Tag: bands

Hardcore Takes Over the Main Stage of Riot Fest: Knocked Loose and Harms Way on the Roots Stage

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CHICAGO- Riot Fest 2025 went down in Douglass Park the weekend of September 19th and had many highlights like the Beach Boys taking the stage with John Stamos, Jack White ripping a solo set, or the return of Blink-182. However, one of its brightest aspects was the spotlight it put on the rapidly growing genre of modern hardcore punk. 

Riot Fest has previously showcased contemporary hardcore punk bands in the past few years, featuring the crossover thrash band Drain in 2023 and Bay Area Beatdown mainstays Sunami in 2024. However, in 2025, they took the spotlight to the next level, moving the contemporary hardcore focus from the side stage in the early afternoon to the main stage at prime time, which was amazing to see. 

Hardcore as a genre is growing rapidly due to the contributions of bands like Knocked Loose and Harms Way, who are consistently touring and spreading the genre. Whether it be the main stage of Riot Fest or touring local venues, elevating the bands they play with, like Fleshwater, Ingrown, and Militarie Gun (who also played Riot this year). Bigger hardcore bands can use their influence to put the spotlight on other bands in their genre, which creates the sense of community that hardcore is known for. 

Seeing hardcore take the main stage at a Chicago institution, the level of Riot Fest, was amazing to see, as it showcases the growth of the hardcore scene, especially in Chicago, where Harms Way is local. Additionally, hardcore bands getting the spotlight at Riot paves the way for other modern and newer artists to gain attention from the industry. 

Harms Way was on at the main Roots stage at 3:45 PM, which was when the crowd really began to gather for the first day of the festival. Harms Way is coming off their most recent LP release, the phenomenal “Common Suffering,” from September 2023. The album features metal-influenced hardcore cuts such as “Silent Wolf” and “Terrorizer,” which they played during the set. Harms Way’s stage presence is defined by lead singer James Pligge’s captivating stage presence as he is laser-focused on his devastating vocal delivery. Pligge uses a very unique but effective style of hardcore vocals, as he is using his guttural force to rip through his vocal passages. The Riot Fest set opened with “Human Carrying Capacity” off of their phenomenal 2018 release “Posthuman.”

A defining trait of the band has always been their locked-in groove. Their sound balances between exhibiting rhythmic power and giving great spacing quite well.  The band stands uniquely for the way they have mixed their original influence of bands like Weekend Nachos, who leaned towards faster and sludgier styles of distortion, and other Straight Edge hardcore bands like Foundation, who had similarly organized rhythmically driven pacing. 

Live, Harms Way reaches a captivating pace with the riffs of founding guitarist Bo Lueders driving the speed and power of the band. The band is consistently in sync as they rapidly switch between rhythmic pacing with a dynamic focus. The band is also fantastic at slowing down the pace into breakdowns, which take the main motif of the riff and brutalize the pacing, sending every hardcore fan into the mosh pit. Harms Way can consistently make a slower pace sound brutal and heavy with the strength of rhythm they contain, which really makes them unique among hardcore bands. The rhythmic versatility of the band’s live performance is a testament to how tenured they have been for the last decade in the world of hardcore. 

“To see them take the main stage at Riot Fest and show how they have elevated Chicago’s hardcore scene by being one of the most popular and tenured bands from the city’s scene was just another reason why they are so amazing to watch. Harms Way was even added late to the festival, which was a great booking choice from Riot Fest’s team, as it gave the city’s hardcore scene a genuine band to be excited for. 

Harms Way’s set also consisted of a brand new single, “Other World,” from May 2025, which is a great new sound for the band, though still rooted in the industrial hardcore style they are known for. Their use of noise sampling has always been great to add the industrial effect to their music, and the riffs on “Other World” are great, with a finale-style breakdown to end the track. This track really brought the energy to the mosh pit with its consistent rhythmic focus and grand breakdown. 

The band closed their main stage set with “Become a Machine,” also from 2018’s “PostHuman,” which has become a set mainstay for the band over the years due to its iconic riffs and Pligge’s vocal delivery. “Become a Machine” is a phenomenal closer for the band as it is another great example of their rhythmic timing and consistent ability to crush with their dynamics. 

