CHICAGO– When I got in my Uber to the Salt Shed on April 30, my driver asked what kind of music Japanese Breakfast is- indie rock was my response.
“Like, synth-y, or guitars and drums?” he asked. My reply was, “Well, kind of both!”
Japanese Breakfast, indie rock project of Michelle Zauner, returned to Salt Shed on April 30 to begin a three-night run of shows at the 3500 capacity venue as part of the Melancholy Tour. Her last shows in Chicago, a sold-out two-night run at Salt Shed, were in July 2023 as part of the Jubilee tour. These shows in 2023 also followed the release of Zauner’s best-selling memoir, Crying in H-Mart, which details her life as a Korean-American and the loss of her mother.
Salt Shed was well prepared for Japanese Breakfast’s return, even creating an exclusive concession item: the Japanese Breakfast Sandwich, featuring a “fluffy egg patty, bacon jam, crisp hashbrown, and American cheese.” Kerrygold was a featured sponsor for the night, with a complimentary charcuterie spread on the second floor.
The show started with self-proclaimed “elevator soul” artist Ginger Root, who played his own headlining show at the Salt Shed in October promoting the release of his 2024 album, SHINBANGUMI. He played a high-energy set that didn’t take itself too seriously, with a videographer taking center stage, comedically panning between the musicians during the set. Ginger Root’s music takes influence from J-Pop and video game music with fun, punchy melodies. I remarked that one track made me feel like I was playing the Coconut Mall track on MarioKart.
Cameron, lead singer of Ginger Root also explained during the set why this tour felt so monumental to him. In 2019, the band was in its early stages as Cameron was still in college. While playing an unofficial South by Southwest (SXSW) showcase, he worked on an essay with the prompt, “What is a piece of music that changed your life?” Cameron wrote about Japanese Breakfast’s debut album, Psychopomp, making this tour a full circle moment for the young artist.
Japanese Breakfast took the stage with her trademark theatrical elements, most notably, a large clam shell that she sat or stood in throughout the show. The clam shell was a striking set piece, as well as a reference to lyrics from “Orlando in Love,” “She came to him from the water like Venus in a shell.” Other set pieces included an LED lantern that Zauner carried throughout the set and a neon sign reading “Melancholy Inn.”
While the tour was for the album For Melancholy Brunettes (and Sad Women), the set felt anything but melancholy. Zauner, a master entertainer, always exudes palpable energy on stage. The most recent album takes on a more country tone than past projects, with tracks such as “Mega Circuit” reminiscent of Wilco’s Yankee Hotel Foxtrot as well as shuffling drums and twangy, Telecaster slide guitar throughout.
The set also included a cover of Donna Lewis’s “I Love You Always Forever,” with Zauner noting that any millennials in the crowd would surely recognize the song. During their last stop at Salt Shed, Japanese Breakfast covered “Jesus Etc.” by Wilco and “Chicago” by Sufjan Stevens.
For the show’s encore, the band brought out their iconic, lit-up gong to perform “Paprika,” which gives me full body chills every single time. While Japanese Breakfast’s newest album may be For Melancholy Brunettes (and Sad Women), the Melancholy tour will be making many Chicagoans very happy for their three-night run at the Salt Shed.
CHICAGO– The Alternative-Rock SupergroupL.S. Dunes had a phenomenal performance Saturday, April 24th, at The Outset. A low-key but banging venue off North Elston Ave with an upstairs balcony and outdoor bar for summer shows.
L.S. Dunes’newly released album, titled “Violet,” released January 31st of this year, has been a hit. The crowd screamed along with the lyrics, and there was so much crowd surfing that I was almost toppled over. The band was recently formed in 2022, amassing over 105k monthly listeners on Spotify. Each member comes from a different band and background, but with the same passion for Punk Rock.
Starting the night off was Plague Vendor, who came in jumping around and to the ground with some hard rock. Followed by From Indian Lakes, who had some more heartfelt indie rock that had me headbanging from my soul. Many people enjoyed the different vibes of rock before the grand finale.
