On March 9th, I had the honor of seeing Three Days Grace and Disturbed at the United Center. It was a show that put the word epic in its place. As I entered the massive stadium, I saw it filled to the brim with incredibly devoted fans wearing merch and excited faces. I walked into the middle of Three Days Grace’s set immediately greeted with the first song I ever learned on guitar, “Animal I Have Become,” bringing back so many memories.
Three Days Grace had a fun and engaging stage presence, and the first thing I remember is how much lead vocalist Adam Gontier adored Chicago. He shared many moving personal anecdotes including his journey leaving the band and returning with pride. Each anecdote was paired with great musical transitions.
Every so often, he would lead the crowd in chanting “Three Days Grace,” and the last time he led these chants right into “I Hate Everything About You.” It was an incredible way to end their set.
After 3DG’s set was over, I was giddy to see what Disturbed would bring. I was in no way prepared for what was to come. Disturbed opened their set with some cool visuals before David Draiman wheeled out wearing a straight jacket and a face restraint. Draiman was unbuckled and removed his mask as the drums started and the band broke into the first song. It was an incredibly heavy, rhythmic performance that foreshadowed what the rest of their set would bring.
Disturbed’s 25th-anniversary tour of The Sickness did their debut album so much justice. With the original bassist Steve “Fuzz” Kmak reunited with the band for the first time in around 22 years, the music made on stage that Saturday was almost indistinguishable from the greatness that the album itself produces, but with that added magic of live musical performance. Disturbed performed “Down with the Sickness” second, which was incredible to see. Fuzz played bass for the first half of Disturbed’s set and John Moyer played bass after intermission.
The first half of their set included Draiman laughing the most menacing laughs I’ve ever heard in person, fire climbing up the set of risers on stage, and a point in the first half when an electric chair rose from the center of the thrust stage. Draiman was escorted downstage by a security guard sporting a bright orange prison uniform. In a shocking display, the guard sat him down and “electrocuted” him. Blood ran from his head as he started the next song. It was a Disturbing, but engaging scene.
Disturbed’s fans are incredibly devoted and it is clear why. Near the end of the show, after a huge blow-up version of their mascot “The Guy” rose on stage with fire blazing everywhere you can imagine (like diagonally in the air over drummer Mike Wengren), a screen descended showing a projection of the inside of a cathedral. Violinists came on stage and a piano rose from the center of the stage. With crazy contrast, Draiman started singing a beautiful version of “The Sound of Silence” by Simon & Garfunkel. As he performed the tune, the piano erupted in flames. It was a beautiful sight.
The penultimate song was “The Light” from Disturbed’s 2015 album Immortalized. Draiman brought a child and his mother on stage and spoke about the importance of dismantling hate in the world and the importance of love. It was a really moving speech and visual representation of the varying ages of Disturbed fans crossing generations. Draiman asked the audience to put a light up as the performed “The Light,” making for a truly beautiful scene.
Disturbed’s show was filled with many twists and turns, like a blindfolded rollercoaster ride, but that makes sense for one of the most influential Nu-Metal bands in existence. It was a beautiful show and helped me to appreciate the genre more. Make sure to give some love to the album that started it all, The Sickness. I was happy to celebrate the 25th year of this album with everyone at the United Center.
On Saturday, March 8th, Oklahoma-based sibling trio Skating Polly and Minnesota-based power-pop rock quartet Gully Boys took over the Cobra Lounge as the third stop of their spring co-headlining tour. Different local bands open for the tour in their respective cities, and Chicago’s own indie punk-rockers Yada Yada kicked off the night with a bang.
Skating Polly consists of siblings Kelli Mayo (vocals, guitar, bass), Peyton Bighorse (vocals, guitar, bass), and Kurtis Mayo (drums), and the trio released their fifth album Chaos County Line in June of 2023. Skating Polly kicked off their set with the track “Singalong,” and within the first minute of the band taking the stage, the crowd was swept under a wave of distortion and fuzz.
