Tag: Entertainment

Bringing Disco Funk back to Chicago with Say She She

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CHICAGO – On February 26, Say She She lived their best ‘Disco Life’ at Thalia Hall while on their Cut & Rewind tour. The trio, consisting of Piya Malik, Sabrina Cunningham and Nya Brown got Chicagoans dancing all night, feeling the funk beats in their soul. 

I immediately knew this show would pull me completely in the moment when I saw a concertgoer dance on the balcony between the opener and the headliner. Once Say She She took the stage, the trio stood shoulder to shoulder, stepping side to side in perfect unison with striking precision that highlighted the grace of their performance style. At the same time, Brown held nothing back, throwing her head and arms into every note with an energy that consumed the stage.

The three women formed the group in 2021, being inspired over nothing more powerful than the human voice. The punk chic discodelic band have now released three records, all standing out for their eclectic mix of powerful lyrics and energy. Throughout the show, the band made it a point to speak and connect to the crowd. The three women made multiple niche references, causing lots of laughter in the crowd. “We all need a little brain rot sometimes” 

Early on throughout their set, the trio played classics like “Forget Me Not,” “Take It All,” and their top song “Prism.” This section of the show brought feelings of love, deep appreciation and a lighthearted atmosphere for the guests at Thalia Hall. Say She She isn’t afraid to be unapologetically honest with their songs. The three women captured the complexities of relationships with striking honesty, proving that communication and emotional expression are essential to any successful connection. 

Jumping into “Cut & Rewind” changed the pace of the show – it was time to bring some sass into the lyrics. Say She She describes the downsides of love and how women deserve more, urging the crowd to “hire the guy who’s gonna look you in the eye.” “Shop Boy” created a dynamic listening experience, continuing the power they brought in with the previous song “Cut & Rewind.”

One of the most notable moments of the evening was when Brown, Cunningham and Malik emphasized how important spaces like these are. “We wrote this song to remind ourselves of places of joy, and that were like minded people” Brown said. They prove that many voices can cause a movement, and that was especially prevalent when the three women played “She Who Dares.”

Say She She wanted Thalia Hall to be fully present and live in the moment – and they succeeded. Throughout the night, the trio encouraged audience members to make new friends, turn to one another and dance without hesitation. Beneath the glow of spinning disco ball lights, men and women of all ages moved together, transforming the venue into a space built on joy, connection and community.

This night was the perfect reminder of the power that live music has in bringing strangers together, even if it’s for a few hours. Through infectious energy, heartfelt lyricism and undeniable chemistry, Say She She created an atmosphere that felt both nostalgic and deeply human –  one that left the crowd feeling more connected with one another than when they arrived.

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Brazilian metal band Sepultura’s farewell show rocks Ramova Theater

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CHICAGO– Sepultura has been one of metal’s longest-standing institutions, hailing from Belo Horizonte in Brazil and forming in 1984, over 42 years ago. The band was founded by brothers, vocalist and rhythm guitarist Max Cavalera, and drummer Igor Cavalera, who are no longer in the band. The Cavalera brothers were the initial foundational force of the band and their run of albums until “Roots” in 1996, when Max left due to heavy personal issues with the band’s direction. 

In 1987, guitarist Andreas Kisser joined the band and changed the game as he had a massive amount of technical experience, which the band had not had access to before his joining. Kisser has been the core of Sepultura since their album “Schizophrenia” and has defined the band with his immense talent and versatility in lead guitar playing and heavy riffage. 

After Max quit, he was replaced by Derrick Green from the Cleveland Hardcore scene, who was first on their 1998 album “Choke.” While many metal fans associate Sepultura with the Cavalera brothers, Green has now been in the band for almost 30 years and has carved his own musical legacy with the band in a historic way. 

While Sepultura plays their historical back catalogue, they also bring their more modern songs to the table, making them one of the most versatile live metal bands. Joined by their long-time bassist Paolo Jr and new drummer virtuoso Greyson Nekrutman, Sepultura is bowing out after 42 years but not without a final world tour. 

