Tag: live music

Mitski and Julia Jacklin Unite for the Sad and the Hopeful at Chicago’s Auditorium Theater

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CHICAGO | From Thursday to Sunday, March 21-24, two of the most heart wrenching voices in indie music, Mitski and Julia Jacklin, took residency in Chicago’s opulent Auditorium Theater for four nights of stunning performances. I was lucky enough to attend the Saturday show, where a passionate crowd filled almost every seat in the expansive amphitheater.

Setting the stage was tenured and brilliant Australian singer-songwriter, Julia Jacklin, who delivered a vibrant and intimate performance by christening the evening with her lavish vocals and sparse guitar. Jacklin’s operatic voice echoed through the palatial auditorium, gracing each audience member’s ears and soul with every note. I had never heard Julia Jacklin play live and I was blown away with not only her songwriting but the rawness of the performance. Upon Mitski’s request, Jacklin played her song “Too In Love To Die,” an evening highlight, boldly opting for an acapella rendition. Despite her short set, Jacklin’s act has stuck with me, as I have gone back through her albums several times since the show. 

The anticipation for Mitski was palpable following Julia Jacklin’s set, as the house lights and free-jazz music shot back in the Theater.. 

Mitski is a singularity as both a human being and a songwriting vehicle. Born in Mie, Japan, and jumping from country to country throughout her adolescence, Mitsuki Laycock eventually settled in New York to launch her music project. , As a student in college, she self-recorded/released her first two records, Lush and Retired From Sad, New Career in Business in 2012/2013. Lush featured an eclectic musical palette mostly consisting of piano and vocals, though there are some heavier tracks like “Brand New City.” While Lush was a unique and impressive debut — featuring Mitski’s iconic songwriting and channeling Fiona Apple in a way she wouldn’t exactly return to — her idiosyncrasies manifested into a more cohesive narrative with her follow-up record in 2013. Retired From Sad, New Career in Business, her risk-taking second record, accompanied by conceptual and raw visual components for each song, Mitski displayed the unique anxiety-riddled confidence she would keep for the rest of her career. 

Mitski has since built a massive catalog of seven unique studio records, with her third, Bury Me At Makeout Creek, being my personal favorite, along with her atmospheric and introspective The Land is Inhospitable and So Are We, released last September. Renowned for her cripplingly relatable lyrics about isolation, existential dread and unrequited love, Mitski has grown a massive following amongst Gen-Z in the 2020s, especially on TikTok. Songs like “Washing Machine Heartl,” “My Love Mine All Mine,” “I Bet On Losing Dogs” and countless others, have developed new life cycles as six-second audio clips played over thrift hauls, mood boards and cat videos; propelling Mitski to almost 37 million monthly listeners on Spotify (more than the Beatles at the time of this article!) While there are many conversations to be had about the “Tiktokafaction of art” and Mitski’s uneasy relationship with internet fame, it has been fascinating to see this meteoric rise, especially as it’ through little fault of the artist. This extremely brief biographical summary brings us to Saturday March 22, where all of Mitski’s success and artistic vision manifested into a brilliant and fun, theatrical live performance.  

As the curtains fell, revealing a large platform with musicians on either side, Mitski took the stage to roaring applause. Opening with a bluesy rendition of her Laurel Hell track “Everybody,” it was clear that this was not the traditional live-music experience. While I have experienced Mitski’s music through countless album listens and Tiny Desk rewatches, this show instantly cemented her as an iconic performer, delivering highly choreographed dances, alongside her precise vocals. Mitski did it all at the Auditorium Theater, delivering an eccentric, alluring and larger-than-life performance.

The band featured a dense instrumental ensemble with a keyboard, synthesizer, pedal steel, guitars, backup vocalists, an upright and electric bass, a full drum kit and an additional half-kit —  just to name a few. The seven-piece instrumental section displayed dynamic prowess, supporting Mitski with tight arrangements of definitive songs, along with some unique flourishes, notably the Honky Tonk rendition of “I Don’t Smoke,” a swift departure from the stripped-back recorded version. 

The performance was a journey not only through Mitski’s discography but also her artistic development. The set was alive with vibrant and active lighting, ever-changing as Mitski took the audience through a journey of her eclectic mind. The show also featured incredibly intricate set design that included paper cranes falling from a disco ball above the stage during the emotional “Last Words of a Shooting Star,” and “My Love Mine All Mine.” The audience depicted a range of emotions; from tears to screams of joy and of course satisfaction… Mitski did not disappoint in the slightest. 

I am overwhelmed with warmth and gratitude to have been able to cover Mitski and Julia Jacklin at Chicago’s Auditorium Theater. Both artists were unforgettable, and I highly recommend seeking them out as Mitski continues her global tour in North America and Europe, alongside acts like Iceage, Richard Dawson, Miya Folick, Laufey and Lamp. Special shoutout to Richard Dawson, one of my favorite working artists, who I couldn’t believe was on this tour! Thank you so much to Dead Oceans and Secretly Group for making this possible. 

Chelsea Wolfe Shows Impeccable Form at Chicago’s Vic Theater 

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CHICAGO | On Tuesday, March 24, dark and ethereal singer-songwriter Chelsea Wolfe, played the decadent Vic Theater alongside the droning tons of metal duo Divide and Dissolve. Chelsea Wolfe, born in Northern California, has pioneered her unique style of metal-influenced rock music since the late 2000s/early 2010s, becoming an iconic figure in Goth culture. Wolfe’s 2024 record, She Reaches Out to She — released on February 9 of this year — is one of her most esoteric and ambitious releases as it showcases her delving into trip-hop influences with syncopated percussion over vivid lyrics. Wolfe’s incredible performance at the Vic solidifies her as a generational talent, who continues to evolve in sound and production.

The crowd at the Vic was filled with generations of alternative music fans in the city, it felt like a homecoming for lovers of Gothic music and culture. The stage was set by Divide and Dissolve — a thematic rich and politically motivated duo based in Australia, that have a distinct focus on indigenous cultures and colonization around the world. The political message of the music resonated with the Vic audience who broke out into chants when guitarist/saxophone player Takiya Reed referenced both American colonization and the rising death toll in the Gaza Strip. Their music channeled imagery of drone and stoner metal groups in the likes of Boris and Sleep; with distortion-soaked chords playing over the hulking drawn-out percussions from drummer Sylvie Nehill. Being one of the youngest people in the crowd, I quite enjoyed Divide and Dissolve’s unique sound, as they found themselves in some brilliant and rich musical pockets during their set.

Following Divide and Dissolve, Chelsea Wolfe and her band arrived on stage they were met with massive applause from the audience. When looking at the faces around me during this performance, it was obvious to see just how important Wolfe is to so many individuals. The  set itself mostly included cuts from the new record and featured heavenly falsetto vocals layered over heavy and dense instrumentals. Faces were lit up as Chelsea Wolfe powered through her dynamic set. The night’s theme was full-audience immersion, made possible by the incredible lighting during the performance further reflecting the sentiment and emotional energy of each song.

