On November 9th of 2024, I had the incredible opportunity to see Orchid, one of the most influential screamo bands of all time, as a part of their “Doom Loop World Tour.” As a huge fan of screamo and anything adjacent, I could hardly contain my excitement, with this being Orchid’s first tour since 2002. Though I wasn’t familiar with all of Orchid’s discography, my anticipation had been building for weeks and I could not wait for the night to arrive.
The first band that played that night was Cloud Rat, a grindcore band from Michigan. I was thrilled to see them open for Orchid, having first caught their set a few years ago in Carrboro, North Carolina, where they opened for Soul Glo. I loved their performance then and now, with their song “Faster” staying in my rotation ever since. Their sound is everything I love about grindcore, having plenty of fast, heavy, and intense riffs throughout. Each member had incredible skill, with great guitar riffs, precise and loud drums, and a vocalist who tied it all together beautifully.
Up next was The Repos, an older local Chicago punk band that has been around for years. They perfectly embodied what you would expect from a local punk band, with most of their songs clocking in under a minute while delivering a fast and punchy sound. While I came into the show unsure of what to expect due to their lack of social media presence or information online, I was anything but disappointed. The crowd cheered for an encore leaving everybody wanting more, but the set was sealed off with the vocalist fist-bumping the drummer before walking off stage.
Next up was Orchid, with their set being nothing short of amazing. They kicked things off with a theatrical intro, featuring cinematic sound effects and a custom graphic designed for their tour, which had the crowd cheering in excitement. These details only helped amplify how surreal this night was, as it finally sank in that I was about to see Orchid perform live, 22 years since they were last together. From the moment they hit the stage, it was clear that Orchid still had their charm and energy. The songs sounded just like the recorded versions but better, which is impressive considering that this is the band’s first tour since 2002. One of the most memorable moments of the night came when they played “Lights Out”. As the opening chords of the bass rang out, the crowd began chanting the introduction in perfect sync of the vocalist, who held his hands up in the air in anticipation for the song to begin.
I absolutely loved their overall stage design and presence, with stunning projections that helped create an immersive atmosphere for the show. Vocalist Jayson Green walked all around the stage during the show, engaging with the crowd adding a layer of excitement to the performance. For a majority of their set, they projected an image from their iconic 1999 album “Chaos is Me”, featuring a drawing of a skeleton. The combination of their stage design, stage presence, and the energy of the night was all but enough to create an unforgettable experience of being able to see one of the most influential screamo bands of all time. If you haven’t heard of Orchid or experienced them live, I highly recommend catching them at one of their stops on their ongoing “Doom Loop World Tour.”
On November 5th, I was in Houston at Warehouse Live in Midtown to see Crowbar’s headliner tour. One of my favorite bands for their consistent emotional style of New Orleans sludge metal, I had been listening to Crowbar consistently for a few months and knew I had to fly out to see them as well as the openers on this show.
Morbid Visionz opened up the election day Metal jam in Houston. The bill for this show was a Mega-show collaboration between the Cavalera brothers of Sepultura fame’s current band Soulfly and the New Orleans legends Crowbar. The collaboration allowed for smaller metal bands like Morbid Visionz to shine. Hailing from Little Rock, AR, Morbid Visionz delivered a brutal style of slow, sludgey death metal that fit right on their record label Maggot Stomp. They only have one demo and a 4-track EP released so it was cool to see a band that was newer able to share the stage with some absolute legends. Songs like “Bloodscape” and “Dismal Harvest” trudge through these brutal landscapes.
From Cleveland, OH, Mutilation Barbecue performed next with an absolutely brutal mix of slam-style and death metal. They are on the same label as Morbid Visionz, Maggot Stomp, but are currently on Eyehategod/Soulfly’s touring package. Mutilation Barbecue’s fantastic album Amalgamations of Gore dropped in March of this year. Tracks like “Hive Mind Homicide,” “Trampled Under 18 Wheels,” and “Spontaneous Human Combustion” deliver insane death metal inspired by the likes of Mortician and 200 Stab Wounds. They performed the riffs live with such precision and attack that they really stood out, even on a stacked bill. The band also recently had gear and merch stolen from their trailer so touring spots like this help them as they recover from that loss.
