CHICAGO | On Tuesday, March 24, dark and ethereal singer-songwriter Chelsea Wolfe, played the decadent Vic Theater alongside the droning tons of metal duo Divide and Dissolve. Chelsea Wolfe, born in Northern California, has pioneered her unique style of metal-influenced rock music since the late 2000s/early 2010s, becoming an iconic figure in Goth culture. Wolfe’s 2024 record, She Reaches Out to She — released on February 9 of this year — is one of her most esoteric and ambitious releases as it showcases her delving into trip-hop influences with syncopated percussion over vivid lyrics. Wolfe’s incredible performance at the Vic solidifies her as a generational talent, who continues to evolve in sound and production.
The crowd at the Vic was filled with generations of alternative music fans in the city, it felt like a homecoming for lovers of Gothic music and culture. The stage was set by Divide and Dissolve — a thematic rich and politically motivated duo based in Australia, that have a distinct focus on indigenous cultures and colonization around the world. The political message of the music resonated with the Vic audience who broke out into chants when guitarist/saxophone player Takiya Reed referenced both American colonization and the rising death toll in the Gaza Strip. Their music channeled imagery of drone and stoner metal groups in the likes of Boris and Sleep; with distortion-soaked chords playing over the hulking drawn-out percussions from drummer Sylvie Nehill. Being one of the youngest people in the crowd, I quite enjoyed Divide and Dissolve’s unique sound, as they found themselves in some brilliant and rich musical pockets during their set.
Following Divide and Dissolve, Chelsea Wolfe and her band arrived on stage they were met with massive applause from the audience. When looking at the faces around me during this performance, it was obvious to see just how important Wolfe is to so many individuals. The set itself mostly included cuts from the new record and featured heavenly falsetto vocals layered over heavy and dense instrumentals. Faces were lit up as Chelsea Wolfe powered through her dynamic set. The night’s theme was full-audience immersion, made possible by the incredible lighting during the performance further reflecting the sentiment and emotional energy of each song.
Wolfe began the show solely on vocals delivering note-perfect singing, over her band’s captivating and somber textures, pulling out her guitar. The drum sound was incredibly electronic despite it being an acoustic kit, which I found interesting. The sound quality of the venue was also worthy of note, as I got to watch the audio engineer work toward the end of Chelsea Wolfe’s set. While I had been a fan of Wolfe’s music years ago, specifically her record Abyss, seeing the songs live made me delve further into her recorded material. It was a privilege to see such an influential and unique artist at their very best — and although it was my first time — it definitely won’t be my last seeing Wolfe perform.
Make sure to check out Chelsea Wolfe’s tour dates in your city! Thanks so much to the Vic Theater and Pirate Radio for getting me out to the show.
Thank you so much to the Vic and Pirate Radio for sending me out to cover this show, you can catch Chelsea Wolfe + Divide and Dissolve in a city near you.
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!
CHICAGO | Ryan Beatty, a Central California native and former YouTube cover-era heartthrob, touched down (or rather, parked) at Thalia Hall in Pilsen, on March 4, an oddly calm, humid and warm evening in the city after traveling from Toronto. Hundreds of people lined the block on Allport Street, anticipating having their heartstrings pulled by Beatty’s third and highly acclaimed studio album Calico, live and in concert.
The album immediately establishes two central themes: California and loneliness in its melancholic opener “Ribbons.” Beatty brings the same soulful and sad, yet eternally grateful vein to the stage that the song elicits – “It’s out of my hands / What can I tell you / I’m not losing it / I’m just having a laugh.” Most likely uncoincidentally, this song is also the show opener. He is doing what he loves after a career start that left him feeling empty and out of his own body. In 2011, Beatty was deemed “The next Justin Bieber” by J-14, which should have made any aspiring popstar at the time absolutely elated, but to Beatty, it was simply not him. In 2016, he came out as gay and decided he would make music that challenged everything the public thought they knew about him.