The Chicago leg of Sepultura’s farewell tour hit the Southside’s Ramova Theater, which featured openers Tribal Gaze, Biohazard, and Exodus. Every band tore the house down before the main act. Tribal Gaze brought their brand of modern heavy death metal. Biohazard put on a very engaging show with their hardcore and in-your-face Urban Discipline. Exodus also put on an amazing show featuring Slayer’s late-career guitarist, Gary Holt; they rip a very classic and authentic style of thrash metal. 

Sepultura’s stage set was very cool, with the tribal backdrop and the heightened drum stage highlighting the insane ability of Greyson Nekrutman. The band started with their track “Inner Self” off the phenomenal 1989 release “Beneath the Remains.” Going from Inner Self into the title track, Beneath the Remains, at the very start gave the classic Sepultura fans the heavy, intense, and aggressive riffage they love from the band’s early career. 

Green sings all of Max’s parts from the first 10 years of Sepultura with finesse, as he has been performing them on tour for longer than Max ever had with Sepultura. The set continues into more modern cuts like 2020’s “Means to an End,” which features some potent political rage from Green’s lyricism and great riffage from Kisser.

The band also released a farewell EP entitled “The Cloud of Unknowing” as their last piece of music together. They played a track called “The Place” off the EP, which has a more brooding and methodical energy to it, which is a good moment of reprieve from the incredibly fast and heavy riffage of most of their songs. The band also pays tribute to their tribal Brazilian Heritage with a lot of their music and this included a traditionally written tribal song, “Kaiowas,” being played with a live drum section. 

Paying homage to their tribal roots has always been a focus of Sepultura’s songwriting, but it’s awesome to see ceremonial-style drum lines during their otherwise heavy metal set. The band rips through more songs on their 23-song farewell set, which lasted over an hour and a half. This felt like a dream come true for me as a diehard fan, getting to see pretty much every song I have ever loved from them. Especially “Dead Embryonic Cells” off of their arguably best album, 1991’s “Arise.” 

The band also played timeless hits off of their 1993 masterpiece “Chaos A.D” including the riotous “Refuse/Resist.” Sepultura has always taken a staunchly Anti-Government, Liberation-First focus with their music, which makes their lyricism remain incredibly potent in times of impending fascism. The message of self-liberation has also made them popular with fans of hardcore and with the wider media, as they were always authentic in how they presented themselves. 

The band closes their set with their undoubtedly biggest song, “Roots Bloody Roots” off the aforementioned “Roots” album in 1996. The rage of this track is incredibly potent as it rips into a furious breakdown before closing off their farewell set. Sepultura managed to have a 40-plus-year career of constantly innovating and delivering a message of freedom. Their musical feats stand among the most impressive in the genre of metal, and witnessing them bow out one more time was an absolute honor.

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Chicago’s love for Demi Lovato is “That Deep”

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CHICAGO– During my eighth birthday party, my parents surprised me with a video announcing that I would be attending my first concert to see Demi Lovato. Watch the video: I screamed, I cried – it actually makes me emotional to watch it now!

I have loved Lovato since I was four years old watching her as Charlotte on “As the Bell Rings.” Enter “Camp Rock” and “Don’t Forget,” along with two older sisters who were also obsessed with her, and suddenly, I was a #1 fan.

In October 2025, Lovato released her ninth studio album, “It’s Not That Deep.” With a mainly dance-pop sound, it stands as proof that Lovato can adapt to any genre. 

Demi Lovato came to Chicago on Friday, May 1, 2026, and I knew I couldn’t miss it. 

The concert opened with a performance by Adéla, who deserves her flowers beyond words. I cannot remember the last time I was so deeply captured by an opening act; her vocals, dancing, and set brought in her ballet background to electronic pop. I’ve been listening to her setlist non-stop ever since.

I was joined for this show by my two sisters and our childhood friend; we all grew up loving Demi Lovato, so it felt right to capitalize on our nostalgia and go together. We even made a TikTok making our predictions for the surprise song (SPOILER ALERT: one of us got it right!).