A highlight in the set was the second track they played, “All the Choices,” a twangy bubblegum-noise track spearheaded by Peyton Bighorse’s powerhouse vocals. While the band showcased a lot of tracks off their latest album, they also sprinkled in older songs from their fifteen-year career such as “Carrots,” “Flyer,” and “Pretective Boy.”
Something that stood out during Skating Polly’s performance was Kelli Mayo’s ruthlessly bold stage presence. Throughout the set, she kicked her legs, made wild facial expressions, and moved constantly while she played. Her stage presence bore a captivating element of mercilessness. Skating Polly ended their set with the track “Camelot,” during which Mayo crowd-surfed through the room while playing guitar.
A truly special quality about Skating Polly is the way that Bighorse and Mayo’s voices constantly intertwine with one another, creating a dynamic where they effortlessly build off one another. Skating Polly’s set at the Cobra Lounge dominated the stage and captivated the audience with their self-proclaimed “ugly pop” sound.
Skating Polly’s jaw-dropping performance was a tough act to follow, but Gully Boys absolutely held their own with a performance full of infectious energy and raw musical power. Gully Boys consists of Nadi McGill (they/them, drums/vocals), Kathy Callahan (she/her, vocals/guitar), Natalie Klemond (she/her, bass), and Mariah Mercedes (they/them, lead guitar). The band took the stage and launched into their track “Russian Doll,” immediately mesmerizing the crowd with their infectious energy.
The band played their two newest singles, “Bad Day” and “Love Me 2,” showcasing a more pop-punk influenced sound. These tracks consist of impressive vocals, an upbeat tempo, and catchy hooks that the band seemed to be having fun with on stage. Throughout the show, the band was all smiles. Callahan bounced all over the stage, and the band won over the crowd with unbridled energy.
Gully Boys took some time to play three unreleased songs off their upcoming album, whose name and release date have not yet been announced. These tracks incorporated metal and hard rock riffs with melodic and passionate lyrics that got the crowd moving and hanging on to every beat.
Gully Boys’ live performances give off the energy that they are having the time of their lives and are just happy to be here. Callahan carries herself with a spunky and bubbly attitude that is fueled by raw emotion. Throughout the show, I was amazed by Mercedes’s skills as a lead guitarist, making some of the most wild and technically complex riffs look effortless, while musically building off of and interacting with Klemond’s killer basslines. McGill is the backbone of the band, balancing an epic punk rock scream with a vivacious personality that seems as if it radiates throughout the venue and can’t help but make you smile. Through live performance, the band collectively expresses their passion for the music they create.
Between Gully Boys’ upbeat, power-pop rock tracks and Skating Polly’s noisy “ugly pop,” the two bands gave energetic, powerful, and memorable performances to the Cobra Lounge stage.
On Sunday, March 2nd, Grace Enger and opener Jake Minch played a stupendous show at Schubas Tavern. Enger’s hybrid sound of Disney Channel pop and beautiful melodic folk made for an eclectic show. Prior to the show, a memo between fans told everyone to show up wearing stripes. Enger followed suit, coming onto the stage in a navy blue mini skirt and a blue and white striped long sleeve shirt.
Opening the show, Minch’s sound was soft and deep with lyrics reflecting on intimate life stories like his tumultuous relationship with his sister. His cover of “Funeral” by Phoebe Bridgers brought me to tears.
Enger’s most recent project, The Alchemist, chronicles a tale as old as time itself: what it means to be loved, to lose, and to start over again.
In her song, “Love Will Find Me,” she sings about feeling comfortable being single while also wanting someone beside her in her most vulnerable moments. “I’m not scared of being alone but I’d like someone beside me.”
Enger sees herself as an alchemist, singing about how she wishes everything she touches could turn to gold: “I am the alchemist/I can turn rust to gold/Take out the bitterness and leave in the good I know is there.” When I first heard these lyrics months ago, I thought of King Midas,who could turn anything into gold. She sings about how seeing the best in someone during a heartbreak makes it harder to get over the person.