In 2018, his debut album Boy in Jeans was released, followed by his sophomore album Dreaming of David in early 2020. While he is proud of how each album is its own specific identity, Beatty is most proud of Calico, which he wrote as a well-rounded late-twenty-something living in Los Angeles, reclaiming his childhood life. Born in Clovis, California, where everyone wears cowboy boots and drives trucks—Beatty thought that he could never be like those people as he always felt out of place. This latest project sees Beatty falling into a sort of avant-garde country sound and he even currently drives a truck. He is clad in blue jeans and cowboy boots during every performance and has a fan-favorite lyric “Chewing licorice in your cowboy blues.” He’s managed to go full melancholic, indie cowboy.
I honestly had no idea what demographic to expect in the crowd, given Beatty’s childhood popularity, his time spent with hip-hop boy band BROCKHAMPTON and his current music style. But as 7 PM swiftly approached, I had the pleasure of speaking with two long-time Beatty fans who were first in the general admission line, Lilly and Kevin. Kevin spoke highly of Beatty, noting that he is “[his] favorite vocalist” and that he connects most with how he “conveys such emotion and depth, not only with his sound but also with his lyrics,” especially through Calico, where listeners can “feel everything he has to say.” Lilly first listened to “Powerslide” from Beatty’s first project, and appreciates his “raw talent” that his recent work displays. I found that most fans casually enjoyed his work through BROCKHAMPTON and early projects and stayed because of Calico. I also met with Sophia, a fan since Beatty’s earliest days who sat before the show in seats lining the venue’s general admission floor, observing the buzzing scene. Although she’s drawn to all that Beatty has to offer, it’s Calico that specifically was “the first time [she] actually [got] the visceral feeling of his songs.”
Beatty’s show began promptly, as he has no opener for this tour — it is simply himself, accompanied by his band which includes two guitarists, a pianist, two synth players (one who doubles as a bassist), and a drummer. The show opened with an instrumental cover of Sufjan Stevens’ “Death with Dignity” on piano — which in hindsight may have been an ode to Stevens’ connection to the city of Chicago. Beatty took the crowd through the entirety of Calico, standing only during the emotionally charged ballads “Bright Red,” “Bruises Off The Peach” and “White Teeth” which served as his pseudo-closer. But for the greater part of the show, Beatty sat with his eyes closed, on a stool; as if he were trying to remain at the same level of the sunken pit. It added to the sensitive nature repertoire of his songs, as well as the integrity placed behind their meanings.
He feels these songs wholly and wants his audience to feel the same. Amongst the seated songs was a mashup of “Haircut” and “Powerslide” from his first album that included an untitled song he wrote while on this tour in Boston that he just recently added to the setlist at the show before Chicago. The song notes his thoughts during the tour, by including lyrics like “California cries / while I’m in Massachusetts / thinking of you tonight.” He often says how grateful he is to be able to do what he does, and that even though his eyes are closed, he appreciates the crowd “singing loudly + listening quietly” and “catch[es] glimpses of it all.”
Every arrangement was embellished with vocal runs, a testament to the true vocalist he is. The slide guitar solos and sweeping piano melodies soared over a quietly choral crowd, while the use of brushes by his drummer added to the intimacy of the performance — just loud enough to be heard, but not enough to overpower. My favorite song performed was “Casino” off of Dreaming of David. There is something so wonderful about hearing a song for the first time at a live performance. I took a short video of the song to send to my mother at home (she is in California, which connects me even more to Beatty in a way), and that 36-second clip has replayed in my mind ever since. He closed with Calico’s closing song “Little Faith” for which he also stood and at the end of the song’s 4-minute run, the band stopped playing, leaving the paired vocals of Beatty and his onlookers ringing through Thalia Hall’s beautiful interior. (He did note during the show both the “beautiful crowd” and the “beautiful room”).
When leaving the show, I was greeted by a warm thunderstorm and Ryan Beatty himself, leaving for his next location. Both were like the cherry on top of a perfect show. Never have I felt like the crowd at a show embodied the artist as much as Beatty’s did. No crowd has been so attentive, so kind, so engulfed by what this blossoming artist has to offer, and I am so grateful to have experienced the unusual delicacy that Beatty has brought to both the stage and to the listener. I feel very moved by witnessing this performance, and if you have not done so already, have a listen to Ryan Beatty’s Calico– it is life changing.