Wolfe began the show solely on vocals delivering note-perfect singing, over her band’s captivating and somber textures, pulling out her guitar. The drum sound was incredibly electronic despite it being an acoustic kit, which I found interesting. The sound quality of the venue was also worthy of note, as I got to watch the audio engineer work toward the end of Chelsea Wolfe’s set. While I had been a fan of Wolfe’s music years ago, specifically her record Abyss, seeing the songs live made me delve further into her recorded material. It was a privilege to see such an influential and unique artist at their very best — and although it was my first time — it definitely won’t be my last seeing Wolfe perform.

Make sure to check out Chelsea Wolfe’s tour dates in your city! Thanks so much to the Vic Theater and Pirate Radio for getting me out to the show. 

Thank you so much to the Vic and Pirate Radio for sending me out to cover this show, you can catch Chelsea Wolfe + Divide and Dissolve in a city near you.

Footballhead Celebrates Overthinking Everything (Re)Release at Sleeping Village 3/9/24

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CHICAGO | In July of 2023, I was sitting on a curb waiting for my Lyft home after what I considered to be the best show I had ever been to, furiously texting everyone I knew about a little band called Footballhead and their incredible debut album Overthinking Everything. I had just attended the album release show and was absolutely obsessed. After this show, I transitioned from a casual fan of Footballhead to an absolute superfan, or “stan” as it’s known in some online circles. I saw them whenever the opportunity presented itself; oftentimes going to shows with four or five bands just to see Footballhead play a support set, but I craved a headlining show. 

In an interesting turn of events, Footballhead’s debut album was pulled from streaming services in October because they got signed to independent label Tiny Engines, and were going to do a proper rollout of the album under their new label. This began the longest six months of my life, not being able to listen to what I considered to be my album of the year for 2023. Getting to witness the building hype for this album and knowing what people had in store was so special, and on March 1 of this year, Overthinking Everything was released again. I am so absolutely stoked that this album is out again, but that is not the point I wanted to make. 

The album was officially (re)released, and you know what comes with an album (re)release? An album (re)release show of course! This means that I had the opportunity to relive the best live show I had ever been to with my two best friends and with the added connection of not only celebrating the album, but also to the band, whom I have become friendly with through attending their shows as often as humanly (and financially) possible. I knew this would be a special show, so I decided to bring you along.

Support on this show came from bands Demo Division and New Age Thief as well as local rapper Woes. I always expect the best from support acts, that’s how I have found many of my favorite bands and artists, but these acts were next level. I had seen Demo Division live prior to this (coincidentally on a lineup with Footballhead), but the energy they had on that Saturday was insane. They had the crowd absolutely moving. New Age Thief kept this energy going, and I was baffled to learn that this was their second-ever live show — making them a band to definitely keep an eye on. The last support act before Footballhead’s set was local rapper, Woes. I will admit, before this show I had never heard of Woes, but I was blown away. Woes had one of the best sets I have seen in a long time, he had great interaction with the crowd, incredible visuals to accompany the set and an incredible stage presence as he was absolutely commanding the room. Although Woes is not the type of artist I generally gravitate towards, I am now a fan and I really want to catch a show when I actually know his material. 

On to the main act… Footballhead. I could talk forever about this band and this set, but I think I’ll let the video speak for itself. I will say that the decision to open the show with the closing track from the album, the title track “Overthinking Everything,” was an absolute power move. This set had everything I could have hoped for; every track off of the album, a good selection of songs not on the album — including unreleased tracks and selections from their debut EP, Kitchen Fly — shots of Malort and a cover of Crossfade’s “Cold” (which I think should be included in every live set ever).  The only disappointment (besides the disappointment of the set ending) came from the song “Nervous POS” not being included on the setlist, but that’s just me being nit-picky. This is all just a plea for anyone reading to check Footballhead out now, that way when they get huge you will have bragging rights. Join me and my best friends for our real time reactions to the show, and see for yourself why this band keeps me coming back!



All content produced by Kellie Beam

A Glimpse into Ryan Beatty’s Calico Tour at Thalia Hall

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CHICAGO | Ryan Beatty, a Central California native and former YouTube cover-era heartthrob, touched down (or rather, parked) at Thalia Hall in Pilsen, on March 4, an oddly calm, humid and warm evening in the city after traveling from Toronto. Hundreds of people lined the block on Allport Street, anticipating having their heartstrings pulled by Beatty’s third and highly acclaimed studio album Calico, live and in concert. 

The album immediately establishes two central themes: California and loneliness in its melancholic opener “Ribbons.” Beatty brings the same soulful and sad, yet eternally grateful vein to the stage that the song elicits – “It’s out of my hands / What can I tell you / I’m not losing it / I’m just having a laugh.” Most likely uncoincidentally, this song is also the show opener. He is doing what he loves after a career start that left him feeling empty and out of his own body. In 2011, Beatty was deemed “The next Justin Bieber” by J-14, which should have made any aspiring popstar at the time absolutely elated, but to Beatty, it was simply not him. In 2016, he came out as gay and decided he would make music that challenged everything the public thought they knew about him. 

In 2018, his debut album Boy in Jeans was released, followed by his sophomore album Dreaming of David in early 2020. While he is proud of how each album is its own specific identity, Beatty is most proud of Calico, which he wrote as a well-rounded late-twenty-something living in Los Angeles, reclaiming his childhood life. Born in Clovis, California, where everyone wears cowboy boots and drives trucks—Beatty thought that he could never be like those people as he always felt out of place. This latest project sees Beatty falling into a sort of avant-garde country sound and he even currently drives a truck. He is clad in blue jeans and cowboy boots during every performance and has a fan-favorite lyric “Chewing licorice in your cowboy blues.” He’s managed to go full melancholic, indie cowboy. 

I honestly had no idea what demographic to expect in the crowd, given Beatty’s childhood popularity, his time spent with hip-hop boy band BROCKHAMPTON and his current music style. But as 7 PM swiftly approached, I had the pleasure of speaking with two long-time Beatty fans who were first in the general admission line, Lilly and Kevin. Kevin spoke highly of Beatty, noting that he is “[his] favorite vocalist” and that he connects most with how he “conveys such emotion and depth, not only with his sound but also with his lyrics,” especially through Calico, where listeners can “feel everything he has to say.” Lilly first listened to “Powerslide” from Beatty’s first project, and appreciates his “raw talent” that his recent work displays. I found that most fans casually enjoyed his work through BROCKHAMPTON and early projects and stayed because of Calico. I also met with Sophia, a fan since Beatty’s earliest days who sat before the show in seats lining the venue’s general admission floor, observing the buzzing scene. Although she’s drawn to all that Beatty has to offer, it’s Calico that specifically was “the first time [she] actually [got] the visceral feeling of his songs.” 