There are very few live performers like Lovato. She’s known for her powerful vocals and wide range, and they truly know how to capture an audience. She knows her fans; she knows what they want to hear and see.

The setlist for the “It’s Not That Deep Tour” checks every fan’s boxes: it plays the majority of her new album, some of her best throwbacks, and includes a surprise song.

I love the element of having a surprise song! I love the concept of having something special at each show (ie. Sabrina Carpenter “Nonsense” outros) that keeps the fans on their toes. 

It’s honestly hard for Lovato to go wrong with the surprise song of each show. They have so many hits that resonate with all kinds of fans. I was mainly hoping for a throwback from the first three albums to truly recreate my first concert experience. Lovato picks a guest in the crowd to open an envelope with a number referring to which era she chooses a song from. The fan in the crowd of the United Center pulled a “2,” referring to her album “Don’t Forget,” as “Camp Rock” stands as “1.”

When I say we screamed, I mean I am surprised our vocal chords didn’t fall out. Knowing we got a song from the first album already felt like a win, and when they said the words “Get Back,” it was over. That was the song one of my sisters mentioned in our pre-show TikTok, and she was immediately bawling.

“Get Back” is like a heartbreak song gone rogue. By taking us to Lovato’s pop-punk days, we’re given the perfect scream song that we can sing while smiling. 

Hearing songs like that made me more emotional than most. Yes, I was sobbing during “Ghost,” but I was nearly inconsolable by “Skyscraper.” It brought me back to my childhood, and I couldn’t stop thinking about how this is the person who sparked my love for live music, who I grew up watching on the TV, who I looked up to my entire life. She is so strong, and it is amazing to see how far she has come.

It is clear that Lovato has a hold on Chicago fans. When the music would stop, the arena would buzz with the nonstop screams from the crowd. At one point, the cheering went on for so long, that Lovato’s talking was cut short to go onto the next song. So, yes, Chicago’s love for her is, in fact, “that deep.” My sisters even ran into a fan who drove from Indiana to dance with fellow “Lovatics” in the pit.

Demi Lovato’s “It’s Not That Deep” tour is like living proof of Lovato’s undeniable success. Releasing their NINTH studio album is an accomplishment in and of itself, but to have a crowd of all ages screaming every single word to her discography, which spans over nearly two decades, is a different kind of achievement. Their impact as an artist is generational, and I got to see it first hand with my sisters, myself, and the girls behind us, who couldn’t be older than 12 years old.

I am so excited for Lovato as she proceeds on this amazing tour and continues to make an impact with her music.

Listen to “It’s Not That Deep” on Spotify and Apple Music.

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“Breaking Down the Fourth Wall” They might be giants at Vic Theatre

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CHICAGO– At the beginning of They Might Be Giants’ (TMBG) opening set at the Vic Theatre on Friday May 1, frontmen John Flansburgh and John Linnell joked that they were going to “put up the fourth wall” by opening for themselves. And then they did.

Beautifully absurd, wonderfully curated, and I couldn’t tell if what I was witnessing was masterful design or perfect synergy. In between numbers, band members would talk amongst themselves, and occasionally to the fans, creating what felt like intimate conversations and a glimpse at what it really means to create music. Their bizarre and comedic remarks complimented the lyrics and provided moments of laughter among the audience. The fans were completely dialed in to the frequency of the show, so much so that TMBG was able to hold five minute conversations and moments of near silence while maintaining the crowd’s full attention. 

 TMBG had an insane breadth of instrumentation including two guitars, bass, drums, keyboard, clarinet, accordion, triangle, trumpet, trombone, saxophone, a choir, and giant stick. They played two halves with the first focused on their most recent release, “The World is to Dig” and songs from “Lincoln” an older album in TMBG’s discography. Not only did they highlight some lesser known songs, they also played adapted versions of their most popular music including a rendition of “Istanbul (Not Constantinople)” with saxophone, trombone, and trumpet solos that lasted nearly ten minutes and left members of the audience in tears of joy. 