CHICAGO | Growing up in Michigan, two things are taught to you from a very early age; number one is win or (more likely) lose, you must always root for the Detroit Lions. Two is that Detroit-style pizza is superior to all others. Given that the state’s loyalty to the Lions has yet to pay off with a Super Bowl appearance, it is fair to say these teachings may have some minor flaws. When I first arrived in the Windy City, I didn’t give Chicago pizza the time of day. Some may call my lack of interest naive, but almost four years later, I see it as downright foolish. I’m happy to say that I have since reformed and I am a certified Chicago pizza enthusiast. So, given my shared love of Radio DePaul and Chicago slices, I present to you my list of all of the Chicago pizza places I’ve tried as songs about Chicago.
Gino’s East
With a cheese pull guaranteed to get your mouth to water, it’s no surprise that Gino’s East is beloved by so many. Although I wish the deep dish was a little crispier, Gino’s saving grace is its flavorful sauce. Plus, its Mag Mile location makes it feel like an extra Chicago-y experience. Because of this, the comfort you’ll feel after Gino’s East can be further relished by putting on “To Chicago”by Ciaran Lavery. Just watch out for tourists and you’ll be in store for a wonderful meal.
Lou Malnati’s Pizzeria
It is with a heavy heart that I must admit that I don’t understand the hype of Lou Malnati’s. It may be controversial to say, but for me, a good deep dish is all about the sauce… and the time I went, the sauce was not saucing. It wasn’t justlacking in flavor, but also simply mediocre and bland. I genuinely do respect Lou Malnati’s and all the passionate rants people go on about how it’s the best, but like howSurjan Stevens said in his song “Chicago,” I just get sick of hearing it sometimes.
Homeslice
Come on, I couldn’t talk about pizza as a DePaulian without mentioning Homeslice. Is it very Instagram-able in a way that makes me slightly uncomfortable? Yes, totally. Is it also…. delish? Yes, totally. Much like the song that is blowing up on all of our feeds right now, Homeslice is the beloved song “End of Beginning” by DePaul’s very own Djo.
Professor Pizza
Just thinking about Professor Pizza’s dollop of whipped ricotta plagues my stomach with hunger. With toppings like shaved garlic and braised leeks, it’s a pinkies up kind of pizza that’ll make you want to waltz. Professor Pizza is a little slice of romance that can be summed up by “Ghost of Chicago” by Noah Floersch.
Giordano’s
Even though you’ll be absolutely stuffed to the brim after a slice or two, you cannot go wrong with Giordano’s famous stuffed pizza. It’s the type of pizza that makes me feel lucky to live in a place that strives to push the socially accepted cheese-per-slice boundary. Complete with dramatic stomach rumblings of indigestion and a long trip to the bathroom, the feeling after a Giordano’s visit sounds like “Chicago” by Flipturn.
Pequod’s Pizza
Pequod’s made me fall in love with Chicago-style pizza. From the caramelized crust to the crispy yet airy cheesy edges, a slice at Pequod’s is a masterful bite of pure bliss. Full of Chicago references and a cheerful hook that will make you want to skip to the El, the euphoric feeling that Pequod’s Pizza brings is best summed up by “Angels” by Chance the Rapper —- because let’s face it…, Pequod’s is truly so magical that you feel like you died and went to heaven with the angels.
There are still loads of slices in Chicago for my taste buds to explore, but I can say with full confidence that Chicago pizza makes my heart sing. Well, not quite as much as Jet’s Famous Ranch does…. But that’s a joy only made in Mich. Suck it, Chicago ranch.
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!
CHICAGO | Despite minor wardrobe malfunctions, Tkay Maidza’s concert at Lincoln Hall on February 16 was fun and light-hearted. The Zimbabwe-born, Australian-based artist blends rap, electronic and dance-pop seamlessly. With hit collaborations with JPEGMafia and Flume, Tkay furthered her unique and genre-bending sound in her 2023 album Sweet Justice.
