CHICAGO- On Monday, Sept. 29, LA-based Starcrawler took the stage opening for Garbage at Salt Shed. Earlier this year it was announced that the alternative-rock legends, Garbage, would be embarking on their last North American headline tour, and that Starcrawler would be joining them for all of these shows. With the band known for their electrifying live shows, as well as their dynamic fresh take on modern rock the crowd anxiously waited for Starcrawler to kick off the night.
The band took the stage with their coordinating rockability outfits featuring their signature pink and black color combination as they adjusted their matching gear. The band, consisting of Henri Cash (guitar), Bill Cash (pedal steel/guitar), Tim Franco (bass), and Seth Carolina (drums), began the set with their track “Goodtime Girl,” as frontwoman Arrow De Wilde ran onto the stage with a ferocious energy, and gritty vocals. Establishing an explosive start to the show.
Towards the beginning of Starcrawler’s set, they leaned into a more western-punk side of sound with tracks like “Roadkill” and “Stranded” off of their 2022 release, “She Said.” As they shifted to more rocker tracks like “I Love LA,” and their cover of Ramones’ “Pet Sematary” the crowd became enthralled with De Wilde’s chaotic, eclectic stage as she moved like a force to be reckoned with for the entirety of the set.
As the band concluded their set with the electrifying track, “Bet My Brains,” Starcrawler gave it their a hundred percent. While the band played through the outro of their closing song, De Wilde left the stage, giving lead guitarist Cash the spotlight. As he stepped off the stage and into the crowd, he moved all around the venue, weaving in and out of people in between various riffs and guitar solos.
Between their electric take on modern rock and showmanship, Starcrawler started the night off with a bang, capturing the attention of the crowd and getting them excited for Garbage’s set ahead.
CHICAGO- On October 22nd 2025, I had the honor to be a part of the crowd at Thalia Hall to see New Zealand’s pride and joy, Balu Brigada. Being in Thalia Hall itself was a surreal feeling, the venue was incredibly beautiful, and you could almost taste the rich history its walls held.
The opener for the show was none other than Harper Finn, who took away everybody’s breath with his electric moves and his suave voice, wonderfully accompanied by Jacob Stockman on the drums. He performed some of his hit songs, such as “Conversations (With The Moon)” and “Where Did She Go,” setting a dreamy tone for the evening. He also performed some upcoming songs of his, surprising the crowd and causing a new wave of excitement among us. As he began to step off the stage, he spoke into the mic, “You guys will see more of me, just behind a different instrument,” alluding to him performing as the keyboardist for Balu Brigada.
When the two brothers finally stepped onstage, the energy in the room shifted instantly. The crowd, full of long-time fans and curious newcomers, was ready to dance! The brothers instantly jumped into the first song of the night, “Golden Gate Girl,” the beat forcing my feet to shuffle in sync. The band’s signature blend of funky basslines, sleek guitar riffs, and smooth vocals made every song feel danceable, even the ones tinged with bittersweet emotion.
Their set included other hits from their debut album “Portal,” which was released just this past August and has accumulated over 75 million streams on Spotify, including “What Do We Ever Really Know” and “Butterfly Boy.” They sang some of their older material too, like “Moon Man,” and at one point, surprised the crowd with a cover of Grimes’s “Oblivion.”
What stood out the most, however, was their chemistry. Both, with each other and the crowd. The brothers continuously made playful jabs at each other, taking many moments during their performance to hug or joke around. They made sure to share this love with the audience too, pointing out 2 people in the crowd that they had seen while at a ramen restaurant, and then showcasing their musical intellect by immediately coming up with a catchy tune, singing, “We love ramen!”
The energy spread by the duo was caught onto by the crowd, who matched it beat for beat. They sang along to every lyric, waving their hands and phones with the flashlight on, and jumping in unison when the beat dropped. When the band played their hit song “So Cold,” the entire room erupted, a moment that captured exactly what live music is all about.
Seeing Balu Brigada live was an experience that may never be topped, and I’m grateful to have shared my evening with them.
CHICAGO — We live in a time where microtrends rule our aesthetic, lifestyle choices, and output. Many people and artists fall into the trap of clinging onto the hottest trend on the market and squeezing it for short-term results. French-born pop artist Oklou transcends this notion and has made a career by making her seemingly Y2K worship a staple of her brand and more than a cash-grab schtick.
On Oct. 21, 2025, Oklou performed for a sold-out crowd at the historic Metro, a venue that carries a legacy of being one of the top in the Chicago area. The French artist crossed the pond to embark on her U.S. and Canada tour for her new acclaimed album “choke enough.” The album has made a splash in alt-pop and electronic spaces, bringing a new element to the scene by introducing more ambient, stripped-back production over Oklou’s quiet and soft-spoken singing.
As I walked up to the Metro I saw the long line of fans waiting for the floodgates to open. I noticed that the aesthetics – Digicams, mesh shirts, and septum piercings – were all represented in the mainly Gen Z crowd. The few older fans I witnessed in the line dressed exactly what I would imagine a 2000’s club crowd would look like. A variety of funky hats, cheetah-printed scarves, and alien-like glasses ushered me into a world where all walks of life are accepted.
