All photos by Ariele Palmer
Pitchfork Music Festival 2024: Sunday Photo Gallery
Tag: bands
Pitchfork Music Festival 2024: Friday Photo Gallery
All photos by Ariele Palmer
Footballhead Celebrates Overthinking Everything (Re)Release at Sleeping Village 3/9/24
CHICAGO | In July of 2023, I was sitting on a curb waiting for my Lyft home after what I considered to be the best show I had ever been to, furiously texting everyone I knew about a little band called Footballhead and their incredible debut album Overthinking Everything. I had just attended the album release show and was absolutely obsessed. After this show, I transitioned from a casual fan of Footballhead to an absolute superfan, or “stan” as it’s known in some online circles. I saw them whenever the opportunity presented itself; oftentimes going to shows with four or five bands just to see Footballhead play a support set, but I craved a headlining show.
In an interesting turn of events, Footballhead’s debut album was pulled from streaming services in October because they got signed to independent label Tiny Engines, and were going to do a proper rollout of the album under their new label. This began the longest six months of my life, not being able to listen to what I considered to be my album of the year for 2023. Getting to witness the building hype for this album and knowing what people had in store was so special, and on March 1 of this year, Overthinking Everything was released again. I am so absolutely stoked that this album is out again, but that is not the point I wanted to make.
The album was officially (re)released, and you know what comes with an album (re)release? An album (re)release show of course! This means that I had the opportunity to relive the best live show I had ever been to with my two best friends and with the added connection of not only celebrating the album, but also to the band, whom I have become friendly with through attending their shows as often as humanly (and financially) possible. I knew this would be a special show, so I decided to bring you along.
Support on this show came from bands Demo Division and New Age Thief as well as local rapper Woes. I always expect the best from support acts, that’s how I have found many of my favorite bands and artists, but these acts were next level. I had seen Demo Division live prior to this (coincidentally on a lineup with Footballhead), but the energy they had on that Saturday was insane. They had the crowd absolutely moving. New Age Thief kept this energy going, and I was baffled to learn that this was their second-ever live show — making them a band to definitely keep an eye on. The last support act before Footballhead’s set was local rapper, Woes. I will admit, before this show I had never heard of Woes, but I was blown away. Woes had one of the best sets I have seen in a long time, he had great interaction with the crowd, incredible visuals to accompany the set and an incredible stage presence as he was absolutely commanding the room. Although Woes is not the type of artist I generally gravitate towards, I am now a fan and I really want to catch a show when I actually know his material.
On to the main act… Footballhead. I could talk forever about this band and this set, but I think I’ll let the video speak for itself. I will say that the decision to open the show with the closing track from the album, the title track “Overthinking Everything,” was an absolute power move. This set had everything I could have hoped for; every track off of the album, a good selection of songs not on the album — including unreleased tracks and selections from their debut EP, Kitchen Fly — shots of Malort and a cover of Crossfade’s “Cold” (which I think should be included in every live set ever). The only disappointment (besides the disappointment of the set ending) came from the song “Nervous POS” not being included on the setlist, but that’s just me being nit-picky. This is all just a plea for anyone reading to check Footballhead out now, that way when they get huge you will have bragging rights. Join me and my best friends for our real time reactions to the show, and see for yourself why this band keeps me coming back!
All content produced by Kellie Beam
Friko Soars to New Heights at Their Metro Album Release Show
CHICAGO | On Friday, March 1 in a sold-out Metro show Chicago-based rock duo Friko celebrated their monumental album release supported by Smut and Neptune’s Core. Friko — composed of Niko Kapetan and Bailey Minzenberger — has been prolific in the Chicago music scene for many years with their enchanting live performances and eclectic EP releases leading up to their studio debut. Released on February 16, Where We’ve Been Where We Go From Here, is a stunning and anthemic realization of the band’s clear potential. Picking up international attention from fans, publications and music forums, Friko’s debut is much bigger than anything we have seen out of the city in quite some time; helping to define a generation of indie-rock music. Nothing illustrated the tremendous impact of the record, quite like their Metro release show, an almost-spiritual experience, that mesmerized the sold-out crowd.
