Immortalized. Draiman brought a child and his mother on stage and spoke about the importance of dismantling hate in the world and the importance of love. It was a really moving speech and visual representation of the varying ages of Disturbed fans crossing generations. Draiman asked the audience to put a light up as the performed “The Light,” making for a truly beautiful scene.

Disturbed’s show was filled with many twists and turns, like a blindfolded rollercoaster ride, but that makes sense for one of the most influential Nu-Metal bands in existence. It was a beautiful show and helped me to appreciate the genre more. Make sure to give some love to the album that started it all, The Sickness. I was happy to celebrate the 25th year of this album with everyone at the United Center.

Soccer Mommy is an American indie musician and songwriter from Nashville, Tennessee. Starting her music career in her teens, she initially released tracks on Bandcamp before gaining significant attention in the indie music scene. Soccer Mommy’s sound blends elements of indie rock, folk, and bedroom pop, with emotionally charged lyrics that often explore themes of self-doubt, relationships, and personal introspection. Her music’s raw vulnerability has earned her recognition for its honest portrayal of emotional experiences, while maintaining a polished, yet accessible sound. Soccer Mommy was accompanied by band mates Julian, Rodrigo, Rollum, and Nickolas on February 6th and 7th in Chicago for two sold out shows at Thalia hall.

Evergreen is the title track of Soccer Mommy’s new album from October 2024, it suggests another step forward in her artistic evolution. Evergreen is her fourth studio album under the name Soccer Mommy. She recorded the album at Maze Studios in Atlanta, working with producer Ben H. Allen III. Soccer Mommy gained widespread recognition with her debut album Clean (2018), which marked her breakthrough in the indie music scene. Her follow-up album, color theory (2020), further solidified her position as a rising talent, delving into deeper, darker themes like mental health and personal loss. Known for her relatable songwriting and blend of nostalgic 90s influences with modern indie sensibilities, Soccer Mommy has built a loyal fanbase and toured with notable acts with Paramore and Wilco. Her music continues to resonate with listeners like myself for its introspective and cathartic qualities.

As her previous work, like Clean and color theory‘s balanced raw, emotionally-driven lyricism with introspective sounds, Evergreen could represent a further refinement of her style, possibly integrating more sophisticated production and deeper thematic exploration. The choice of Evergreen as the album’s title likely alludes to themes of renewal, growth, or enduring emotions- ideas that align with Soccer Mommy’s talent for crafting emotionally resonant, personal narratives.The release of this album might expand her reach to a broader audience, while maintaining the vulnerable and relatable qualities that have defined her work. Evergreen would likely attract listeners who have followed her since her earlier albums, while also positioning her to connect with a new generation of indie music fans. The shift in both sound and tone could signal Soccer Mommy’s growth as an artist, offering a fresh yet familiar experience that solidifies her place in the indie rock scene.

My night at Thalia Hall on night two of Soccer Mommy’s shows in Chicago was unforgettable. The communal energy was palpable, with a crowd of respectful concertgoers eagerly flocking to the front after the opener, Tomberlin. Soccer Mommy’s set was a mesmerizing blend of psychedelic sounds and ethereal atmospheres, enhanced by a stunning five-piece band that filled the venue with lush melodies. The stage design was striking, with beautiful, eye-catching props that were meticulously detailed and cohesive with the overall aesthetic. What really stood out was how immersed the crowd was in the experience with virtually no phones in sight. It created this rare, unfiltered connection between the band and the audience. As the music flowed through the space, everyone swayed and nodded along, singing every word of songs like “Cool,” “Your Dog,” and “Evergreen,” which only deepened the intimate vibe. The echo of voices from the crowd added another layer of magic, amplifying the feeling of unity and shared experience. It felt like we were all living in a dream, the hypnotic rhythms and delicate vocals pulling us into a collective trance. The energy lingered long after the last note faded.