Eyehategod has been consistent in the legacy-building of their unique style of New Orleans sludge metal. Led by Mike Williams, EHG is a fantastic combination of sludge riffs delivered by guitarist Jimmy Bower and Mike’s screechy and catchy mid-range vocal attack. Their 1990 debut album, In the Name of Suffering, is an incredibly dark and sludgey piece of music that set the tone for their incredible career. 1993’s Take as Needed For Pain tends to be referred to as their magnum opus, providing an hour of mid-range sludge attack at their highest level. EHG’s modern set is career-ranging as they deliver tracks like “High Risk Trigger” off of their 2016 album while also delivering tracks like “30$ Bag” and “Shoplift” from Take as Needed. Jimmy Bower’s live guitar performance creates a sludge from the Gibson Les Paul that harkens Black Sabbath from further depths of hell. Mike Williams live performance also stands out as he has evidently been touring for most of his life but he still delivers every vocal performance with an energy second to none in the sludge world.
Crowbar’s music transcends generations and has been on a resurgence with younger audiences lately. Hardcore podcasters Bo Lueders and Colin Young recently dubbed them as the “Heaviest Band of All Time” and seeing them perform live makes it clear why. Helmed by the incredibly versatile and talented Kirk Windstein, Crowbar delivers a lyrical, emotional, but brutally heavy style of New Orleans sludge. Crowbar dropped their debut Obedience Thru Suffering in 1992 and their most recent album Zero and Below in 2022, maintaining a standard of immense quality in between and throughout their entire career. Their discography highlights include 1998’s Odd Fellow’s Rest and 2001’s Sonic Excess in its Purest Form. The evident amount of soul Kirk Windstein puts into every song he writes makes Crowbar stand out as one of the greatest metal bands of all time. Crowbar’s lyricism has always been deeply emotional, exploring themes of self-improvement through suffering, which makes them popular with the ethos of hardcore sharing a similar value of self-improvement. Kirk Windstein puts emotion into his music in his riffage and lyricism without a shred of fear and that makes Crowbar on another level when it comes to Metal music. This headliner set was nothing different as Kirk and crew came out swinging with “Planets Collide” as the second song on the setlist. Arguably one of the best metal songs ever written, “Planets Collide” shows Kirk’s songwriting ability at its highest quality with some incredibly heavy and brutal riffs. On Stage, Kirk is putting everything he has into every song even this late into his career, showing no sign of slowing any time soon. The guitar rig featuring the Neural DSP into the 5150 cabinet perfectly fit the riffs Kirk blasted. The set also featured incredible songs like “Like Broken Glass,” “To Build a Mountain,” and “Cemetery Angels.” The latter gets a moment of reprieve when Kirk says “Now this is a real breakdown” before going into what is likely the greatest breakdown ever written.
The crowd in Houston was geared up for this show, moshing and singing along to every song. Crowbar’s music has an ability to resonate with listeners unlike many other metal bands solely due to how personal a lot of the music is to Kirk and the band. Crowbar wears their heart on their sleeve without fear, which many metalheads find motivational. Catching Crowbar’s tour opener in Houston was a great experience. The band transcends generation and genre and their resurgence into a new generation will continue with force.
On the dark and stormy election night of November 5th, Chat Pile brought their phenomenal sound and energy to Thalia Hall, an independent music venue located in the Pilsen neighborhood of Chicago. The weather set the tone for the night, with cold, dark, gloomy, and windy conditions throughout the day creating a fitting backdrop for the music to come. Since the show fell on election night, an indescribable tension hung in the air. People around me constantly checked election results or scrolled through their Twitter feeds, adding a layer of anxiety to the night. After an hour-long journey to Thalia Hall, I eagerly anticipated the two opening performances before Chat Pile took the stage.
First up was Porcelain, an Austin-based band signed to Portrayal of Guilt’s label, whom I had recently seen open alongside Soul Glo. Their set kicked off with powerful driving drums and layered guitars, that complemented their sound very well. I particularly enjoyed the vocalist’s distinctive, shouty, and erratic vocal delivery, and how each song’s intensity would shift throughout their set. Some of their songs carried a doom-esque heaviness, which perfectly matched the atmosphere of the night.