Setting the stage was Chicago four-piece Neptune’s Core, who I got to write about last November during their performance at Thalia Hall with Sen Morimoto. Neptune’s Core consists of two groups of sisters Sophie (guitar/vocals) and Hannah Richter (bass) along with Jackie (guitar/vocals) and Kaitlin (drums) Cynewski. I remember being stunned by the band’s talent and unique sound, channeling elements of traditional rock music with layered harmonies, complex vocal runs and textured instrumentals. It was great reuniting with Neptune’s Core at the Metro, as they were the perfect act to open for such a special show – playing a variety of released music and new material, progressively immersing the audience more and more with each song.
A standout moment had the four-piece previewing a new track in its early stages with a beautiful vocal arrangement from Jackie, Sophie and Hannah, reverberating through the venue in a lush beam of pleasant frequencies. While I instantly connected with this band’s music when I first saw them at Thalia Hall, standing in front of Kaitlin Cynewski on the right side barricade gave me a specific appreciation for their rhythm section. Throughout the performance, she delivered incredibly creative and refined patterns elegantly lifting the music on each song. I can’t wait to see what Neptune’s Core has in store for the future.
I was lucky enough to connect with Jackie, Sophie and Hannah to ask them a couple of questions about their band and playing the Friko release show. It was an entertaining interview and I wish I could’ve included more of it.
Aden Van Hollander: What’s the genesis of Neptune’s Core, I know you have music going back to 2021, but when did y’all actually start writing songs together?
Sophie Richter: It started actually in middle school…then it really took a turn when we played with Dehd, that was the pivotal point in our music career where we realized woah this is getting serious, we want to be playing gigs all over and making it something bigger.
Hannah: I think that was a big point for a switch in our sound as well. It felt like especially in that moment we were more open to experimentation, we were more excited to try new things. That moment being on stage and playing a bunch of new songs that were way different from our other stuff felt really fulfilling and made us want to try new things more.
AVH: You’ve already played a ton of special bills alongside amazing acts, what was it like supporting Friko for their Metro album-releasing show with a completely sold-out audience?
Jackie: That was a super special night because we’ve known Friko and we played with them 4 or 5 years ago at Martyrs, it was just special playing that album release show knowing it was such a big moment for them. Even just like seeing them run around to all their interviews and doing their singing at Reckless, it was super cool, they’re the best.
Sophie: I feel like the energy was very contagious, they just were so excited to be there performing their album for their release show, we were just so excited for them. I remember Jackie and I were sitting in the Greenroom after we played and before Friko was going on, and we got to be there for their team huddle, and it was very heartwarming, it was like this is what we want to be someday, playing our album release show at a beautiful venue like Metro with all our amazing friends around us. They are such a perfect example of what being a musician should feel like. They really represent how healthy it can be and how it’s good to put your emotions out there and always be supported in doing so.
Hannah: They did a great job of uplifting everyone. There was so much positive energy that it was impossible to even feel bad. I went home and I was like smiling from ear-to-ear, like oh my god that was the most perfect moment ever.
AVH: I saw on your Instagram that you are dropping new music! Is there anything else new with Neptune’s Core?
Sophie: We are heading to SXSW then we are on an East Coast Tour! We have a stacked March and we are so excited.
Thanks so much to Jackie, Sophie and Hannah for speaking with me! Check out Neptune’s Core and their new single “Box / Anyway” that was released on March 8.
Following Neptune’s Core was Chicago-based band Smut, who provided a compelling performance and danceable atmosphere. Featuring heavier arrangements inspired by many corners of music, Smut made me a fan with their solid outing at the Metro, having never heard them before. The dynamic vocals of Tay Roebuck controlled the feel of each song, with her screams, spoken word, and singing — I particularly enjoyed the tracks with the spoken word, as they had a unique Life Without Buildings feel. I have since checked out Smut’s recorded music and online performances and am excited to hear more from them in the future.
