Tag: Entertainment

By: Cassie Limberakis

CHICAGO– Mei Seimones absolutely stole the limelight from Lincoln Hall on Saturday, June 7th. Seimones played her suave jazzy tunes at Lincoln Hall. Seimones is a 24 year old alternative jazz musician hailing from Brooklyn, New York. She is most well known for her bilingual jazz and funky beats having lyrics in both English and Japanese. 

Her most recent album, “Animaru,” is a celebration of the fleeting nature of youth juxtaposed with the evergreen nature of New York City. It is also a reflection of Seimones’ trusting of her musical instincts, like how an animal trusts their natural instincts. 

Seimones’ opener was another jazz artist from Brooklyn named John Roseboro. Roseboro and Seimones have a jazz ballad together called “Waters of March,” which touches on the changing of the seasons and the ebb and flow that follows life. His deep and sultry baritone voice was the perfect compliment for Seimones’ airy voice.  

Seimones had a variety of instruments accompanying her on stage, including a bass, electric guitar, viola, and acoustic guitar. The crowd was buzzing at her playful demeanor and infectious lyrics. The musical complexity of her songs cannot be understated. In “Animaru,” the title track of the album, Seimones blends classical and rock styles to make an original composition. Electric guitar and violin go head to head in this track, ending the song by a jazz riff played on acoustic guitar. 

The song “Donguri” is a jazz song reflecting on the beauty of nature. In Japanese, “Donguri” means acorn. Improvisational bass riffs also contribute to the character of the song, making it an impressive and fun listen. Each song on “Animaru” has a distinct character to it that reveals a part of Seimones’ identity and personality to the listeners. 

New York musicians have a charm about them, able to capture eager Chicago audiences with the sturm of a guitar string. 

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By: Nina Bertuca

CHICAGO– “It’s not a phase, Mom,” was the phrase that colored every emo kid’s teen years. In 2025, many of the quintessential emo revival albums are hitting their ten year anniversary, leaving emo fans everywhere to wonder, is the genre passé? Are we past emo prime?

On June 9, 2025, Canadian emo band Arm’s Length provided otherwise, playing to a sold-out crowd at Bottom Lounge, the first of five album release shows for There’s a Whole World Out There. Even though the show was on a Monday night, the fans were dedicated, most arriving before the first set of the night.

The show opened with Brooklyn-based newcomers wakelee. This was the first Chicago performance for the independent band, but they performed to a receptive crowd, with many audience members leaving the floor to check out the wakelee merch spread post-set. Stand-out songs included tracks like “Criminal,” which features a trombone solo, and the band’s newest single, “Field Goal.” The band cites influences like Death Cab for Cutie, Joyce Manor, and Bloc Party.

Next on the bill was Marquette, Michigan’s Charmer. The band noted that they have now been playing together for ten years, like many of the emo revival bands mentioned before. Their 2018 debut release helped the band to garner a following early on, as their track “Bummer Summer” gained notoriety from midwest emo listeners. The band incited moshing and crowdsurfing by telling the audience that whoever came over the barricade the most times during the set could get a free merch item post show, causing the crowd to pick up the energy. While their older music is akin to twinkly midwest emo bands like American Football and Tigers Jaw, their new album Downpour is a bit more punchy and guitar heavy, fitting in stylistically with bands like Anxious and Heart to Gold.

Headliner Arm’s Length has seen a meteoric rise since their first Chicago performance in 2021, now touting Chicago as their top listener base on Spotify. It is almost hard to tell when the band had time to record and write their new album, having played Chicago four times in the last 18 months, supporting bands like Thursday and Origami Angel and headlining Do Division Festival in West Town last summer. Though the new album was released a few short weeks prior, fans recited every word to the new songs, with vocalist Allen Steinberg often turning the microphone around to let the crowd take it away.

Arm’s Length, Charmer, and wakelee all represent different iterations of the emo scene, and their continued success serves as a reminder that emo music is not just for Hot Topic teens in black skinny jeans and hair in their eyes. Emo, from its roots in Washington D.C. hardcore to its newer, more experimental counterparts today, continues to speak to a myriad of listeners who find catharsis in loud, emotionally-charged rock music.