Agriculture followed as the second opener of the night, bringing even more intense energy to the stage. Label mates with Chat Pile, they opened the night with loud amp feedback, that immediately jolted me awake, giving me a wakeup call that I still need to purchase ear protection for shows. The guitars were so loud at times that they made my ears ring, which perfectly matched the atmosphere of the night. The guitarist on the right side of the stage enhanced their performance and stage presence by keeping his mouth and tongue out for most of the set, staring into the crowd as he played technical riffs on the guitar. Their set combined fast, technical riffs, intense screams, and melodic sections, along with powerful breakdowns.
Chat Pile took the stage shortly after, with frontman Raygun Busch shirtless, barefoot, and scantily clad in what looked like swim shorts. Before diving into any music, they acknowledged that it was election night, which increased the tension in the already very tense room. They quickly followed this by playing one of the first songs of the night, “Brutal Truth,” a track from their 2021 split with Portrayal of Guilt. Earlier that day, I decided to tweet at them in hopes that they would play it, so when they did, my excitement increased tenfold.
As the set continued, Chat Pile performed “Why,” a song that directly addresses the harsh realities of homelessness in the United States. The repeated line “Why do people have to live outside?” highlights the song’s critique of society and their failure to address this issue. The lyrics challenge listeners by questioning why so many people are left outside without basic support, especially with so many vacant buildings that could provide shelter. The song goes on to highlight the realities of being homeless, with lines like “I’ve never had to push all of my shit around in a shopping cart, have you? Have you ever had ringworm? Scabies? Have you ever had to live outside?” These lyrics serve as a call to listeners, confronting the listener with the brutal reality faced by those who are homeless.
Chat pile put on an incredible set for their show, choosing songs on the fly without a setlist, which kept the show unpredictable. I especially appreciated them doing this, as I have the bad habit of checking setlists before attending shows. The pit was wild with fans tumbling into each other and one person even losing a shoe. As the show came to an end, they joked about how they stopped at Pequod’s but didn’t have time to see the Bean and would have to return. The night then ended with a two-song encore of “Pamela” and “Rainbow Meat.” The band proceeded to joke about their encore, noting that they weren’t sure if any cities would get the same treatment; this one was special as their biggest sold-out show yet.
If you haven’t heard of Chat Pile or experienced them live, I highly recommend catching them on one of their upcoming tours. Their live energy was unbeatable and made for a great concert experience that you would not want to miss.
On a Tuesday night in an unassuming bar on Belmont Avenue, you probably wouldn’t guess there would be a packed back room full of people going hard at an emo show, but that’s what I love about live music—it brings people together for a break from the monotony of the work week. Tuesday, October 29th brought a stacked lineup of bands to the Beat Kitchen including Muncie, Indiana’s Leisure Hour, Baltimore’s Combat, as well as Chicago-natives Sweet Bike and headliner Arcadia Grey. I might have missed the memo on dressing up, but much of the crowd (and some of the bands) donned Halloween costumes, making an already lively show that much more whimsical.
Pictured: Leisure Hour
Sweet Bike opened up the show, and I only managed to catch the tail end of their last song thanks to the tight turnaround between my last class of the night and the start of the show. What little I did see piqued my interest, and I am now looking for my next opportunity to see them play a full set. Leisure Hour played next, and I have nothing but good things to say about their set. They were everything you could hope for in a live band: great energy, great crowd work, and most importantly, great music. If you’re not familiar, check out their newest album The Sunny Side, and try to catch them live when you can.
Pictured: Combat
The next band to take the stage, Combat, came dressed as The Ghostbusters. I adore Combat, keeping their newest album, Stay Golden, on repeat since it dropped in August, so I was stoked to catch them play their first ever Chicago show. They completely blew me away. They played so well that before they were even done with their first song, I was already trying to figure out when I would see them next. Particular highlights of their set included the title track “Stay Golden,” “Full Speed Ahead,” “Epic Season Finale,” and my personal favorite off the record “Weird Ending Explained Pt. 1.” You could feel a shift in the crowd when this band played, like everyone knew they were seeing the beginning of something really special. I cannot express how impressed I was with this band; all I can say is that I am certain they are going to take over the world.