Our hivemind of Y2K appreciation eventually spilled into the main floor of the Metro. In front of us, a staggeringly tall white tarp overlooked the audience from the background. The foreground, on the other hand, consisted of a snow-white stage draped with geometric shapes scattered across it. The stage more resembled a jungle gym that was hit by an arctic blizzard than a usual setup. Some audience members and I hypothesized what could come from the bizarre setup we were witnessing. Were there more instruments under the boxes? Would the tarp reveal something spectacular beneath it? I noticed that we were being brought into Oklou’s imaginative world before the show even started.
In the midst of our baffled conversations, a bright spotlight flashed from behind the stage. To a roar of applause, the opener, umru, appeared from the abyss to perform his opening DJ set. umru looked more like a car mechanic than a DJ. The spotlight turned out to be his headlamp strapped to his head, helping the New York based DJ see the turns and knobs in front of him.
Speaking no words to the crowd, a composed umru started his set with a varied mix that ranged from bubblegum bass, hyperpop, and Jersey club, married with vocal chops from well-known EDM and trap records. This amalgamation of pounding drums and offbeat vocal selections seemed reminiscent of Dariacore, a niche genre born from the internet in the early 2020s and made popular by Oklou’s frequent collaborators.
Excited by his choice of music, I frantically looked around me to see who I could share this moment with. I was despondently met with stoic stares and slight head nods from the audience. I braced myself for what I thought would be another disappointing crowd that were either too awkward or embarrassed to enjoy themselves with the music. Though during the climax, all of the ensuing chaos from umru’s set came to a halt. An abrupt string section was met with many confusing looks around me. Then, out of the blue, the muddled audience were hit with Chief Keef’s vocals from his record “Kush With Them Beans,” and a hardstyle drum came blasting from the speakers. This sudden switch turned the once frozen-solid crowd into a frenzy. umru’s DJ set awoke the crowd from its awkwardness and prepared them for what was to come.
As the crowd anxiously waited for the performance of the night, a familiar sight of a beaming light appeared from behind the white tarp. From the screams of the fans in attendance, the light slowly made its way to face the crowd. Emerging was Oklou with the same headlamp Umru donned, resembling the famous poster from John Carpenter’s “The Thing.” The intro to Oklou’s track “ICT” started playing through the speakers as she made her way to the microphone, accompanied by her fellow musician Casey MQ, who played keys and guitar. Oklou took no time to display her musical chops throughout the show, with vocals that matched the studio quality of “choke enough,” guitar playing, keyboard magic, and even a performance with a recorder.
The star of the show, though, was everything outside of the music. The stage setup that had me and others intrigued had no secret behind it but rather gave the feeling we were in the clouds, floating with the music and Oklou. The white tarp lit up with accompanying videos featuring distorted and blended clips of characters dancing, driving through highways, and swirling shapes that looked like Rorschach inkblots. The lighting throughout the concert was calculated and displayed an intense attention to detail.
In some performances, the light glowed behind the tarp to give Oklou a silhouette-like figure, adding to the world-building she was creating right before our eyes. Two light fixtures that resembled street lamps shined onto spurts of smoke that clouded the stage, creating an atmosphere even David Lynch would appreciate. The only time the lighting strayed away from its monochromatic look was when Oklou performed “galore”, from her previous project under the same name, a clear homage to the art direction of her earlier work.
As the show entered its last stages, Oklou appeared to grab a headdress covered in what appeared to be pieces of glass taped chaotically all over it. A narrow floodlight appeared and waved left and right before carefully shining directly onto the headpiece. Immediately, the light refracted in every direction, revealing spots of light that moved symbiotically with Oklou. Within seconds, the venue turned into a disco frenzy as the rumbling synth intro of “choke enough” started playing.
The theatrical performances and dazzling display of musicianship all culminated in the climax of the show. After performing “family and friends,” a cloud of mist and smoke smothered the stage and venue. A flood of bright lights above the tarp shined onto the performers as a harpsichord rendition of “harvest sky” softly played in the background. Oklou proceeded to sing her verse of “harvest sky” over the harpsichord, transforming her club banger into a medieval-like ballad. At the end of her soft-spoken verse, the white tarp flashed with a greenish scar that bounced along the intro synth of the track. Casey MQ turned to the crowd with a boastful look, swaying back and forth with his arms crossing his body. Oklou stood on top of one of the geometric structures and swayed to the beat, standing confident and free over the screaming crowd.
“harvest sky” is a fan favorite and one of the more popular tracks from “choke enough.” Hyperpop artist, underscores, known for her seminal album “Wallsocket,” provided lush vocals on the euro-trance inspired song with Oklou. There were swirling rumors among fans in person and online that underscores would make a surprise appearance at this show. No one knew a thing. I mean, Bladee didn’t magically appear for his verse on “take me by the hand,” so it was doubtful, right?
Right before the point in the song where she sings her verse, observant fans in the crowd saw what they thought was a figure emerging behind the white tarp. From the darkness, underscores appeared to a raucous crowd that, at the sight of her, started jumping around from sheer excitement.
The trio of Casey MQ, Oklou and underscores all stood on top of their respective elevated platforms and looked upon the crowd from all walks of life. The music, lighting, art direction, dances, crowd, and atmosphere all came together for this moment. In here I felt free: free from judgement, free from the ongoing chaos in our world, to enjoy this moment. A moment like this comes and goes, but Oklou embedded herself into my memory, a memory I’ll always cherish.