Personally, “Crawling” was a standout moment for me, and the encore song, “yellow is the color of her eyes,” was the perfect way to close out the night. While I was hoping to hear some personal favorites like “Benadryl Dreams” (2017) and “Stain” (2020), they weren’t part of the setlist—though they certainly deserve recognition. Like many concertgoers, I always look for a (free) memento from the show to take home. Of course, the adrenaline of waiting in line with friends, fighting through the Ticketmaster chaos, and seeing the artist live is unforgettable, but asking for a setlist from a band member can be just as fulfilling. So, huge thanks to Rollum for handing me the setlist from night one and the kind people around me for sharing the details of night two. Thank you Soccer Mommy for the amazing experience and thank you Radio DePaul and Soccer Mommy’s team for making this happen.

On Friday, December 20^th, I had the amazing opportunity to cover the first night of The Blood Brothers’ three-night sold-out run at Thalia Hall, as a part of their 20^th anniversary tour for their album Crimes. One of my most anticipated shows of the year, it did not disappoint at all. The show follows the recent trend of more bands doing reunion tours and I am extremely grateful that I got to attend. While I only started to listen to The Blood Brothers earlier this year, they have quickly cemented themselves as one of my favorite bands. I love discovering new bands, even ones from before my time, and this show was a perfect example of that, with it being clear that I was one of the youngest people there.

As the night kicked off, Stress Positions, a hardcore punk band coming from Chicago, took the stage to open the show. Their set was extremely captivating, with high-speed D-beat drums and a talented vocalist with great stage presence. After hearing their set, I knew that I would become a fan and immediately followed them on social media to stay updated on their future shows and releases.

The Blood Brothers performed next, delivering an amazing show that I will always remember, especially with it being their first tour in over a decade.  As the show started, a very energetic pit opened right behind me, and I found myself going in it several times throughout. Within the first few songs, they played my favorite of theirs: “USA Nails.”  This show was exceptionally good live, as you could feel the energy in the venue along with the high speed and danceability of the song. Later into the set, they launched into the song “We Ride Skeletal Lightning,” another favorite of mine from their album Young Machetes. This song was amazing to see live, with great energy, vocals, guitar, and much more, as it picks up speed towards the end.

The band also had an exceptional stage presence. Both vocalists Jordan Billie and Johnny Whitney constantly moved around on stage, with Whitney crowd surfing and diving into the crowd several times as he interacted with the crowd. As the show neared an end, both vocalists wore fur coats that were thrown at them from the audience as the crowd cheered in excitement. As one of their final songs that night, The Blood Brothers played their most popular song, “Love Rhymes With Hideous Car Wreck,” which had the crowd breaking into even more excitement as Whitney sang into the crowd for nearly the entire song. 

I found The Blood Brothers’ performance incredible and am super grateful to be able to cover this show. Their set and energy were amazing and gave me an unforgettable night. I highly recommend seeing The Blood Brothers’ live, and I suggest catching them on one of their upcoming stops for their 20^th anniversary tour in celebration of their album Crimes.

On Saturday, November 16^th, I had the wonderful opportunity to attend Dawes’ Oh Brother tour at The Salt Shed.  The folk and indie infused rock band has been a touring group since 2009, and their appearance in Chicago this past weekend marked the group’s largest show in the city to date. This is the group’s first tour since amicably parting ways with members Wylie Gelber (bass) and Lee Pardini (piano), leaving brothers Taylor and Griffin Goldsmith as the only remaining members of the group, and thus, the genesis of the album and tour’s name.

Joined by opening act and frequent collaborator, the Winnetka Bowling League, the evening was full of classics and new favorites, in a fast-paced, yet sentimental show. The setlist was a considerate tour of their discography, and to a long-time listener, felt similar to taking someone on a tour of your hometown, showing them all your favorite places and reminiscing on all of the memories you made at each stop. I have been a loyal Dawes fan for about as long as I can remember, and I have developed a unique attachment to many of their songs, but given the group’s tendency to never repeat the same setlist, it is rare that a listener like myself could hear all of their favorite songs in one night. This show was one of those rare instances, where my ideal setlist aligned with what Taylor and Griffin were thinking as well, making for an especially enjoyable experience.