Overall, this was a fantastic showcase set from one of Chicago’s premier hardcore bands, where they played hits from their career so far. In playing one of Chicago’s only left festival institutions, Harms Way has brought hardcore to the main stage in a genuine and effective way that will elevate the amount of eyes on the genre as it continues to grow rapidly. 

Knocked Loose took the Roots stage at 7:25 PM for the co-headliner set, which was also their very first Riot Fest show. Lead singer Bryan Garris talked on stage about how Chicago was a “second home” to the band, as it is the largest city in proximity to their hometown of Louisville, Kentucky. So it was a dream come true for them to play the institutional Riot Fest. Knocked Loose has been active with their brand of metalcore for over a decade, but recently off their 2024 release “You Won’t Go Before You’re Supposed To,” their popularity has grown with a huge surge, which is very well deserved for the band. Knocked Loose has been hard at work since their inception, touring and refining their sound, which has made co-headliner sets like this possible. They have also played bills with bands like Slayer, which they immediately followed the day after at Hersheypark. 

“You Won’t Go Before You’re Supposed To” was a definite refinement in sound for the band as they took the next level in sonic focus to create a truly special album. While their previous release, 2019’s “A Different Shade of Blue,” was truly great hardcore, it felt like the band took a step up in versatility and creativity that was unique. Their Riot Fest set started with the scathingly aggressive track “Blinding Faith” off of their most recent LP release. The band’s sonics are strongly defined by lead guitarist Isaac Hale, who brings constant innovation to his guitar playing with how heavy he can get while still reigning in a genuine sense of songwriting and rhythmic cohesion. 

The band is defined by brutal and devastating riffs from both Hale and rhythm guitarist Nicko Calderon, who joined the band in 2020. Knocked Loose stands uniquely in the hardcore genre due to their ability to take devastating riffs and bring a true sense of melodic rhythm, complementing singer Bryan Garris’s intense vocal attack. The true hybrid ability of the band is what defines highlights of their live set, such as Belleville and Deep in the Willow, whose balance of brutality and rhythmic focus makes for an insane feeling in a live setting. 

Through years of consistent touring, the band has accumulated an imposing stage presence, especially when it comes to playing in smaller venues, like when they took Chicago’s famous local venue, the Metro’s stage, in 2021. The band has not always been playing Festival co-headliners, as they had to work through touring their own way for years before gaining traction outside of the hardcore community. Through this, they gained a genuine sense of stage presence even when it comes to huge venues like Riot Fest. 

Knocked Loose has also been consistently supporting the hardcore genre as a whole, as they are very active in their local scene of Louisville, where LDB fest takes place, supported by Life and Death Brigade records. Through consistent support of the community, Knocked Loose puts more eyes on the community of hardcore through playing at larger festivals like Riot. Their set was great to witness as a fan of hardcore, as they played a mix of songs throughout their early career as well such as “Deadringer” and “Billy No Mates.” Their ability to be consistent and hardworking has elevated the community of hardcore that has greatly influenced their sound. 

The band’s live energy is consistently top-notch as the riffs are often seen sending large crowds into the mosh pit. Riot Fest was also made into a gigantic mosh pit at the end of their set with the breakdown to their track “Everything is Quiet Now.” It is truly special to see that many people dance to the same music regardless of whether they are from a hardcore background or not. 

Knocked Loose bridges the gap between the mainstream and the hardcore community really well in large settings, as their music is made accessible by their melodic focus to be able to demand attention from double-digit crowds . Knocked Loose was absolutely a highlight of this year’s Riot Fest, and the genre of hardcore got a ton of new eyes from them taking the main stage over in such a grand fashion. 

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Weatherday and Your Arms Are My Cocoon Rock Subterranean

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In the grip of a dark and gloomy Chicago winter’s day on March 16th, 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!

Foster the People and Good Neighbours at The Salt Shed

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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.

Disturbed Disturbs and Delights at United Center

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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.

An Intimate Night with Soccer Mommy: Evergreen Comes to Life at Thalia Hall

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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.