CHICAGO- On October 3rd, at Wicker Park’s own Chop Shop, Caroline Kingsbury and MARIS absolutely blew me away. The energy, the enthusiasm, they had it all. For two hours, the duo poured their hearts into every note, leaving the crowd feeling liberated and possibly more queer than before.
What struck me the most about this show was how unique it felt. This wasn’t just a concert, MARIS and Kingsbury wanted to create a whole experience for attendees and build connections with them. From handing out gifts, recreating iconic MARIS stars, jumping into the crowd mid-set, and their boldest move, making the opener their fans. The two artists created an entirely dedicated space to their intergalactic personas.
MARIS and Kingsbury allowed their supporters to sign up for karaoke for the first hour of the show. At Chop Shop, two pages quickly filled with eager fans willing to sing their hearts out, with the slim chance that the two artists will come out and join them. Fans belted out songs like “Snow Angel” by Reneé Rapp, a handful of Chappell Roan hits, and more.
The excitement hit its peak when MARIS and Kingsbury joined in for a karaoke rendition of their own track, “Give Me a Sign.” Watching strangers bond over karaoke before the main show even began was magical. It proved just how powerful live music and queer spaces bonds people.
MARIS and Kingsbury then took center stage. They opened the show with a theatrical entrance, and launched into their hit, “Give Me A Sign.” Kingsbury followed with a set of her solo music, opening with three tracks from her 2021 album “Heavens Just A Flight,” a nostalgic treat for longtime fans. The crowd swayed, danced, and felt every emotion she poured into her performance, as she always does. The transitions between artists were seamless, with the two feeding off of each other’s energy for each passing.
After Kingsbury’s “Massive Escape,” the crowd watched MARIS climb on stage with an inflatable joint, passing it to Kingsbury, truly capturing their chemistry. The bit led seamlessly into “Mary + I.”
MARIS didn’t just stop there. Fans watched the Montana native break it down, shred on an inflatable guitar and even hit a costume change during “Heavenly Bodies.” She had the crowd in the palm of her hands, MARIS’ energy was infectious despite her admitting she was feeling under the weather that night. She even treated fans to some unreleased tracks, such as “Jessica,” which led to her jumping into the pit for a “mush pit,” a mosh pit but friendlier, as she described it. The crowd’s energy then took a switch during a fan-led project for her 2024 single, “Chamelion” where attendees held up hand-drawn chameleons and phone flashlights.
As the emotions settled, Kingsbury returned to the stage, tambourine in hand, instantly lighting up the room. The Florida-born artist danced, did high kicks, and engaged the crowd with props and flags. It’s no secret that her songs are meaningful to her, she packs in so many moments of her lifetime into her tracks, striking a chord within listeners. That was especially clear when performing “Funeral,” dedicating the track to her brother.
The rest of the night was a celebration of queer joy, as well as a mix of dancing and swaying. Mid-set, MARIS and Kingsbury even sat down for a quick fan Q&A, before surprising the crowd with a cover of Chappell Roan’s “Pink Pony Club.” Their bond with each other was undeniable. It was no secret they were having fun that night at Chop Shop. To close the night, they came full circle, returning to where the show began, their hit “Give Me A Sign,” paying homage to the tour and the wild ride they just put attendees through.
Together, MARIS and Kingsbury proved that live music can be more than entertainment – it can be a form of liberation. Their co-headlining show at Chop Shop was a celebration of individuality, creativity, and queer joy, leaving fans buzzing long after their final notes.
CHICAGO- The week before classes always feels strange, not just for DePaul students, but for everyone. It’s a rush to get organized, while also squeezing in those last-minute hangouts before school nights take over. For me, though, that week meant catching a show.
When I heard Jeff Rosenstock and PUP (Pathetic Use Of Potential) were teaming up for a joint tour, it felt like a punk dream I couldn’t pass up. On a late summer night, the Salt Shed was packed wall-to-wall with fans for the “A Cataclysmic Rapture of Friendshipness” tour, a night overflowing with political energy, chaotic fun, and pure punk rock spirit.
Ekko Astral opened the show playing iconic songs as well as some unreleased, such as “The Beltway Is Burning” and “Capitol Riot.” Then Rosenstock took the stage, and his setup instantly caught my eye. It was everything you’d expect from Rosenstock, unapologetically bold and chaotic in the best way. A rainbow flag with cannabis leaves surrounding a “666” backed Rosenstock and his band, creating a backdrop that was as striking as it was symbolic. Equal parts rebellious, beautiful, and powerful.
He started his show with an older song called “The Lows.” Rosenstock claimed that this one was the “first time in 10 years” as it was the first time being performed since Feb. 8 2019. After this, he tore into the classics that everyone knows, “Nausea,” “Pietro, 60 Years Old,” even “I Did Something Weird Last Night.” Fans hopped over each other in crowd surfing battles, and the mosh pits were endless. The energy seemed to crackle through the entire venue. At one point, Rosenstock snatched a doll from an eager fan in the front row, laughing, “Well, that was worth it.”
Amid the chaotic pulse of “HELLLLHOOOOLE,” Rosenstock paused and asked the crowd if “she said yes” insinuating a possible proposal… silence followed. A ripple of awkward laughter swept through the venue before Rosenstock shrugged off the tension and dove right back into the set.