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Beatty’s show began promptly, as he has no opener for this tour — it is simply himself, accompanied by his band which includes two guitarists, a pianist, two synth players (one who doubles as a bassist), and a drummer. The show opened with an instrumental cover of Sufjan Stevens’ “Death with Dignity” on piano — which in hindsight may have been an ode to Stevens’ connection to the city of Chicago. Beatty took the crowd through the entirety of Calico, standing only during the emotionally charged ballads “Bright Red,” “Bruises Off The Peach” and “White Teeth” which served as his pseudo-closer. But for the greater part of the show, Beatty sat with his eyes closed, on a stool; as if he were trying to remain at the same level of the sunken pit. It added to the sensitive nature repertoire of his songs, as well as the integrity placed behind their meanings. 

He feels these songs wholly and wants his audience to feel the same. Amongst the seated songs was a mashup of “Haircut” and “Powerslide” from his first album that included an untitled song he wrote while on this tour in Boston that he just recently added to the setlist at the show before Chicago. The song notes his thoughts during the tour, by including lyrics like “California cries / while I’m in Massachusetts / thinking of you tonight.” He often says how grateful he is to be able to do what he does, and that even though his eyes are closed, he appreciates the crowd “singing loudly + listening quietly” and “catch[es] glimpses of it all.” 

Every arrangement was embellished with vocal runs, a testament to the true vocalist he is. The slide guitar solos and sweeping piano melodies soared over a quietly choral crowd, while the use of brushes by his drummer added to the intimacy of the performance — just loud enough to be heard, but not enough to overpower. My favorite song performed was “Casino” off of Dreaming of David. There is something so wonderful about hearing a song for the first time at a live performance. I took a short video of the song to send to my mother at home (she is in California, which connects me even more to Beatty in a way), and that 36-second clip has replayed in my mind ever since. He closed with Calico’s closing song “Little Faith” for which he also stood and at the end of the song’s 4-minute run, the band stopped playing, leaving the paired vocals of Beatty and his onlookers ringing through Thalia Hall’s beautiful interior. (He did note during the show both the “beautiful crowd” and the “beautiful room”).A person sitting on a chair with headphones on Description automatically generated

When leaving the show, I was greeted by a warm thunderstorm and Ryan Beatty himself, leaving for his next location. Both were like the cherry on top of a perfect show. Never have I felt like the crowd at a show embodied the artist as much as Beatty’s did. No crowd has been so attentive, so kind, so engulfed by what this blossoming artist has to offer, and I am so grateful to have experienced the unusual delicacy that Beatty has brought to both the stage and to the listener. I feel very moved by witnessing this performance, and if you have not done so already, have a listen to Ryan Beatty’s Calico – it is life changing. 

All photos taken by Abby Thompson.

Gum.mp3 on Becoming a DJ and His Inspirations 

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CHICAGO | At a recent show at Schubas Tavern in Chicago on February 3, the acclaimed DJ Gum.mp3 mesmerized attendees with an energizing performance deeply rooted in the essence of Jungle music. With a profound appreciation for the past and a vision for the future, Gum.mp3 skillfully amalgamates influences spanning from House Funk and Soul to Drum & Bass, Jungle and more within his set. Through seamless blends and crafted transitions, Gum.mp3 curated a captivating sonic experience, inviting listeners to immerse themselves in a realm where the pure essence of musical expression was present. 

Nora: First off, I saw that you’re from rural North Carolina, and I am as well. I’m from Boone, it’s a college town. Where are you from?

Gum.mp3 (DJ): Okay. I’m not gonna dox myself. I’m from near Gaston area.

Nora: I was wondering if just growing up in rural North Carolina has had any impacts on you perhaps musically or even personally?

Gum.mp3: Not so much musically. Mostly though because I grew up listening to a lot of Southern rap music, like gangster rap music. I don’t make rap music, obviously, but I’m friends with a lot of rappers and I have a really high respect for the craft on a literary level. It was because I grew up on it, but also because my ideas about it were complicated after I learned more about art in college. I came to appreciate it in a different way than I did as a kid. Being a fan of rap music over the last 26 years has definitely changed how I engage with music in general. 

One of my friends said something interesting a couple of weeks ago. He was describing and was like, Yo, rap music is all about cinema, he says, cinema, literature, and rhythm. I was like, you’re so right. I was like oh my God, you’re so right. Just being able to come to conclusions like that and being able to talk about the music at a higher level, I think it definitely comes from my passion for rap music. I can kind of extend that to other genres.

Being a Southerner has definitely influenced all my politics and I try to bring it up as much as I can because I feel like Southern radical politics aren’t as represented as much outside of like conservative extremism in the south. Right? But southern leftism is not really talked about as much or not even just leftism, any kind of radical Southerness that’s not conservative isn’t really talked about as much.

So I try to make it a point every time I talk about my political stances because especially, you know, I’m big into technology. I think the way that Southerners relate to the rest of the world can be related to by the global South heavily. I think we both share some of the same issues and some of the same obstacles.

And just the idea of Southerness as a political location, too, I think it’s interesting. And the way that southern areas globally have a similar political history. There’s always like a north-south divide for some reason. That’s something I think about a lot and it’s something that is embedded in all my politics.

Ellie: How did you get into deejaying? Did you start with deejaying in mind? Like, as your first intention, or did you start with a different genre or a different project and then it just kind of morphed into that?

Gum.mp3: Yeah, I started out making weird ambient and electro-classical music because I was trying to do my best Ryuichi Sakamoto impersonation. I had just been listening to Async for the first time, this was college, like 2018, my junior year. All my friends were making rap music and like, kind of weird electronic music and I was like, okay, I’m not gonna be a rapper. I can’t do that. I don’t have the personal charisma to go on stage rapping, so I’m not gonna do that. But I will make some weird electronic music. 

So I was doing that for a while and then I got into Moodymann, Fred P. And I was like, let me just start making house music. My dad loves house music. He grew up in Baltimore, so, you know, I never really got in the house like that outside of Daft Punk and stuff and some of the classics like Percolator. It’d be tracks I would hear that I know from like a kid, but it didn’t click to me that it was house music. Until I started listening to it and making it and, you know, becoming a student of it. 

And then deejaying happened by accident because then the pandemic, my music, you know, people will listen to my music a little bit more. And then one of my homies from the Harvard radio station was like, Yo, you wanna do one of those online events for us, can you deejay? I was like, You know, I’m not gonna pass up no easy money. So I’m not gonna say no I can’t deejay, and miss out on the bread. So I was like, yes, I can deejay. And I bought a controller and learned how to deejay in like two weeks. Did my little mix, and then, I picked it up from there.

I was like, Yo, let me just get better. I got to keep doing this. I got to keep doing these virtual sets. I got to keep getting this money. So a little bit less, less glamorous motivation process. But by that point, I was pretty good at making house music, so I kind of understood how to mix it.

I think what held me back from learning to deejay beforehand was that I had a controller, but I didn’t really understand fundamentally how to mix, especially rap music, especially non-modular music. It was harder for me to figure out how to beat match because it just didn’t make sense in my head yet.

But house music, you know, it’s like Legos. You got four on the floor, everything else is different, so it’s pretty easy to be matched. And then from there I got better at mixing just in general, and I got better at production because I understood the intricacies of deejaying a little bit more.