Around 8 pm,L.S. Dunes came on stage swinging with The Outset almost fully packed. The crowd cheered loudly, so loyal that it was hard to wiggle my way to the photo access.
L.S. Dunes lead singer, Anthony Green, was throwing his microphone to the crowd, doing all kinds of cool tricks. Whipping the mic cord over, behind, and all around him. He gave the photographers an almost Renaissance music halo surrounding him. Greene has maintained a solo career while singing vocals for other bands, including Circa Survive, Saosin,and The Sound of Animals Fighting.
Standing beside Greene to the left was guitarist Travis Steele, previously the lead guitarist in Coheed and Cambria, known as “Shabütie” from 1995 to 2001. To the right was Frank Leto, who is well known as the previous rhythm guitarist and backup vocalist for My Chemical Romance. Other popular bands Leto was a part of includeLeathermouth and Reggie and the Full Effect.
With such a deep hook into Emo culture, L.S. Dunes made a scene on stage. Greene ran along the edge of the stage, jumping up on the front speakers and hyping up with the crowd, while the guitarists shred metal, rocking back and forth. It was an engaging show full of crowd chants that were hard to take your eyes off and get out of your head.
L.S. Dunes kept their backdrop simple, with them being the show themselves. The lights were immaculate, with the heavy fog on stage dulling the light and mystifying them.
L.S. Dunes had a killer show worth attending if you enjoy bands with vibes like Pierce the Veil andSeether. They’re continuing their tour North West, with their next show in Denver on May 1st, Salt Lake City on May 2nd, Seattle on May 5th, Portland on May 6th, and then down California’s coast.
CHICAGO – On Saturday, April 26th, Aragon Ballroom was rocked by bands Trivium and Bullet For My Valentine. The Poison Ascendency tour celebrates the 20th anniversary of their most popular albums, Trivium’s “Ascendency,” and Bullet’s “The Poison,” which were played beginning to end.
The crowd was notably enthusiastic, full of people excited to hear their favorite albums played through. As Trivium came on, the audience surged with energy. The band looked thrilled to be there. Lead singer and guitarist, Matt Heafy, was practically grinning while singing. It was incredible to watch such talented musicians play so effortlessly, the technically complex riffs echoed through the venue.
Four circle pits opened up, and while I prefer a spot right on the edge, people rushed from all sides to hop in. The crowd’s energy did not go unrecognized, and we were deemed the best crowd of the North American tour, though a few of the members have called Chicago home at some point, so they might be a bit biased.
I had just enough time between sets to figure out how my photo pass worked, and made it to the pit just in time for Bullet For My Valentine’s entrance. I had an iPhone and a dream, and standing a foot away from a speaker with the crowd roaring behind me, I wondered if I would leave the show with my hearing intact.
The band had to take a brief pause a few songs in due to someone’s safety in the crowd, but soon enough they were back to playing and I headed to the back of the venue to watch the rest of the set. The crowd was so lively even in the very back row. Bullet gave an outstanding performance to an audience that screamed every word. Frontman, Matt Tuck, noted how nice it was to revisit such a special time in the band’s lives.
Both bands put on an incredible show. This type of metal is always best heard live, where you’re overwhelmed by sound and the bassline vibrates in your bones. This was the perfect show to experience under Aragon’s beautiful night sky.
MADISON– Last Friday, I had the honor of seeing musician and DePaul alum, Joe Keery (DJO), live at the Sylvee in Madison, Wisconsin. Notably known for his role in Stranger Things, Keery kickstarted his music career in 2019 with his debut album “Twenty Twenty.” It’s been quite some time since Joe last went on tour, as he didn’t travel for his second album, “Decide” so anticipation for this tour has been building for some time, and I can say with certainty Keery did not disappoint.