Pictured: Arcadia Grey
Closing off the night was headliner Arcadia Grey, a pillar in the Chicago DIY scene, and one of my favorite bands since High School. I have been listening to Arcadia Grey since 2019, but this was only the second time I managed to catch them live. When I glanced at the setlist before they started playing, I knew I was in for a treat. Arcadia Grey released their sophomore album Casually Crashing this past May, a shoe in for my year end list. I was glad to see a good mix of new and old songs on the setlist, and I don’t think they could have chosen a better mix if they tried. “Moshpit Girlfriend” is a perfect opener, and “Konami Code,” “Made 4 Love,” and “Kevin Pickles and the Great Pool Noodle Excursion” all back to back nearly killed me (in a good way), but the coolest moment of the set was when they invited fan/friend of the band Lizzie Xanos on stage to play guitar on “Godzilla 98’ Sux!!!.” I got a chance to talk to Lizzie after the show and ask them how they made that happen, learning that this was not the first time they have played that song live with Arcadia Grey. Lizzie expressed how important Arcadia Grey was for them as a musician, telling me “I don’t think I count as a real musician, and the first time I ever felt like I was a real musician was when I played on stage with them, so they’re kind of like my comfort, my home.” I think that really says something about the environment this band has created. This is not a band that plays at you; they feed off the energy in the room and give you back twice what they get from the crowd. I was also fortunate enough to get to chat with Burke Comenduley of Arcadia Grey, about what it’s like to be on the musician side of a show like this. “Being on stage is really fun, I feel like the room itself is just like a perfect size to get people moving… I think it just really comes together at Beat Kitchen shows,” he said. “I really appreciate all the people that come out and it’s just loads of fun every time.” In my opinion, there’s no better way to spend a Tuesday night.
CHICAGO | The Flints introduced their disco-pop sound to Chicago on October 23, opening for dance music legends Justice at Radius. The English duo, consisting of twin brothers George and Henry Flint, collaborated with Justice for the French group’s latest album, Hyperdrama, being featured on “Mannequin Love.” The brothers put on quite the performance, warming up the crowd with their raw, yet groovy sound and bringing the magic to the sold-out show.
The brothers have been making music as the Flints since 2022 with their debut single, “Serengeti,” bringing a trippy, ethereal sound that can be compared to the styles of Tame Impala, Djo, and BØRNS. Their latest EP, Midnight Sunrise, takes a listener through a journey full of ambiance, discovery, and even some nostalgia, depending on who you ask.They have joined Justice for select shows on their North American tour, marking the Flints’ first shows in the United States and the chance to expand their audience beyond.
As the night kicked off, the Flints took the audience to a new dimension by combining elements of disco, funk, EDM, and good old indie pop. Opening their set with “Right Kind of Love”, they immediately captured the attention of the audience and did so throughout the night with their funky basslines and beautiful voices. One notable song, “100 Million Lightyears,” was nothing short of breathtaking in a hauntingly beautiful way. From the feeling of floating in the water to running through a vortex, the Flints know how to capture the essence of these emotions in their music with multiple elements.
Hearing these songs live combined with stunning visual effects elevated the atmosphere of their set to the next level. With the addition of their delicate voices, the duo played their guitars and created a vibe the crowd was yearning for. The Flints are only getting started and should be ones to look out for going into the new year.
Kishi Bashi is a hard musician to put a label on and a hard guy to write an article about. His stated inspirations range from Immanuel Kant’s philosophy, Brazilian jazz, and Japanese-American internment camps, along with many more. Listening to his music only added to the confusion, leaping track to track from upbeat dance anthems to soulful, rich violin melodies. As a result, I was very confused going to the Kishi Bashi concert at the Outset on October 18th.
Upon reaching the venue, I was greeted by a fantastically long line, stretching down the entire street, as it turned out to be a sold out show. Before the concert began, I interviewed the people in front of me in line. They were just as confused as me when I asked what I should expect, offering ideas of country, electronic, and classical violin. It seemed I would just have to find out through experiencing it. The mysterious aura I was feeling was compounded by the surroundings at the venue. With aesthetic music playing, cargo containers, and a VW bus, all bathed in red light, the vibe outside the venue only added to the feeling that I was about to witness something mythical. The mystery burned deep inside me, what was this show about to be like?