First leg of tour opener, Tomberlin

TNK Fest 2025: Cameron Winter and Racing Mount Pleasant at Sleeping Village

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Every January, Chicago morphs into a dark, grey, barren, ice-filled ghost town. Or at least it feels that way, as the ever-bustling nightlife of the city slows to a dull hum and warm weather month partiers settle in for some rest and recuperation following holiday spending sprees, aided by the growing popularity of “dry January”.

Chicago’s own Audiotree understands firsthand how this collective hibernation can impact your favorite independent venues and bars, which is exactly why they created Tomorrow Never Knows (TNK) Fest, a collection of the best and brightest up and comers booked in the heart of January.

I was very excited to attend the January 18 show at Sleeping Village: Geese frontman Cameron Winter in his second solo show ever, following the release of his monumental debut solo album Heavy Metal, with opening band Racing Mount Pleasant (fka Kingfisher).

A seven-piece band formed at University of Michigan, Racing Mount Pleasant took the stage around 9:00pm. Their debut album, released under the band name Kingfisher (their name change was finalized just days before the Sleeping Village shows), titled Grip Your Fist, I’m Heaven Bound was released in November 2022. The group combines indie rock sensibilities (soft guitars and mellow vocals) with dense instrumental harmony and lilting meter changes, resulting in a warm, enveloping soundscape perfect for escaping into during cold January nights. Their sound is reminiscent of artists like Black Country, New Road, and Bon Iver. Despite playing without their drummer until the last song, the band performed a tight set to a receptive audience, and the lack of drums actually somewhat set the stage for the upcoming headliner set. “Do You Think I’m Pretty” was the stand-out track of the set, with an infectious, singable horn riff.

Next, Cameron Winter took the stage accompanied exclusively by an upright piano. His debut album, Heavy Metal, was released in early December of 2024, to mass critical acclaim. The album feels timeless, like it could have been released any time in the last 50 years. Winter taps into a more intimate, raw, and introspective side on Heavy Metal,  in comparison to Geese’s raucous, theatrical sound.

Winter controlled the crowd with little more than the pure strength and depth of his voice. Simply sitting at the piano with a white t-shirt on, he played through most of the tracks on the album, with a few unreleased songs sprinkled in. He stopped mid set to show the crowd a few items that had been tossed on stage, such as a Pokemon card, before continuing on, but Winter didn’t need to entertain the crowd with stage banter; the crowd was happy to witness the genius-in-the-making perform so early in his career. His candor and authenticity was a welcome and refreshing change. 
The first time I heard Heavy Metal, I felt like I was being spoken to personally. On a literal level, yes, as Winter addresses a character named “Nina” throughout the album, but I was also moved by his surrealistic lyricism littered with introspection on the human condition. Cameron Winter has nowhere to go but up, and I look forward to his meteoric rise to indie rock icon status.

Concert Review: The Blood Brothers

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On Friday, December 20th, 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 20th 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 20th anniversary tour in celebration of their album Crimes.

Concert Review: Cory Wong and Couch at Palace Theatre

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On Sunday, November 24th, I had the pleasure of catching Cory Wong and Couch at Palace Theatre in St. Paul, MN. As the last show of their tour, the night felt extra special, a sentiment amplified by Wong being back in his hometown area. The Twin Cities turned out a packed crowd for Wong and his crew, with many long-time fans and a variety of ages in the audience.

Boston-based band Couch kicked off the show with their opening set at 8:00pm. A relatively newer group, Couch formed in 2019, sourcing seven members from across the US. The band includes lead singer Tema Siegel, Zach Blankstein on guitar, Danny Silverston on keys, Will Griffin on bass, Jared Gosinsky on drums, Jeffery Pinsker-Smith on trumpet, and Eric Tarlin on alto saxophone. If you’re anything like me, they may have popped up on your TikTok feed at some point with one of their viral videos.

I was very excited to hear the group perform live, and they did not disappoint. They performed mostly their funky original tunes with tasty horn licks and tight little solis complementing Siegel’s fantastic vocal melodies. They also included a couple covers in their set–namely an awesome funkified version of Justin Beiber’s hit “Sorry” and a pretty epic cover of the Schoolhouse Rock classic “Conjunction Junction.” You could tell this was the last night of the tour, as their set was smooth and polished from lots of reps with seamless transitions between songs.

