Tag: live music

Concert Review: Election-Day Metal Jam

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On November 5th, I was in Houston at Warehouse Live in Midtown to see Crowbar’s headliner tour. One of my favorite bands for their consistent emotional style of New Orleans sludge metal, I had been listening to Crowbar consistently for a few months and knew I had to fly out to see them as well as the openers on this show. 

Morbid Visionz opened up the election day Metal jam in Houston. The bill for this show was a Mega-show collaboration between the Cavalera brothers of Sepultura fame’s current band Soulfly and the New Orleans legends Crowbar. The collaboration allowed for smaller metal bands like Morbid Visionz to shine. Hailing from Little Rock, AR, Morbid Visionz delivered a brutal style of slow, sludgey death metal that fit right on their record label Maggot Stomp. They only have one demo and a 4-track EP released so it was cool to see a band that was newer able to share the stage with some absolute legends. Songs like “Bloodscape” and “Dismal Harvest” trudge through these brutal landscapes.

From Cleveland, OH, Mutilation Barbecue performed next with an absolutely brutal mix of slam-style and death metal. They are on the same label as Morbid Visionz, Maggot Stomp, but are currently on Eyehategod/Soulfly’s touring package. Mutilation Barbecue’s fantastic album Amalgamations of Gore dropped in March of this year. Tracks like “Hive Mind Homicide,” “Trampled Under 18 Wheels,” and “Spontaneous Human Combustion” deliver insane death metal inspired by the likes of Mortician and 200 Stab Wounds. They performed the riffs live with such precision and attack that they really stood out, even on a stacked bill. The band also recently had gear and merch stolen from their trailer so touring spots like this help them as they recover from that loss.

Eyehategod has been consistent in the legacy-building of their unique style of New Orleans sludge metal. Led by Mike Williams, EHG is a fantastic combination of sludge riffs delivered by guitarist Jimmy Bower and Mike’s screechy and catchy mid-range vocal attack. Their 1990 debut album, In the Name of Suffering, is an incredibly dark and sludgey piece of music that set the tone for their incredible career. 1993’s Take as Needed For Pain tends to be referred to as their magnum opus, providing an hour of mid-range sludge attack at their highest level. EHG’s modern set is career-ranging as they deliver tracks like “High Risk Trigger” off of their 2016 album while also delivering tracks like “30$ Bag” and “Shoplift” from Take as Needed. Jimmy Bower’s live guitar performance creates a sludge from the Gibson Les Paul that harkens Black Sabbath from further depths of hell. Mike Williams live performance also stands out as he has evidently been touring for most of his life but he still delivers every vocal performance with an energy second to none in the sludge world. 

Crowbar’s music transcends generations and has been on a resurgence with younger audiences lately. Hardcore podcasters Bo Lueders and Colin Young recently dubbed them as the “Heaviest Band of All Time” and seeing them perform live makes it clear why. Helmed by the incredibly versatile and talented Kirk Windstein, Crowbar delivers a lyrical, emotional, but brutally heavy style of New Orleans sludge. Crowbar dropped their debut Obedience Thru Suffering in 1992 and their most recent album Zero and Below in 2022, maintaining a standard of immense quality in between and throughout their entire career. Their discography highlights include 1998’s Odd Fellow’s Rest  and 2001’s Sonic Excess in its Purest Form. The evident amount of soul Kirk Windstein puts into every song he writes makes Crowbar stand out as one of the greatest metal bands of all time. Crowbar’s lyricism has always been deeply emotional, exploring themes of self-improvement through suffering, which makes them popular with the ethos of hardcore sharing a similar value of self-improvement. Kirk Windstein puts emotion into his music in his riffage and lyricism without a shred of fear and that makes Crowbar on another level when it comes to Metal music. This headliner set was nothing different as Kirk and crew came out swinging with “Planets Collide” as the second song on the setlist. Arguably one of the best metal songs ever written, “Planets Collide” shows Kirk’s songwriting ability at its highest quality with some incredibly heavy and brutal riffs. On Stage, Kirk is putting everything he has into every song even this late into his career, showing no sign of slowing any time soon. The guitar rig featuring the Neural DSP into the 5150 cabinet perfectly fit the riffs Kirk blasted. The set also featured incredible songs like “Like Broken Glass,” “To Build a Mountain,” and “Cemetery Angels.” The latter gets a moment of reprieve when Kirk says “Now this is a real breakdown” before going into what is likely the greatest breakdown ever written.

The crowd in Houston was geared up for this show, moshing and singing along to every song. Crowbar’s music has an ability to resonate with listeners unlike many other metal bands solely due to how personal a lot of the music is to Kirk and the band. Crowbar wears their heart on their sleeve without fear, which many metalheads find motivational. Catching Crowbar’s tour opener in Houston was a great experience. The band transcends generation and genre and their resurgence into a new generation will continue with force.