As the sixth stop on the “Sweet Justice North American Tour,” Tkay Maidza proudly sported a Chicago-based designer, @rockytheshop, acknowledging the rich art history that continues to thrive in the city. She credited Chicago as a “hall of fame of music,” citing Westside-based rapper Saba as one of her current favorite artists.
Touring with friend Pia Basilio, known for being a dancing DJ, helped energize the crowd during a varying setlist. Tkay Maidza’s concert started with high energy as she immediately led with a remix of her hit “24k” and Tag Team’s 1993 hit, “Whoomp! There It Is.” A flowery mic stand marked the transition to down-tempo, reflective songs. While addressing expectations to make “cute and bubbly” music early in her career, she mentions wanting to make music that sounded like “death.” “Awake” was the first song that actualized her ambitions, and her flow was incredible all night.
Tkay Maidza ferociously performed “Kim,” loosely inspired by an adventurous cartoon character with the same name. She closed the show by saying, “You guys are my besties,” emphasizing making her parents proud, breaking generational curses and growing her life ethos. Tkay Maidza left the stage after signing a fan’s vinyl record and taking a selfie on a fan’s phone, exuding a genuine appreciation for her fans.
Her Rico Nasty-style rage matched with a Doja Cat-like stage presence inspired me to make a playlist mirroring her setlist. I included some of my favorite songs from her and similar artists, including Amaarae, Bree Runway and Tinashe.
Stream Sweet Justice now and channel your inner dancing diva with Tkay Maidza-inspired tunes.
CHICAGO | A DJ setup sits upon an empty stage, all basked in red and blue lighting. Attendees trickled in as the night approached 10:30 p.m. After some waiting, the audience is finally introduced to the man of the hour: Asha Imuno.
The California native hosted a listening party earlier in the day for his debut album, “PIN AND NEEDLES,” at Classick Records. Imuno’s performance served as a secondary listening party as he performed various songs from his debut album and some of his hits.
Throughout the night, Imuno continuously spoke to the crowd in between songs — at one point, even walking through the crowd at one point.
Before stepping onto the stage at Sleeping Village, he stopped by iLLANOiZE Radio to speak about his new album and upcoming performance. During the interview, he describes how he can balance his artistic expression and personal experiences.
“I think a big part of it is not giving it too much thought, and trying to really capture the feeling,” Imuno said. “What’s organic tends to reflect the most reality.”
That sentiment rang true throughout his performance as he once introduced a song by asking the crowd if they had ever f—ked up before. He also poked fun at how cold the city was, quipping that he was performing in a coat.
Imuno doesn’t shy away from the intimate setting and uses it to connect with the crowd; as the anticipation for the official release of his debut album can keep one on the edge of their seat, especially after his performance at Sleeping Village. Hopefully, it shines bright like the red and blue stage lighting.
CHICAGO | Paris, France based band Oracle Sisters made their stop at Schubas Tavern in Chicago back in September on their first North American headline tour. Their debut album Hydranism was released onto streaming platforms earlier this year in April, and the band took the beginning of the autumn season to tour the United States, playing their album in various cities across the country. With touring in new cities such as Chicago, the band uses their time to connect further with their audience. I got to chat with the band about their experience touring in America and the creation of their album.
“America is the land of the free…we’ve enjoyed everyone singing along on this tour! It can happen in Europe too, but sometimes because of the language barrier in some countries they might know the words less,” they said.
Being foreigners, there is much to explore in America, especially in those cities the band has never toured previously.
“Discovering new small towns on the way to new big towns, enjoying American cuisine (which seems somewhat novel to us coming from France), the wide expanse…the surprising breadth of nature here,” the members explain. “The antique stores and thrift stores, the graphic design of old hand painted shops, curiosities, the myths and legends and the variety.”
As for the debut album itself, writing Hydranism was an interesting yet memorable experience. They were writing and recording the album on the island of Hydra in Greece, when the unexpected happened.
“When we went in to start recording the island went into lockdown, and so we were sort of trapped in this beautiful studio for a month recording to our heart’s content as winter and storms rattled the windows outside.”
Recording this album during the lockdown really proved to the band that they can take all the time they needed, as during this point in time, the world was uncertain. They proved this with the release of their album three years later, and it is without a doubt incredibly special to the members of the band.