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//Photos by Larissa Kaye/ Out of the Dark Photography

By: Michael Ruhl

CHICAGO– On May 6th, powerful Thrash Metal group Power Trip took the stage at Chicago’s famous venue, Metro, to crush through songs that had not been heard live in years. Power Trip has a new lead singer Seth Gilmore, from the Houston hardcore band Skourge and Fort Worth thrash band Fugitive. Power Trip’s music combines the breakdowns of hardcore with the speed of heavy metal with fluent ease.

In August 2020, Power Trip’s lead singer and main songwriter, Riley Gale, passed away, which left metal without one of its most innovative and fresh voices. Power Trip had been very successful in the hands of Gale, directing them towards Metal stardom with their sound that combined styles of Texas Hardcore with metal, referencing Big 4 Thrash Legends Slayer and Metallica. What made Power Trip so exciting was the combination of hardcore ethos and trained metal chops, making them sound completely new. Riley’s passing made the band’s next steps difficult as they wanted to honor his message of resistance while also pushing forward. The decision to begin touring with Gilmore makes a lot of sense, as Gilmore was a close contemporary with the band in the Texas metal and hardcore scenes. Gilmore can replicate the voice of the incomparable Riley Gale, unlike any others.

The Metro was definitely a test for the band’s new lineup as this was one of their first major U.S city shows since reuniting without Riley Gale. The band has been touring Europe rampantly with Gilmore so they had already gained a familiarity with the new singer before taking the stage in Chicago.

Power Trip opened with “Soul Sacrifice,” the first track off their 2017 studio album “Nightmare Logic” and it was immediately raucous inside the Metro. “Soul Sacrifice” is a perfect example of the band’s focus equally on metal and hardcore as the winding guitars and screaming vocals make for an instantly iconic track. 

Power Trip became synonymous with the Marshall style distortion used on stage and their guitar players Nick Stewart and Blake Ibanez are very talented in making simplistic and catchy riffs as heavy as can be. The setlist also featured the instant classic 2018 track “Hornets Nest,” which is rageful and speedy, with Gale’s lyrics crushing. Gilmore took Gale’s rage and emulated it very well on stage. “Hornets Nest” is one of the better Power Trip tracks for it’s sense of crushing speed, which took their thrash metal sound to the next level. 

The setlist at Chicago’s Metro venue featured a lot of deep cut tracks that had not been played on the European tour. Power Trip only released 2 studio albums in their time as a band so diving deeper into their bag of tricks was great to see. The band played tracks like “Divine Apprehension” and “Suffer No Fool” which were some of the best Power Trip tracks not featured on a studio album. Giving justice to the deep cuts was awesome as it allows for even more of Gale’s lyrics to be immortalized. The band was incredibly tight, and it was great to see them re-unite under a new singer. 

Power Trip closed the set with “Manifest Decimation,” which was the title track off their 2013 debut studio album, before coming back for an encore and playing an Iron Age cover, and then transitioning into closing with “Crossbreaker” off “Manifest Decimation.” 

Power Trip’s music will go down as instantly classic due to Gale’s rage and lyricism being no-holds-barred and in-your-face. The purpose of these recent reuniting sets is to immortalize his voice and the band on stage honored Riley whenever they could. While there is a shadow cast by Riley’s absence, the band continues to honor his legacy with great performances. Gilmore, as a Texas contemporary, is a great choice to fill his shoes as his voice fits perfectly into the mold Gale left. The band honored the legacy of Gale with a great performance at the Metro, adding to the immense metal legacy of Power Trip. 

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By: Cassie Limberakis

CHICAGO– On May 31st, Bear McCreary brought his mystical presence to The Vic Theater in Chicago, Illinois. McCreary is best known for his film and TV scores. Some of his most famous scores are from the TV shows “Outlander,” “Foundation,” and “Battlestar Galactica.” He has scored the films “Godzilla: King of Monsters” and “Child’s Play.” 

My favorite track of his features Hozier and is called “Blood Upon The Snow,” which is from the video game called, God of War: Ragnarok. “Blood Upon The Snow” uses a medieval handheld instrument called the hurdy gurdy. The hurdy gurdy is an instrument that has a crank. The musician cranks a handle while they pluck strings, similar to a guitar. It is a very complex instrument, but can be used to add character to any song. McCreary’s musical range continued to deepen throughout the show. He even played a song which he wrote at just 16 years old. And at 46 years old, he has decades of repertoire.

McCreary’s opener was named Morgan Sorne, otherwise known as SORNE. His music also does not adhere to any specific genre. It is hypnotic and druid like. He also wrote a folk opera called “House of Stone.” It is a concept album written in five parts, loosely based on his familial relationships and other relationships with those in his life. 