Friko poured out onto the Metro stage with cataclysmic power. You could feel the already-packed crowd squeeze even tighter as they played the first chords of their vibrant single “Crimson to Chrome.” So much was released from the audience who sang along to almost every word. Friko delivered a masterclass of manipulating tension, splicing in serene string-arranged tracks with their heavy-hitting rock music. After having Niko and Bailey in the Radio DePaul studio for an acoustic set, it was fantastic to hear these songs with full live arrangements.
Being in the audience for Friko’s release show was an extremely memorable experience since it was clear to everyone in the building that their songs carry immense weight. This sentiment was reflected by the sheer intensity of the audience who jumped and spun in one of the more sweaty mosh-pits I have been a part of — however, despite the frenzied crowd, there was a clear level of respect given to Friko and their music during the performance.
It is safe to say that this past month has been the busiest Friko has ever been, making dozens of media appearances, signing records, playing sets and getting interviewed, after releasing their debut album. From briefly speaking with Niko before the show, you could see the tangible blend of fatigue and appreciation. Friko more than rose to the occasion at the Metro, playing an almost-hour-long set without missing a beat. Bailey’s fierce drum rhythms and textured vocal harmonies perfectly complement Niko’s expressive melodies and bold instrumentation, while new addition David Fuller on bass provided a level of completion to the duo and had great chemistry with the band.
Friko ended their performance by showing gratitude to all the people who helped get them to where they are, bringing out their friends and collaborators to celebrate with them as they played their iconic opener “Where We’ve Been.” Encoring with a stunning rendition of Radiohead favorite “Weird Fishes/Arpeggi,” — cause why not — Friko brought down the house in a major homecoming for Chicago music. As the iconic drum pattern and guitar slide began you could feel the entire crowd lose their collective mind. In one of the best concerts I’ve ever seen at the Metro, Friko more than delivered, now it’s about seeing and hearing where they go from here.
Metro Local Series Showcases Bright Future amongst Chicago Artists w/ Sharp Pins, Uniflora, and Pinksqueeze.
CHICAGO | On February 23 a unique local artist event, in association with CIVIL Fest took over the Metro for a special night of diverse music, featuring Sharp Pins, Uniflora and Pinksqueeze.
The stage was set with Sharp Pins, the solo project of Kai Slater, featuring Peter Cimbalo on drums and Joe Glass on bass. Sharp Pins have been actively playing great shows in Chicago for the past few months and last week at the Metro was no exception!
Offering a dynamic set of memorable songs from their latest record as well as some new material, Slater delivered a harmonically rich and enjoyable performance that had the crowd tapping their feet. The three-part harmonies from Cimbalo and Glass — who both had great chemistry — perfectly showcased the band’s musical talent.
After the show, I asked Peter Cimbalo about his experience playing with Sharp Pins and how performing with the band influences his solo music under Alga, “It felt super gratifying to be able to play Metro with Kai and Joe. I’ve seen so many great bands come through that venue, so being able to perform on that stage myself with some good friends was very special. I think that Sharp Pins and Alga pull from similar sources of inspiration, like power-pop and Beatle-Esque 60s sort of stuff, so being able to relate on that level is super rewarding and definitely inspiring.”.
Sharp Pins is the current songwriting outlet of Kai Slater who has been a key figure in Chicago music for the past half-decade; being a founding member of both Dwaal Troupe — an analog and harmonic quartet — and the heavy post-hardcore influenced trio Lifeguard. Lifeguard, who formed in 2019 with bassist/vocalist Asher Case and drummer Issac Lowenstein signed to Matador in 2023; further etching themselves in Chicago rock history with their spirited arrangements and undeniable talent. Slater’s latest project, Sharp Pins, might be my personal favorite. His 2023 self-released record Turtle Rock, blew me away with its satisfyingly noisy and creative style of pop music.
Slater was kind enough to answer some of Radio DePaul’s questions regarding his new record, the Metro show, and the greater Chicago music scene.
AVH: “Recently you have been dedicating a lot of focus towards the Sharp Pins project, which has a much more DIY direction, with your last album being self-released with Hallogallo. How do the writing and recording processes differ in this project as opposed to your stuff with Lifeguard on Matador? Do you feel more liberated to experiment in a more independent environment?