“It’s our first fully formed album, we used it as a chance to experiment with different approaches in production and different styles of music we love,” the band said.
“Hopefully it captured the spirit of a time in a timeless place.”
“D*cks: The Musical”is a musical comedy film created by Josh Sharp and Aaron Jackson, based on their off-Broadway musical “F*cking Identical Twins.”The film was directed by Larry Charles (“Seinfeld,” “Borat”) and released through A24, as their first movie-musical. The film stars Sharp and Jackson alongside Nathan Lane (“The Birdcage,” “The Producers”), Megan Mullaly (“Will and Grace”), Bowen Yang (“Saturday Night Live”), and Megan Thee Stallion. The music was written by Sharp, Jackson, and Karl Saint Lucy along with scoring by Karl Saint Lucy and Marius de Vries. Alongside the release of the film, a cast album was subsequently released, which is able to stand alone apart from the film and still manages to convey the satirical and completely over-the-top raunchiness of the movie musical.
The opening song “I’ll Always Be On Top,” establishes the tone of the musical right away. The first lyric sung by Trevor Brock (Jackson) is “My c*ck is f*ckin’ massive, it always makes the ladies sore.” Listeners know they are about to be in for a hilarious, raunchy, and wild ride. “I’ll Always Be On Top” musically has the sound of a classic broadway opening number; with an uptempo beat full of big brassy instruments and a compelling drum beat.
You know this is not going to be some kind of family friendly golden age musical despite the musical sound as main characters Trevor Brock and Craig Tiddle are established within the first minute of the opening number as sleazy cishet white men who only care aboutchicks and making money. They also like to “talk a lot about their d*cks” hence the title of the musical. “D*cks: The Musical,” lets audiences know what it is right away: it is not for those who cannot find a joke and absurdity in everything, and certainly not for those who can’t handle a whole lot of vulgarity.
Mullaly and Lane give phenomenal performances as Evelyn and Harris, the divorced parents of
Trevor and Craig who separated them at birth in the style of “The Parent Trap.” Mullaly
has transformed herself fully, and portrays the character of Evelyn superbly through her voice alone. She really shines comedically from her first appearance in “Evelyn’s Song” to stealing the final line in “All Love is Love.” Lane delivers a wonderful performance as always in what may somehow be his most wild role yet. While his solo song “Gay Old Life” may be one of the less memorable from the album, he still delivers a brilliant comedic performance as the straight and gay father of the twins.
“You Can’t Give Up” may be the best example of the excellent satirical lyricism and overall tone of the musical. With lyrics like “they also think that no means no but really no means yes” listeners are able to laugh at a mindset that is unfortunately true to many cishet white men who hold a lot of power. Craig and Trevor are such over the top caricatures of straight men that you can’t help but howl at their idiocy, which never lets up through the course of “D*cks: The Musical.” “You Can’t Give Up” plays like a classic musical theater inspiration song in the vein of “I Have Confidence” from “The Sound of Music,” while inspiring a comically terrible message. The complete absurdity of Craig and Trevors actions throughout the lyrics of the song is demonstrative of satire with a clear and focused point, that point being that straight white guys are absolute idiots.
The only break from complete insanity and outrageous stupidity in the album is Megan Thee Stallion’s “Out Alpha the Alpha.” This song puts the power in a woman’s hand who really hammers in how stupid Trevor, Craig and all men like them are. The song is a fabulously catchy and brilliant performance by Megan Thee Stallion. While the song was written new for the film and is in sharp contrast to the rest of the songs by not being satirical or ironic in any sense, the message of the song is still in alignment with the rest of the film, only in a direct sense this time. “Out Alpha the Alpha” is the song that audiences will have on repeat from the album.
Overall, “D*cks: The Musical” is a hilarious and raunchy musical for queer audiences who simply don’t give a f*ck. It is sure to be a cult classic, like if John Waters films were made for musical theater nerds. Give it a listen if you’re ready to be left in a state of absolute shock and laughing your pants off.