There’s definitely a kind of give and take relationship with the deejaying after that. But yeah, initially yeah, somebody asked me if I could deejay a live and I had to learn so I could back it up.

Nora: Who would you consider to be your biggest inspirations?

Gum.mp3: Moodymann. Moodymann Again, Fred P, Ryuichi Sakamoto again. DJ Screw, the legend. I think that’s about it. Big on the Moodymann, though, that’s my goat. I Well, I’ll talk about him in every interview I have just because I want him to get wind of it one day, and be like who is this guy who keeps talking about me. So I will keep doing it til’ it works. 

Ellie: What was the process like making your latest collaborative album, Girls Love Jungle.

Gum.mp3: Girls Love Jungle. Me and Daze worked on that for two years. We made the first two tracks Bad 4 Us and Thinking About U two years ago, and we kind of worked on some tracks, ‘bout a year after that, and then it took us another year to kind of finish it up and really settle on the idea, get the art done and stuff.

It was really straightforward, it was much more exciting when it happened than it is like, hearing me talk about it because really all that happened was I made a couple of loops, I sent them to Daze, Daze went crazy, and then we ended up with some songs. But in between that, you know, we spent a lot of hours on Discord talking to each other and co-producing together.

Daze is a masterful drum programmer, so I really didn’t have to do much. I just have a different taste in samples and melody than he does. I feel like Daze has a more, I be describing it as like candy coated, like in the area of trance music and hardcore, which is fundamentally very different from my kind of more jazzier taste. I’m definitely more of an old school taste in melody, like ninth chords and seven chords and a really long, kind of slow melodies, jazzy melodies, really funky basslines with emphasis on the down beats and stuff. 

So it’s a little bit different from Daze’s taste. You know, he’s a Junglist. He’s also Jamaican and Ghanaian. We’re approaching bass culture from two very different geographic locations. He’s approaching it from this kind of Afro-Caribbean lineage, and I’m approaching it from this kind of blues and funk lineage and, you know, obviously it’s all related, but we’re already doing it kind of in our own individual, idiosyncratic ways. But then when we do it together, it becomes even more of an interesting kind of fusion.

But we work together really well. Daze’s one of the only people who works as fast as I do. I can send him a loop, and he’ll have like a whole track in the next two days. So it was really quick. The album was done forever, like a year before we put it out. I was like Yo, we have got to get the album cover, we got to mix it, and put it out, bro. We’ve been sitting on it for too long. So I’m just glad we finally got it out. People were dying for it. And I kept telling people it was done too, so everyone was like, Yo, when are yall gonna put it out?  I was like I don’t know? When are we gonna put it out?

Ellie: Do you have a musical education background?

Gum.mp3: My friend, Justin, taught me everything I know about Ableton. When I was in college, I watched and learned from him. And then from there I went on to develop my own methodology. But I was a STEM kid growing up.

My mom had me in all these science and math programs. I played hella sports. I played sports every season and I did STEM camps in the summer. So it was nothing really about music or art ever, until my last year of high school, when I decided I wanted to go to art school.

Nora: So you got into music in high school?

Gum.mp3: I got into music my last two years of college. I got into art in high school, my last year of high school and I applied to NYU. I applied for computer science everywhere else except for UPenn and NYU, for art. UPenn was visual art and then I applied to NYU for cinema studies. I thought I wanted to make movies and I got to NYU and I was like, Wait, I don’t want to make movies, I want to be a film critic. So I did cinema studies for a year and I was like, Wait, I don’t want to do this either. I actually do want to make stuff but just not movies. So, I switched to the art program and I was like, Wait, okay, I like this, but what if I started doing music too?

So really it was me not really knowing what I wanted to do. I found something that I was kind of not even good at yet, but I thought I might be able to do some sort of agency. That’s what attracted me about being an artist, was a sense of agency and being able to, like, make a living, doing what I want to do.

This feels kind of selfish to say out, but it was more just like, Yo, I need my political agency and my economic agency. I need to be able to wake up whenever I want and do whatever I want and not in an irresponsible, selfish way, but we all deserve this kind of, like, agency to choose.

I didn’t want to just do computer science because I liked it and because it made money. Because all my experiences in STEM, that were job related, or were workforce oriented, I was like, this makes me not like it. I’m into a lot of the underbelly of technology. So it didn’t interest me doing the top side of it just because they made a bunch of money. It didn’t sit well with me politically either. So it caused a bunch of strife for my mom, because she was like, Yo, you’re so smart, then you go to school for art. Like, why are you doing that?

I was like, I mean, I don’t know. I don’t know either. You know, I’m doing this so I can figure out why I’m doing it, I guess. It was more of an exploratory experience, anything. I’m just glad it worked out.

Nora: That’s really awesome, because STEM and art are definitely two opposite ends of the spectrum, I’d say. But that’s really cool that you were into both of them.

Gum.mp3: Yeah I think I was lucky. Honestly, I was lucky to have a black art teacher. If I didn’t have a black art teacher, I don’t think I would have been interested in it. But he was like, Yo, you got good ideas, you got an interesting way of seeing the world. Like, you should try it. You should give it a shot.

It’s not that I wasn’t challenged in school, it’s just that my mom held me to such a crazy high standard that by the time I got to high school, bro, I had been getting perfect grades forever. I had been playing sports forever. I had been good at school forever. Art was the first thing I had tried to do and I was bad at. And I was like Yo hold on. I was like, I don’t want y’all to catch me lacking. Like, Y’all not ‘bout to say I’m a bad artist, so let me cook. Let me get right. Let me get my shit together so I can say I can do that. So there’s definitely a bit of ego involved, but I think I’ve mellowed out towards the end. And now I’m a little bit more philosophical about it.

Ellie: What else do you like to do in your free time other than like, I guess your job is making music now?

Gum.mp3: I like playing video games and riding my mountain bike. I used to like taking road trips. So when Wagenmuzik came out is when I first bought my BMW and then this year it broke down like four months ago. And I’ve been fixing it on and off for like the last year.

So now that my car is, you know, in hell, basically I’ve been riding my bike a lot. So now I’m big into cycling, I’m back on the bike, I ride my mountain bike. I’m doing like five miles, ten miles a day. It’s been a lot of fun. Virginia is a good place for it, too. There’s nothing to do, but it’s beautiful. So I like to ride my bike around and go to different trails and stuff, come home, play some video games, work out, read. I’ve been reading a lot of books.

Life’s kind of mellowed out for a little bit now. I got things I do, got my little schedule. I make time to play video games, make time to read, and I make time to catch up with my friends.

Ellie: Anything else you want to talk about?

Gum.mp3: Yeah, I got an album coming out. My next album, my solo album is called Black Life, Red Planet, on March 7th. And then the release party in New York at Elsewhere on March 9th with my friend Niontay, the brilliant rapper.

Ellie: Do you have a lot of release parties for your stuff?