Enger realizes the effect her music has had on other people positioned in similar situations. At one point in the concert she said, “I think we’re all singers.” Passionate fans held up butterflies, as a sign that metamorphosis and change is an essential part of the human experience. It is always so sweet and endearing to see how enthusiastic fans of an artist can connect with each other on a spiritual level.
At the end of the show, many fans were talking to Enger’s parents about the wonderful job she did. It was a very sweet and heartfelt moment seeing how proud Enger’s parents, family, and friends are of her. Her guitarist is a childhood friend that she has known since 2 years old.
With intimate and heartfelt performances, Grace Enger proves to be a star in the making.
Hamilton Leithauser graced the city of Chicago at the Old Town School of Folk Music on February 28th 2025. He strolled onto stage in a suit, tie, and black Boston birkenstocks.
Leithauser was quite limber on stage, tapping along to the beat with his lead guitar. On some songs, he showcased a deep crooner voice reminiscent of Frank Sinatra if he were a 21st-century indie folk artist. Other songs, such as “The Bride’s Dad,” highlighted his more folksy, Dylan-esque side.
Leithauser has been a major player in the indie folk scene for over a decade. Through hit songs like “A 1000 Times,” he perfectly sums up what it means to be in love. He was both an intuitive musician and a witty comedian, promptly coming up with lines and introductions to his songs. One of the working staff members introduced Leithauser by saying “He comes from the Big Apple, 6ft. 6 inches, and weighs 220 lbs, please welcome to the stage Hamilton Leithauser!” Laughter erupted from the audience in the intimate venue.
Each song Leithauser performed has some sort of backstory behind it. “Off The Beach” is inspired by a friend entering into their sixth marriage. “Room for Forgiveness” gets its name from a young Irish attendee at a show in Dublin. Each of Leithauser’s song titles is deeply personal with an intriguing backstory behind it.
About half way through the show, there was one concert-goer who motioned to get Hamilton’s attention. She yelled “I left Michael Marcagi for you!” He sheepishly responded with “I have no idea who that is.” Instant laughter flooded the venue.
Every member of Hamilton Leithauser’s band is from Austin, TX, though he himself is not. He shared this as an aside when introducing his band during the second half of the show. The band showcased their instrumental savvy throughout the show. During the song “In a Black Out,” the guitarist noodled a riff on the acoustic guitar, keeping the audience hooked. Everyone fell silent during this song, as if the room was under a collective hypnosis.
Near the end of the show, Leithauser made another witty remark saying: “Thanks to whoever sponsored the concert or whatever.” His candid and personable energy made for an electrifying stage presence.
Leithauser did an exceptional job of bringing a sliver of light into a world that, as of late, seems to be shrouded by darkness.
CHICAGO – All Stephen Day needs to get the attention of over 250 Chicagoans is a mustache, stellar sideburns, and a guitar. The Nashville-based artist rocked Lincoln Hall on Friday, February 21st, 2025 with his tight band, crooner voice, and a mid-concert surprise event.
When Day walked out on stage to fun rock music, shook his piano player’s hand, and danced around, all before he put on his guitar, you knew it was going to be a good show. The impressive singer and lead guitarist instantly grabbed our eyes and ears when he started to play one of his new classics off the Gold Mine album, “Kinda Cowgirl.” The country-adjacent soul tune about finding the perfect girl made everyone in the audience move from side to side and filled their veins with excitement for the hour and a half to come. Day continued to rock the house down with his standards like “On Top of the World,” and “If You Were The Rain,” both of which had every person in the audience singing their hearts out.
It’s impossible to talk about Stephen Day without talking about his band. The players backing up the modern-day crooner knocked the house down. The bass player had groovy bass lines for every tune that made it impossible to stand still. The drummer showed incredible skill with his dynamics, clearly differentiating when a song was high energy and when we needed to bring the volume down. The piano player was a shredder! There was not a moment where the keys didn’t punch through with clarity, incredible tone, and a great sense of style.