Keery brought his old band, Post Animal, with them as the openers. Going into this show, I hadn’t really listened to their music, so I was going in with a clean slate. Soon enough, five people make their way to the stage. I was genuinely surprised to see a band of that size, but it honestly added so much value to the performance. You can tell they’ve been playing together for a long time. Their sound blended seamlessly.
Once the Post Animals set came to a close, Keery made his way to the stage. From the balcony to the pit, the crowd immediately burst into deafening cheers. Keery opened his act with “Runner” and “Gloom” off his late album “Decide.” His stage presence was unmatched as Joe interacted not only with his band but with the crowd, pointing the mic at the audience and making his way to the pit. It was clear Keery gave it his all that night, from vocals to guitar.
About halfway through the set, I made my way to the balcony where I remained for the rest of the night. As I made my way through the venue, I couldn’t help but notice the wide range of ages in the crowd, from kids to grandparents. It’s clear that Keery’s music has a way of connecting with people across generations.
To wrap up the night, DJO played some of his biggest hits like “End of Beginnings” and “Roddy.”
Even though the show was in Madison, it was obvious that a lot of fans had made the trip from Illinois, especially since there wasn’t an Illinois stop on this tour. I could tell by the way the crowd sang every word to “End of Beginning.” Saying, “And when I’m back in Chicago, I feel it.” A song that reminisces about life in Chicago, that it felt like a hometown show for them.
DJO’s performance was a long time in the making. You could tell the level of thought put into the production and performance of this run. If you haven’t yet checked out DJO’s newest album, “The Crux”, I highly recommend a listen, and if you weren’t able to catch him live this run, you’re not out of luck yet, as DJO will be performing at Lollapalooza this upcoming August!
CHICAGO– Mosh pits, madness, and a touch of mischief. That’s what you can expect at Denzel Curry’s “Mischievous South” tour. With the help of CLIP, 454, and Kenny Mason, the stacked lineup entertained a packed Salt Shed last Friday night.
CLIP set the tone with a short but energetic set. A sea of people gathered two hours before Curry was set to perform, attesting to his fan’s dedication.
Hyped on the crowd’s encouragement, CLIP oversaw a circle mosh pit to her hit single, “Sad Girl.” Fans buzzed with excitement as she bounced off the stage.
A quick transition marked 454’s turn in the spotlight. His signature video-game-like adlibs made for an impressive, free-flowing performance. In between songs, he encouraged people to buy his music at the merch booth (a refreshingly charming gesture).
Everything shifted when Kenny Mason entered the building. The front rows of fans erupted like it was their duty to cheer, drinks and articles of clothing flying in the air.
Mason laid three ground rules for moshing: 1. If someone falls, help them up, 2. Men keep your hands to yourself, and 3. Don’t step in the pit if you’re not a “real soldier.” I had never witnessed something so intense. His energy was relentless.
I had never been more grateful to be seated above the madness. I appreciated that Kenny Mason had set clear rules before letting fans moshed, especially protecting female concertgoers in the pit.
Mason called it “the best f***ing show of the tour so far.” He swiftly wrapped up his electric set.
Moments later, an off-stage didgeridoo-like voice announced the moment we were all waiting for: Denzel Curry. He jumped onto the stage, announcing it would be a journey through the South.
His in-your-face flow paired with clever lyricism made for impeccable stage presence. Fans threw threes up for “G’Z UP,” a man in his 60s recording the whole thing next to me. Wholesome.
Phones peppered the sky to record Curry’s song “Walkin.” Different pockets of circle pits promptly ensued. Denzel Curry proved he was for the fans, carrying a sign during a song. The entire evening was a smash hit.
Get wrangled into the “Mischievous South” now through the summer in select U.S. and European cities.
CHICAGO– From Whitney to Britney, the list of one-named pop singers remains a coveted spot in music history. After putting the revered synth-pop band Little Dragon on the map, Yukimi craves to be the next name you remember.