Gum.mp3: Nah, I did my first one last year for Riddim Seeker, my EP with Ghostly. I had a release party for that and it was on my birthday, I think. That was sick, that was fun! But before then, I couldn’t afford to have a release party, and I didn’t have the fan base either to do it really at least not all in one city where I can go then and do a release party. 

So it is this year and last year my first time really doing proper release parties. I think this will probably be the biggest definitely. 

Ellie: Are you excited for this show? Because we saw it was sold out.

Gum.mp3: Yeah. So I was surprised by that. I was like Okay! I didn’t think it was gonna do all that. I knew people was gonna come. I didn’t know it’s gonna be like that. So I’m excited, I’m glad that Chicago is excited for my music. It feels good to be here during Black History Month. It feels good to deejay with another deejay who I respect. Zora, Zora is awesome. 

It’s gonna be a good night. I’m glad to be here. I wish I could come more often. I want to play at Smartbar. So if anybody at Smartbar reads this, please let me deejay at Smartbar, that would be a dream come true. But yeah, I’m just hanging out, man, I’m having a great time, I love Chicago.

Nora: This is a great venue, too. I’d say it’s one of my favorites. 

Gum.mp3: Yeah, it’s a cool place. It’s not small, but it’s not huge either. Yo, I made this point in a lecture. I was talking to somebody about the importance of mid-size venues. It’s so crucial for artists of my level, whereas, like, I’m not a superstar, you know, I can’t go sell out a 500 person room, but at the same time, a 70 person room isn’t profitable.

So it was like it sucks in places other than New York, because you got a small room, or a big room. I need a mid-sized room, where 150, 200 people can come in. So if 50 people invite a friend, that’s 100 people But 500 you go into debt that way? It’s nice to be here at a decently sized venue. Sold out, it’s gonna be fun and I can go home, and I’m not in debt. I don’t ask for two much, just let me split even. 

If you’re interested in seeing Gum.mp3 live in Kansas, NYC, or Philadelphia or you’d like to listen to his new album, Black Life, Red Planet, check out his website https://gum.studio/. You can find his music on Soundcloud (gumskiiiiiii), Spotify (gum.mp3), Bandcamp (gum.mp3), Apple Music (gum.mp3), and Youtube (gum.mp3). All of these are linked on his website as well, along with links to buy tickets to his shows.

Friko Soars to New Heights at Their Metro Album Release Show 

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CHICAGO | On Friday, March 1 in a sold-out Metro show Chicago-based rock duo Friko celebrated their monumental album release supported by Smut and Neptune’s Core. Friko — composed of Niko Kapetan and Bailey Minzenberger — has been prolific in the Chicago music scene for many years with their enchanting live performances and eclectic EP releases leading up to their studio debut. Released on February 16, Where We’ve Been Where We Go From Here, is a stunning and anthemic realization of the band’s clear potential. Picking up international attention from fans, publications and music forums, Friko’s debut is much bigger than anything we have seen out of the city in quite some time; helping to define a generation of indie-rock music. Nothing illustrated the tremendous impact of the record, quite like their Metro release show, an almost-spiritual experience, that mesmerized the sold-out crowd.

Setting the stage was Chicago four-piece Neptune’s Core, who I got to write about last November during their performance at Thalia Hall with Sen Morimoto. Neptune’s Core consists of two groups of sisters Sophie (guitar/vocals) and Hannah Richter (bass) along with  Jackie (guitar/vocals) and Kaitlin (drums) Cynewski. I remember being stunned by the band’s talent and unique sound, channeling elements of traditional rock music with layered harmonies, complex vocal runs and textured instrumentals. It was great reuniting with Neptune’s Core at the Metro, as they were the perfect act to open for such a special show – playing a variety of released music and new material, progressively immersing the audience more and more with each song. 

A standout moment had the four-piece previewing a new track in its early stages with a beautiful vocal arrangement from Jackie, Sophie and Hannah, reverberating through the venue in a lush beam of pleasant frequencies. While I instantly connected with this band’s music when I first saw them at Thalia Hall, standing in front of Kaitlin Cynewski on the right side barricade gave me a specific appreciation for their rhythm section. Throughout the performance, she delivered incredibly creative and refined patterns elegantly lifting the music on each song. I can’t wait to see what Neptune’s Core has in store for the future.

I was lucky enough to connect with Jackie, Sophie and Hannah to ask them a couple of questions about their band and playing the Friko release show. It was an entertaining interview and I wish I could’ve included more of it. 

Aden Van Hollander: What’s the genesis of Neptune’s Core, I know you have music going back to 2021, but when did y’all actually start writing songs together? 

Sophie Richter: It started actually in middle school…then it really took a turn when we played with Dehd, that was the pivotal point in our music career where we realized woah this is getting serious, we want to be playing gigs all over and making it something bigger. 

Hannah: I think that was a big point for a switch in our sound as well. It felt like especially in that moment we were more open to experimentation, we were more excited to try new things. That moment being on stage and playing a bunch of new songs that were way different from our other stuff felt really fulfilling and made us want to try new things more. 

AVH: You’ve already played a ton of special bills alongside amazing acts, what was it like supporting Friko for their Metro album-releasing show with a completely sold-out audience? 

Jackie: That was a super special night because we’ve known Friko and we played with them 4 or 5 years ago at Martyrs, it was just special playing that album release show knowing it was such a big moment for them. Even just like seeing them run around to all their interviews and doing their singing at Reckless, it was super cool, they’re the best. 

Sophie: I feel like the energy was very contagious, they just were so excited to be there performing their album for their release show, we were just so excited for them. I remember Jackie and I were sitting in the Greenroom after we played and before Friko was going on, and we got to be there for their team huddle, and it was very heartwarming, it was like this is what we want to be someday, playing our album release show at a beautiful venue like Metro with all our amazing friends around us. They are such a perfect example of what being a musician should feel like. They really represent how healthy it can be and how it’s good to put your emotions out there and always be supported in doing so.

Hannah: They did a great job of uplifting everyone. There was so much positive energy that it was impossible to even feel bad. I went home and I was like smiling from ear-to-ear, like oh my god that was the most perfect moment ever.

AVH: I saw on your Instagram that you are dropping new music! Is there anything else new with Neptune’s Core?

Sophie: We are heading to SXSW then we are on an East Coast Tour! We have a stacked March and we are so excited.

Thanks so much to Jackie, Sophie and Hannah for speaking with me! Check out Neptune’s Core and their new single “Box / Anyway” that was released on March 8. 

Following Neptune’s Core was Chicago-based band Smut, who provided a compelling performance and danceable atmosphere. Featuring heavier arrangements inspired by many corners of music, Smut made me a fan with their solid outing at the Metro, having never heard them before. The dynamic vocals of Tay Roebuck controlled the feel of each song, with her screams, spoken word, and singing — I particularly enjoyed the tracks with the spoken word, as they had a unique Life Without Buildings feel. I have since checked out Smut’s recorded music and online performances and am excited to hear more from them in the future.