KS: “I have been self-releasing and home-recording for a while, this has just been the most recent thing. I’ve never had a proper solo project so it’s been really liberating to release an album that’s completely myself and pretty naturally recorded. The writing is really different because Lifeguard is built off of not only songwriting but collaboration and improvisational stuff. And you can’t really improvise with yourself, as much as you could try.”
AVH: “On last year’s record, Turtle Rock, you seem to find a lot of comfort in a more power-pop/indie sound, have these communities always been influences for you, or is that just how the music naturally manifested?”
KS: “The album definitely just built off all the songwriting I’ve always loved to do, and all the recording things I’ve gotten better at. I’ve been a mod for a while, and I’ve been trying to write perfect pop songs for a while too. I got into power pop stuff 3 or 4 years ago, my friend Charlie Johnston really introduced me to that stuff while we had the band Dwaal Troupe. Dwaal Troupe was initially inspired by mid-period Beatles and Elephant 6 stuff, psychedelic pop and folk stuff, but once me and Charlie started listening to a lot of classic power pop, the band took that influence and it definitely just led into my general songwriting goals and inspiration, everywhere, Sharp Pins and Lifeguard. I believe in pop music and it’s what I want to do!”
AVH: “You have played many iconic venues in your young career, does it feel different to play somewhere like the Metro as Sharp Pins?”
KS: “Playing Metro as Sharp Pins was really cool! It’s a great venue and it’s cool that the sound system could handle the 3 part vocal harmonies that well. But the thing I was most excited about was the band Uniflora playing. I was just really happy to see such an awesome young band play Metro and have such a good reception. So that was the biggest win I think.”
AVH: “The Chicago Youth scene has always been a vibrant source of experimental music that defies definition and genre. Are there any specific local acts you are keeping your eye on?”
KS: “Well, Uniflora for sure rocks, as well as Twin Coast, Donkey Basketball, Alga, Laurie Duo, Deerest Friends/Konstantin Konstantius, Joe Glass, TV Buddha.”
Thanks so much to Kai Slater for the interview! You can see Sharp Pins play with Alga and Tom Henry at Color Club on March 18th! Be sure to check out Sharp Pins and Hallogallo, their record Turtle Rock is streaming everywhere.
Following Sharp Pins, was Uniflora, boldly making their Metro debut. Uniflora is the Chicago-based high-school band of Quinn Dugan (vocals), Theo Williams (Bass), and Ruby O’Brien (Drums). After releasing their experimental rock-influenced EP Plastic Sturgeon last November, Uniflora has gained significant local recognition, dropping two follow-up singles “Hellgirl” and the instrumental “LMCB”. Uniflora’s experimentations with noise and time signatures were a welcomed occurrence with all three members displaying individual prowess and shine. Having never seen the band perform, they continued to win me over during their set showcasing a variety of material with an expansive sound stage, despite only being a three-piece act. The band was unphased and gave an impressive performance. Guitarist/Vocalist Quinn Dugan’s guitar strap even fell off mid-song and they still got through it, winning over the crowd. Uniflora’s combination of mathy guitars, ripping basslines, and creative drum rhythms cemented them as a band to watch in the coming months.
It is amazing to watch talent break out at such a young age — high-school acts like Lifeguard and Neptune’s Core have cultivated large followings, creating unique and fleshed-out projects so early in their careers. It’s important for a venue as tenured as the Metro to host events spotlighting local artists. This sentiment was encapsulated by the audience, who represented many different generations of music listeners. Ranging from high schoolers to grandparents this Metro local series event was a night to remember, highlighting diverse musical acts from in and around the city.
Thanks again Kai Slater for the interview and Uniflora for getting me out to their debut at the Metro! Keep an eye out for future projects from both, as well as events from CIVIL Fest!
All photos by Aden Van Hollander
A Conversation with Couch’s Guitarist Zach Blankenstein
CHICAGO | Boston-based band, Couch, has a sound that is truly unique to itself. The band combines their jazz and R&B influences with past experience in acapella and musical theater to create a strong and imaginative spin on pop music. Guitarist, Zach Blankenstein says how “My favorite moment in a Couch songs when I can hear, and think back to a session where I go ‘Oh man, this is so cool that this part is a combination of four different people’s ideas all who were thinking about different things, and yet these ideas are compatible and show the collaboration and teamwork in Couch.’”