Before the concert started, the voice of Stephen Day came over the speakers, telling the audience to “check in” for the show. After about 45 minutes of stellar tunes, the audience started to get curious about a large jackpot wheel to the side of the stage. “What’s the wheel for!?” people were shouting. Day’s band mates started to look at each other, knowing it was time.
Suddenly, the lights changed and it was time to SPIN! THAT! WHEEL!! A random concertgoer’s name was called, and the band played the grooviest game show music known to mankind. The lucky spinner went up stage, spun a giant wheel and won a Stephen Day crewneck. If every concert had a check-in and a jackpot wheel, the world would be a better place.
Stephen Day just started his tour. He will be on the road until mid-April, creating memories, giving away crewnecks, and playing some of the best music in the industry right now. It’s clear that Stephen Day didn’t just put on a concert; he created a moment for everyone in attendance to be replaying long after the concert was over.
Sunday, February 9 marked the annual recurrence of the most watched television broadcast in America: the Super Bowl. While the football faceoff between the Philadelphia Eagles and the Kansas City Chiefs may have been the “main event,” several musical artists put on exceptional performances before the game and during halftime, giving us non-sports-fans a reason to watch.
The Super Bowl halftime show is the United States’ most-watched musical performance of the year. The first Super Bowl game was played in 1967, and in the early years of the annual event, the halftime show was usually performed by collegiate marching bands. It wasn’t until the 1990s that the event began to feature major celebrity musical artists, a move that further increased viewership of the big game and quickly became a tradition. Today, headlining the Super Bowl is arguably the most coveted musical gig of the year, representing the ultimate marriage of sports and pop culture.
But before we get to this year’s halftime show, several artists graced the stage before kickoff to perform traditional patriotic songs. The lineup featured artists with New Orleans ties, beginning with Trombone Shorty, who played trombone alongside singer Lauren Daigle in a NOLA second-line-style rendition of “America the Beautiful.” The pair was joined by an unnamed sousaphone player, contributing to traditional second-line instrumentation, and an acoustic guitarist, who gave the performance a slight country twang. They even included a short bone solo in the arrangement, honoring the importance of improvisation in New Orleans music.
Next, another New Orleans native, Ledisi, performed the Black national anthem, “Lift Every Voice and Sing,” in traditional gospel fashion. To celebrate the 125th anniversary of the song, Ledsi was backed by a choir of 125 New Orleans high school students in yellow robes. She stood out against the yellow background in a striking all-white outfit.
Finally, 7-time Grammy award winning artist Jon Batiste performed a bluesy rendition of the national anthem, singing and accompanying himself on a colorfully painted grand piano with some additional drums backing him up. Another great pick to honor the game’s location, Batiste represents a long legacy of New Orleans jazz musicians.
Batiste’s anthem performance reminded me that we have come a long way from Jose Feliciano’s historic 1968 anthem performance at game 5 of the World Series. If you’re unfamiliar with the story, Feliciano is a blind Puerto Rican musician and the first artist to take significant creative liberties with an anthem performance at a major event. He sang and accompanied himself on acoustic guitar, re-harmonizing the melody in a folk style. Unfortunately, he faced incredible backlash, being called un-American and blasphemous and being blacklisted afterwards, but his performance paved the way for future stylized renditions of the anthem. Indeed, Batiste’s soulful take seemed to be well-received by the cheering audience.
After the Eagles dominated the first half of the game, headlining artist Kendrick Lamar took the stage to perform the much-anticipated halftime show. This was not the first time Lamar graced the Super Bowl halftime stage. He performed at the 2022 halftime show in Los Angeles, but this was his first performance as a headliner and the first time a solo hip-hop artist ever headlined the big game. Before Lamar began rapping, the camera centered on actor Samuel L. Jackson, who donned a patriotic suit and top hat and narrated the performance as a satirical “Uncle Sam” character. The music had not even begun and Lamar already promised a unique and original halftime show, a promise he absolutely delivered on.