McCreary has it all and can do it all. The song “Redshift” sounds like a mix of video game music, The Beastie Boys, and heavy metal. While “Tatarigami,” another song on the album, is what I can best describe as “caveman rock.” McCreary’s cinematic show and charismatic vibes were unlike anything I had ever experienced before. His music was all over the place, from Scottish druid ballads to heavy metal bangers. 

Overall, this was an insanely musically diverse night that I will remember for years to come. 

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By: Sam Taffet

CHICAGO– As the weight of finals started to kick in, I found myself kicking off the final stretch of classes by seeing MIKE at Thalia Hall, one of my longtime favorite rappers. Upon entering the venue, it became packed fast, with a stacked lineup including openers Navy Blue and SemiraTruth.

SemiraTruth opened the night, immediately catching the crowd’s attention and upping the energy, not just with her music, but with her donning a full ghillie suit on stage. A Chicago native, she proudly announced that this was her first show here in over a year, making this a hometown performance for her. The crowd immediately went wild, starting the night off with great energy. 

Having seen her perform opening for McKinley Dixon at Schubas in late 2023, I had the great enjoyment of being able to witness her stage presence again, as well as to see how much she has grown since then. You could tell how happy she was to be performing, dancing to her music and diving through her discography. SemiraTruth has since moved to New York, so I will be sure to catch her next when she’s in Chicago.

Next up was Navy Blue, a set that brought a whole new vibe to the night. Before this show, I mostly knew him from featuring on songs, “Nobles” by The Alchemist and “The Mint” by Earl Sweatshirt. With great performances on these songs in mind, I was looking forward to his performance all night, and he completely delivered, with his smooth vocals and beautiful beats playing throughout the room.

Dressed in blue, he mostly let the music speak for himself, with his great voice flowing effortlessly over dark, piano driven, sample-based beats. His calm and introspective sound offered a contrast from the other sets of the night, captivating the crowd with his smooth and calculated flow. Being able to see him live gave me a great appreciation of his solo work, and I found myself saving several songs to my Spotify mid-show. As Navy Blue’s set came to a close, the energy in the room began to shift, building anticipation for MIKE.

Once MIKE finally took the stage, the room erupted in excitement. Being his first show in Chicago in over a year, the energy was electric from the very start. Right as he started talking, he had the crowd non stop laughing and hyped for the show. Even asking the crowd to form a pit to show off their dance moves. His high energy and crowd interaction was nonstop. Every time he raised his hand, he asked the crowd to scream as loud as they could, saying “make the most noise ever” for each performer, as well as his late mother, known to be one of MIKE’s biggest inspirations and the heart behind much of his music.

MIKE delivered a lengthy set, playing around 30 songs spanning multiple albums. He jumped from album to album, going from crowd favorites such as “What Do I Do” and “Burning Desire.” Even playing a track off his newest album, “Prezzy,” titled “Pinball II,” released in May 2025. To close out the night, he performed a crowd request “Evil Eye,” citing that he wanted to do so as the show was sold out.

As always, Thalia Hall was a great venue to be able to experience this performance in. Entry was smooth, the sound was great, and the staff made sure to keep the crowd hydrated by handing out countless water bottles. The night was an incredible way to kick off the final stretch of the school year, and I completely recommend catching MIKE on any of his future tours!

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By: Nina Bertuca

CHICAGO— With support from Indianapolis power pop group Wishy, up-and-coming LA-based rock band Momma took on a crowd of excited concert goers at sold-out Thalia Hall on Tuesday, May 20. With both bands having their highest number of Spotify listeners in Chicago, this was the largest Momma show yet.

Wishy, whose 2024 debut release Triple Seven was one of my top albums of the year, took the stage first. Opening with “Planet Popstar,” the title track off the band’s newest EP, the band quickly informed new listeners that they were in for a treat. With cutting guitar lines and  punchy dual vocals from Kevin Krauter and Nina Pitchkites, Wishy delivered a set with all highs, no lows or dull points. 

Wishy songs are remarkably easy to sing along and bop your head to, giving the crowd an energy boost. Closing the set with their heaviest track, “Spit,” Wishy left the crowd ready for more, all the while cementing themselves as heavy hitters in the midwestern indie rock scene. 