Consisting of Tema Siegel (vocals), Zach Blankenstein (guitar), Jared Gozinsky (drums), Will Griffin (bass), Danny Silverston (keys), Jeffrey Pinsker-Smith (trumpet) and Eric Tarlin (saxophone), the band has been touring their latest EP, “Sunshower.” This past week, I had the opportunity to speak with guitarist Zach Blankenstein about their experience as a former long-distance band, their newest release and finishing up their upcoming tour
For the first three years of the band, the members of Couch were spread across the country, and would create music together despite the distance. Blankenstein described how, “For about three years we would just write music over FaceTime, meet up when we could over break, quarantine during the height of Covid, we put out that music all pre-2020, 2021 and then come fall 2021, we finally got to start touring and it was like ‘Oh man we have all this music but we’ve never played it together and it made it all the more exciting to get on the stage and be with my bandmates.’”
Regardless of the challenges, the band made it work. “It was all in a workflow where we would often write and record and release music before we ever were in a room to play it together, which was really cool. We sort of had to learn how to take these studio recordings and then adapt them for a concert,” Blankenstein says, “I think we did our best to maintain the human and interpersonal elements of creating music while we were doing it remotely, but there’s nothing that beats just being together with our instruments and making it live.”
Now the band is based in Boston, where all of the members are from. Blankenstein explains, “I think it’s given us room to not feel a lot of immediate pressure, and the sort of intensity of such an industry city, we’re able to really take our time being in Boston. There aren’t a ton of small venues in Boston, so we weren’t really able to play a hometown show for a while. This sort of made being in Boston and playing Boston shows all the more exciting when they come around.” This past year, the band played Boston Calling, one of New England’s most well known festivals. “It was so exciting. A lot of us grew up going to the festival, and have seen some of our favorite bands there, so to get that opportunity was really special,” the guitarist remarked.
In November 2023, the band released their new EP Sunshower. When asked about his favorite song to write and record for the project, he brought up my personal favorite, “LA.” “I think the story is really clear, and musically it feels kind of theater-y.” Blankenstein looked back on their show in Los Angeles, when they played the song in the city it was named after for the first time. He recalls, “We’ve never had the opportunity to play a song named after a place in the place for which it was named, and doing that in LA was super cool. It’s not really a diss track to LA but it’s certainly not telling LA how wonderful it is, so it was sort of funny and fun to see how it would go over with the audience.”
In addition to the release of their latest EP, the band has been on their tour of the same name since October. He went on to talk about how the long drives have been good when it comes to bringing the band closer together, “Touring can be really tiring, taxing on your mind and your body, and having a group of people who are just really nice to be around and everyone’s looking out for each other, it makes what can be a pretty stressful adventure into a very fun and exciting one.”
This week the band is finishing up their tour in the Midwest; playing shows in Detroit, Chicago and Indianapolis. “We love going to the Midwest. I think a lot of people focus on coastal cities as these hubs for music, but there are such interesting musical cultures in each city.
It’s cool that for a night to be a part of it, see who’s coming out to the shows and meet people after the shows. It’s really exciting to do and the Midwest is a great place to go for that,” says Blankenstein. When talking about their upcoming show in Chicago, Blankenstein reminisced on Couch’s first show in the city and described it as “one of the very starting points for us really taking the band seriously and pursuing Couch. And I love Chicago for that.”
What’s coming up next for the band?
Well, Couch is playing Chicago this week on Friday, January 26, at Park West. They are also going to be announcing some new content as well as some “large, most exciting tour announcements we have ever made.” Their EP, “Sunshower” is currently out on all streaming services, and you can find them on Instagram at @couch.theband and on all other socials @couchtheband. For anyone interested in diving deeper into Couch’s music, check out splitter.fm/couch where you can find individual layers of their songs, as well as the ability to loop isolate, or slow sections down of each track.