During the second half of their performance, technically the official show, TMBG played additional songs from “Lincoln” and “The World is to Dig” as well as pieces from across their repertoire including “Birdhouse in Your Soul,” “Wu-Tang,” and “Stuff is Way.” This portion of the set was complimented by fun visuals including absurdly close live videos of the band performing, and cartoon animations. 

The show ended with a second encore of “Doctor Worm” that had people singing and dancing, even after everything had wrapped up. They Might Be Giants has been producing music for over four-decades and leaves fans hopeful this won’t be the last time to be a part of one of the most unique concert experiences. 

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“One Shot to Do It All” Biffy Clyro lights up Chicago 

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CHICAGO– Blue and orange lights flooded the stage. There were murmurs in the crowd “this is going to be a special show.” 

Biffy Clyro is a Scottish band that was formed in 1995 by Simon Neil, Ben Johnston, and James Johnston. On Sunday, April 26, they played at the Chicago House of Blues as a part of their Futique tour. The show was bittersweet as fans of all ages shared excitement to see what could potentially be Biffy Clyro’s final performance in Chicago. 

The show opened with Raue, a small but mighty grunge duo whose energy was enchanting. Singer and guitarist Paige Kalenian perfectly set the stage for Biffy Clyro with a blend of spirit and authenticity. Her stage presence was magnetic as she struck the perfect frequency of engaging with fans, dancing, and playing music. By the time Raue ended their set with “Karma,” the Chicago House of Blues was packed with a patiently eager crowd. 

Biffy Clyro opened their set with a song from their Futique album “A Little Love.” With powerful guitar chords played by Neil, drums by Johnston, bass by Johnston, and guests Mike Vennart on guitar and backing vocals and Richard Ingram on keyboard, the band was melodic, thrilling, and brought a powerful message about perseverance. During this turbulent time, there was comfort in gathering with a community to appreciate artistry, especially the Chicago House of Blues, whose mission is to celebrate the power of music. 

The set included songs from their entire discography, centering around Futique, released this past September. The energy grew after each number, with notable inclusions of “Hunting Season” and “One Shot.” Biffy Clyro’s performance was expertly complimented by strong lighting, and clear sound that elevated their studio work. 

I left the show that evening feeling inspired and empowered by my community. To anyone bogged down by the state of the world, maybe it’s time to see Biffy Clyro before their tour wraps up in August.

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Lily Allen brings the West End to Chicago

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CHICAGO, ILLINOIS – APRIL 03: Lily Allen performs West End Girl at Auditorium Theatre on April 03, 2026 in Chicago, Illinois. (Photo by Emma McIntyre/Getty Images for Live Nation)

CHICAGO– Lily Allen and David Harbour’s tour of their West Village apartment is my favorite Architectural Digest home tour. In it, viewers see the layouts and patterns that they specifically designed to fit their home. Lily Allen would never, ever imagine using those exact designs to dress the set for her “West End Girl” tour. Following the release of the album of the same name, Lily Allen kicked off her North America tour in Chicago for her two-show stay at The Auditorium Theatre. 

The London-born singer based the album around her own personal relationship, highlighting just how messy love can be. In it, we’re introduced to her experience with an open marriage, one sided devotion, and proposed the question of, “who the f*** is Madeline?” While Allen has had many other hits like “Smile,” “F**k You”, and “LDN,” she only performed “West End Girl”  front to back. 

While some fans came anticipating to jam out to the older tracks, the setlist was condensed just to the songs on the album. The show opened with the title track “West End Girl,” having a re-enacted phone call with her ex as he tells her about how he wants to change their relationship to an open one. From here, we go directly into the rest of the album, kicking it off with “Ruminating.” 

CHICAGO, ILLINOIS – APRIL 03: Lily Allen performs West End Girl at Auditorium Theatre on April 03, 2026 in Chicago, Illinois. (Photo by Emma McIntyre/Getty Images for Live Nation)

The party didn’t stop there, while the comparable older hits are considered her most fun, the album has some very upbeat songs, like “Nonmonogomummy” and “Dallas Major.” During the show I would scan the crowd while I was mid-dance party and see everyone doing the exact same half-dance-half-headbang move that I was doing. 