Friko poured out onto the Metro stage with cataclysmic power. You could feel the already-packed crowd squeeze even tighter as they played the first chords of their vibrant single “Crimson to Chrome.” So much was released from the audience who sang along to almost every word. Friko delivered a masterclass of manipulating tension, splicing in serene string-arranged tracks with their heavy-hitting rock music. After having Niko and Bailey in the Radio DePaul studio for an acoustic set, it was fantastic to hear these songs with full live arrangements. 

Being in the audience for Friko’s release show was an extremely memorable experience since it was clear to everyone in the building that their songs carry immense weight. This sentiment was reflected by the sheer intensity of the audience who jumped and spun in one of the more sweaty mosh-pits I have been a part of — however, despite the frenzied crowd, there was a clear level of respect given to Friko and their music during the performance. 

It is safe to say that this past month has been the busiest Friko has ever been, making dozens of media appearances, signing records, playing sets and getting interviewed, after releasing their debut album. From briefly speaking with Niko before the show, you could see the tangible blend of fatigue and appreciation. Friko more than rose to the occasion at the Metro, playing an almost-hour-long set without missing a beat. Bailey’s fierce drum rhythms and textured vocal harmonies perfectly complement Niko’s expressive melodies and bold instrumentation, while new addition David Fuller on bass provided a level of completion to the duo and had great chemistry with the band.

Friko ended their performance by showing gratitude to all the people who helped get them to where they are, bringing out their friends and collaborators to celebrate with them as they played their iconic opener “Where We’ve Been.” Encoring with a stunning rendition of Radiohead favorite “Weird Fishes/Arpeggi,” — cause why not — Friko brought down the house in a major homecoming for Chicago music. As the iconic drum pattern and guitar slide began you could feel the entire crowd lose their collective mind. In one of the best concerts I’ve ever seen at the Metro, Friko more than delivered, now it’s about seeing and hearing where they go from here. 

Metro Local Series Showcases Bright Future amongst Chicago Artists w/ Sharp Pins, Uniflora, and Pinksqueeze.

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CHICAGO | On February 23 a unique local artist event, in association with CIVIL Fest took over the Metro for a special night of diverse music, featuring Sharp Pins, Uniflora and Pinksqueeze. 

The stage was set with Sharp Pins, the solo project of Kai Slater, featuring Peter Cimbalo on drums and Joe Glass on bass. Sharp Pins have been actively playing great shows in Chicago for the past few months and last week at the Metro was no exception! 

Offering a dynamic set of memorable songs from their latest record as well as some new material, Slater delivered a harmonically rich and enjoyable performance that had the crowd tapping their feet. The three-part harmonies from Cimbalo and Glass — who both had great chemistry — perfectly showcased the band’s musical talent. 

After the show, I asked Peter Cimbalo about his experience playing with Sharp Pins and how performing with the band influences his solo music under Alga, “It felt super gratifying to be able to play Metro with Kai and Joe. I’ve seen so many great bands come through that venue, so being able to perform on that stage myself with some good friends was very special. I think that Sharp Pins and Alga pull from similar sources of inspiration, like power-pop and Beatle-Esque 60s sort of stuff, so being able to relate on that level is super rewarding and definitely inspiring.”.  

Sharp Pins is the current songwriting outlet of Kai Slater who has been a key figure in Chicago music for the past half-decade; being a founding member of both Dwaal Troupe — an analog and harmonic quartet — and the heavy post-hardcore influenced trio Lifeguard. Lifeguard, who formed in 2019 with bassist/vocalist Asher Case and drummer Issac Lowenstein signed to Matador in 2023; further etching themselves in Chicago rock history with their spirited arrangements and undeniable talent. Slater’s latest project, Sharp Pins, might be my personal favorite. His 2023 self-released record Turtle Rock, blew me away with its satisfyingly noisy and creative style of pop music. 

Slater was kind enough to answer some of Radio DePaul’s questions regarding his new record, the Metro show, and the greater Chicago music scene. 

AVH: “Recently you have been dedicating a lot of focus towards the Sharp Pins project, which has a much more DIY direction, with your last album being self-released with Hallogallo. How do the writing and recording processes differ in this project as opposed to your stuff with Lifeguard on Matador? Do you feel more liberated to experiment in a more independent environment? 

KS: “I have been self-releasing and home-recording for a while, this has just been the most recent thing. I’ve never had a proper solo project so it’s been really liberating to release an album that’s completely myself and pretty naturally recorded. The writing is really different because Lifeguard is built off of not only songwriting but collaboration and improvisational stuff. And you can’t really improvise with yourself, as much as you could try.”

AVH: “On last year’s record, Turtle Rock, you seem to find a lot of comfort in a more power-pop/indie sound, have these communities always been influences for you, or is that just how the music naturally manifested?”

KS: “The album definitely just built off all the songwriting I’ve always loved to do, and all the recording things I’ve gotten better at. I’ve been a mod for a while, and I’ve been trying to write perfect pop songs for a while too. I got into power pop stuff 3 or 4 years ago, my friend Charlie Johnston really introduced me to that stuff while we had the band Dwaal Troupe. Dwaal Troupe was initially inspired by mid-period Beatles and Elephant 6 stuff, psychedelic pop and folk stuff, but once me and Charlie started listening to a lot of classic power pop, the band took that influence and it definitely just led into my general songwriting goals and inspiration, everywhere, Sharp Pins and Lifeguard. I believe in pop music and it’s what I want to do!”

AVH: “You have played many iconic venues in your young career, does it feel different to play somewhere like the Metro as Sharp Pins?”

KS:  “Playing Metro as Sharp Pins was really cool! It’s a great venue and it’s cool that the sound system could handle the 3 part vocal harmonies that well. But the thing I was most excited about was the band Uniflora playing. I was just really happy to see such an awesome young band play Metro and have such a good reception. So that was the biggest win I think.”

AVH: “The Chicago Youth scene has always been a vibrant source of experimental music that defies definition and genre. Are there any specific local acts you are keeping your eye on?”

KS: “Well, Uniflora for sure rocks, as well as Twin Coast, Donkey Basketball, Alga, Laurie Duo, Deerest Friends/Konstantin Konstantius, Joe Glass, TV Buddha.”

Thanks so much to Kai Slater for the interview! You can see Sharp Pins play with Alga and Tom Henry at Color Club on March 18th! Be sure to check out Sharp Pins and Hallogallo, their record Turtle Rock is streaming everywhere.

Following Sharp Pins, was Uniflora, boldly making their Metro debut. Uniflora is the Chicago-based high-school band of Quinn Dugan (vocals), Theo Williams (Bass), and Ruby O’Brien (Drums). After releasing their experimental rock-influenced EP Plastic Sturgeon last November, Uniflora has gained significant local recognition, dropping two follow-up singles “Hellgirl” and the instrumental “LMCB”. Uniflora’s experimentations with noise and time signatures were a welcomed occurrence with all three members displaying individual prowess and shine. Having never seen the band perform, they continued to win me over during their set showcasing a variety of material with an expansive sound stage, despite only being a three-piece act. The band was unphased and gave an impressive performance. Guitarist/Vocalist Quinn Dugan’s guitar strap even fell off mid-song and they still got through it, winning over the crowd. Uniflora’s combination of mathy guitars, ripping basslines, and creative drum rhythms cemented them as a band to watch in the coming months. 