One of the most beautiful moments of the show in my opinion was when Rosenstock broke out in “9/10.” Watching the crowd take a quick intermission from their moshing to band together and swing their arms back and forth reminded me of the power of music and connection. Despite Rosenstock’s usual hardcore music, this song marked a pause, before jumping right back into the chaos with “You, In Weird Cities.”
Post Rosenstock set called for a brief intermission, and then PUP came out screaming (literally.) PUP’s lead singer Stefan Babcock launched into “No Hope” and “My Life Is Over And I Couldn’t Be Happer.” He spent a lot of the show reflecting on how the band wrote five records all based on existential dread. Yet, despite the heaviness in these tracks, the crowd found connection in the raw honesty. Babcock also reminded fans that “the world sucks right now – but the whole point of being here is to make others feel good and practice empathy.”
With that, they jumped back into their tuneful punk set. “Concrete” and “Morbid Stuff” had concertgoers putting their hands up and jumping. However, before “If This Tour Doesn’t Kill You, I Will” he mentioned that the Great Lakes is the only place where you’ll see someone apologize to security for pulling them over the barricade.
For the finale, the two acts combined forces and joined together for a few closing songs. The crowd began to chant “double band” repeatedly. They performed “Shut Up,” “Hey Allison!” and many more together, making it a point to jump on each other’s backs and run around the stage repeatedly. The night wrapped with an unexpected but unforgettable cover of the Spice Girls’ “Wannabe,” the perfect capstone to a show defined by connection, friendship, and the unshakable spirit of the punk community.
Walking out of the Salt Shed, I couldn’t help but feel grateful that my pre–first-week-of-classes stress had pushed me into this night – one I’ll remember long after the quarter begins.
CHICAGO- On Sept. 10th 2025, Wisp with opening musicians Dream, Ivory and aldn performed at Metro in Chicago. Metro is an intimate and independent historical venue which provided the perfect ambiance and community space for a magical Wednesday night show. Wisp is a California-based group as well as an up-and-coming band in the genres of alternative rock and nu-gaze. They are currently on a headlining tour for their debut studio album “If Not Winter” as well as stopping to support other headliners at shows for Korn, System of a Down, and Deftones.
The lead, Natalie R. Lu, mostly sang music from their new album “If Not Winter” which was released in Aug. 2025. At the show, they performed their first live cover of “Yellow” by Coldplay. The recorded studio cover was released that same day. She also performed the title track of her debut EP, “Pandora,” that was released in April 2024.
They closed out with her debut single “Your Face”which was released on TikTok in April 2023, where it had 100,000 views in a single day. The song’s streaming numbers are currently around 150 million on Spotify alone. Lu’s social media reached millions of views while “Your Face” met with similar streaming numbers which opened up large opportunities like being signed to her label Interscope Records.
The official music video for “Your Face” was released in November 2023 with Boni Mata and Nick Vernet directing. The video takes place underwater with the cinematic visual appeal of clothed bodies swimming and was directed intentionally to avoid actors’ faces. The YouTube music video currently has 9 million views. Her many other music videos carry unique visuals which emphasize the songs storytelling, the songs’ pop elements, and the bands genre-merging abilities.
Overall, Wisps performance was mesmerizing and a digestible listen for those new to the nu-gaze. Their stage presence, amazing openers, a brand new release, and kind co-attendees made this concert memorable and solidified their spot on my personal list of new artists to look out for. Thank you Radio DePaul for sending me to the show and thank you to the Wisp team and Metro staff/security.
CHICAGO- Riot Fest 2025 went down in Douglass Park the weekend of September 19th and had many highlights like the Beach Boys taking the stage with John Stamos, Jack White ripping a solo set, or the return of Blink-182. However, one of its brightest aspects was the spotlight it put on the rapidly growing genre of modern hardcore punk.
Riot Fest has previously showcased contemporary hardcore punk bands in the past few years, featuring the crossover thrash band Drain in 2023 and Bay Area Beatdown mainstays Sunami in 2024. However, in 2025, they took the spotlight to the next level, moving the contemporary hardcore focus from the side stage in the early afternoon to the main stage at prime time, which was amazing to see.
Hardcore as a genre is growing rapidly due to the contributions of bands like Knocked Loose and Harms Way, who are consistently touring and spreading the genre. Whether it be the main stage of Riot Fest or touring local venues, elevating the bands they play with, like Fleshwater, Ingrown, and Militarie Gun (who also played Riot this year). Bigger hardcore bands can use their influence to put the spotlight on other bands in their genre, which creates the sense of community that hardcore is known for.
Seeing hardcore take the main stage at a Chicago institution, the level of Riot Fest, was amazing to see, as it showcases the growth of the hardcore scene, especially in Chicago, where Harms Way is local. Additionally, hardcore bands getting the spotlight at Riot paves the way for other modern and newer artists to gain attention from the industry.
Harms Way was on at the main Roots stage at 3:45 PM, which was when the crowd really began to gather for the first day of the festival. Harms Way is coming off their most recent LP release, the phenomenal “Common Suffering,” from September 2023. The album features metal-influenced hardcore cuts such as “Silent Wolf” and “Terrorizer,” which they played during the set. Harms Way’s stage presence is defined by lead singer James Pligge’s captivating stage presence as he is laser-focused on his devastating vocal delivery. Pligge uses a very unique but effective style of hardcore vocals, as he is using his guttural force to rip through his vocal passages. The Riot Fest set opened with “Human Carrying Capacity” off of their phenomenal 2018 release “Posthuman.”