Maggie Rogers’ Don’t Forget Me Tour

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Maggie Rogers’ Don’t Forget Me tour show at Chicago’s United Center on October 24th far superseded the expectations I had for it. Rogers has been my number-one artist for the past four years, and this was my third time seeing her. I go to see Maggie in concert specifically because of the difference in how her music lands when it is live. Her dancing and many diversions from the original arrangements of her music make her concerts an immersive and present experience—she creates a new moment with her audience throughout every song.

Maggie’s range on this tour was the largest I’ve seen it—from lighting up the audience with her heavily electronic and rock-oriented songs in the beginning to bringing out Mavis Staples for a duet, to her ballads at the piano, the Don’t Forget Me tour ranged a spectrum of emotions. In “That’s Where I am and Want Want,” from the album Surrender, Maggie and the love for her music filled the entire United Center with palpable energy and rhythm.

In incredible contrast, songs like “I Still Do” and even “Anywhere With You” honored a certain melancholic wholeness that is also harnessed in her music. To me, Surrender is her strongest album and reads on stage the best. It was showcased the least on this tour, but when she performs songs from Surrender, they truly represent a turning point in her life and her music that binds together her previous and sequential albums. Maggie’s music shows her incredible ability to regard her pain with gratitude for how it shaped her.

Her album Don’t Forget Me is all about the beauty within letting go and moving forward with the wisdom we take from people in our lives. The album is more stripped back than the more heavily produced and bodied music of Heard It in a Past Life and Surrender. This pulling back in Don’t Forget Me seems to represent her coming to terms with certain growing pains of moving into her 30s and leaving behind versions of herself that she still loves but feels limited by. This reads on stage as an incredible mix of passion, energy, angst, and joy through her performance. She is electric yet introspective, as is her music, and this tour honored all three of her albums and the full experience of traveling with her throughout the years. It was reflective of her past and insinuated her future, but the entire performance was deeply immersed in the present moment. Maggie is a star, full of heart and on fire.

A Sold-Out Night with Chat Pile at Thalia Hall

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On the dark and stormy election night of November 5th, Chat Pile brought their phenomenal sound and energy to Thalia Hall, an independent music venue located in the Pilsen neighborhood of Chicago. The weather set the tone for the night, with cold, dark, gloomy, and windy conditions throughout the day creating a fitting backdrop for the music to come. Since the show fell on election night, an indescribable tension hung in the air. People around me constantly checked election results or scrolled through their Twitter feeds, adding a layer of anxiety to the night. After an hour-long journey to Thalia Hall, I eagerly anticipated the two opening performances before Chat Pile took the stage. 

First up was Porcelain, an Austin-based band signed to Portrayal of Guilt’s label, whom I had recently seen open alongside Soul Glo. Their set kicked off with powerful driving drums and layered guitars, that complemented their sound very well. I particularly enjoyed the vocalist’s distinctive, shouty, and erratic vocal delivery, and how each song’s intensity would shift throughout their set. Some of their songs carried a doom-esque heaviness, which perfectly matched the atmosphere of the night. 

Agriculture followed as the second opener of the night, bringing even more intense energy to the stage. Label mates with Chat Pile, they opened the night with loud amp feedback, that immediately jolted me awake, giving me a wakeup call that I still need to purchase ear protection for shows. The guitars were so loud at times that they made my ears ring, which perfectly matched the atmosphere of the night. The guitarist on the right side of the stage enhanced their performance and stage presence by keeping his mouth and tongue out for most of the set, staring into the crowd as he played technical riffs on the guitar. Their set combined fast, technical riffs, intense screams, and melodic sections, along with powerful breakdowns. 

Chat Pile took the stage shortly after, with frontman Raygun Busch shirtless, barefoot, and scantily clad in what looked like swim shorts. Before diving into any music, they acknowledged that it was election night, which increased the tension in the already very tense room. They quickly followed this by playing one of the first songs of the night, “Brutal Truth,” a track from their 2021 split with Portrayal of Guilt. Earlier that day, I decided to tweet at them in hopes that they would play it, so when they did, my excitement increased tenfold. 

As the set continued, Chat Pile performed “Why,” a song that directly addresses the harsh realities of homelessness in the United States. The repeated line “Why do people have to live outside?” highlights the song’s critique of society and their failure to address this issue. The lyrics challenge listeners by questioning why so many people are left outside without basic support, especially with so many vacant buildings that could provide shelter. The song goes on to highlight the realities of being homeless, with lines like “I’ve never had to push all of my shit around in a shopping cart, have you? Have you ever had ringworm? Scabies? Have you ever had to live outside?” These lyrics serve as a call to listeners, confronting the listener with the brutal reality faced by those who are homeless. 