It is amazing to watch talent break out at such a young age — high-school acts like Lifeguard and Neptune’s Core have cultivated large followings, creating unique and fleshed-out projects so early in their careers. It’s important for a venue as tenured as the Metro to host events spotlighting local artists. This sentiment was encapsulated by the audience, who represented many different generations of music listeners. Ranging from high schoolers to grandparents this Metro local series event was a night to remember, highlighting diverse musical acts from in and around the city. 

Thanks again Kai Slater for the interview and Uniflora for getting me out to their debut at the Metro! Keep an eye out for future projects from both, as well as events from CIVIL Fest!

All photos by Aden Van Hollander

Caught in the Orbit of Digable Planets

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CHICAGO | Standing outside of Thalia Hall in Pilsen, I self diagnosed myself with a raging case of imposter syndrome. I could not grapple with the fact that in a couple of hours, I, Dara Carneol, freshman at DePaul University, was about to conduct my first ever interview with the legendary hip hop group, Digable Planets. 

Composed of Isaiah “Butterfly” Butler, Craig “Doodlebug” Irving and Mariana “Ladybug Mecca” Rivera, the Brooklyn based trio is the epitome of old school hip hop — combining smooth jazz elements such as slower beats and trumpet riffs with their smooth vocals. On their 30 year anniversary tour of their debut album, Reachin’ (A New Refutation of Time and Space), the Planets played a sold out show with Kassa Overall, a jazz drummer, as the opener who later joined them on stage for their set.

Upon arriving at the venue, I had no idea of what the age demographic of the audience would be. With the “tiktokification” of one of their songs, “Cool Like Dat,” I expected there to be a mix of generations, however, the young people were sparse. Fortunately, I spotted some Gen Z-ers in the crowd — Miles and Carolyn — and wanted to get their dig on Digable Planets. Miles mentioned that he “grew up on A Tribe Called Quest” and that his parents played a lot of their music. 

After an incredibly smooth set from Kassa containing many hits from a spiral cymbal, giving the set a mellow, atmospheric effect, the planets emerged with Ladybug wearing a reflective trash bag skirt with a jacket that read “Available Light.” They played the classics such as “Where I’m From,” “Jettin”, “Pacifics” and “Nickel Bags,” while in between songs, the Planets would turn it over to their band, resulting in electrifying bass and drum solos. I was particularly struck with the song “Escapism (Gettin’ Free)”, with a snappy earworm of a post chorus; “Funk is you, funk is me, funk is us, funk is free.” 

Upon further research, this hook is a shout out to The Last Poets, a hip hop trio from the late 60s, who spoke out against racism, poverty and other African American societal concerns.  Their song “Black Is” is a spoken word meditation on Black empowerment, with a constant rise of “Black is you, black is me, black is us, black is free” in the background. After 30 years, the Planets still know how to orbit.

Following the show, Doodlebug and Butterfly immediately came out from the “Employees Only” doors and started taking pictures with starstruck fans. Armed with an iPhone and microphone that we couldn’t figure out how to use, Aden Van Hollander and I, the promotions director here at Radio DePaul descended down into the basement where the Planets graciously allowed us to conduct a short interview. All the nerves that I had dissipated, after seeing how kind the Planets were, opening doors for us and treating us with importance. 

After 30 years starting from the age of cassettes and walkmans to blowing up on tik tok in the digital age, Digable Planets echoes the last tidbit Butterfly provides in the interview… 

Butterfly: A great quote is the more things change, the more they stay the same. 

What does 30 years of Digable Planets mean to you? 

Butterfly: “We both got like kids that we like to spend a lot of time with and hang out with — a lot in that family type situation at home. But making music and touring, doing shows was a dream that we’ve had since we were young. So to be able to do it now — and fortunately our families really support us too, they come to the shows whenever we’re in the area, even travel sometimes — it’s like a good energy that we just feel blessed to be able to continue to do. 

Sometimes it’s unbelievable, like on nights like this where we’ve got a sold out crowd and all that type of s—t. It’s just, you know, when you are a kid you literally dream… daydream and night dream about this type of thing. So to be able to do it, it’s like living a dream – so it’s very special.”

You guys started making your music in the 80s and the 90s which were two very different decades of music. Did they affect your sound in different ways?

Doodlebug: “The eighties was my main foundation, to be honest with you. That’s where I really got enamored; the passion for hip-hop, the culture, really seamed into my soul. So that whole eighties era was the era that really shaped me. Even though I’m, I’m malleable enough to go to different eras and, and, and flow of whatever I like. You know what I’m saying, what I’m feeling? 

But the eighties was mine. That was my foundation; Run DMC, LL Cool J… that was my era. That made me get into hip-hop and figure it out, and then from there as the decades went on, I just flowed with it. Now I have kids that keep me in tune with what’s new; my son and daughter would be like, ‘Yo, check this out.’ 

Some of it’s a’ight, some of it, I ain’t gonna f—k with, but some of them I definitely do f—k with.”

Are there any specific modern artists you want to shout out?

Butterfly: “Oh man… Little Tracy, shoutout Uzi, Brief the Lost Cause. 

Doodlebug: I mean, nowadays, you could say you like a certain style. Like I could say I like Detroit or new Detroit, you know what I mean? And everybody got a type of similar flow; there’s different guys, I like Bezo, you know what I’m saying, I mean I like that style of music. 

I mean, we like it all man, honestly, because we never – we stopped doing the genre thing a long time ago because it’s just not really a thing. It’s just a marketing thing, you feel me? 

Music is music. 

When I was growing up, when we would go to a party, there wasn’t just a Hip-Hop party or a House music party, but like you hear all that s—t. 

You might hear a f—king Black Sabbath song or a f—king Run DMC, you know what I’m saying? Just all types of shit; Earth, Wind, & Fire, all played all night just because that was what we was into.

Now that you guys have kids, how does it feel to see younger faces in the crowds of your shows?

Butterfly:“It’s magical. Because you start to realize like all the things you believed about music. ‘Oh, music is timeless. Music is cross generational.’ 

Then you start to remember too, our parents’ music, The Temptations, Motown stuff and all that. We actually like that music, we love it to this day — so music just seeps over and leaks into the next generation.

It’s a blessing because they keep you alive. The younger people — ’cause they are active in the marketplace; they come to the shows, they do social media and stuff, so young people are integral. The fact that they f—k with us, think about us, it’s good, it helps. And we feel good about that.”

A lot of people know your song Cool Like Dat, because of tik tok. How do you feel about it? Is it a positive or a negative?

Doodlebug: It’s all positive. (“It’s all positive” echoed by Butterfly.)

Doodlebug: I’m not on TikTok, so I don’t know about TikTok that much — I know about it, but I’m not on it. 

But that’s positive, you know what I’m saying? 