The Super Bowl halftime show has become quite the spectacle. Each year, artists attempt to one-up each other with bigger and bigger productions, more costume changes, more elaborate set design, more backup artists, more guest artists, more instrumental performers, etcetera. Lamar’s show this year marked a refreshing departure from that trend while still delivering a dynamic and well-executed performance.
With the lights down low, cameras panned from Jackson to Lamar crouching on a black car as he began rapping an unreleased song in a relatively chill, understated opening to the show, rather than taking the big bang opening approach of most Super Bowl halftime artists. It was an effective move, not only helping him stand out from previous artists, but also relying on the under-appreciated truth that a soft dynamic can be the best way to grab an audience’s attention, forcing them to lean in and listen more closely.
Before long, Lamar was joined by several dancers each dressed in monochromatic red, white, or blue, who supported Lamar with dynamic visual stimulus for the rest of the performance. At one point, they positioned themselves in the shape of the American flag, in case the American theme was not yet clear, emphasizing Lamar’s willingness to make political statements with his music. Notably, all of the performers who appeared in the show were black, including all of the dancers and guests, underscoring Lamar’s celebration of Black American culture. Though Lamar himself did not participate in the complex choreography of the dancers as some other artists attempt to do, he maintained a confident, charismatic, and engaging stage presence throughout the show, and I did not miss the additional dancing.
Sticking to the Americana color scheme, Lamar wore a blue, black, white, and red leather jacket featuring “GLORIA” in red lettering across the front of the jacket, a reference to the closing track on his 2024 album GNX. He kept the jacket open, revealing large silver chains on a black tee. On one of the chains hung a large lowercase “a,” which fans speculated may have been a reference to the famous line in his Drake diss track “Not Like Us” which follows “Trying to strike a chord and it’s probably A Minor.” The chain could have also referenced the logo of Lamar’s company pgLang. To complete the look, he wore bell-bottom blue jeans, a backwards black baseball cap, black leather gloves with a large ring, and a pair of black and white Nike Air DT Max ’96 sneakers. Lamar kept the same outfit for the whole show, not bothering to attempt the many costume changes of some previous halftime show artists.
Keeping with the understated theme, Lamar and the dancers stood out against a fairly minimalist stage design. The main middle section of the stage was a flat, all-grey set that resembled a cement parking lot. During the performance, Lamar traveled between four adjacent stages, each in the shape of a PlayStation controller button (x, o, triangle, and square), which evidently was Lamar’s idea and an additional dig at Drake. The only pop of color in the whole set was the red of the x stage, but the limited use of color allowed the performers to really stand out visually. It is not easy to craft a performance that will pop not only on television, but also on the field of a massive sports stadium where most viewers are quite far away. I think Lamar’s approach was very effective for both. The monochromatic outfits of the backup dancers also helped the visual elements pop even from a distance.
Hip hop does not always translate well to a stadium setting, but Lamar did it remarkably well. As the first rapper to win a Pulitzer Prize, Lamar has been widely recognized not only for his masterful lyricism, but also his precise delivery and impeccable flow. These elements helped his rapping come across flawlessly despite the tricky live setting. He also elected to rap exclusively over backing tracks for the show and did not include any live instrumentalists. A move that may have disappointed some, I felt that it helped Lamar carefully control and curate the sound, creating a final product that sounded impressively accurate to the recorded versions. The performance had to be clean despite the use of profanity in much of Lamar’s music, but I was pleasantly surprised to find that this did not really detract from the performance as it sometimes does for other rap acts. It was seamlessly executed.
As expected, Lamar performed many of his biggest hits, though he mostly avoided his earlier catalog. After the unreleased opening, an unprecedented halftime show move, Lamar performed “Squabble Up,” the second track on his latest album GNX. Next came “Humble” and “DNA” from his Pulitzer-Prize-winning album Damn. followed by “Euphoria” from his diss track exchange with Drake. Then, “Man at the Garden,” “Peekaboo,” and “Luther” all from GNX. On “Luther,” Lamar introduced SZA as the first guest artist of the night for a beautiful duet. In a monochromatic red leather outfit, SZA also performed “All the Stars” from the Black Panther soundtrack before making her exit.