A defining trait of the band has always been their locked-in groove. Their sound balances between exhibiting rhythmic power and giving great spacing quite well. The band stands uniquely for the way they have mixed their original influence of bands like Weekend Nachos, who leaned towards faster and sludgier styles of distortion, and other Straight Edge hardcore bands like Foundation, who had similarly organized rhythmically driven pacing.
Live, Harms Way reaches a captivating pace with the riffs of founding guitarist Bo Lueders driving the speed and power of the band. The band is consistently in sync as they rapidly switch between rhythmic pacing with a dynamic focus. The band is also fantastic at slowing down the pace into breakdowns, which take the main motif of the riff and brutalize the pacing, sending every hardcore fan into the mosh pit. Harms Way can consistently make a slower pace sound brutal and heavy with the strength of rhythm they contain, which really makes them unique among hardcore bands. The rhythmic versatility of the band’s live performance is a testament to how tenured they have been for the last decade in the world of hardcore.
“To see them take the main stage at Riot Fest and show how they have elevated Chicago’s hardcore scene by being one of the most popular and tenured bands from the city’s scene was just another reason why they are so amazing to watch. Harms Way was even added late to the festival, which was a great booking choice from Riot Fest’s team, as it gave the city’s hardcore scene a genuine band to be excited for.
Harms Way’s set also consisted of a brand new single, “Other World,”from May 2025, which is a great new sound for the band, though still rooted in the industrial hardcore style they are known for. Their use of noise sampling has always been great to add the industrial effect to their music, and the riffs on “Other World” are great, with a finale-style breakdown to end the track. This track really brought the energy to the mosh pit with its consistent rhythmic focus and grand breakdown.
The band closed their main stage set with “Becomea Machine,” also from 2018’s “PostHuman,” which has become a set mainstay for the band over the years due to its iconic riffs and Pligge’s vocal delivery. “Become a Machine” is a phenomenal closer for the band as it is another great example of their rhythmic timing and consistent ability to crush with their dynamics.
Overall, this was a fantastic showcase set from one of Chicago’s premier hardcore bands, where they played hits from their career so far. In playing one of Chicago’s only left festival institutions, Harms Way has brought hardcore to the main stage in a genuine and effective way that will elevate the amount of eyes on the genre as it continues to grow rapidly.
Knocked Loose took the Roots stage at 7:25 PM for the co-headliner set, which was also their very first Riot Fest show. Lead singer Bryan Garris talked on stage about how Chicago was a “second home” to the band, as it is the largest city in proximity to their hometown of Louisville, Kentucky. So it was a dream come true for them to play the institutional Riot Fest. Knocked Loose has been active with their brand of metalcore for over a decade, but recently off their 2024 release “You Won’t Go Before You’re Supposed To,” their popularity has grown with a huge surge, which is very well deserved for the band. Knocked Loose has been hard at work since their inception, touring and refining their sound, which has made co-headliner sets like this possible. They have also played bills with bands like Slayer, which they immediately followed the day after at Hersheypark.
“You Won’t Go Before You’re Supposed To” was a definite refinement in sound for the band as they took the next level in sonic focus to create a truly special album. While their previous release, 2019’s “A Different Shade of Blue,” was truly great hardcore, it felt like the band took a step up in versatility and creativity that was unique. Their Riot Fest set started with the scathingly aggressive track “Blinding Faith”off of their most recent LP release. The band’s sonics are strongly defined by lead guitarist Isaac Hale, who brings constant innovation to his guitar playing with how heavy he can get while still reigning in a genuine sense of songwriting and rhythmic cohesion.
The band is defined by brutal and devastating riffs from both Hale and rhythm guitarist Nicko Calderon, who joined the band in 2020. Knocked Loose stands uniquely in the hardcore genre due to their ability to take devastating riffs and bring a true sense of melodic rhythm, complementing singer Bryan Garris’s intense vocal attack. The true hybrid ability of the band is what defines highlights of their live set, such as Belleville and Deep in the Willow, whose balance of brutality and rhythmic focus makes for an insane feeling in a live setting.
Through years of consistent touring, the band has accumulated an imposing stage presence, especially when it comes to playing in smaller venues, like when they took Chicago’s famous local venue, the Metro’s stage, in 2021. The band has not always been playing Festival co-headliners, as they had to work through touring their own way for years before gaining traction outside of the hardcore community. Through this, they gained a genuine sense of stage presence even when it comes to huge venues like Riot Fest.
Knocked Loose has also been consistently supporting the hardcore genre as a whole, as they are very active in their local scene of Louisville, where LDB fest takes place, supported by Life and Death Brigade records. Through consistent support of the community, Knocked Loose puts more eyes on the community of hardcore through playing at larger festivals like Riot. Their set was great to witness as a fan of hardcore, as they played a mix of songs throughout their early career as well such as “Deadringer”and “Billy No Mates.” Their ability to be consistent and hardworking has elevated the community of hardcore that has greatly influenced their sound.