That mystery would have to wait, as I was treated by Sweet Loretta, Kishis opener, a fantastic group of Britons who performed an excellent blend of classic funk with a modern twist. Their songs were delightfully groovy, and the addition of bringing Mike Sevino on stage only amplified the fun. Mike, a long time collaborator with Kishi Bashi, added his psychedelic banjo (what a great invention) to the mix. Together they provided fantastic opening music and fun crowd interactions. Throughout the whole show, you could feel that the musicians were really enthralled to be there, and Sweet Loretta set that tone early. After a fantastic set of originals and a wonderful cover of “Baby Come Back”, the energy was high and everyone was ready to boogie.
Finally, the lights turned back on and a giant “KISHI BASHI” appeared on the LED backing screen; it was time. Kishi Bashi came on stage with members of Sweet Loretta as his band. They donned matching suits adorned with sequins, and after plugging in and tuning their instruments, it was showtime. Kishi began by thanking the crowd sincerely.
Before I discuss the meat and potatoes of the concert, I feel it is beneficial to fill you in with some Kishi Bashi lore, as it explains much of the concert. Throughout the concert, audience interaction was extremely prevalent and encouraged by Kishi, much more than any other concerts I’ve been to. Everyone’s song began and ended with some sort of spoken introduction, transition, commentary, or joke. This all felt very organic, and it seemed like he was performing for the love of his fans. I came to find out that Kishi got his start from crowdfunded albums through donations and private shows. I actually met multiple people who participated in this crowdfunding, most of them had found out about him through his previous bands and had loved him so much that when they found out he was going solo they were willing to fund his process. This has led to a very intimate bond between Kishi Bashi and his fans, which was on display the entire night.
While the audience interaction was fantastic and added an extra layer to the show, the music stayed the highlight. Kishi Bashi came out with a backing band composed of the opening musicians, and after an introduction, launched into his songs. His music is incredibly layered, with his electric violin sounding hauntingly beautiful. The songs were graciously funky and called you into movement. Repeatedly during the performance, Kishi would utilize a type of 8-track machine to loop sounds and add even more texture to his performance. This technique would be used to an even cooler effect when Kishi would perform on stage solo, using his beatboxing skills to add drum lines under his violin playing.
Stage presence and theatrics were also present for the performance. Steaks playing saxophone, full grecian warrior outfits, and showers of confetti all played a part in making the show as memorable as possible.
After the show, a promised encore came to life in an extremely memorable way. As it was a beautiful night out, and the Outset had a lovely lawn outside, Kishi Bashi thought it fitting to do an acoustic set on the lawn. All the musicians unplugged their instruments, donned giant basses and ukuleles, stood in the VW bus, and began their performance. Illuminated by iPhone flashlights and surrounded by a sold-out crowd, Kishi Bashi and friends sang a mix of originals and a cover of “Ooh LaLa” into the night. This performance felt incredibly special and organic, like a wonderful gift to us.
Kishi Bashi is still an enigma to me. His music throughout the show flowed from genre to genre, vibe to vibe, never allowing you to drift away, enveloping you in new musical experiences constantly. However, I now understand why people drive across state lines to support him. I understand the unity music brings a little more now.
On Tuesday, October 22nd, I had the opportunity to see one of my all-time favorite bands, Soul Glo, open for Touché Amoré at Bottom Lounge. As soon as they announced their new tour, I knew I had to be there, as this would be my fourth time seeing them live – twice headlining and twice as openers. With this show, they’re now tied in first for the band I’ve seen the most times.
As soon as the band began setting up on stage, I could feel the energy in the room shift. When I arrived before the doors opened to get barricade, the venue was a bit empty, but as they set up, the room started to fill in more. I could notice that many people were in attendance were there to see Soul Glo’s set.
The band started their set with their newest single “If I Speak (Shut The Fuck Up)”. The song opens with a slow bass line that gradually accelerates into a more energized track. This choice made for an excellent opener, as it begins softly then ramps up the energy to engaging the crowd.