The band highlighted the majority of their latest album, Oh Brother, including singles “House Parties” and “Surprise!,” working in the new material with years-old favorites like “Things Happen” and “When the Tequila Runs Out” seamlessly. This show was just the eighth stop of a 35-show tour, with shows spanning into next April (with a break between January and April). For still being relatively early into this leg of the tour, the band had already found a noticeable groove, with thoughtful connections on solos and instrumental breaks. Despite their recent change in personnel, the group exhibited the same creative lyricism and genre-twisting instrumentals that fans have come to love, which was also paralleled on the stage.

Dawes’ performance at The Salt Shed was an engaging culmination of the group’s winding history, and one that certainly marked an X on the map of the direction the band is headed. When bands go on tour for the purpose of putting on a great show, the crowd can feel it, and this performance was a perfect display of that passion. Taylor and Griffin Goldsmith have put together another thoughtful body of work in their latest album Oh Brother, and this tour is the perfect accompaniment to that composition. And, by continuing on with just the Goldsmith brothers, Dawes has made sure to fulfill their wish to listeners as written in a 2015 song: “May all your favorite bands stay together.”

On November 8th, Godspeed You! Black Emperor, the Montreal instrumental post-rock group, took the stage at Salt Shed to play their biggest Chicago show yet. Godspeed You! has made a legendary career of playing immaculately constructed drones that resemble classical pieces with a sense of doom. Godspeed has always centered its sound around being as apocalyptic as possible, focusing thematically on the prison complex, failures of industrialism/capitalism, and atrocities of world government. Their 2024 album No Title as of 13 February 28,340 Dead focuses their doom energy around spreading awareness of what the civilians in Palestine are experiencing. On this latest album, GY!BE sounds as fresh as ever constructing the instrumental doom around an urgent issue and releasing an important piece of music that is worth a thousand words without speaking any.

I had seen Godspeed twice before, once at Thalia Hall which was off of their 2021 album G_D’s Pee At State’s End, and then at 2023’s edition of Riot Fest. The 2024 Salt Shed show had the biggest showing of the three shows, and election-related dread likely contributed to the packed turnout.

Alan Sparhawk, former member of the legendary indie outfit Low, opened the show, and Godspeed took the stage at 9:00pm sharp. The band included three guitarists, an upright bass player, two drummers, a violin player, and a keyboardist. They started off with their 2021 song “Hope Drone.”

The lead musician in the band, Efrim Menuck, was the main guitarist powering their drones. Efrim’s guitar fills every room he plays in with beauty and grace but also with the progressive feeling of dread and doom that the band is known for. Efrim and crew’s ability to balance the beauty with the apocalyptic is unlike any other band and a testament to the talent of the seven musicians.

Godspeed’s setlist continued with songs from their newest album like “Raindrops Cast In Lead” and “Pale Spectator,” two 10+ minute songs that capture the unspeakable horror of overseas atrocities with a somber reckoning. “Raindrops Cast in Lead” sounds like a dying machine coming to its last breath, a thematic rhythm Godspeed is consistent with. The songs off of their new record fit well into their setlists, delivering a new excitement to their musical range with brand-new beautiful arrangements. Godspeed ended their set with a special shoutout to their 1999 EP Slow Riot For Zero Kanada with the songs “Moya” and “BBF3.”

As a longtime Godspeed vinyl collector, I was really excited to see the songs from this EP played live as the vinyl for Slow Riot is one of my favorites. The EP is a great starting point into the band’s intimidating discography, delivering two beautiful and heart-wrenching tracks in only 20 minutes. BBF3 was amazing to hear live as its sample comes from a street interview with an American obsessed with his gun collection and discussing his issues with the judicial court system. BBF3 is haunting as it leads into soaring guitar sections.

Godspeed’s meditative music delivered a moment of reprieve for many at the Salt Shed.