Chat pile put on an incredible set for their show, choosing songs on the fly without a setlist, which kept the show unpredictable. I especially appreciated them doing this, as I have the bad habit of checking setlists before attending shows. The pit was wild with fans tumbling into each other and one person even losing a shoe. As the show came to an end, they joked about how they stopped at Pequod’s but didn’t have time to see the Bean and would have to return. The night then ended with a two-song encore of “Pamela” and “Rainbow Meat.” The band proceeded to joke about their encore, noting that they weren’t sure if any cities would get the same treatment; this one was special as their biggest sold-out show yet.

If you haven’t heard of Chat Pile or experienced them live, I highly recommend catching them on one of their upcoming tours. Their live energy was unbeatable and made for a great concert experience that you would not want to miss.

Aragon Under The Gun

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On Friday, November 1st, Los Angeles-based band Militarie Gun took the stage at Aragon Ballroom.The alternative-hardcore band had the first slot opening for Knocked Loose on their fall 2024 tour alongside Drain, and Danny Brown. While Friday night’s show had an interestingly diverse group of opening acts, Militarie Gun’s balance between emotionally charged melodies and ruthless hardcore punk started the intensely energetic night with a bang.

The band kicked off their set with “Pressure Cooker,” a grunge track with a steady backbeat and a solid bassline, which provided a surprisingly tame start to the lively performance. Due to the band’s spot on the bill, the crowd was slow to get moving, a staple element at most Militarie Gun’s shows. However, after a few songs, the crowd was quick to follow frontman Ian Shelton’s directions of jumping up and down, as well as starting multiple different circle pits throughout the set. While Shelton talked the talk about getting the crowd moving, he also walked the walk by energetically pacing in a frantic manner, as well as jumping at heights that I am convinced only Spiderman himself can reach. 

In between songs, Shelton mentioned how this was their seventh eighth time playing in Chicago during this year alone. As someone who has been to the majority, if not all of these Chicago shows, I can confirm that this statement is not an exaggeration but a fact. In addition to the band touring nonstop, this year they released an EP called Life Under the Sun, as well as two new singles. Their latest single, “Thought You Were Waving,” was a standout moment in the set. When introducing the song, Shelton described it as being “about drowning.” The track had a great crowd response, with fans waving their arms in the air back and forth, and a few young fans on the barricade singing along to the lyrics as well.

Some additional highlights of the set were the tracks “Disposable Plastic Trash” and “Let Me Be Normal,” which both appear on Militarie Gun’s project All Roads Lead To The Gun. These tracks brought a level of intensity and roughness that contrasted the ballad-like nature of “I Thought You Were Waving.” The songs also proved why they were opening up for Knocked Loose with their hardcore roots and punk nature. Another special moment of the band’s set was when they played “Will Logic,” which originally appeared on their debut album Life Under The Gun; however, they played an extended outro that appeared on the acoustic EP, Life Under the Sun. It was really interesting to hear the outro that was originally written for the acoustic EP translated into an electric set and played live.

With a few minutes left in their set, Shelton screamed the words “Do It Faster” into the mic, and the band launched into their most popular song with the same name. While this was the seventh or eighth time I have seen this band, one thing is for sure: I will never be tired of seeing this song live. While the recording of this song is great, the band’s energy and stage presence during this song escalates it to a whole new level. Another amazing part of this song is the harmonies, which don’t exactly translate in the studio recording; however, are highlighted in the live performance. During this song, the band captured and mesmerized the audience with its catchy chorus, distorted guitars, and upbeat tempo. 

Militarie Gun’s set came to a close with “Gun Under the Gun,” which was written to be one of the entrance songs for Post Malone’s character in WWE 2K24. The heavy-metal influenced instrumental consists of Shelton’s yells and the band’s signature ad-lib which is a bark-like “Ooh ooh.” This song initiated multiple circle pits among the audience and got them fired up for Drain, who was on next.

Militarie Gun’s set at Aragon Ballroom kicked off Knocked Loose’s stop in Chicago with a powerful and dynamic performance that captivated the attention of the crowd and warmed them for the rest of the night. The band’s performance and ability to translate their evolving sound on stage proved why they are a force to be reckoned with in the hardcore and punk scenes.

Arcadia Grey at Beat Kitchen

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On a Tuesday night in an unassuming bar on Belmont Avenue, you probably wouldn’t guess there would be a packed back room full of people going hard at an emo show, but that’s what I love about live music—it brings people together for a break from the monotony of the work week. Tuesday, October 29th brought a stacked lineup of bands to the Beat Kitchen including Muncie, Indiana’s Leisure Hour, Baltimore’s Combat, as well as Chicago-natives Sweet Bike and headliner Arcadia Grey. I might have missed the memo on dressing up, but much of the crowd (and some of the bands) donned Halloween costumes, making an already lively show that much more whimsical.