The band’s live energy is consistently top-notch as the riffs are often seen sending large crowds into the mosh pit. Riot Fest was also made into a gigantic mosh pit at the end of their set with the breakdown to their track “Everything is Quiet Now.” It is truly special to see that many people dance to the same music regardless of whether they are from a hardcore background or not.
Knocked Loose bridges the gap between the mainstream and the hardcore community really well in large settings, as their music is made accessible by their melodic focus to be able to demand attention from double-digit crowds . Knocked Loose was absolutely a highlight of this year’s Riot Fest, and the genre of hardcore got a ton of new eyes from them taking the main stage over in such a grand fashion.
CHICAGO- Growing up in a very rock and roll oriented household, I was always familiar with The Who, and always liked them. I have fond memories of jamming to “Pinball Wizard” on Rock Band 2, strumming on my Wii guitaras best as my seven-year-old self could. But it wasn’t until I caught the 1975 film adaptation of their 1969 album “Tommy”on TCM that I truly realized how much I loved the band and recognized their genius.
Being a British band from the ‘60s, they automatically get mentioned alongside the Beatles and the Stones, but no band was really doing what they were. They were more outwardly rebellious, with all the guitar smashing and fireworks hidden in bass drums and the heavy proto-metal sound of “Live at Leeds.” But they were also deeply vulnerable and reflective in their lyrics, and lent voices to troubled youth on albums like “Tommy”and “Quadrophenia.” Even decades on from the release of those albums, their music still strikes a chord, and I was so honored to get the chance to see them when they came to the United Center on Sunday, September 7 for their farewell tour.
The colors of the Union Jack were a common sight walking around the venue, as excited concertgoers filed into their seats to see the legendary band one last time. After opening act Joe Bonamassa, who warmed up the crowd with his virtuosic blues-rock guitar, the screen displayed a tribute to original Who drummer Keith Moon, as the night marked the 47th anniversary of his death. This nod to Moon got a huge response from the crowd, as many of us fell in love with the band because of the incredibly unique and intense style of playing he brought to their music. It added more poignancy to an already bittersweet evening.
Soon after, the band came on stage and fired right into 1964’s “I Can’t Explain,” Pete Townshend’s simple but striking riff immediately energizing the crowd. Then came another track from their earlier days, “Substitute,” before they went into 1978’s “Who Are You” and its infectious “who-who, who-who” chorus. The screens behind the band displayed photos of the group in their earlier days against dynamic backdrops, including one where original bassist John Entwistle, who passed in 2002, towered over a cityscape. While Daltrey and Townshend played on with new members, they certainly did not let Entwistle and Moon be forgotten.
Two more heavy hitters came with “The Seeker” and “Long Live Rock,” the latter of which was welcomed as it just confirmed what we were all feeling; that rock and roll was alive tonight. Next came two tracks off 1969’s “Tommy,” “Pinball Wizard” right into “See Me, Feel Me,” a personal favorite that I was especially glad to hear as it was the song that reignited my love for their music.
Roger Daltrey, at 81 years old, was in especially fantastic voice, hitting notes just as he did decades ago. His vocals particularly stood out to me on “Love Ain’t For Keeping,” a hard song for anyone to sing, much less an 81 year old. It was incredible to hear such a singular voice in top form.
After a beautiful “Behind Blue Eyes,” the setlist then jumped back and forth between decades, going from the funky “Eminence Front” into the era-defining “My Generation.” The energy continued with “You Better You Bet” into “Going Mobile,” the latter of which saw Townshend’s brother Simon taking the lead vocal part.
The night wasn’t without a couple of bumps, mostly due to troubles with equipment, all of which they handled quickly and with humor. Townshend joked that, “on a night when we continually f— things up, you should pay extra.” Moments like that made it even more special, as they didn’t let those hiccups derail the show but rather embraced them and gave us some laughs in between screaming the lyrics. Rock in its most purest form.
Next came a medley of songs from 1973’s “Quadrophenia,” “The Real Me,” “I’m One,” “5:15,” and a very special “Love, Reign o’er Me,” which brought the house down. Daltrey attempted the final note a couple of times, saying “not tonight” and “it’s only rock and roll” between tries before hitting it perfectly, bringing the whole audience to their feet and sparking thunderous applause throughout the arena.
Even after the Olympic level vocals required to do that, Daltrey wasn’t done, as they went right into “Won’t Get Fooled Again,” which contains probably the most legendary scream in all of rock and roll. Even if you don’t really know The Who, you know that “yeaaaahhh!” Once again, Daltrey nailed it and the crowd rightfully went wild.
The “Who’s Next” run continued with “Baba O’Riley,” for which guest violinist Katie Jacoby came out to play the iconic part in the frenetic ending of the song. Jacoby was a real highlight, and Daltrey and Townshend seemed especially delighted watching her bring that energy from the original record to a live setting.
Next came “The Song is Over,” the namesake of the whole tour. This song summed up the night perfectly, as it represents The Who at their best, combining all of their angst and all of their tenderness into one song, a gorgeous ballad that erupts into a powerful anthem. Here, Daltrey changed a couple of lines to reflect the farewell tour, singing “my love’s not over; you’re all ahead now,” gesturing towards the audience, and “thanks for all the years,” which was a truly touching moment.