Finally, just before closing the set with “TV Off” from GNX with an appearance from producer DJ Mustard, Lamar performed the most anticipated song of the night, “Not Like Us,” during which tennis star Serena Williams (who was also involved in the Drake beef) made an appearance crip walking and dancing along. As the centerpiece of his feud with Drake, performing “Not Like Us” on this stage after it won five Grammy awards earlier this year marks an undeniable and crushing win against Drake. Lamar certainly recognized the significance, even teasing the song earlier in his performance. Complete and utter domination seemed to be a theme for the night as the Eagles went on to destroy the Chiefs.
Soccer Mommy is an American indie musician and songwriter from Nashville, Tennessee. Starting her music career in her teens, she initially released tracks on Bandcamp before gaining significant attention in the indie music scene. Soccer Mommy’s sound blends elements of indie rock, folk, and bedroom pop, with emotionally charged lyrics that often explore themes of self-doubt, relationships, and personal introspection. Her music’s raw vulnerability has earned her recognition for its honest portrayal of emotional experiences, while maintaining a polished, yet accessible sound. Soccer Mommy was accompanied by band mates Julian, Rodrigo, Rollum, and Nickolas on February 6th and 7th in Chicago for two sold out shows at Thalia hall.
Evergreen is the title track of Soccer Mommy’s new album from October 2024, it suggests another step forward in her artistic evolution. Evergreen is her fourth studio album under the name Soccer Mommy. She recorded the album at Maze Studios in Atlanta, working with producer Ben H. Allen III. Soccer Mommy gained widespread recognition with her debut album Clean (2018), which marked her breakthrough in the indie music scene. Her follow-up album, color theory (2020), further solidified her position as a rising talent, delving into deeper, darker themes like mental health and personal loss. Known for her relatable songwriting and blend of nostalgic 90s influences with modern indie sensibilities, Soccer Mommy has built a loyal fanbase and toured with notable acts with Paramore and Wilco. Her music continues to resonate with listeners like myself for its introspective and cathartic qualities.
As her previous work, like Clean and color theory‘s balanced raw, emotionally-driven lyricism with introspective sounds, Evergreen could represent a further refinement of her style, possibly integrating more sophisticated production and deeper thematic exploration. The choice of Evergreen as the album’s title likely alludes to themes of renewal, growth, or enduring emotions- ideas that align with Soccer Mommy’s talent for crafting emotionally resonant, personal narratives.The release of this album might expand her reach to a broader audience, while maintaining the vulnerable and relatable qualities that have defined her work. Evergreen would likely attract listeners who have followed her since her earlier albums, while also positioning her to connect with a new generation of indie music fans. The shift in both sound and tone could signal Soccer Mommy’s growth as an artist, offering a fresh yet familiar experience that solidifies her place in the indie rock scene.
My night at Thalia Hall on night two of Soccer Mommy’s shows in Chicago was unforgettable. The communal energy was palpable, with a crowd of respectful concertgoers eagerly flocking to the front after the opener, Tomberlin. Soccer Mommy’s set was a mesmerizing blend of psychedelic sounds and ethereal atmospheres, enhanced by a stunning five-piece band that filled the venue with lush melodies. The stage design was striking, with beautiful, eye-catching props that were meticulously detailed and cohesive with the overall aesthetic. What really stood out was how immersed the crowd was in the experience with virtually no phones in sight. It created this rare, unfiltered connection between the band and the audience. As the music flowed through the space, everyone swayed and nodded along, singing every word of songs like “Cool,” “Your Dog,” and “Evergreen,” which only deepened the intimate vibe. The echo of voices from the crowd added another layer of magic, amplifying the feeling of unity and shared experience. It felt like we were all living in a dream, the hypnotic rhythms and delicate vocals pulling us into a collective trance. The energy lingered long after the last note faded.