The Swedish singer-songwriter has found incredible success with Little Dragon over the past 30 years, selling out world tours and collaborating with experimenters big and small, including Kali Uchis, Flume, and BADBADNOTGOOD.
Despite numerous shows around town happening, including Empire of the Sun down the road at Radius, the Millenial-dominated crowd welcomed Yukimi with open arms. The first sunny day in recent memory became etched into history with her hypnotic rhythms.
Accompanied by a four-piece band, including Little Dragon bandmate Erik Bodin on drums, Yukimi shared her love-centric compositions. Her songs are appendages of her love for nature, family, and herself (in that order).
Several songs off “For You” were dedications to her children, while my favorite track “Runaway” was an ode to escapism. In front of a relatively simple stage composition (oscillating colorful lights shining down on three large ornate fans), Yukimi frolicked around the stage with a tambourine. Effortlessly magnetic.
As the concert continued, I was pleasantly surprised by the in-the-moment attitude shared by concertgoers. After two weeks of extensive social clips from Coachella, the iPhone-free environment was refreshing.
While most of her set was reminiscent of carefree summer days, Yukimi rounded out her solo debut with a few curveballs. A tribute to one of her favorite artists, Yukimi covered Kate Bush’s B-side track “Army Dreamers.” What a dream. I gushed at her taste, her voice melting into the song’s key like butter.
The finale was not the belt-o-rama you’d expect from a pop singer’s leaving impressions. Instead, it was jam breaks induced by cowbells and a flute solo. I couldn’t help but smile. In a moment where Yukimi could have reminded listeners of her mesmerizing talent, she redirected the spotlight to her bandmates.
If all artists shared this level of camaraderie, the world would be a better place. Or at least, a better-sounding one. Ascend into another dimension with Yukimi’s album “For You” now.
CHICAGO— On April 19th, Long Beach-based band Chase Petra stopped in Chicago at the Cobra Lounge as a part of their first full headline tour. The three-piece band, consisting of Hunter Allen (vox and guitar), Brooke Dickson (bass), and Evan Schaid (drums), released their sophomore album “Lullabies for Dogs” this past March. A few weeks before their Chicago show, I had the absolute privilege to speak with Allen and chat about everything from the making of their new album, self-care, Shakespeare, and more.
Darci: You just released your new album “Lullabies for Dogs” and are about to set off on a headlining tour in support of the album, how are you feeling?
Hunter Allen: I am so excited. This is our first full headline tour, so it’s kind of a big deal, and we also haven’t toured in over a year. So, I’m also terrified, but overall I’m just really excited to get out and see all of the people we haven’t seen in like a year, and meet new people. I think also politically, economically it’s a really dark time in the country, so to be able to travel around the U.S., including parts of the U.S. like the midwest and the south that maybe are more entrenched in a scarier vibe, I am very much looking forward to hitting those pockets of queer people and people like us that believe in human equality, human rights and all of those types of things. I’m really excited to connect with people all across the country, and find some source of like connection and light in all of this.
D: Throughout your career as a band, your discography has always covered heavy themes. While it can be a good release, it can also be very mentally and emotionally taxing. How do you take care of yourself when writing about these subjects?
HA: First of all, I take Zoloft, or rather the generic sertraline and that’s a life saver. I go to therapy when I need to talk to a therapist, but I also think writing these songs is, not to reference our own album, but it is cathartic. Having a space to talk about these themes and discuss it with others…as much as it’s a difficult conversation to have, it’s important to talk about it because if we don’t, it festers inside of us. I think I would rather have these difficult conversations and express these difficult emotions, then let them rot me from the inside out.
D: How was the process of writing this album, and how was it different from your previous releases?
HA: Yes and no. The first album we did was very DIY (do-it-yourself). We didn’t know what we were doing. The EP we did, “4 o’clock in the afternoon,” was like, we flew to Philadelphia…best city ever, but we only had a week to record it. So, it was a very different experience, where we were in a professional studio and we had limited time. It (“Lullabies for Dogs”) was DIY in the sense that we recorded it all in our studio at home, but we just knew what we were doing, so it was kind of a mix of our first two experiences. We had this time to experiment; there was no deadline. We were doing it ourselves, but we had more of a direction, more know-how, and just a better sense of what we were doing.