Another standout moment during the show occurred during the song “John J”, when the band brought out featured artist Kathryn Edwards onto the stage. The energy in the room shifted dramatically as the crowd was full of excitement with her joining their performance. I really love this song with its many energy shifts and exhilarating guitar riff that runs throughout the song.
When they played “Coming Correct is Cheaper,” a pit finally opened in the back of the venue. Vocalist Pierce Jordan moved energetically around the stage along with guitarist GG Guerra. Jordan jumped over the barricade in an attempt to crowd surf, something he often does at shows. Unfortunately, venue security quickly rushed towards him to prevent anyone from getting hurt or him getting tangled in the microphone cord.
The biggest highlight of the show had to be when they played “Driponomics,” one of my favorite songs of theirs. I love the driving bass of the song along with the easily screamable lyrics. I could see the excitement in the crowd especially when someone next to me locked arms with me as we jumped and screamed the lyrics at each other during the chorus.
As the set came to a close, I was completely out of energy and not looking forward to the hour trip home, but I knew that I had to shamefully attempt to get their setlist, which I gratefully ended up getting. Their set was outstanding from start to finish, and I highly recommend catching them during their tour with Touché Amoré!
There seem to be very few certainties in life: death, taxes, and 12-year-old My Chemical Romance fans. Once a 12-year-old My Chemical Romance fan myself, I can attest that there is just something about that band that speaks to kids at that age who are learning how to navigate adult emotions and need something to latch onto. Even during the six years the band split up, they maintained that hold on the youth. My Chemical Romance meant a lot to me at that age, in a way that I don’t know if I could ever fully articulate. Now a 22-year-old My Chemical Romance fan (with a bit of disposable income), I jumped at the opportunity to see My Chemical Romance co-headline a festival with another band that shaped me as a person, Chicago’s very own Fall Out Boy.
When We Were Young Fest is a Las Vegas nostalgia-based festival, specifically featuring emo, alternative, and pop-punk acts from the 90s-2010s, with past headliners including Paramore, Blink-182, and Green Day. For their 2024 festival, they introduced a theme of full-album playthroughs of some of the scene’s most iconic records, including hits such as Cobra Starship (in their first shows in ten years) playing Viva La Cobra!, Neck Deep playing Life’s Not Out To Get You, Pierce The Veil playing Colide With The Sky (complete with a Kellin Quinn appearance during King For A Day), and of course, My Chemical Romance playing The Black Parade in full for the first time since 2007. Let me take you through my day at the fest, and my thoughts on seeing bands that have been so important to me live.
I made a point to first see Neck Deep play their 2015 album Life’s Not Out To Get You, in my opinion the quintessential 2010-era pop-punk album. I loved this album in middle school, and I love it more now, so seeing it played live in full (mostly) was a must for me. Neck Deep does not miss, and they honestly sound better live than they do recorded. Particular highlights were“Citizens of Earth”, “Kali Ma”, and my personal favorite, “Gold Steps”. Seeing “Gold Steps” live was healing and cathartic for me, as a relentlessly hopeful song that never fails to comfort whatever anxieties I have about my life.
The next two sets I saw were bands that I admit I only know the hits from, but man did they deliver on them. Despite being on a side stage, We The Kings had one of the loudest crowds of the day during their hit “Check Yes, Juliet”. Lots of bands would shy away from that one-hit label, but We The Kings owned it and used it to their advantage and honestly made me decide to check out the full album. Next up was 3oh!3, who came highly recommended by several people, and I was honestly blown away. The whole set felt like a huge party; pure unrelenting fun as no one took themselves seriously (if that’s even possible at a 3oh!3 set). “DONTTRUSTME” live is a life-changing experience, if you can excuse the misogyny.
My next must-see set was Cobra Starship, a band no one has thought about since 2012. Cobra Starship has been completely inactive for a decade (thirteen-year-old me was inconsolable when they broke up), so when I saw them on the lineup playing their 2007 album ¡Viva la Cobra! I knew I had to be there. Cobra’s set included an airline theme and incredible vibes as well as my first moshpit of the day. I did not expect to two-step to Cobra Starship, but I heard the intro to “Pete Wentz is The Only Reason We’re Famous” and became a woman possessed. When introducing the song “Kiss My Sass” frontman Gabe Saporta called a special guest to the stage, the producer of ¡Viva La Cobra!, Patrick Stump of Fall Out Boy. Stump tore it up onstage six hours before his own headlining set. The best part of the set, other than “Guilty Pleasure”, was my friend Emily, whom I dragged to this set against her will, turning to me mid-set to tell me that she “got it”. Fangs up, baby!