Personally, “Crawling” was a standout moment for me, and the encore song, “yellow is the color of her eyes,” was the perfect way to close out the night. While I was hoping to hear some personal favorites like “Benadryl Dreams” (2017) and “Stain” (2020), they weren’t part of the setlist—though they certainly deserve recognition. Like many concertgoers, I always look for a (free) memento from the show to take home. Of course, the adrenaline of waiting in line with friends, fighting through the Ticketmaster chaos, and seeing the artist live is unforgettable, but asking for a setlist from a band member can be just as fulfilling. So, huge thanks to Rollum for handing me the setlist from night one and the kind people around me for sharing the details of night two. Thank you Soccer Mommy for the amazing experience and thank you Radio DePaul and Soccer Mommy’s team for making this happen.
The people were growing restless. Winds were shifting, heavy raindrops splattered against empty sidewalks. Heavenly bongo sounds echoed in children’s ears. Only one thing was certain: The Greeper was making his way across Chicago.
Geordie Greep, formerly the frontman of English rock band, Black Midi, is a truly captivating force in today’s music. His solo debut, The New Sound, was released in October 2024. And while it was reminiscent of Black Midi’s frantic jazz-baked melodies, The New Sound portrays a more humorous side of Geordie. In the opening track, “Blues”, he wails:
“Can you feel it, you can feel it.
You can feel it, see, there’s a universe in this room.
You scrounger of toilets and pillager of tombs,
you don’t have to work because working is for schmucks.
You know God will light your way,
you are ready to admit to murder, to assault, to robbery, to pederasty, to fraud.
You are ready to take the blame for every crime of all men
but the jury is out to lunch.”
Then he muses: “Do beggars still play accordions? You should pay one to follow you around and play your theme.” Strangely enough, I’ve often thought the same thing.
I was lucky enough to see Mr. Greep and his band (aptly named “The New Sound”) perform Thursday night at the Empty Bottle. The 3.5 hour spectacle was amusing, impressive, and at times reminiscent of what I imagine a really good church service feels like. Geordie’s enchanting aura was matched by his incredible backing band, consisting of keys player Cameron Campbell, percussionist Santiago Moyano , drummer Charlie Schefft, bassist Dave Strawn, and guitarist Ethan Marsh.
Geordie’s tongue-in-cheek lyrics combat intricate basslines and heavy percussion. While I loved hearing this jam-packed album live, I became intrigued with Geordie and his band’s interactions onstage. Throughout (improvised?) jam sessions and a cover of Willie Colón’s “Cua Cua Ra, Cua Cua,” Geordie and his band remained incredibly in sync with each other. I pictured these musicians floating above the audience as one unit, bestowing upon us an auditory mirage from above. I’m not sure what Geordie meant by “The New Sound,” but I’m pretty sure that was it.
Whether or not you enjoy the rambling Greep lyrics, I can say without a doubt this was one of the most musically impressive shows I’ve ever seen. It was just as fun to hear the songs live as it was to see the band interact and bounce off one another in the moment. I also walked away with a newfound appreciation for the bongos, which I realize have been widely underrepresented in my music listening. To quote The Greeper himself, “bongo season is sweeping the globe.” And by the looks of it last Thursday, Geordie Greep and The New Sound appear to be sweeping the globe as well.
CHICAGO – Saturday, January 18, at Thalia Hall, The Rebirth Brass Band grooved their way into everyone’s soul. With screaming trumpets, a non-stop walking sousaphone line, and infectious lyrics, the eight-piece brass band brought their New Orleans heat to the freezing city of Chicago.
The world-renowned brass band has been playing funk, second line, and jazzy tunes on the French Corner in New Orleans since 1983. Like their lyrics say, “There ain’t no party like a Rebirth party cause a Rebirth party don’t stop”. The group has been rotating players for the past 42 years, but one musician has been a constant throughout the history of Rebirth. Keith Frazier, the bass drum and cymbal player, co-founded the group in 1983 and has continued to tour with them since. While up on stage, you could barely see the short man behind a huge bass drum strapped to his chest, with a little cymbal next to it, which he hit with a flathead screwdriver. Though it was hard to see him, you could absolutely feel his bass booming presence.