Momma took the stage around 9pm, and the crowd’s energy was the highest I have seen in awhile for an indie rock show, especially considering that it was a rainy, cold Tuesday night. Fans fist-pumped and finger-pointed to every song, knowing the words to every track. 

While most fans mirrored the band’s makeup of Gen Z, there was a sprinkling of Gen X viewers in the crowd, proving that good rock music translates to anyone. Highlights of the set included tracks such as “Ohio All the Time” and “Bottle Blonde.” Almost every track from the new album was featured on the setlist. The band closed the show with an encore of Narrow Head’s “Sunday” and their most popular track, “Speeding 72.”

Both Wishy and Momma split the difference between sweet, singable melodies and fuzzy distorted guitars, taking the helm of the burgeoning power pop revival, accompanied by bands like Dazy, Lifeguard, and Footballhead. It’s like the music you grew up listening to in your mom’s minivan started hanging at the local dive bar and got a tattoo. Not to mention, this power pop formula creates songs with potential to be real earworms– you’ll be humming them for days. 

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By: Jonah Elbaum

CHICAGO – Some might say that a three-part harmony is one of the most standard and basic styles of harmony in modern music culture. To that, I say, listen to Trousdale. Come back to me and let me know what you think. The alternative pop country trio Trousdale has been changing the course of what a three-part harmony can do and how it can make you feel. 

The Los Angeles-based trio was formed by Quinn D’Andrea, Georgia Greene, and Lauren Jones during their time at the University of Southern California. Initially, each member had aspirations of pursuing solo careers. However, their collective synergy and mutual support led them to form Trousdale, emphasizing the strength of female friendship and collaboration in the music industry. 

Their show at Thalia Hall was filled with high energy, belting solos, groovy basslines, and more. This was not the first time I’ve seen Trousdale. In 2023, the trio opened for Cory Wong. It’s rare for an opener to be as good as the headliner, but Trousdale knocked it out of the park. Their chemistry and blend were unlike any others. Even now, two years later, their sound is even better than before. 

Trousdale has two major skills. The first is, of course, their goosebump-inducing harmonies. They can make any simple cord into the most musically interesting cord ever. The second major skill the trio has is the ability to build throughout a song. Nearly every Trousdale song has insane dynamic contrast. From starting super quiet to a gradual build, eventually getting to the “shout” chorus. The group can even make a rock feel something.

Trousdale is far more than just a trio singing in three-part harmony; they are redefining what that harmony can mean. With unmatched vocal chemistry, emotionally charged arrangements, and a live performance style that captivates from start to finish, they continue to set themselves apart in the world of alternative pop and country music. Their ability to blend technical skill with emotional storytelling proves that a “basic” harmony can be anything but ordinary. After witnessing their growth and evolution, especially during their recent performance at Thalia Hall, it’s clear Trousdale is a force to be reckoned with, and they’re only just getting started.

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By: Ella Stucky

CHICAGO— As I entered the Old Town School of Folk Music, it felt like the physical embodiment of Florist’s tender music. I was greeted by a kind community of volunteers who share a love of music and use that to connect with the people around them. I saw both people my age and people who have lived full lives working together to get this show to run smoothly. The intimate venue consisted of church-like pews along with a balcony overlooking the stage. With a capacity of just 170 seats, I found that the nature of the space allowed for a transformative, cathartic experience.

The first act consisted of a solo performance by Allegra Krieger, a 45-minute set that entranced me. Her storytelling approach to songwriting created a unique experience that fully captivated every member of the audience. The crowd was silent, taken by the magic of just her voice and her guitar. The artistry of her sound reflects eerie note shifts and unique chords, abundant with accents. Folk music can tend to be repetitive of G and C chords played throughout an entire song, but Krieger’s approach to composing is creative, and completely her own. Like no songs I have heard before.

During the intermission between Kreiger and Florist, I got chatting with the man next to me. He lived in the area and told me he frequented Old Town School of Folk Music for the venue and community. We talked about the concerts he had seen here, my schooling, and our lives up until this point, and I feel that my conversation with him was a testament to the type of people that are coming to this venue and to the people who like Florist. It felt open and welcoming, which is how I feel about Florist’s music. It is soft and honest. Gently putting to words the scary feelings that everybody feels as they grow up. 