Along with palpable chemistry, Couch had great stage presence and energy, getting the crowd dancing and even singing in three-part harmony at one point. Perfectly-timed key changes consistently raised the energy, which is exactly what you want from an opener tasked with getting the crowd excited for the headlining act.

After a quick break to turn the stage over, Cory Wong and his band came out with a bang. The eleven-piece ensemble included drumset, auxiliary percussion, keys, bass, three saxes, trombone, trumpet, and two guitars including Wong and special guest Mark Lettieri (of the band Snarky Puppy) who doubled on the rare baritone guitar. With a mostly-instrumental set, Wong also invited Couch’s singer Tema Siegel and another guest vocalist up to sing a couple tunes.

Some of my notes from Wong’s set included phrases like “funk barrage” and “smacked in the face with a wall of funk,” (smacked in a good way of course). Driving rhythm guitar and funky basslines underscored tight, complex, syncopated horn solis, so it was no wonder that most of the crowd danced along to every song.

While the members of Couch showcased their individuality with unique outfits, Cory Wong’s band was decked out in matching jumpsuits, one of several visual elements that took the show to the next level. The stage was outfitted with stunning coordinated lights and a large screen that projected great graphic elements including clips of video games like guitar hero, Kanye West meme video clips, perfectly synchronized music video style animations, and scrolling music notation. During breaks, they also featured an audience kiss cam reminiscent of sports arenas, as well as a mustache cam and one for “this guy plays disc golf.”

If you are at all familiar with Cory Wong, you’ll know that he’s curated a somewhat unserious persona including comedic bits that complement his musical talent. After a dramatic musical finish, he followed up his set with a “press conference” with the whole band on stage during which he went over all of the “mistakes” they made that night and took questions from the audience for about 15 minutes. Original elements like this make Wong’s shows really stand out as unique experiences. He concluded the evening with a couple more high-energy encore songs, and it is safe to say that the audience was beyond satisfied with the show.

Australian Psych-Rockers Pond Talk Stung!

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The psychedelic rock world knows Pond as a household name, and after ten albums they have continued to make a name for themselves. The quintet returns to Chicago this Friday at Vic Theatre on their 2024 North American tour after the launch of their new album, Stung!. Released June 21st, it was a monumental drop as the group joined the double digits in album releases club, which is already difficult to achieve from bands worldwide. The LP explores Pond’s strongest rock styles and a touch of their experimental side, like the instrumental “Elf Bar Blues”, or the strong continuation of “Edge of the World Pt. 3”, echoing earlier parts 1 and 2 from their 2017 album, The Weather. I got to interview the group about Stung!, including the challenges they may face after expanding their discography.

“I think just keeping going when it seems dumb and pointless,” they explained. “Once the excitement of discovering new promises and new powers wears thin and you have to lean back on the simple joy of speaking your creative language with your mates.”

“[Stung!] has a different color to the slime green and chrome of 9,” explained the band, whose last release was in 2022. “More peachy and blue, sort of like a sunset, which echoes the emotional content that is mourning an ending, while being sort of resigned to the sad necessity of the cycle.” Pond describes a theme that everybody has experienced at one point or another and the album cover reflects this, as a bee blurs in the frame.

In terms of finalizing the album, it is safe to say the group had the time of their lives.

“We went down South together to finish the album, so it was a real nice rock-bonding-camp where we could swim and record and make dinner and drink stubbies (Australian slang for beer) every day till the album was done pretty much.” South, the band clarified, is the coastal town of Dunsborough in Western Australia where the group would swim on the coast all day, and record nearly throughout the night.

“We didn’t even hate each other by the end, so I reckon that means it brought us closer together?”

After being a band for over a decade, this is quite a bold statement to make. Band members often cannot stand each other during the process of creating an album, yet Pond has proven time and time again that at the end of the day, they are five mates with wild creative sides that bring out the best in each other.

Pond’s artistry is one to be admired and inspired by, and there is no doubt that energy will be present at the Vic. Tickets are still available for Pond’s Chicago show tomorrow night, and you can grab them on their website.

Concert Review: Dawes’ Oh Brother

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On Saturday, November 16th, 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.”