From here, the show goes into different sets, props, and songs. From an exact replica of their shared room to a trail of receipts of things that her ex bought his mistress, the performance was nothing short of entertaining, as well as juicy. 

She ended with “Fruityloop,” the album’s powerful closer about acceptance and making amends with things that are out of our control. A stagehand brought her flowers as the neon pink “West End Girl” sign gleamed over her head, as well as a beaming smile from the accomplished performer.

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Too Much Motion—Jordan Ward sells out House of Blues

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Former background dancer takes center stage for the Apartment Tour

CHICAGO—On a cold, flooding night in the Windy City, nearly 2,000 people braved the storm to pack into the House of Blues and make it home for the night.

Jordan Ward, a rising star in the R&B scene known for his chill, alternative sound, made a stop in Chicago on March 15 for “The Apartment Tour,” highlighting his most recent and third album “BACKWARD,” released in February.

A dynamic, vibrant project that bends genres and calls on influences of soul, funk, and quiet storm, “BACKWARD” builds on the concepts of his 2023 album—aptly named “FORWARD”—and presents a fresh but familiar alternative R&B sound. Touching on things like personal growth, financial insecurity, and change, it’s a refreshing honest record that’s reflective, mellow at times, but incredibly engaging and easy to repeat.

Ward’s sold-out performance at House of Blues was very similar. With a stage decorated with upholstered chairs, plants, lamps, and a kitchen island that doubled as a DJ stand, Ward brought the “Apartment Tour” to life, creating a relaxed, intimate environment even as we were packed into the venue.

He started his set with “STRANGER,” the first song on the album and a slow, dreamy reflection on the all too common feeling of a lack of place and direction. A more vulnerable track for Ward, it also showcases his voice by employing a lower register and less vocal effects, really highlighting the growth throughout his work, seen also in the more lo-fi tracks like  “JUICY,” and “CHANGE OF SCENERY.”

Moving into more groovy and energetic songs like “ROSS FIT,” “Lil Baby Crush,” and “FAMJAM4000,” Ward lit up the crowd, who sang along as he bounced around the stage, intent on engaging with the whole house.

Ward began his career as a professional dancer, working with icons like Janet Jackson, Usher, and Beyonce, and it shows. He has a warm, charismatic stage presence and an impressive stamina, dancing, jumping, and moonwalking about the stage throughout the show. To be fair, anything would feel like a cakewalk after performing at BeyChella.

Even during “SIDEKICK,” when he played Joyce Wrice’s verse in full, Ward still had that presence and connection with the audience, swaying and singing along like he was down on the floor with us. 

I think that’s what’s so endearing about Jordan Ward. He has such a dynamic and commanding stage presence but maintains that connection to the audience, building an atmosphere that really felt like you were in an apartment show. 

An apartment show with approximately 1,800 people, that is.

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Rachel Bobbitt: Making Strides in “Swimming Towards the Sand”

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Rachel Bobbitt is beautifully honest, in song, and in person. I had the honor of chatting with her in November, just before her tour with Tim Baker.

A girl from Annapolis Valley in Nova Scotia, she has a generational knack for music.

“The first time I ever sang in front of anyone was at a school talent show when I was in grade one,” she said. “I just remember rehearsing with [my mom], and she played the piano for me, and it was the first time that I had rehearsed a song to sing, and she was the one who led me through all of that.”

In October 2025, Bobbitt released her first album “Swimming Towards the Sand.”

“I knew that I wanted these songs to feel cohesive,” she said. “Not like a collection, but like a very intentional sort of journey through different songs.”

It’s a touching series of motifs surrounding memories, the ocean, and a sense of home. Bobbitt told me that she actually found some of her inspiration for the album from the film “The Lighthouse.”

“When I was watching it, I was thinking, this looks so familiar to me,” she said. “And it was actually shot in Nova Scotia.”