At the end of the night, Daltrey dropped the mic (literally) before their last song, 2006’s “Tea and Theatre,” to which Townshend quickly joked, “that’s extra extra.” It was just the two of them on stage for this last one, Townshend armed with his acoustic and Daltrey stood singing right at his side. With the spotlight shining on them, the weight of the moment was really felt, how remarkable it was that they were standing here after a storied career, having made it through such tumultuous times. It was a very sweet ending to an absolutely electric show.
While bittersweet, you could not have asked for a better sendoff for such a legendary band. They celebrated every part of their career and honored those songs by playing with unbelievable energy, making for an absolutely unforgettable night. Long live The Who!
CHICAGO– Friday June 27th at Constellation two titans of forward musical thought Ishmael Wadada Leo Smith- trumpeter composer and Vijay Iyer- pianist and composer graced Chicago with a performance of their second collaboration album “Defiant Life”.
Smith has been a cornerstone of creative music ever since he joined the Association for the Advancement of Creative Musicians in 1967. A true pioneer who has crafted new ways to compose, perform, and improvise. His use of new composition methods not based on western standard notation led to the development of his own composing discipline called “Ahnkramation.” A writing method not focused on tailoring things for only one style at a time but rather creating a musical language that allows for fluidity with which all musicians can navigate to try and connect with themselves and their environment.
Smith, a Pulitzer Prize finalist, has time and time again taken his music and concepts to new heights by bringing creations bursting with his virtuosic gripping sound and ideas.
Iyer is also a musician charged with ideas and musical creation which challenges and drives thought using mathematical sequences to help structure his music. Never has he shied away from truly reforming viewpoints through the theory and approach he uses when writing and performing. Currently teaching at Harvard he continues to help lead the charge in creative music.
Smith and Iyer first worked together in Smith’s Quartet but later came to work together as equal collaborators releasing their first project “A Cosmic Rhythm With Each Stroke” in 2016. For their latest work “Defiant Life” Smith and Iyer have stated in an interview with NPR that the album can be thought of “as a notion of dialogue where you look at the essentials, and you look at the possibilities, and you look at that which is necessary.” When listening and seeing “Defiant Life” be performed live this idea of dialogue blossoms to take your mind and the music into new levels of contemplation, meditation, and actualization.
As both Smith and Iyer sat down it felt as though the room held its breath in anticipation for them to begin. Starting of course with the first track, “Prelude: Survival,” Iyer set the stage with a rich dark texture from the piano. Slowly his volume would rise and fall in a hairpin fashion creating tension for Smith to speak with.
Smith entered with small layers of sound from his horn to accompany Iyer’s growing ideas which started to build out towards small runs in his middle and upper register. Continuing their dialogue, Smith slowly started to incorporate sharper edges in his language before taking a moment for Iyer to play alone. Iyer split his hands between his Grand and Rhodes piano as he slowly moved the audience into almost a dreamlike state with the Rhodes soft tones.
Finally, Iyer reveals his plan as he starts to use one of his other synthesizers to transition into the album’s second track “Sumud” which starts with waves of high pitched frequencies stacked upon one another with a long, drawn out bass tone creating feelings akin to floating in water. On top of this texture Smith creates a prominent line with flows throughout the foreground and background combining strong melodic components and extended techniques to bring out the sound of just his buzzing on the mouthpiece.
Together their conversation shifts to a more direct way of communication with Iyer again on the Rhodes and Smith now pushing out longer periods of speech combined with short shots from his trumpet to build up a varied emotional path. All the while Iyers playing lays down a mixture of consonant beauty, juxtaposed by dissonant ideas of weight. Smith continues this motif with his horn as he starts to quickly run up and down the range of his trumpet before extending to the upper stratosphere of his horn.
Both Smith and Iyer’s speech and ideas intertwined together, drawing the audience into their dialogue of sound. Iyer then again takes the foreground like in the Prelude with a solo, incorporating lines of the jazz idiom and utilizing the reverb of the Rhodes piano to have a canvas on which to paint. Finally, Smith joins Iyer again and both musicians come together in a more reserved fashion which slowly dissipates together before ending with a beautiful chord from Iyer.
The third track “Floating River Requiem” begins with Iyer alone creating a mixture of atmospheres with some truly exquisite voicings on the piano. Pushing feelings of peace mixed with dissonant feeling, Smith was able to sing across the top of this foundation creating another epic of a melody that began as legato tones each one knitted with the next in his story. Slowly both Smith and Iyer came together to build up a mountain of sound gripping the audience in their cascade of notes together before allowing another natural dispersion of the sound into the end of the piece.
As the applause died Smith took the foreground of the fourth track “Elegy: The Pilgrimage.” Utilizing a Harmon mute, Smith was able to again take the use of his sound in a different direction than the last track as he used a series of spaced out melodic ideas, cries, and small bursts of notes. All the while Iyer contributed to this sonic atmosphere with the use of his synthesizers and small use of the piano. Once Iyer did come to the foreground both he and Smith played off each other’s conversation in such a way that still left so much free space for their sound to rest before Iyer wound the track down with a pattern on the lower end of his grand piano. Before starting again with brisk strikes and plunks on his piano while Smith played over top.
Iyer started the penultimate track “Kite (for Refaat Alareer)” on his Rhodes again. Its soft style serves as a striking juxtaposition to the previous vigor, providing a point of difference in the tone and context of this dialogue. Both Iyer and Smith kept their playing in a much softer range here with Iyer using his synths to lay down full low drones as he and Smith seemed to explore this floor of sound. As their playing proceeded Smith, who had started with a Harmon mute took it out and increased his volume with his split up ideas. Iyer started a repetitive rhythmic pattern on his piano which combined with flurries of notes from Smith which made for an experience that drew in one’s full attention.