Demob Happy’s Explosive Show at Beat Kitchen: A Fusion of Rock Mastery
CHICAGO | Demob Happy, a British band hailing from England, stormed into Chicago with an impressive showcase of their musical mastery. Composed of lead singer and bassist Matthew Marcantonio, drummer Thomas Armstrong and lead guitarist Adam Godfrey, the trio put on a powerful and thunderous performance that shook the Beat Kitchen — and the crowd — to its core. Their distinctive fusion of sounds, spanning from 70s rock to 90s grunge and experimental heavy alternative, is a blend so singular and harmonious that it’s unlike anything I’ve ever experienced.
Their performance kicked off with the electrifying song, “Voodoo Science,” which was off of their latest album, Divine Machines. The song ignited with a roaring guitar solo between the bassist and the lead guitarists. Their energies resonated, sending reverberation out to the crowd with each strum of their guitar strings. Infused with intense classic rock vibes, their appearance exuded the essence of 70s rock merged with alternative styles, reflected in their outfits and hair, while their fourth semi-member played a synth in the back of the band bringing a new wave sort of feel to their music. It gave a classic rock feel with experimental vibes creating a sonic fusion that laid thick in the air.
The momentum quickly shifted with their second song, “Loosen It.” The songs tempo accelerated infusing a more upbeat feel with the addition of a blaring cowbell in the background. The drummer, in a whirlwind of movement, banged his head; his hair wildly flying across the drum set with each thunderous crash of the drums. Pouring their hearts and souls into each and every note, the bands energy lit the crowd on fire, fueling an electric exchange of energy between each person in the room. This song is what sparked the interaction between the band and the crowd as the singer waved for us to get our hands up and sing the chorus with them. There was a brief pause in the playing of instruments leaving just the vocals to rip through the venue. This surely left a lasting impression.
Each song brought a range of blending and mixing as their sounds were never anticipated. For some of their songs, one of the members’ girlfriends came onto the stage to sing backing vocals which added another layer of depth to their music. With the numerous guitar solos and range of vocals, it was clear this band was talented and had a high skill level. There wasn’t a moment of stillness or boredom as the energy was high and constant. Sweat and condensation coated the room, a testament to the electrifying experience pulsating within.
“Token Appreciation Society,” offered a more gritty and captivating vibe, resonating with a divine blend of grunge and classic rock. The lead singer’s gestures echoed the style of Robert Plant, adding a familiar yet distinctive flair to their performance. The band had an aura of effortlessness and coolness that drew you into their music. You could tell these guys were cool, and you wanted to be friends with them by the time the show was over, as their passion for the music on the stage was evident — yet they maintained a composed and collected demeanor, riding the energetic flow of the show to the beat of the crowd.
The songs “Super-Fluid” and “Muscular Reflex,” added a distinct blues feel with some tinged guitar riffs and higher pitched vocals. These songs really brought us back to the roots of rock and roll. “Super-Fluid” was a longer song, but it felt almost like an epic out of 60s psychedelic rock with its twists and turns. The instrumentals at the end of the song made it feel like it was part of a concept album from the 70s. “Muscular Reflex,” brought in a sense of 80s gothic feel while still keeping it modern and elevated. The drummer brought in some higher pitched vocals which added another layer of depth and curiosity to the song.
The last song on their set, “Be Your Man,” was a crowd pleaser. Most of the crowd knew this song as it turned the floor into a mosh pit filled with explosive energy holding onto the last few minutes of rock and roll bliss. The crowd begged for more songs at the end of the set not wanting the night to end. (The singer even threw their setlist out into the crowd and I caught it!) After the show, the band hung out at the bar for a while signing merch and mingling amongst their fans, making it was a very personal show.
The connections made in that room were real and would surely last a lifetime, while the band reminded us that rock and roll is still very much alive —we all just have to take part in its revival.
All photos taken by Zoe Blakeman
Flyte at Lincoln Hall
On November 13, Lincoln Hall was filled with mellow anticipation of Flyte and their opener Sarah Weddle. The crowd stood patiently until the evening kicked off with Weddle and her band. After introducing themselves they headed straight into the softness of Weddle’s voice and the silver crooning of the steel pedal that was strung within each song. The tone of Weddle and her band was the perfect opener to Flyte – as both artists share introspective lyrics and a certain folkiness to match.