D: Would you say that the process was empowering, almost like a full-circle moment?
HA: We came from DIY and we will always be DIY in part. Even though we have this incredible team that we work with now, being able to have this much control, but feeling more professional, we can make a final product that feels more polished…This is what we were riding for when we were kids, and now we get to do this in our adult lives.
D: What was your favorite song to write/record off the album?
HA: I think I had a really nice time writing and recording “Icarus.” It’s super short, but, in part I think it was because I didn’t make the song any longer, I didn’t add extra parts, I just wrote the song in one sitting and it felt like “okay that’s just it.” Then recording it was really nice because it was just such a simple thing. It was so easy and natural. I loved writing and recording all of the songs, but some of the songs you are wrestling with, and by the time you are done with it you are like “hell yeah we did it,” but Icarus was like the kindest to me.
D: What would you say inspired you the most when writing “Lullabies for Dogs”?
HA: A common theme throughout a lot of the album is literature. I was inspired by this line from Shakespeare and this book called…”Masters of Death.” I just feel very inspired by narrative, and by reading books. The only other thing would be the people in my life. I’m very much inspired by the experiences that I have with other people, so those were definitely the two main sources of inspiration.
D: The music video for “Have Faith, Horatio” was inspired by “Hamlet,” and you previously said that you are inspired by literature. Are you a big Shakespeare girl? Why Hamlet?
HA: Honestly, I am not a big Shakespeare girl. I know there are people much more into the history of Shakespeare and the conspiracy theories, and all the plays. I appreciate Shakespeare as much as the next guy that’s into literature…but it was “there are more things in heaven and in earth than you could dream of in your philosophy,” and I don’t remember where I read it or where I saw it but I was just locked in with that phrase. Sometimes that’s all it takes, just a line. Then of course…there’s so much to pull from in Shakespeare. Getting to know Hamlet and kind of digging deeper into that because I was inspired by that line was a really simple choice. Also, are you familiar with the film “10 Things I Hate About You”?
D: One of my favorites!
HA: One of the best films ever. It’s a retelling of “The Taming of the Shrew.” So, I’m not a Shakespeare guy. I don’t want to claim that because I don’t know enough about Shakespeare, but I have continuously been inspired by his work.
D: What music were you listening to throughout the process of writing the album?
HA: Some of these songs are super old, some of them are super new, some of them are like took months to write, so I was listening to a ton throughout the creation of this album. For example, in “Centrifugal Force,” one of the lines is, “I only listen to songs that pull my hair and degrade me.” I wrote that line when I was listening to Lizzy Mcalpine’s “Five Seconds Flat.” I was listening to that a ton and just being like “Why can’t you write like her? Ahhhhhhhhhh!!’ Which is not a fair question, but I was feeling feelings at that time.
D: How old would you say the oldest song on the album is?
HA: The oldest song is definitely the verses of “Catharsis”…That was a song that Evan and I were in a band in high school, and that song was written and recorded with a different chorus when we were 16 or 17 years old.
D: Why did you decide to name the album “Lullabies for Dogs?”
HA: It was one of those things where the phrase just kind of popped into my head. So, we had been writing a lot of our songs in ¾ which just feels like a lullaby kind of time signature to me, even though a lot of the songs are not sleepy songs, and then I just love dogs. I have a tattoo on my ankle, it’s like one of the first tattoos I got. It’s a gravestone that says “There better be dogs,” which is so lame, but I love dogs. The loyalty of dogs, I feel like a dog, I don’t know, I just have a respect for them, and I feel like one.
D: Who’s dog is on the cover?