Pictured: Leisure Hour

Sweet Bike opened up the show, and I only managed to catch the tail end of their last song thanks to the tight turnaround between my last class of the night and the start of the show. What little I did see piqued my interest, and I am now looking for my next opportunity to see them play a full set. Leisure Hour played next, and I have nothing but good things to say about their set. They were everything you could hope for in a live band: great energy, great crowd work, and most importantly, great music. If you’re not familiar, check out their newest album The Sunny Side, and try to catch them live when you can. 

Pictured: Combat

The next band to take the stage, Combat, came dressed as The Ghostbusters. I adore Combat, keeping their newest album, Stay Golden, on repeat since it dropped in August, so I was stoked to catch them play their first ever Chicago show. They completely blew me away. They played so well that before they were even done with their first song, I was already trying to figure out when I would see them next. Particular highlights of their set included the title track “Stay Golden,” “Full Speed Ahead,” “Epic Season Finale,” and my personal favorite off the record “Weird Ending Explained Pt. 1.” You could feel a shift in the crowd when this band played, like everyone knew they were seeing the beginning of something really special. I cannot express how impressed I was with this band; all I can say is that I am certain they are going to take over the world.

Pictured: Arcadia Grey

Closing off the night was headliner Arcadia Grey, a pillar in the Chicago DIY scene, and one of my favorite bands since High School. I have been listening to Arcadia Grey since 2019, but this was only the second time I managed to catch them live. When I glanced at the setlist before they started playing, I knew I was in for a treat. Arcadia Grey released their sophomore album Casually Crashing this past May, a shoe in for my year end list. I was glad to see a good mix of new and old songs on the setlist, and I don’t think they could have chosen a better mix if they tried. “Moshpit Girlfriend” is a perfect opener, and “Konami Code,” “Made 4 Love,” and “Kevin Pickles and the Great Pool Noodle Excursion” all back to back nearly killed me (in a good way), but the coolest moment of the set was when they invited fan/friend of the band Lizzie Xanos on stage to play guitar on “Godzilla 98’ Sux!!!.” I got a chance to talk to Lizzie after the show and ask them how they made that happen, learning that this was not the first time they have played that song live with Arcadia Grey. Lizzie expressed how important Arcadia Grey was for them as a musician, telling me “I don’t think I count as a real musician, and the first time I ever felt like I was a real musician was when I played on stage with them, so they’re kind of like my comfort, my home.” I think that really says something about the environment this band has created. This is not a band that plays at you; they feed off the energy in the room and give you back twice what they get from the crowd. I was also fortunate enough to get to chat with Burke Comenduley of Arcadia Grey, about what it’s like to be on the musician side of a show like this. “Being on stage is really fun, I feel like the room itself is just like a perfect size to get people moving… I think it just really comes together at Beat Kitchen shows,” he said. “I really appreciate all the people that come out and it’s just loads of fun every time.” In my opinion, there’s no better way to spend a Tuesday night.

The Flints Bring Disco-Pop Magic to Radius

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CHICAGO | The Flints introduced their disco-pop sound to Chicago on October 23, opening for dance music legends Justice at Radius. The English duo, consisting of twin brothers George and Henry Flint, collaborated with Justice for the French group’s latest album, Hyperdrama, being featured on “Mannequin Love.” The brothers put on quite the performance, warming up the crowd with their raw, yet groovy sound and bringing the magic to the sold-out show.

The brothers have been making music as the Flints since 2022 with their debut single, “Serengeti,” bringing a trippy, ethereal sound that can be compared to the styles of Tame Impala, Djo, and BØRNS. Their latest EP, Midnight Sunrise, takes a listener through a journey full of ambiance, discovery, and even some nostalgia, depending on who you ask. They have joined Justice for select shows on their North American tour, marking the Flints’ first shows in the United States and the chance to expand their audience beyond.

As the night kicked off, the Flints took the audience to a new dimension by combining elements of disco, funk, EDM, and good old indie pop. Opening their set with “Right Kind of Love”, they immediately captured the attention of the audience and did so throughout the night with their funky basslines and beautiful voices. One notable song, “100 Million Lightyears,” was nothing short of breathtaking in a hauntingly beautiful way. From the feeling of floating in the water to running through a vortex, the Flints know how to capture the essence of these emotions in their music with multiple elements.

Hearing these songs live combined with stunning visual effects elevated the atmosphere of their set to the next level. With the addition of their delicate voices, the duo played their guitars and created a vibe the crowd was yearning for. The Flints are only getting started and should be ones to look out for going into the new year.