Upon hearing the chorus of Weddle’s song “Location,” I had to save her music on my Spotify. I was surprised to find that Weddle only has about 100 monthly listeners, since the band’s talent and Weddle’s easiness on stage led me to assume she’s already got a loyal following. But, as it turns out, Sarah Weddle is a rising star in the Chicago indie scene. Despite her status as a smaller artist, Weddle’s performance resonated with the audience. Flyte picked their opener well.
The crowd grew when Flyte was welcomed to the stage. Their first number, “Losing You,” began with little warning as bassist Nick Hill plucked the dense baseline, making the crowd fall into a steady bob that followed the strums of Will Taylor’s guitar. After their cold open, Taylor and Hill expressed their gratitude to the crowd. Hill held up an open Old Style and mentioned how every city on their tour so far has their own signature cheap beer; one of the hidden American touchstones that these two Englishmen were excited to discover.
Elated, Taylor told us this was the first time on tour that he and Hill two were joined by other musicians. Taylor’s electric guitar was backed up by a talented drummer, Hill’s bass and multiple instruments played by a musician introduced as Maddie. Maddie impressively swung between the keyboard and the guitar during songs, with a white stratocaster hanging onto their neck while jamming chords during “Everyone’s A Winner.” During “Tough Love” a high note that Maddie hit while vocalizing with Taylor and Hill caused applause throughout the venue.
Each song was cushioned with the charming origin stories told by Taylor. Some songs spent years under construction. Some tunes were found far before the lyrics. Some lyrics were passed to poets, and reworked into other songs. Each of these stories featured the occasional quip or fact check from Hill. Will told tour stories from their tour down south as well, speaking about the awkward interactions you might expect from two Londoners in Arkansas for the first time; like being startled by the highways, accents and the religion.
Eye on the Bat, Eye on the Prize: Palehound at Empty Bottle
If you weren’t already “in the know”, now’s your chance to catch up. Palehound has been an absolute force in the indie rock world since the release of their freshman record Dry Food, which is easily one of my favorite albums to play while sitting on my porch chain-smoking Marlboro Reds. On July 14th of this year, the band released their fourth album Eye on the Bat, and it was completely unsurprisingly 29 minutes of heat. I know 29 minutes seems like the shortest long play imaginable, but it still does not compare to the famously 18-minute PinkPantheress album, to hell with it, which sparked memes about how short the songs are for way too long past the point it stopped being funny. Are short records making a comeback? Regardless, though it is short, I do also feel that Palehound’s writing proves a certain level of tastefulness that makes it just make sense.
Seeing them play live has been on my to-do list since probably around 2019, and I was incredibly lucky to have been able to make it while their tour stopped at the Empty Bottle on November 17th. Unrelated to the show (I’ll get to the point, I promise), but my fondest memory of the Empty Bottle was when I stumbled into their HonkyTonk Happy Hour on a sweaty summer day after dancing to an old guy cover band playing 25 minutes’ worth of Fleetwood Mac at a nearby block party. Chicago is awesome. That was also the day I learned how cool swing dancing is. If you weren’t aware, the Empty Bottle also has a cat named Peg that patrols the venue premises. Sometimes when I go there for a show, I catch myself looking for the kitty just as much as I am watching whoever is on stage. Fortunately, for Palehound, I was mostly watching their set.
If I had to sum up my time seeing them play the new record live, I would use only one word: delicious. El Kempner’s luscious speak-singy vocals are so distinct to their sound, and they are so much cooler live than in the recordings (which is saying a lot already). Having the whole band up there added like five layers to the experience. I was already a pretty big Palehound fan, but finally getting to see them play live jumpstarted me into my next musical obsession. Massive thanks to Radio DePaul and Empty Bottle for hooking this up.