HA: That’s Henry. I love Henry. Henry is my dad’s pitbull. I lived with Henry, technically he’s my dog too, but I don’t live with him anymore. He is the best boy in the whole world. He likes when people bite his cheeks, just a fun fact about him. He’s like 80 pounds of just pure muscle and we love him so much.
D: What tracks are you most excited to play on this tour?
HA: Honestly, we haven’t dropped the setlist yet…but we are playing “In an Emergency Such as the End of the World,” which was one of my favorite songs to play back in the day. I would say one of the newer songs, but honestly, those are the songs that I am most likely to make a mistake on because we haven’t played them as much. So, I’m more excited I think for the old ones. Once I get used to the new ones I’ll be pumped.
D: As a long time fan, I have always been curious, why did you name the band Chase Petra?
HA: It’s another book reference. It’s “Ender’s Game” by Orson Scott Card. Orson Scott Card has views that are, ew, but “Ender’s Game” is a sci-fi and it was one of my favorite books when I was a kid…There’s this character named Petra in the book, who is like the only girl character in this band of boys fighting in this war against aliens. It’s a whole thing, but basically, I just really loved that book. We were sitting in a drive through, and somebody that I was with was like, Petra sounds too much like Paramore, and I was like “that is stupid” but fine, and we were sitting next to a Chase bank, and I was like “alright” Chase Petra.
D: The band has a very all-encompassing sound that is very hard to put your finger on. What would you say are your biggest influences?
HA: The thing is, it is hard to place us in a genre, in a festival, in a tour package…I think it’s because Evan, Brooke, and I, we write the music, and…our tastes overlap here and there, but we all have very distinct and different main sources of inspiration. My inspiration source is pop-punk, Brooke’s main source is more post-punk, Evan’s main source is kind of like folk singer-songwriter. So, I think it’s the fact that one of Evan’s favorite bands is Wilco, one of Brooke’s favorite bands is Warpaint, and one of my favorite bands is Enter Shikari. Very different vibes, and I think when we come together, by the nature of us pushing, and pulling, and working on new music together, it kind of becomes this like strange amalgamation of those general vibes…We have been playing together for so long that it like we do just kind of know how to work with each other and how to play around each other and that’s just something that comes with time.
D: How long have you guys been playing together?
HA: Well Evan and I started playing together when we were 14, so we’ve been playing together for almost 14 years. Brooke, I met her when I was 20, so we’ve been playing together for almost 8 years, and it just adds up, when you spend that much time together you just begin to click.
D: You have a very distinct pop-punk style of singing, and I have always wondered, have you trained your voice to sound that way or is it naturally in the style?
HA: It’s not something that I did on purpose at all. It’s just, when you spend enough time listening to something, you just do that thing, and like, I learned how to harmonize through Panic! at the Disco’s, “A Fever You Can’t Sweat Out.” I used to spend hours in my room everyday shining through every Paramore album with my karaoke mic pretending I was onstage, and when you listen to those things so much you just kind of start to mouth your words like them. So it was not a choice. It’s almost as if I developed an accent because of the things I listened to.
D: What is your favorite thing about being in a band in this day and age?
HA: The thing about being a professional musician is that it’s great, but it’s also so hard. I started experiencing a chronic illness last year…Before I got sick, I was very much like, “I’m dying. This is so difficult. How do I do this?” Then I got sick, and once I realized when I was sick I couldn’t do this, I wasn’t able to physically be in a band for months, and I thought I was never going to be able to do it again. So coming back, I am very much on the bright side. I’m very much in the silver lining, excited that I get to do this again. So shout out to chronic illness for that perspective, but I think the thing I like most about being in a band is the opportunity for human connection and freedom. Being in a band has given me the ability to choose what I want for myself over and over again in a way that being a part of corporate America would not allow me to do. Having that full time 9 to 5 is like, the stability is cool, but being in a band has given me the opportunity to see the world, meet new people, connect with people I never would have known, and that freedom I think is my favorite part, aside from obviously the music too.
D: What would you say to your younger self as the band was just starting out?