Soon, the lights dimmed, and Florist quietly took the stage, walking on with cups of tea and wine. As they prepared to play their first song, Rick Spataro, keyboardist and bassist, played an ethereal piano piece, immediately washing the crowd over with calmness. Emily Sprague connected and tuned her Fender Duo-Sonic Electric Guitar, Jonnie Baker took his stance, half-turned away from the audience, which he maintained the rest of the show, and Felix Walworth started messing around with a synth hidden behind his drum set. Sprague checked in with the crowd, asking if we were okay, before starting their set. Throughout the set, Walworth played electronic noises that juxtaposed the soft sounds of the stripped back guitar. 

Sprague introduced “Red Bird Pt.2 (Morning)” as a song that encapsulates the feeling of coming to a familiar place after growing up, and how the feelings of impermanence and nostalgia blend when revisiting memories. When introducing “The Fear of Losing This,” Sprague commented on how writing this song allowed her to process and experience the feelings of time moving on and things changing, grieving what once was.

Overall, this show made me feel at home. Their words pierced me through the dark room, shining a light onto the feelings I couldn’t quite yet put words to. Both Kreiger and Florist were gentle, happy to be sharing their music with the audience and the audience was happy to listen, making for a great show. Someone give them some flowers.

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By: AK Soares

CHICAGO– I had the pleasure of not only seeing Adam Melchor perform for the third time on May 13th at Schubas, but also fulfilling my dream of meeting him. His tour surrounded a full run through of “The Diary of Living,” recently released this year on May 2nd. I waited to hear this album live, and it was an incredible experience and made each song even more personable. Melchor’s album includes collaborations with renowned artists Bruno Major and Mt. Joy, and each song showcases each artist so well. Adam’s team asked me to do an album review, so “Here Goes Nothing!”

Let’s start with track one, “Boardwalk Royalty,” my second favorite track on the album. This song shows Adam’s range of high notes in the lyrics and strumming pattern. When I first heard this, I got goosebumps and told my friends to listen to this immediately. Once the song segways from the intro to the verse, it sounds completely different.

This is definitely a no-skip type of album, it’s the real deal. Track two is “The Hopefuls,” and it reminds me of a song I would listen to while at summer camp in the middle of a hot day in July. Track three, the beginning of “Change of Heart,” reminds me of the beginning of “Begin Again,” which is on Melchor’s album, “Lullaby Hotline,” which also happens to be my favorite album of his. The moment you’ve been waiting for, my favorite track is “Lightweight.”

One thing I love about concerts is when the artist takes the time to tell their story behind their songs, and when Melchor explained what this song is about, I had tears. While he was growing up with his good friend in New Jersey, no matter the circumstances that life threw at each of them, they’d call every New Year’s Eve to simply check in. A simple life interaction can be made into so much more, and Melchor continues to do that with his music.

Overall, “The Diary of Living” is genuinely produced, and you can hear the dedication that is clearly poured into this album. Please consider listening to Adam Melchor’s new album, and while you’re at it, check out his discography!

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By: Cassie Limberakis

CHICAGO– Jensen McRae played at Lincoln Hall for her tour, “Praying for Your Downfal.” Her astute songwriting and painfully melancholic melodies made for an excellent live performance. This tour is celebrating the release of her newest album, “I Don’t Know How but They Found Me!” This past year, she opened for Noah Kahan on his “Stick Season (We’ll All Be Here Forever)” tour. And in 2022 she opened for both MUNA and Maude Latour. 

McRae’s opener, Lauren Juzang, had a very confessional style of writing. Juzang complemented McRae’s sultry voice perfectly with her raspy and angelic tones. She communicates incredibly intense emotions through delicate melodies. 

McRae graced the stage in a beautiful puff-sleeved dress and black boots. Her songs portray her innermost thoughts, like what reading an internal monologue would feel like. Her song “Dead Girl Walking” is all about what it feels like to constantly battle depression, even when it doesn’t seem that bad from the outside looking in.

“World is watching me/The dead girl walking/Keep my ghosts from talking and the mask won’t fall/Friends come often/With their praise and problems/I’m a dead girl walking/For a good time call” Says the song.

She also utilizes religious imagery as a way to convey thoughts that are hard to swallow. She refers to herself as her past lover’s “manna,” having a direct reference to the Bible.  “Burned bridges east of Atlanta, well, no wonder you lost manna.” In the bridge of  “Savannah,” she refers to her past lover  as a “false prophet,” further saying he no longer holds the grip he used to have on her. 

The energy produced in Lincoln Hall from McRae and Juzang was magnetic, a night that will certainly not be forgotten.

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