She mentioned the black and white shots and how they felt timeless to her. It’s safe to say she’s doing the same with her first album.

Rachel Bobbitt is a truly down-to-earth individual. She talks like you’re chatting over coffee, and leaves room for conversation. It was a pleasure to hear about her producer, collaborators, and her teaching. Bobbitt hosts music lessons for children and adults and gushed about her experience.

“Kids are so uninhibited, and they are just exploring, trying things out,” she said. “And they don’t care about sounding good or polished. And then with adults, so much about a singing lesson is just taking down walls and getting through mental blocks.”

Along with that, she beautifully explained what it means to her to be pursuing music as a career.

“[Music] will always be here, which is very reassuring,” she said. “I think things can feel out of your control in so many ways, but at the end of the day, I will never lose the ability to create.”

Of course, I had to pick her brain about some of my favorite songs of hers. First, is the one that introduced me to her, “More.” It is so inspiring to see and hear someone be so open about a topic that can feel so hard to discuss. Then, I mentioned  her cover with Justice Der of “Forrest Gump” by Frank Ocean. Bobbitt reflected on the cover published in 2018.

“I’m just thinking about us as our 18/19 year old selves,” she said. “And being so awkward around each other, and people still request it at our concerts.”

When we first spoke, Bobbitt was coming up on opening sets for Tim Baker. Later this month, she’ll be performing at JunoFest in Ontario. While she enjoys interacting with fans online, she loves an in-person experience.

“You are getting a one-of-one performance, which is really exciting,” she said. “And talking to people afterward just feels so tangible and real in a discipline that I think can feel very nebulous.”

Listen to “Swimming Towards the Sand” on Spotify and Apple Music. Sending many thanks to Bobbitt and her team for this opportunity to hear from someone so talented and humble!

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Sword II and The Fight to Keep Indie Rock Alive

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CHICAGO– A couple months back, my father and I were having a conversation about Billy Corgan’s recent street interview on the music show “Track Star.” One of the many bridges of our Gen X and Zoomer divide is the love of sports, Game of Thrones, and especially 90s alternative music. Growing up we would embark on laborious road trips to the great state of Michigan, and as you can imagine, my younger self gloomed over wasting 4 hours of my precious time. 

But my father never left a dull moment to occur. He had a full iTunes catalog of countless bands he listened to growing up. Hearing Nirvana’s thrashing drums, Weezer’s earworm melodies, and the wall of sound guitars of The Smashing Pumpkins’ “Mayonaise” planted a seed inside my impressionable self that never left me.

Returning back to me and my father’s conversation, we were discussing one of the questions Billy Corgan was asked, “Who will be the next Nirvana?” My father asked me this very question, considering that I had a PhD in both ’90s alt rock and today, so I contentedly said, “I have no clue. ” And well, no one has a clue; electronic and pop music hold the crown that once was donned by the rock stars of the past. 

But what I do know is that many Gen Z’ers are hungry for that band, and many aspiring musicians are gunning for that position on the mantle. A growing indie band from Atlanta, Georgia, is generating the right type of noise that might answer this question sooner than later. 

On Tuesday, Feb. 24, the aforementioned band, Sword II, showcased their young and unbridled rock energy at Schubas Tavern. After crowd-warming performances by groups Con and Total Wife, Sword II took the stage in front of a roughly all Gen Z crowd, with the few exceptions of an older man that could be mistaken as a musician’s family member. The three-headed-vocalist act were dressed in dresses and a suit, resembling a prom scene from a punk-romcom. After the bells and whistles from fans at seeing the mere sight of them, the show commenced.

Spacey synths engulfed the thick air; Sword II had a trick up their sleeve, a sampler that filled the dead air in every moment of their set. The intro consisted of blaring synths that wobbled expeditiously in a rhythm that felt like a rocket ship’s launch. As the electronic specs and sounds became ever so chaotic, the band entered the scene in a frenzy. Wailing feedback, screeching pick slides, and clashing cymbals introduced Sword II in their truest form. 