HA: There’s nothing I can really say to myself that I think would help because…I cannot be warned. I have to go through it. I have to do it the hard way because that’s just who I am as a person. So, I think the thing I would really offer myself would be comfort. I would really love to hug myself and just be like “Everything is going to be fine. You’re going to end up better, for all of these things you are about to experience.”
Chase Petra’s show at the Cobra Lounge was nothing short of a great time. While a lot of laughs were exchanged during Allen and I’s conversation, her, Dickson and Schiad’s humor had the Cobra Lounge bursting with laughter the whole night. While the band is hilarious, they are also so talented. Standout moments of the set included “Centrifugal Force” and “Because I Am My Own Dog.” However, honestly the entire set was truly rock solid. Throughout the night, the audience sang along to every lyric and hung onto Allen’s every word, which was such an incredible and impressive experience to witness. As a long time fan of Chase Petra, I have never been able to see them live, however, being able to speak with Allen and see the band do their thing was such a surreal and amazing experience.
CHICAGO — On Saturday, April 12, the Los Angeles-based ensemble League of Musicians (LA LOM) brought their vibrant, genre-blending sound to Chicago’s Vic Theatre in Lincoln Park, captivating a lively crowd of local music lovers.
LA LOM is composed of three LA natives, Zac Sokolow (Guitar), Jake Faulkner (Bass), and Nicholas Baker (Drums/Percussion). Their music consists of a blend of Afro-Cuban Jazz and Cumbia, as well as sounds from Mexico and Cuba.
The three first began playing together in 2019 when performing covers of 1950s and ’60s soulful ballads they heard on an “oldies station”, K-EARTH 101, in their hometown.
The trio performed five nights a week in a hotel lobby on Hollywood Boulevard. From there, they started experimenting with a myriad of different genres.
Sokolow, Faulkner, and Baker quietly made their way onto the brightly lit stage of the Vic theatre. Sokolow looked to his bandmates before playing the first few notes to “Cafe Tropical.”
Baker nodded his head with each tap of the congas, adding a touch of Afro-Cuban influence to the otherwise cumbia sonidera sound.
Cumbia Sonidera refers to a style of music that originated in Mexico City through the vibrant street music scene involving live performances, DJS (sonideros), and sound systems. La LOM is heavily influenced by this genre and often incorporates it into their music.
There were so many aspects to this experience which set it apart from concerts I have attended in the past. What stood out to me the most was the way the members of LA LOM interacted with their music and each other. The band was able to create an environment in which the audience could focus solely on the music and how it makes them feel, rather than the artists who are performing it.
Watching Sokolow strum the guitar, I saw his body language display a love for music that I have rarely seen. The three musicians swayed and danced with every note they played, feeling the rhythm, as though they were one with the audience.
Under the bright neon lights, La LOM performed more of their instrumental renditions, showcasing their carefully crafted repertoire. Weaving together a multitude of cultures—many of which shape the city of LA—the trio incorporated an assortment of instruments, including the congas, bass, violin, and drums.
The beauty of La LOM isn’t just their ability to successfully blend together different sounds, cultures, and styles, but also the emotion they are able to invoke. For many, La LOM’s music exists as a symbol for romanticism and nostalgia.
Though the culture of Chicago and LA might differ, the emotional resonance of the music remains the same. When La LOM left the stage, the energy in the room remained quiet but palpable. For that brief time, they’d bridged the gap between cities, blending influences and stories to create something both unique and familiar.
Emma: Do you mind Introducing yourselves and what you play in the band?
Jim: I’m Jim, I play bass.
Blake: I’m Blake, I play drums.
Grant: I’m Grant and I play guitar and sing.
Emma: And then my first question is, what inspired the name of your new album?
Grant: We were stranded in Darian, Georgia, a little outside of Savannah, and we were in a KFC, and we were talking about we were just posted not doing anything. And, somebody had joked, like to pass the time, like we could hold up a sign that says free help. And it kind of spoke to me in a way that just, that’s all that music sometimes is. It’s free help.