We’re All Friends Here: A Night with Kishi Bashi

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Kishi Bashi is a hard musician to put a label on and a hard guy to write an article about. His stated inspirations range from Immanuel Kant’s philosophy, Brazilian jazz, and Japanese-American internment camps, along with many more. Listening to his music only added to the confusion, leaping track to track from upbeat dance anthems to soulful, rich violin melodies. As a result, I was very confused going to the Kishi Bashi concert at the Outset on October 18th.

Upon reaching the venue, I was greeted by a fantastically long line, stretching down the entire street, as it turned out to be a sold out show. Before the concert began, I interviewed the people in front of me in line. They were just as confused as me when I asked what I should expect, offering ideas of country, electronic, and classical violin. It seemed I would just have to find out through experiencing it. The mysterious aura I was feeling was compounded by the surroundings at the venue. With aesthetic music playing, cargo containers, and a VW bus, all bathed in red light, the vibe outside the venue only added to the feeling that I was about to witness something mythical. The mystery burned deep inside me, what was this show about to be like?

That mystery would have to wait, as I was treated by Sweet Loretta, Kishis opener, a fantastic group of Britons who performed an excellent blend of classic funk with a modern twist. Their songs were delightfully groovy, and the addition of bringing Mike Sevino on stage only amplified the fun. Mike, a long time collaborator with Kishi Bashi, added his psychedelic banjo (what a great invention) to the mix. Together they provided fantastic opening music and fun crowd interactions. Throughout the whole show, you could feel that the musicians were really enthralled to be there, and Sweet Loretta set that tone early. After a fantastic set of originals and a wonderful cover of “Baby Come Back”, the energy was high and everyone was ready to boogie.

Finally, the lights turned back on and a giant “KISHI BASHI” appeared on the LED backing screen; it was time. Kishi Bashi came on stage with members of Sweet Loretta as his band. They donned matching suits adorned with sequins, and after plugging in and tuning their instruments, it was showtime. Kishi began by thanking the crowd sincerely.

Before I discuss the meat and potatoes of the concert, I feel it is beneficial to fill you in with some Kishi Bashi lore, as it explains much of the concert. Throughout the concert, audience interaction was extremely prevalent and encouraged by Kishi, much more than any other concerts I’ve been to. Everyone’s song began and ended with some sort of spoken introduction, transition, commentary, or joke. This all felt very organic, and it seemed like he was performing for the love of his fans. I came to find out that Kishi got his start from crowdfunded albums through donations and private shows. I actually met multiple people who participated in this crowdfunding, most of them had found out about him through his previous bands and had loved him so much that when they found out he was going solo they were willing to fund his process. This has led to a very intimate bond between Kishi Bashi and his fans, which was on display the entire night.

While the audience interaction was fantastic and added an extra layer to the show, the music stayed the highlight. Kishi Bashi came out with a backing band composed of the opening musicians, and after an introduction, launched into his songs. His music is incredibly layered, with his electric violin sounding hauntingly beautiful. The songs were graciously funky and called you into movement. Repeatedly during the performance, Kishi would utilize a type of 8-track machine to loop sounds and add even more texture to his performance. This technique would be used to an even cooler effect when Kishi would perform on stage solo, using his beatboxing skills to add drum lines under his violin playing.

Stage presence and theatrics were also present for the performance. Steaks playing saxophone, full grecian warrior outfits, and showers of confetti all played a part in making the show as memorable as possible.

After the show, a promised encore came to life in an extremely memorable way. As it was a beautiful night out, and the Outset had a lovely lawn outside, Kishi Bashi thought it fitting to do an acoustic set on the lawn. All the musicians unplugged their instruments, donned giant basses and ukuleles, stood in the VW bus, and began their performance. Illuminated by iPhone flashlights and surrounded by a sold-out crowd, Kishi Bashi and friends sang a mix of originals and a cover of “Ooh LaLa” into the night. This performance felt incredibly special and organic, like a wonderful gift to us.

Kishi Bashi is still an enigma to me. His music throughout the show flowed from genre to genre, vibe to vibe, never allowing you to drift away, enveloping you in new musical experiences constantly. However, I now understand why people drive across state lines to support him. I understand the unity music brings a little more now.

Sixpence None The Richer’s Long-Awaited Reunion/25th Anniversary Tour

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On Friday, October 25th, I had the honor of seeing Sixpence None the Richer, a band I have been listening to for almost my entire life, perform live at City Winery as part of their first tour in 8 years and their first time releasing music together again in 11 years. I vividly remember songs from their self-titled album putting me at ease as a child in the car with my mom. These songs continued to underscore my life as I grew up, and I began to explore more of their discography, with The Fatherless & The Widow emerging as a favorite. 