In late January, grammy-nominated band Boygenius (officially spelled as boygenius) announced their debut album, which was recorded four years after the band formed and released their self-titled EP. Band members Phoebe Bridgers, Lucy Dacus and Julien Baker announced the new music together with three singles: “$20,” “Emily I’m Sorry” and “True Blue.”
During this same time, I was submitting my final college applications and deciding that I was going to move to Chicago to study comedy.
These two events mixed with Lucy Dacus’ incredible songwriting, my obsessive attachment to female musicians and a singular line about moving to Chicago, the song “True Blue” by Boygenius quickly became one of my favorite songs in the whole world. Thus, I would like to publicly document my all consuming affection for this 4 minute and 56 second track.
There are two main elements of this song that I think make it so good; specificity and a focus on platonic love.
Specificity
Something I love in songwriting is telling the exact truth. I think songs are made so much more meaningful when they are specific, rather than being purposefully vague in the name of relatability. I personally find it much more impactful to hear raw personal experience and find emotion within it to relate to, than just hearing a feeling described. It’s like in elementary school when you learn narrative writing; I want to be shown, not told, how you’re feeling.
“Now you’re moving in, breaking a sweat on your upper lip / And getting pissed about humanity and the leaky faucet / You already hurt my feelings three times / In the way only you could.” This is specific to Lucy’s lived experience, but that doesn’t make it any less universal. Moving in is something that’s understood to be laborious and stressful, found to be a situation where tensions get high. That’s a widely understood truth, just look at the “PIVOT” scene in Friends; Ross yelling at Rachel and Chandler, his best friends, to find a way to make the couch fit up the stairs, is the epitome of escalating stress and anxiety over something little. So, when she goes on to talk about this person hurting her feelings we understand the emotion. We understand that it wasn’t a terrible offense but rather, it was probably some off handed comments that came up in the heat of the moment.
As a listener, hearing the situation and putting ourselves within the scene she’s describing we are able to feel the emotion, and relate it to ourselves in a much deeper way than if she just said “Tensions were high and you said things that hurt my feelings.”
One of the main reasons this song is so special to me is the fact that she name-drops Chicago. While she could have just said “moved to the city” and in theory made the same point, the specificity makes it feel more honest. More vulnerable. I know for myself — and I assume many others — vulnerability is going to draw more people in than if you keep yourself distant from your work. I think that’s true of any art form.
Platonic Love
This is something that Lucy Dacus specifically, in both her work with boygenius and her solo discography, communicates better than any artist I’ve heard. Maybe it has some sort of link to growing up queer, or in a body that is not seen as “conventionally attractive” (two things Dacus also writes about in a way that melts my heart) that makes me more drawn to platonic devotion than romantic, but regardless it is something I value above everything else.
The chorus: “But it feels good to be known so well / I can’t hide from you like I hide from myself / I remember who I am when I’m with you / Your love is tough, your love is tried and true blue.” This line specifically conveys such a strong connection and emotion. When I hear this I think of my best friend, and I think of my little sister. I think of sitting in comfortable silence with them, not having to worry about keeping them entertained with conversation. I think about not being afraid to gush about how much I love a Taylor Swift song, or asking them to dress up in costumes when we see our favorite artist in concert. There is a certain longevity in the connection of friendship that isn’t present in romance. Even if I’m in Chicago and they are back home, or we have a blowout fight and don’t speak for weeks, they are always there. They know you so deeply that no matter how much time or distance divides you, they are gonna see through any act or fib you try to pull on them. Their love is tried. Their love is true. It’s TRUE BLUE.
When this song came out, I listened to it only hoping my life would be exactly like it. I’d be living in Chicago, happily discovering myself without losing the connections with the people I hold near and dear. Now that I’m here, I listen to it when I am feeling down, or homesick, or questioning why I went so far away from home. I use it to remind myself I have to “spin out” in order to get to the “calling from the train water freezing in my eyes.” Despite the fact that I am overly dramatic, obsessed with sountracking my life, and the fact that I’ve only been here 10 weeks, I feel pretty confident that I was right to take this song as a sign, and am excited to grow into the truest, bluest version of myself.