After a break, we made our way to the mainstages to stake out our spots for the rest of the night, seeing The Used, Pierce The Veil, Jimmy Eat World, A Day To Remember, Fall Out Boy, and My Chemical Romance. I don’t have much to say about The Used because I don’t know much about them as a band, but I enjoyed their set. Pierce The Veil playing Colide With The Sky was a must-see for my friend Emily, who accompanied me to the fest. I will admit that Pierce The Veil is not my cup of tea, but they put on a great show and I could tell that for their fans this was a very special show and this album means a lot to them which made the energy in the crowd infectious. “King For A Day” with Kellin Quinn of Sleeping With Sirens appearing for his parts was a particular highlight of the set.
Bleed American by Jimmy Eat World is an album that I think everyone should listen to in full at least once because it is just such a masterfully done album all around, although it gets overshadowed by the biggest song on the album, (which is bigger than Jimmy Eat World as a band) “The Middle”. Most bands doing album play-throughs didn’t play them in order, instead opting to put their biggest songs at the end to finish their set on a high note. Jimmy Eat World elected to honor the original track list and play the set in order, a particularly bold choice because all of the big hits off of that album are in the front half, leaving deep cuts to close the set. For example, the third song in the set, “The Middle”, has over 1 billion streams, while the set closer, “My Sundown”, only has 6 million streams. I really liked that they played in order, as I feel this represented the album in its truest form.
Pictured: A Day To Remember
The next band up had been one I had been kind of dreading all day, A Day To Remember. I did not expect to enjoy the set, not a big fan of ADTR, but, since they were one of my friend Emily’s biggest must-sees, I sucked it up (also I owed her one after forcing her to see Cobra Starship). We met up with a group of her brother’s friends who took her to see ADTR when she was younger for what she described as a full circle moment. Seeing ADTR play their 2009 album Homesick completely changed my perception of them. Only familiar with their more hardcore-leaning songs, I was surprised at how melodic this album was, and seeing one of my best friends so excited to see this album, in particular, has convinced me that maybe the dudebro part of the scene has a point.
Pictured: Fall Out Boy, Photo by Emily Stipetic
On to the first Headliner of the night: Fall Out Boy. I am no stranger to Fall Out Boy–this was my sixth Fall Out Boy show–but they always deliver. They did not subscribe to the album play-through gimmick, instead opting for an eras tour-like set called Days Of Fall Out Past which had something for everyone. All of the big hits like “Sugar, We’re Goin Down”, “Centuries”, and “Thnks Fr Th Mmrs” had their time, but the set was padded with deep cuts for the die hards, such as “Disloyal Order of Water Buffaloes”, “The Kids Aren’t Alright”, and” G.I.N.A.S.F.S.” which is a bonus track off of a seventeen year old album. Following the trend of special guests popping up during sets, Fall Out Boy brought Wiz Kahlifa out to perform his hit song “See You Again” which was something I don’t think anyone was expecting. Their set closed as every Fall Out Boy show has for the past twenty years: with the song “Saturday”, this time complete with fireworks.
Pictured: My Chemical Romance, Photo by Emily Stipetic Closing out the night and my time at the festival, My Chemical Romance performed the first of only two shows of this year. Playing their 2006 album The Black Parade, they didn’t stray from the tracklist and I really think it was for the best. For those unfamiliar, The Black Parade is a rock opera/concept album following a man dying of cancer, known as The Patient, and follows his coping with dying, his death, and experiences in the afterlife, so the order of the songs is important to the story. Gerard Way is an incredible showman, and his crowd interaction was on point, blowing the crowd kisses and then demanding we bark before starting the track “House of Wolves”. This set was special for a few reasons, but particularly because it was the first time in over a decade that fan-favorite tracks “Dead!”, “The End.”, “The Sharpest Lives”, and “Disenchanted” have been performed live. “Disenchanted” is my absolute favorite song by My Chemical Romance song and it hadn’t been played at a single show out of seventy since the band reunited, so I wasn’t going to believe it until I saw it. It completely took my breath away, and suddenly, I was 12 again and The Black Parade was the greatest album in the world. I think many people are embarrassed by their 12-year-old self, but not me, and I am glad I took the pilgrimage for her sake. When We Were Young might be nostalgia bait, but nostalgia never hurt anyone.