Anytime somebody or another generation is playing your music and spreading it out to a whole, [or to] some people that may have never listened to it, or wouldn’t be exposed to it otherwise; that’s cool as shit.”

Brooklyn is an integral subject of the Digable Planets Discography. In the 30 years you’ve been making music, how has Brooklyn changed or stayed the same? And if it’s changed, are the changes for better or for worse?

Doodlebug: “I mean, the Hip-Hop scene is basically the same. The thing that changed the most is the marketing; the way it’s pushed out to you. 

Back in the day, everybody would go to a record store, dig through the crates… find that vinyl cassette, you know what I’m saying?

Nowadays, you just go to Spotify or Apple Music or Tidal or wherever you go to get music… It’s a different way, you know what I’m saying? 

So in that way, I mean, it’s kind of different — but other than that the culture itself, Hip-Hop and what inspires it and what makes people wanna make music is still the same. Same elements; poverty, partying, revolution … whatever’s on your mind, you know what I’m saying? 

That s—t is still relevant and evident today as it was back in the eighties. 

After 30 years starting from the age of cassettes and walkmans to blowing up on tik tok in the digital age, Digable Planets echoes the last tidbit Butterfly provides in the interview… 

Butterfly: “A great quote is the more things change, the more they stay the same.”

All photos taken by Dara Carneol.

Asha Imuno Performs New Music from Upcoming Album for TNK Fest

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CHICAGO | A DJ setup sits upon an empty stage, all basked in red and blue lighting. Attendees trickled in as the night approached 10:30 p.m. After some waiting, the audience is finally introduced to the man of the hour: Asha Imuno.

The California native hosted a listening party earlier in the day for his debut album, “PIN AND NEEDLES,” at Classick Records. Imuno’s performance served as a secondary listening party as he performed various songs from his debut album and some of his hits.

Throughout the night, Imuno continuously spoke to the crowd in between songs — at one point, even  walking through the crowd at one point. 

Before stepping onto the stage at Sleeping Village, he stopped by iLLANOiZE Radio to speak about his new album and upcoming performance. During the interview, he describes how he can balance his artistic expression and personal experiences.

“I think a big part of it is not giving it too much thought, and trying to really capture the feeling,” Imuno said. “What’s organic tends to reflect the most reality.”

That sentiment rang true throughout his performance as he once introduced a song by asking the crowd if they had ever f—ked up before. He also poked fun at how cold the city was, quipping that he was performing in a coat. 

Imuno doesn’t shy away from the intimate setting and uses it to connect with the crowd; as the anticipation for the official release of his debut album can keep one on the edge of their seat, especially after his performance at Sleeping Village. Hopefully, it shines bright like the red and blue stage lighting.

All photos taken by Chinyere Ibeh.

A Conversation with Couch’s Guitarist Zach Blankenstein

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CHICAGO | Boston-based band, Couch, has a sound that is truly unique to itself. The band combines their jazz and R&B influences with past experience in acapella and musical theater to create a strong and imaginative spin on pop music. Guitarist, Zach Blankenstein says how “My favorite moment in a Couch songs when I can hear, and think back to a session where I go ‘Oh man, this is so cool that this part is a combination of four different people’s ideas all who were thinking about different things, and yet these ideas are compatible and show the collaboration and teamwork in Couch.’”

Consisting of Tema Siegel (vocals), Zach Blankenstein (guitar), Jared Gozinsky (drums), Will Griffin (bass), Danny Silverston (keys), Jeffrey Pinsker-Smith (trumpet) and Eric Tarlin (saxophone),  the band has been touring their latest EP, “Sunshower.” This past week, I had the opportunity to speak with guitarist Zach Blankenstein about their experience as a former long-distance band, their newest release and finishing up their upcoming tour

For the first three years of the band, the members of Couch were spread across the country, and would create music together despite the distance. Blankenstein described how, “For about three years we would just write music over FaceTime, meet up when we could over break, quarantine during the height of Covid, we put out that music all pre-2020, 2021 and then come fall 2021, we finally got to start touring and it was like ‘Oh man we have all this music but we’ve never played it together and it made it all the more exciting to get on the stage and be with my bandmates.’” 

Regardless of the challenges, the band made it work. “It was all in a workflow where we would often write and record and release music before we ever were in a room to play it together, which was really cool. We sort of had to learn how to take these studio recordings and then adapt them for a concert,” Blankenstein says, “I think we did our best to maintain the human and interpersonal elements of creating music while we were doing it remotely, but there’s nothing that beats just being together with our instruments and making it live.”

Now the band is based in Boston, where all of the members are from. Blankenstein explains, “I think it’s given us room to not feel a lot of immediate pressure, and the sort of intensity of such an industry city, we’re able to really take our time being in Boston. There aren’t a ton of small venues in Boston, so we weren’t really able to play a hometown show for a while. This sort of made being in Boston and playing Boston shows all the more exciting when they come around.” This past year, the band played Boston Calling, one of New England’s most well known festivals. “It was so exciting. A lot of us grew up going to the festival, and have seen some of our favorite bands there, so to get that opportunity was really special,” the guitarist remarked. 

In November 2023, the band released their new EP Sunshower. When asked about his favorite song to write and record for the project, he brought up my personal favorite, “LA.” “I think the story is really clear, and musically it feels kind of theater-y.” Blankenstein looked back on their show in Los Angeles, when they played the song in the city it was named after for the first time. He recalls, “We’ve never had the opportunity to play a song named after a place in the place for which it was named, and doing that in LA was super cool. It’s not really a diss track to LA but it’s certainly not telling LA how wonderful it is, so it was sort of funny and fun to see how it would go over with the audience.”

In addition to the release of their latest EP, the band has been on their tour of the same name since October. He went on to talk about how the long drives have been good when it comes to bringing the band closer together, “Touring can be really tiring, taxing on your mind and your body, and having a group of people who are just really nice to be around and everyone’s looking out for each other, it makes what can be a pretty stressful adventure into a very fun and exciting one.” 

This week the band is finishing up their tour in the Midwest; playing shows in Detroit, Chicago and Indianapolis. “We love going to the Midwest. I think a lot of people focus on coastal cities as these hubs for music, but there are such interesting musical cultures in each city. 

It’s cool that for a night to be a part of it, see who’s coming out to the shows and meet people after the shows. It’s really exciting to do and the Midwest is a great place to go for that,” says Blankenstein. When talking about their upcoming show in Chicago, Blankenstein reminisced on Couch’s first show in the city and described it as “one of the very starting points for us really taking the band seriously and pursuing Couch. And I love Chicago for that.” 

What’s coming up next for the band? 

Well, Couch is playing Chicago this week on Friday, January 26, at Park West. They are also going to be announcing some new content as well as some “large, most exciting tour announcements we have ever made.” Their EP, “Sunshower” is currently out on all streaming services, and you can find them on Instagram at @couch.theband and on all other socials @couchtheband. For anyone interested in diving deeper into Couch’s music, check out splitter.fm/couch where you can find individual layers of their songs, as well as the ability to loop isolate, or slow sections down of each track.