The blaring brass band did not mess around when it came to having fun on stage. The musicians truly looked like they were best friends from fanning each other with their horns when hitting a musical riff, or bumping into one another just to mess with each other. The vibe on stage was infectious and the sold-out crowd at Thalia Hall was there to party! People all around were dancing with their neighbors, clapping along with the band, and singing at the top of their lungs. The band’s energy was reciprocated tenfold by the audience. It was clear that the group knew how to play for people and how to get them involved.
For periods of their existence, The Rebirth Brass Band resided on the streets of New Orleans, playing classic second-line music for thousands of passersby each day. This led them to have a more portable setup, only using instruments they can carry with them. As much fun as it would be, it’s hard to carry an eight-piece drum kit through the streets of New Orleans. The musicians of Rebirth have mastered the art of maximizing the potential of their instruments. For example, the snare and cymbal player used every inch of the drum, including the rim, to get the most variety out of the snare kit.
With their tight-knit performance and relentless fun, The Rebirth Brass Band reaffirmed that when it comes to throwing a party, nobody does it quite like Rebirth. The music, the camaraderie, and the sheer joy were impossible to ignore, leaving the crowd with a deep sense of connection to the band and the heart of New Orleans.
Since its founding in 2005, TNKFest has been focusing on connecting Chicago’s indie music venues, and highlighting various up and coming artists. While TNKFest has been consistent in booking some of the best emerging artists in various music scenes, I was personally stoked to see New York-based band Been Stellar on the 2025 bill. This past year has been filled with major accomplishments for the band, including signing to the record label Dirty Hit, the release of their debut album Scream from New York, NY, opening for Fontaines D.C. in the United States, and having their own headlining tour across Europe and North America. On Friday, January 17th, Lincoln Hall was packed with fans anxiously awaiting for the indie noise rockers to headline the night.
Right off the bat, the band kicked off their set with the title track of their debut album, “Scream from New York, NY.” The audience was immediately captivated by the song’s somber yet complex buildup that ends in an explosion of intensity and distorted noise. Without missing a beat, frontman Sam Slocum launched into shouting vocals with tambourine in hand to commence the start of “Passing Judgement;” a crowd favorite tune with quirky yet chaotic melodies, jangly guitars, and a dynamic, driving beat. Within the first ten minutes of the band’s performance, Been Stellar established that their ability to produce ruthlessly loud, layered noise with absolutely beautiful melodies live is a force to be reckoned with.
After a few songs, the band erupted in a wave of wild, noisy feedback interrupted by driving drums to kick off their song “Manhattan Youth,” another standout moment of the band’s set. During the upbeat, garage-rock influenced song, the crowd got a rush of energy, jumping to every beat. With the band feeding off of the crowd’s vibe, it felt like being transported to New York during the height of the 2000’s indie scene.
While the band had a solid set from start to finish, a special moment for myself was when the guitarists of the band erupted into a 90’s shoegaze-eque exchange of notes, signaling the start of my favorite song “Sweet.” The song showcases Slocum’s vocal skills, going from sweet and tender melodies to emotional belting that emphasizes the lyrics in a sonically beautiful way. The instrumentation is made up of distorted guitar riffs and basslines intertwining in such an effortless way that are only enhanced by hearing it live.
Been Stellar’s ability to bounce off one another live is an incredible quality of the band. Co-founder and guitarist Skyler Knapp is a leading force in the band’s stage sound and presence, creating wailing noises and walls of distorted guitar while constantly moving around on stage in a wild manner. Each member is so in touch with their own instruments and sounds that when they come together, it is nothing short of incredible. I often caught myself smiling because of the insane amount of noise the band produced inside the walls of Lincoln Hall. With a discography ranging from melancholic noise to upbeat garage rock, Been Stellar was able to create the most incredible live soundscapes that made this show one of the most memorable that I have ever experienced.