When I stepped into the venue, I immediately felt a sense of peacefulness. The atmosphere was simultaneously refined and casually laid-back. Everyone there was full of life and laughter and so connected, ready to enjoy a night of some exciting yet comfortingly nostalgic rock music. The crowd was one of the most diverse in ages I had ever seen. I was seated at a table close to a young child and her mom as well as a group of some older mothers on a night off, what seemed like old friends reuniting for a band they have loved for so much of their lives. I felt at ease in this environment, especially when the members of Sixpence None The Richer graced the stage. 

Leigh Nash, lead singer of Sixpence None The Richer, prefaced the show by saying “We’re playing songs both new and from the past–I hope that’s okay. If not, you can just drink and then it’ll be okay!” It was more than okay; I almost practically jumped for joy upon hearing “Within a Room, Somewhere,” a cover of Joni Mitchell’s “River,” “Kiss Me,” and “Julia” all in the same set. The night was filled with love and laughter as we all welcomed the band back from some time away with open arms and hearts. Nash’s voice rang throughout the room, and we were all mesmerized at how clear and raw her timbre was. This tour and this show mark a new era for the band, who sounded better than ever before with each member fully in their element. They couldn’t fight the smiles forming on their faces as they caught glances at each other. They were deeply connected on the same wavelength, feeling the love radiating from the audience as well. There was a strong sense of community in the room. Leigh Nash at one point asked us if we liked her dress as Matt Slocum tuned his guitar, and cheers/giggles erupted from every corner. 

When the show came to an end, my heart felt fuller than it did before, especially as the band closed out with “We Are Love” (which is also the name of the tour). Before playing it, they encouraged us to love one another, especially in these difficult times. I can’t wait to see what is next for this wonderful group in their new era.

I had the opportunity to interview guitarist and co-founder of Sixpence None The Richer, Matt Slocum, by phone on October 25th. Below is a transcript of our conversation.

Liv Queen Majestic: Thank you so much for your time and for this opportunity to talk with you! This is very full circle for me, I’ve been listening to your music since I was like four and now I’m twenty. 

Matt Slocum: Wow! Thank you!

LQM: Yeah! It’s really great that you guys are making this comeback now. I heard in another recent interview that the name Rosemary Hill of your new EP came from a street you and Leigh [Nash] grew up near or on, Rosemary Drive. I’d love to know how your hometown has shaped your music and artistry and what the idea of home means to you, especially since it’s explored in the new songs.  

MS: Yeah, I grew up on Rosemary Drive–it’s set up on a hill in New Braunfels in Texas. There’s a canyon nearby, great little neighborhood, and at the end of Rosemary Drive there’s a really large hill that goes down, we used to ride skateboards and BMX and people used it for sprints and training, and it’s kind of a thing that everyone called Rosemary Hill and Leigh was aware of it too because it was just sort of a thing in our town. The way things affect you when you’re a kid are different even though they may not seem as awe-inspiring, but as we get older we get more drawn to our hometowns and a lot of memories–New Braunfels I don’t think had much of a music scene, growing up it was more based in Austin but, now it’s got a bit of a thing going on and that’s really cool to come back and connect with as well. 

LQM: I totally get what you mean about going back and appreciating parts and the beauty of your hometown that you didn’t as a kid and I think that appreciation definitely shines through especially in the title song, and I really appreciate you sharing that with me especially in the context of your new EP which is absolutely wonderful by the way, I’ve played a few songs on my show [Girl, Uninterrupted–Thursday’s at 11 PM CST on radiodepaul.com]. 

MS: Thank you so much! Yeah, we’re really proud of it. You just never know how it’s going to go over and it’s been really cool to see people digging it. 

LQM: Absolutely, and you know, speaking of the band going on and off throughout the years, you all have come really far since the start of the band and I’m really curious especially with the hiatuses and then the times you’ve been working on new music together, especially since some of it took a while, I’d love to know what kept your spirits and hopes high through that and what have been some of the best parts of reuniting after so long?

MS: That’s a great question. I think kind of looking back, we had a really amazing run when ‘Kiss Me’ became such a great hit all over the world, it really opened a lot of doors for us. Touring and travel–we took advantage of it as best we could, we toured for three years straight to get everywhere we possibly could. But we ran out of steam–honestly just got kinda burned out and tired, and couldn’t even get to all the places we wanted to go. Looking back, we probably should’ve just taken a long sabbatical–I don’t know why we chose to make it more of a break-up moment. I think we just all needed a break and during that break, everybody really sort of just stuck with their craft and Dale [Baker] continued to grow as a drummer and Justin [Cary] and Leigh continued as a songwriter and released a lot of solo material and I continued playing and writing in Nashville and when we finally made the collective decision to get back together, everybody was better than before! It felt like getting back on a bike, it was very natural. Everybody sounded better than ever–Leigh is singing better than ever! We all have those friends we don’t see for long periods of time and you just pick up where you left off and that’s how it felt for us.