Before jetting into a revisitation of some previous language from Smith as they wound down this composition. It was here that Smith and Iyer both stood and took a few moments to acknowledge each other as friends, collaborators, and musicians.
Smith gave a few choice words that I felt stuck with me, to paraphrase, he stated that while the world is hard and tumultuous right now, within the space between audience and performing artist,things were ok. That there is a peace which is held within such spaces that cannot be affected by the outside world. In my eyes, I saw it as a beautiful testament to the power of the arts, especially music. Especially in terms of its ability to bring communities together and help heal us.
Once again both musicians sat down for the final track “Procession: Defiant Life,” in this performance it started with precise sporadic playing. Running through the keys by Iyer and blasts of tightly knit notes by Smith, it raised one’s adrenaline while seeing the performance. After a few minutes Smith and Iyer transitioned into a grander wider playing style with Smith expounding a beautifully rich melody as Iyer raised around him a tapestry of sound. One final time they both wound down. First Smith slowed to a stop, leaving Iyer alone to slowly take the track to rest. Finally, both stood to bow after this remarkable performance, two legends sharing their fabulous creation with us.
I highly recommend diving deeper into both Smith and Iyers catalogues as they are filled with amazing work. I suggest trying to catch any of their upcoming performances as they exhibit such amazing musicianship and artistic ability. Both Iyer and Smith truly harness energy you can rarely be in the vicinity of let alone observe in performance. Two titans of the music unlike any others.
CHICAGO – I think it’s a universal experience to have certain artists tied to specific chapters of your life. Whether it’s a breakup, a family event, or just a rough day, music has this incredible way of helping us process it all. I’ve always believed that music heals and nothing reminded me of that more than seeing Spill Tab live at Beat Kitchen on a Saturday night in June.
Claire Chicha, better known as Spill Tab, soundtracked my entire freshman year at DePaul. From move-in day to finals week, she was the artist I turned to. A constant I could fall back on during a year full of change. Her music captured the chaos, the fun, and the growth of that time. I’d get ready for Loop classes to “Splinter,” and wind down at night with “Cotton Candy.” She became the backdrop to my first experiences navigating Chicago, a city that quickly started to feel like home.
Spill Tab was also the first artist I ever saw live in Chicago at Schubas in 2022. Back then, I was a freshly 18-year-old freshman who could barely navigate the CTA and relied on the Student Center for all my needs. Fast forward to now, I’m 21 and heading into my senior year. Watching her again, this time at Beat Kitchen, hit differently. It was nostalgic, emotional, and affirming. A reminder that I’ve made it this far, still doing what I love, chasing live music, finding new meaning in familiar songs, and letting artists like Spill Tab help me write the soundtrack to my story.
On her four-show U.S. tour, Spill Tab delivered a vibrant mix of new tracks and fan favorites. Her stop at Beat Kitchen was nothing short of electric. She opened the set with the high-energy “CRÈME BRÛLÉE!,” immediately pulling the crowd into her world. Claire’s lo-fi vocals and dreamy, genre-blurring melodies transformed the intimate venue into a dance floor, especially as she moved into “Calvaire” and “Velcro.” Whether longtime fans or first-timers, everyone found something to connect to, each song revealing a new layer of her artistry.
What made the night even more memorable was the chemistry between Chicha and her band. Their genuine love for performing was contagious. Between songs, the banter was effortless and hilarious. Before launching into “PINK LEMONADE,” drummer Gabe Tout buttoned up his shirt, joking he was “getting more serious.”
The jokes kept coming, with bassist Caleb Buchanan riffing, “What if we just talked for 45 minutes and gradually got more and more dressed?”
The crowd laughed along, fully in on the inside jokes and off-the-cuff energy. They even shared a story about accidentally hitting a fox with their tour bus, which has not landed at some shows they’ve played, “life is so bad you have to laugh in reference to killing a fox.”
As the set continued, Claire introduced songs from her newest album “ANGIE.” Even the lesser-known tracks landed with impact. Fans shouted the lyrics to “wet veneer” and “Adore Me,” already embracing them like longtime favorites.
One of the most striking moments came when she performed “Assis,” a hauntingly beautiful track sung entirely in French. The room fell silent in awe, proof that language is no barrier when the emotion is real.
Amid all the bits, beats, and playful chaos – including the band joking that they were “cooked after this tour” – Spill Tab closed the night with the explosive 2021 hit “PISTOLWHIP.” Just like the first time I heard it live, it hit with the same raw energy and cathartic release. Fans jumped, danced, and screamed the lyrics, savoring every last moment of a show that moved through so many emotions. It was the perfect finale. Wild, emotional, and truly unforgettable.
Watching Spill Tab again reminded me of why I keep chasing shows, even when life gets chaotic. The night had felt like I had just closed a chapter I didn’t realize was still open. Spill Tab’s music carried me through the start of my college experience, and now, on the edge of my last year, she reminded me why I fell in love with this city, with live music, and with the version of myself that has grown up these past three years in both. Some shows are just concerts, this one felt like a full circle.