Guitarist Travis Arnold and bassist Mari Gonzalez sang softly into their mics after the rapture ended. “Dark, imprisoning me.” Their vocals bounced off each other flawlessly, with Arnold serving as the tenor and Gonzalez as the soprano. Having one singer is already an arduous task for a band to take, but Sword II seemed to master their craft in implementing different voices. The other guitarist, Certain Zuko, is the most dynamic, with Kim Gordon-esque vocals and bellowing screams capturing the most attention.

In contrast to their apathetic 90’s counterpart, Sword II relished in the energy of the crowd, not afraid to interact and control them on a whim. In multiple instances, the band implored the audience, with waving hands, to move around and to just live in the moment. Being a Gen Z’er, I can attest that it is always a crapshoot of the type of audience you receive when a younger crowd shows up. 

The fear of an awkward deer-in-the-headlights type or the please-notice-my-niche-recording-device type. Against all odds, Sword II managed to squeeze past both notions and curated, all on their own, an audience that reciprocated and enjoyed every moment. 

The final song, “Under the Scar,” showcased Zuko’s lead songwriting chops as their most lush release—in my opinion—to date. The headbopping crowd was hanging on every word she either hushfully spoke or screamed. From the back of the crowd, where I was reserved, I noticed that no one was on their phones, drunkenly spewing to their friends’ ears, or staring into the subspace. A captured attention that sparked a feeling in me that this feeling can only get bigger

Whether or not we’ll see rock return to the heights of its golden years, I know for sure that our generation will carry the torch that was lit by the greats; Sword II will have a great impact on that. 

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Sudan Archives Stunts with Strings at Thalia Hall

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CHICAGO – On Thursday, Feb. 5, singer, songwriter, and violinist Sudan Archives performed a captivating and electric set at Thalia Hall. Touring her latest album, “The BPM,” across North America, she brought her bold, hybrid, and enthralling persona and art to a crowd of engaged, enthused fans. 

When I walked in about thirty minutes after doors opened, I was in awe of the venue, as it was my first time visiting the Chicago staple, but the intimate, ornate space reflected what I knew about the creativity of Sudan’s artistry. The growing crowd swayed and cheered throughout a powerful opening performance from singer Cain Culto and a lively DJ set from artist Dreamer Isioma. 

At around 9:50pm, the crowd hushed when Sudan sauntered onto the stage, glowing in bright blue light, crossing to the front left corner to “log on” onto her computer, and fiddling with her elaborate set up. 

Sudan stepped up to the platform at center stage, standing as a strong silhouette showcased in deep red lighting. As she brought her violin under her chin at the start of “DEAD,” the opening track from “THE BPM,” the crowd came to life, throwing their hands, screams, and voices up into the tall ceilings of the concert hall. Sudan finally brought her features into view in a mix of red, blue and purple lighting, donning a cool-toned, muscle anatomy bodysuit and white contact lenses.

Sudan brought her mix of house music, pop, techno, and R&B as she commandeered the stage alone. Her presence filled up the entire space, and she effortlessly navigated different equipment and instruments at different corners of the stage, dancing and engaging with the crowd and towering over when she stood on her platform. The infectious energy from her and the crowd pulsed fervently throughout the set as she performed songs mostly from her most recent project, with songs from her second album, “Natural Brown Prom Queen,” interspersed. Sudan especially belted the chorus of “Ciara,” singing “I’ve got a cousin in Chicago” and shouting out her family. 

When she performed “Freakalizer,” she surveyed the crowd and asked “where are my freaks at?” and the crowd lost their minds; everyone thrust themselves into the music. OneThe lucky fan got to come onstage and dance on the platform during “MY TYPE” and “A BUG’S LIFE” while Sudan and the crowd hyped them up, screaming along “that’s my type!”

I was inspired and overjoyed when I stepped out into the cold night following my first Sudan Archives show. As a years-long casual fan, I am excited to see how Sudan continues to evolve and what and who she brings with her.

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