LQM: That definitely shows in the new music and I’m really excited to see that unfold onstage. Speaking of some of your more solo paths and honing your crafts on your own, especially since you were working on some of your own music as well, I’d love to know what your creative process looks like and who/what influences you and how that’s evolved throughout the years.

MS: For the creative side of things, writing in particular–there’s this book that Rick Rubin put out recently, The Creative Act: A Way of Being, he is really good at articulating the creative process and what I love about what he says is that you just have to make yourself available to whatever the universe decides to throw at you. Keep a notebook and you know, record your thoughts, interpretations, ideas, and don’t judge it, just receive it and let it all seep in. Eventually then it’ll come out in songs later down the path, it’s a bit of a mystery but I like the fact that he endorses that it’s all about how you see things and perceive things and how you express that. It makes music unique. That’s really the mysterious part of the process. I went to school to be a cellist, I went to the University of Austin in Texas and studied classical cello and that’s certainly a disciplined art. Many, many hours of daily practice. That‘s influenced me as well as far as trying to really enforce daily routines. 

LQM: I love that, and I actually have a copy of that book so I should really get around to reading it! 

MS: Yeah, it’s really fantastic. 

LQM: I love how your discoveries while you’re out and about recording things down in your notebook manifest into your music as well, that’s something I personally do too because you really never know what it’ll inspire and I love that so many artists and musicians have that habit as well! On that note, what advice would you give to young, up and coming musicians today, especially with how the music industry has changed? How do you feel about these changes? 

MS: Yeah, well, there’s so many pros and cons–I think ultimately it’s changed for the better. The big difference for Leigh and I when we were growing up and trying to make it, there was no social media at all, it didn’t exist. My teenage daughters introduced me to a lot of cool music unexpectedly, they turned me onto recently, I think they’re called Cigarettes After Sex.

LQM: Oh yeah! They’re great! 

MS: Yeah! It’s really vibey, great dream pop music–like I loved Slowdive growing up too and I thought “man, what a cool band!”(in reference to Cigarettes After Sex). I had no idea and they’re selling out multi-night stadiums and arenas and they did what they wanted to do and people found them. My advice is to not try to chase it or play games or cater to what you think people might want from you. Just do what’s important to you. 

LQM: That’s all really valuable advice and especially with how nowadays I think it’s a lot easier especially for young people to make their own music from the comfort of their own bedrooms, I think it’s really inspiring to know that there’s something out there for everyone and there will always be people who appreciate what you have to offer. I’d love to know specifically what other new music coming out has been inspiring you. 

MS: I’ve been really loving Cutouts by Smile, you know with Thom Yorke and Johnny Greenwood from Radiohead and then Nick Cave & the Bad Seeds’ new album is really, really good.

LQM: I love Nick Cave! I got to see him last year at the Auditorium Theatre. 

MS: He’s great, David Friddman just mixed that new album and we got to work with him too but we missed Nick Cave by a few days so we didn’t get to meet him. I’ve had the new Slowdive songs on repeat too. 

LQM: Really great picks and I love how Slowdive has influenced you throughout so much of your life. I’m really curious about how touring has changed for you throughout your career and life and I’d love to hear some of your favorite past tour memories, or maybe one from the current tour?

MS: Yeah, I’ll share one from the past and one from now. You know, New Braunfels didn’t have much of a music scene but there’s this one sort of dance hall, Gruene Hall–it’s really historic and like stepping back through time when you’re there and we got to play there on this tour and it blew our minds, we’re still buzzing about it. It was very full circle. And then in the past, we got to play in Italy at the Colosseum, not the one in Rome because that one’s obviously not around anymore [laughs], and they mainly did operas there but they had rock and pop concerts too, and I had some friends who lived in Northern Italy so my wife and I lived with them for about six months and it was really great. 

LQM: Wow. That sounds like a lovely time. Speaking of past memories and reflecting on how far the band has come since then, what do you hope to explore in your new music and what do you hope fans take away from the new EP? What messages do you hope to amplify? 

MS: You know, we’re still trying to figure some of that out a bit but especially with everything that’s going on in the world right now we really want to promote messages of unity and peace, that’s been really important for us and people especially right now. 

LQM: That’s really beautiful and it really is so important to try and find and have hope in these troubling times, and music is such a great way to provide that whether you’re consuming or creating it, and it’s definitely shining through in your new work. Do you have anything else you’re striving toward right now that you’re able to share? 

MS: We’re working on re-recording and remastering this Christmas album that we worked on in 2008 [The Dawn of Grace] and adding some new ones as well, not a lot of people got to hear it when it came out but Flat Iron Recordings agreed to pick it up and you can listen to a few of the songs now and then it’ll come out on Black Friday, we’re actually starting to add some of them to the setlist now–hopefully it’s not too early for some Christmas music–

LQM: Never too early for some Christmas cheer! That’s so exciting, I can’t wait to hear it tonight! Well, thank you so much again for your time and I’m really looking forward to the show tonight and congratulations on the release of your new EP, Rosemary Hill.