On October 16th, we witnessed Clairo shine a ray of light at The Salt Shed. While headed to the venue armed with our leather jackets, we were both more than eager for the night. As huge fans of Clairo in our adolescence, this show was a reckoning for our 2018 selves. Upon arrival, we quickly secured a good spot in the line and a great spot inside the venue, grateful that the show was split into two nights.
Opener Alice Phoebe Lou provided an excellent introduction to the show. Her warm, twangy vocals filled the room accompanied by an amazing live band. Early into her set, a mishap in the crowd disrupted the show, but Alice Phoebe Lou stopped playing and immediately addressed the situation. She made sure the person was okay and ensured that security could get to them quickly, demonstrating her exceptional care for her fans.
Despite the large venue, Clairo created an intimate set. It felt as if we were immersed in a studio session with a live band and a chill atmosphere. She consistently engaged with the audience and encouraged dancing. Her band transformed her setlist, enhancing songs from her previous albums with the groovy instrumentation of her Charm era. We were particularly excited by the addition of the flute and enamored by the stage design that emulated a vintage aesthetic along with Claire’s stunning outfit.
“Second Nature” stood out as one of the first highlights of the setlist with its acapella-style backing vocals and an enviable instrumental harmony from the live band. Another standout was “Bags,” which held a special meaning for both of us, bringing back memories of our youth. A less popular track from Charm, “Echo” was incredible to hear live, a hush fell over the crowd in a cinematic moment when the band ceased playing and the lights dimmed. Though it was only for a moment it intrigued the crowd eliciting “ooo’s” and “ahhs.” Finally, “Juna,” a favorite of the Charm era, was absolutely beautiful to hear live. Audible excitement from the crowd made the performance even more special. Her show was outstanding from start to finish, and we highly recommend catching her on any stop of the Charm tour.
CHICAGO | “I love Chicago, I really do,” COIN’s lead singer Chase Lawrence exclaimed to the crowd during their show at Aragon Ballroom on October 5. The Nashville indie-rock group stopped in the Windy City to tour their latest album, I’m Not Afraid of Music Anymore, released this past September. It was an incredibly special show for both the fans and the band as 10/5 is associated with the song, “Let It All Out (10:05)” from COIN’s 2020 album, Dreamland. Fans were in for quite a treat as the show was filled with lots of appreciation despite a major production difficulty.
Opening with songs from the new album, the band immediately gave it their all. Chicago fans know how to be an exciting, energetic crowd, which COIN quickly noticed and caught on. During the fifth song as the lights on their set came down, the lights on stage left and right lost control and started to go out of place, swinging across Lawrence and even hitting him gently. Despite this, the band continued into their next song, “Slack” until they had to exit for the crew to remove the lights, which took about 10 minutes. Fans anxiously awaited their return as we watched the crew run back and forth between the soundboard and the stage. The show must go on even when unexpected mistakes happen, and, after the lights were removed, COIN picked up right where they left off like nothing had happened.
Later in the night, Lawrence went into detail about his experiences writing “Let It All Out (10:05)”, written on the same day as the concert in 2018. Their favorite and most personal song, the band called 10:05 a “place” and a “feeling,” something that fans also connect with. Everyone in the crowd I could see sang their hearts out, some even holding each other and crying, because of the special day for the song. When the time turned 10:05, Lawrence shouted out with a huge smile, “It’s 10:05!”, to which I looked at my watch, noticed the time, and smiled along with him. I started to feel a deeper connection to the song that night as I started to understand the feeling of 10:05.
The night continued with songs from the newest album along with some classics. All in all, COIN delivered a unique performance filled with love and gratitude.