Emma: I really appreciate that response. And I think that’s like a really cool thing that you were inspired by something, even though it was sort of an unfortunate event you put yourself in. My next question is, what are you looking forward to most with your upcoming shows?
Jim: Well, we’re done as of right now, so we’re going to go home, and I’m looking forward to making time to relax. I’m looking forward to our homecoming show.
Emma: Wow. I didn’t realize this is actually your last one. And my last question is specifically for you (Blake). Because I’m a former drummer, what advice can you give to younger aspiring musicians?
Blake: Drummers specifically? Practice a lot and play to your favorite songs. I mean, I learned how to play drums from playing “Garage Band”. You know, like, I feel like drumming is, like just an expression of self. Like you don’t have to be technically good to be a good drummer. You just got to be cool.
Emma: That’s very true. I don’t think I’ve ever met a drummer that isn’t really cool or super inspiring in some way, because it is such an expressive art form.
(The boys embrace)
Jim: Blake inspires me everyday to be better, I love my homies.
Emma: You guys are like the definition of besties, I love it. Is there anything else you’d like to say to our listeners in Chicago or your hometown folks?
Grant: Shout out Chicago! Shout out Minneapolis. Shout out Dylan, Chaz and Boman for being on tour with us. Shout out Jim and shout out Blake and shout out you for doing this interview. Thanks for the time.
CHICAGO– From the moment I saw Chelsea Grin, I was thankful for my newly purchased earplugs. Not to muffle their incredible sound, but to make sure my ears would be still working so I could catch them on their next tour.
If you’ve never listened to deathcore, imagine the most amplified guitars ever, pummeling blastbeat drums, and endless crazy riffs. For me, the vocals are one of the most defining characteristics of deathcore: full of deep growls, shrieks, and pig squeals, just adding to their impressive wall of sound.
I noticed that my earplugs would be essential right as their final opener, Shadows of Intent, stepped foot onto the stage. The song that stood out the most during their set was “The Heretic Prevails,” which opens with a captivating piano riff, guitar, vocals, and features a beautiful breakdown at the end. Before the set, I was under the impression I didn’t know any of the openers of the night, but I was pleasantly surprised to learn I had two of their songs saved, which excited me even more for them.
After a brief wait between sets, Chelsea Grin appeared, with the crowd erupting in excitement. The vocalist immediately caught my attention, utilizing a raised platform throughout the show that not only brought him closer to the audience, but also amplified his stage presence and drew my focus to his impressive performance. As their set began, I noticed that Chelsea Grin kicked things off with many of their songs I already knew, which instantly captivated me to their performance.
They opened with a string of newer tracks, “Hostage” and “Sing to the Grave”, setting a great tone for the show. It felt like the perfect way to start the show, performing two of their biggest songs to excite the crowd. Throughout the night, the energy was amazing, with several walls of deaths breaking out the pit during their heavier songs, with vocalist Tom Barber repeatedly calling for them and hyping up the crowd. Each time, fans would clear out a space in the center of the pit and slam into each other with full force, all for the sake of having fun to the music.
Although I wasn’t familiar with most of the songs that followed, Chelsea Grin’s performance was so captivating that several new tracks stood out, which are now on repeat for me. One that especially caught my attention was “Across the Earth.”The song opens with a powerful, drawn-out piano intro that builds anticipation before beautifully blending into the rest of the song. I love how all the musical components come together seamlessly in this song, especially with the vocals featuring a “blegh,” one of my favorite vocal inflections of deathcore.
During Chelsea Grin’s final song, someone in the crowd got injured, causing the band to pause their final song to make sure that everyone was safe.
Not knowing what to do, I took that as my cue to head out of the show a little early.
In the end, even with the brief interruption, Chelsea Grin’s show was incredible, and they’re definitely worth catching on their current tour. If you get the chance, don’t miss out on experiencing their amazing performance.