If I had to make one piece of criticism about this particular show, it would be a commentary on the crowd. Every time I go to the Empty Bottle, I find that the crowd is always a complete hit or miss, no matter the type of music playing that night. The crowd for Palehound was about exactly what I expected on the dyed-hair-sad-guy front (present company included), but most of this sold-out crowd stayed almost entirely still the entire time. There was your usual swaying and head bobbing, but there was basically no movement even during their more upbeat tracks. I understand going to a show and only wanting to listen to the music, but please… move to the back. All things considered; I still had an incredible time.
Oh, and for anyone wondering, no I did not end up finding the cat.
The 90’s Rock Revival is Alive and Well: Dazy & Lifeguard at Cobra Lounge
CHICAGO | If you stepped into Chicago’s Cobra Lounge in the West Town neighborhood on December 4, 2023, you might have wondered if you had mistakenly time traveled to 1995.
Cobra Lounge, perhaps one of the city’s lesser known venues, is a 300 capacity club that specializes in heavy music. The stage is high, the ceiling is low, the lights are dim and the walls and floor are completely stone, brick, and concrete; adding to the grungy analog ambiance of the bands taking the stage.
The show started off with Illusion of Choice, a 4-piece outfit out of Chicago’s DIY scene, who play on bills with bands like Turquoise and Sleepwalk.
Their vocalist offered the audience to come to the stage and grab a piece of chocolate from a box he had received at work, reinforcing the intimacy of the Monday night gig. The band played a set dripping in 90s nostalgia, particularly drawing influences from Weezer’s debut and sophomore releases. The stage banter was punchy and sarcastic, with the vocalist noting, “If everyone in the world stopped using their phones, your life would still suck because you’re a loser.” The anti-mainstream tone of these notes coincided with the bands’ musical influences and their rejection of the mainstream in the 1990s.
Lifeguard, one of Chicago’s most promising up and coming bands, took the stage second. The trio, made up of Isaac Lowenstein on drums, Kai Slater on guitar and vocals and Asher Case on bass and vocals, is still entirely high school aged. Their youth didn’t fool anyone for long though — the group started off their set with a bang, Lowenstein propelling the band forward into a loud track in an odd time signature. Slater played a unique 12-string guitar, powering the band’s loud, fuzzy sound. Slater and Case delivered seamless dual vocals and even synchronized jumps, reminding the crowd that the band had their set down to a science. They rarely even stopped to speak between songs; even when Slater switched guitar, Case and Lowenstein filled the silence with a virtuosic drum and bass solo featuring a creative harmonic riff.
The band’s most recent release is a cover of The Jam’s “In The City,” an homage to their 70s and 80s punk influences, while also incorporating aspects of 90s grunge, 2000s garage rock and experimental and art rock influences like Brian Eno, exemplified in the moments of droning bass and repetitive riffs as the drums kept their ever changing rhythm. Lifeguard’s ability to combine their influences into something new and engaging continues to keep the band on an upward trajectory — not to mention their dedication to their craft.
The show’s headliner, Dazy, hails from Richmond, Virginia, though he mentioned he might enjoy playing Chicago more than his hometown. The solo project of James Goodson, the music of Dazy is like the soundtrack to your favorite coming of age movie, or the music your dad threw on in the car — it’s an unashamed 90s radio rock revival. Accompanied by band members on bass and drums, Goodson put on an energetic performance, playing a Fender Jazzmaster guitar à la Kurt Cobain. Dazy’s music has the catchiness and simplicity of one hit wonders like Chumbawamba and Wheatus, but with more heart and staying power.
One of Dazy’s newest singles, “Pressure Cooker” which was a collaboration with Militarie Gun, is reminiscent of the Breeders’ “Cannonball,” beginning with a noisy and fuzzy bass riff. Additionally, Goodson’s vocal melodies were easy to sing along with, a mark of a good radio hit. Dazy’s set finished with “Out of Body,” off of his 2022 album of the same name, which included a section of gang vocal “na na nas,” a hallmark of 90s hits, like blink-182 and Will Smith.
Dazy, Lifeguard and Illusion of Choice each proved that the 90s rock revival is in full swing, just as each band is beginning to make their mark on the rock music scene.