Concert Review: Genevieve Stokes at Beat Kitchen

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On October 23rd, Maine native Genevieve Stokes played in Chicago for the first time with opener Lily Kershaw. Before her show at Beat Kitchen, she hosted a free private jam session at Reckless Records. Stokes’ hometown of Portland Maine has an intense and direct influence on her music. The cover of her recent release depicts her perched on the edge of a rock near the nighttime shore with a lighthouse and a bolt of lightning painting the backdrop.  The aesthetic of her debut album, ‘With a Lightning Strike,’ centers around the landscape of Maine and its close proximity to the ocean. 

Throughout her music and artistry, Genevieve Stokes uses the motif of water, making numerous references to bodies of water. In one of her songs titled “River,” Stokes delicately sings “I’ve got a river, got a river in my body/It’s flowing for free/When I let you go, keep going down the stream.” Her emotions and feelings in this situation are too strong to suppress. The metaphor of conveying her emotions as a river perfectly encapsulates the fierceness of her situation. In one of her older songs, “Surface Tension,” she uses water as a metaphor to represent going through a tough time: “I’m treading muddy waters/I am not what you wanted/I’ve been through this before.” In “Amusing,” a song from her new album, she sings “There’s no use fighting the sea.” 

Lily Kirshaw began the night with an acoustic and folksy set, directly juxtaposing Stokes’ more bass-heavy and instrumental setlist. In addition to her original songs, she played a cover of “Chelsea Hotel #2” by the famous folk singer Leonard Cohen. During her set, she cracked many jokes, helping the audience become more comfortable with her. Kirshaw has been making music for over a decade, and has perfected her craft to a T. The intimacy of her set had made instant fans of anyone who had not previously known her work. 

The mystical and fairy-like sound of Stokes’ discography entrances audiences of all ages. She has a melodramatic presence and a knack for performing, evident in the way that she floated across stage. In her most recent album and in her older music, Stokes and her band use a variety of sounds to capture the essence of her songs, including accordion, electric bass, bells, and the sound of a door creaking.

One of the youngest audience members in attendance, 13-year-old Sacari from Ohio, said, “I like the type of music she does and I like the lyrics and rhythms to the songs. She is very articulate.” Another audience member, Hayley, said that “Every time she (Genevieve) releases something, it just connects something so innate in all of us. It makes it at the right place and the right time of your lives.” Genevieve Stokes is a timely artist who knows how to capture audiences of all ages.

Concert Review: Soul Glo at Bottom Lounge

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On Tuesday, October 22nd, I had the opportunity to see one of my all-time favorite bands, Soul Glo, open for Touché Amoré at Bottom Lounge. As soon as they announced their new tour, I knew I had to be there, as this would be my fourth time seeing them live – twice headlining and twice as openers. With this show, they’re now tied in first for the band I’ve seen the most times.

As soon as the band began setting up on stage, I could feel the energy in the room shift. When I arrived before the doors opened to get barricade, the venue was a bit empty, but as they set up, the room started to fill in more. I could notice that many people were in attendance were there to see Soul Glo’s set.

The band started their set with their newest single “If I Speak (Shut The Fuck Up)”. The song opens with a slow bass line that gradually accelerates into a more energized track. This choice made for an excellent opener, as it begins softly then ramps up the energy to engaging the crowd. 

Another standout moment during the show occurred during the song “John J”, when the band brought out featured artist Kathryn Edwards onto the stage. The energy in the room shifted dramatically as the crowd was full of excitement with her joining their performance. I really love this song with its many energy shifts and exhilarating guitar riff that runs throughout the song.

When they played “Coming Correct is Cheaper,” a pit finally opened in the back of the venue. Vocalist Pierce Jordan moved energetically around the stage along with guitarist GG Guerra. Jordan jumped over the barricade in an attempt to crowd surf, something he often does at shows. Unfortunately, venue security quickly rushed towards him to prevent anyone from getting hurt or him getting tangled in the microphone cord.

The biggest highlight of the show had to be when they played “Driponomics,” one of my favorite songs of theirs. I love the driving bass of the song along with the easily screamable lyrics. I could see the excitement in the crowd especially when someone next to me locked arms with me as we jumped and screamed the lyrics at each other during the chorus.

As the set came to a close, I was completely out of energy and not looking forward to the hour trip home, but I knew that I had to shamefully attempt to get their setlist, which I gratefully ended up getting.  Their set was outstanding from start to finish, and I highly recommend catching them during their tour with Touché Amoré!