Tag: live music

A Moment In These Times: Makaya McCraven at Symphony Center

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CHICAGO | Eight years in the making. The creation of a masterful, career-defining record takes the same amount of love as care as raising a child. Our art should always be treated as our children, because otherwise, all we are left with is shards of ideas that are almost infinite. Makaya McCraven has found a way to create something that I believe is infinite —I feel it in my soul. Each track on the record is careful, yet decisive, so much to the point where it is relatable. With each listen, I see a little more of myself in the songs. Makaya McCraven’s 2022 album In These Times is the people’s child.

But I digress. This was never intended to be an album review (though at times it may seem that way based on how highly I speak of it). On January 19 2024, McCraven headlined a concert at Chicago’s own Symphony Center — home base of the world-class Chicago Symphony Orchestra and the same place where his latest record, In These Times, was recorded. With a completely stacked list of musicians accompanying him on that main-hall stage, all but one performer played on the record itself. The roster included Marquis Hill (trumpet), Greg Ward (alto saxophone), Brandee Younger (harp), Junius Paul (bass), Meshell Ndegeocello (vocals) and, of course, Makaya McCraven himself (drums). There was some major Chicago representation in that room, and as a self-proclaimed ride-or-die Chicagoan, it was invigorating.

The show opened with his original composition “Seventh String.” As the overhead lights dimmed the room turned a luscious pink color that I would only associate with an Azalea in bloom. The moment Greg Ward and Marquis Hill began playing the melody in unison was the moment I ascended. Combining their expert musicianship along with the state-of-the-art sound systems the hall is equipped with, they created some of the most ambrosian sonic flavors I have ever experienced. I am not exaggerating. I sat back further into my lower balcony aisle seat and felt a lightness in my soul. Every aspect of the compositional blend was mouth-watering.

After playing a couple original tunes, McCraven introduced Meshell Ndegeocello to join the ensemble. She placed a couple of items in the center of the stage; items of which I honestly could not distinguish from where I was sitting. She explained afterwards that the items were there to represent those who could not be with us at that moment, which was endearing. A little awkward, but it was authentic. Ndegeocello spoke briefly about being the most authentic version of yourself and unapologetically approaching your own life, which also spoke to me in a lot of ways. 

The ensemble played an arrangement of TLC’s “Waterfalls” that, I think, spoke to everyone in that room. The first chord struck, and suddenly everyone around me shifted in their seats a bit. Once the chorus hit, it felt like each individual was the most present they had been yet. This programming choice was perfect for a few reasons, but primarily because, though McCraven makes music that people clearly adore, performing it in a setting like Symphony Center can lead to audience stuffiness. “Waterfalls” is a song we all know. Jazz, or whatever you want to call it now, is all about bringing the people together. It has always been by the people for the people, that is at least up until recent years where it has academicized itself into oblivion. 

Playing a tune that everyone knows and loves in a space where it was not expected is pretty magical, and very smart at that. Ndegeocello asked the band to vamp the outro a few extra times, which, truthfully, seemed to create a little bit of unspoken tension on stage. The band cut out, and the audience was requested to sing the chorus out to end the tune. Having somewhere around 2,000 people singing “don’t go chasing waterfalls” was not something I went into the evening expecting to happen, but I am excruciatingly glad it did. Above all, it was a moment of community. I will never forget how I felt after the song ended and everyone around me was giggling to the person they were sitting next to. What a beautiful thing to be a part of.

Ndegeocello’s contributions to the set seemed to be controversial amongst the attendees I was able to debrief with after the concert. At times, it perhaps felt a little unorganized or less prepared than we were initially expecting. Again, maybe even a little awkward. In many ways, her presence was nostalgic for me. I saw a lot of myself in the way she presented herself up there. The poetry she wrote/performed was rich, and her voice was velvety like the olive sofa that sat in my living room growing up. Personally, I think that Meshell Ndegeocello stole the show.

Jazz prides itself on being a musical genre based on spontaneity, but how much of it is actually spontaneous? There is a song that is being performed and parameters that need to be met. Sure, boundaries are intended to be pushed for something spectacular to come from it, but at their core, musicians are perfectionists. Even the things that are defined to be spontaneous — like the notes a musician plays during their improvised solo — are limited in nature. Mathematically, there are only ‘x’ number combinations of notes, rhythms, styles, etc, that someone can bring to the table. 

The one thing we all need in our lives is someone to rock the boat a little bit. Ndegeocello was moving around, rearranging parts of the texture to melt with other parts of the texture, and directly calling out names on stage, which scared the hell out of me from a musician’s point of view. The moment I realized I was scared was the moment I understood. The perfectionist part of my brain was going completely ballistic — every alarm and red flashing light in my mind was going off, and I realized I was thinking so much about what was going on that I wasn’t really listening. Sure, I was hearing, but I wasn’t quite understanding. After I took a step back and realized what I was thinking was more critical than it needed to be, I found it all to be enlightening. I broke off a piece of me that I was not proud to have existed and left it in that room. I learned that sometimes a step back is all you need to see the whole picture.

Another person that stole the show for me was Brandee Younger. I saw both her and McCraven play back-to-back sets at the Chicago Jazz Festival this past summer, and I have been in awe of her musicianship since. Makaya’s tune “Lullaby” began with an extensive harp introduction that left me, and everyone around me for that matter, stunned. I looked up at the ceiling and allowed the cadenza to remove me from my own body and back to the dust from which I came. It was magnificent. An that moment, I felt grateful for my ability to hear. There is nothing more grounding than a moment that makes you realize you have been taking something incredibly special for granted, and there is also nothing more special than feeling grounded from a single moment. Kind of like a snake eating its own tail sort of thing, but only more spiritual.

I had a few “moments” that night that I will take with me into everything I do in the future. Being able to sit in one of the greatest music halls in the world and experience the art that was dreamt up by McCraven himself felt explosive. Not in a destructive way, but more as a means of becoming whole. Makaya McCraven is easily one of my favorite artists alive today, and he has every reason to be proud of boundaries he continues to push musically. I look forward to whatever he, and every person who played that night, does next. I know down to my core it’ll be groundbreaking.

Photo and audio documented by Julia Soulsby.

Mali Velasquez Closes Out TNK Fest 2024 at Schubas

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CHICAGO | January is traditionally the slowest month in industries like restaurants and live music. Artists are touring less — as few albums are released in January — and travel becomes treacherous with snow and ice. Customers are trying to save money after big holiday purchases, not going out because they’re observing dry January, or simply, they’re cold. Chicago spent a frigid few days in subzero temperatures just days before Tomorrow Never Knows Fest — a festival dedicated to combating the “slow season” and continuing to bring quality live music to hungry fans since 2005.

Presented by Audiotree, TNK Fest is described on their website as having “proven for over a decade that music fans will brave the brutal Chicago cold for a good show.” The festival spans five days, and this year’s festival featured shows at Lincoln Hall, Schubas Tavern, Sleeping Village, and Gman Tavern. TNK has become a staple in the Chicago music scene, featuring up and coming local and touring acts that often hit it big soon after playing the fest. Notable past performers include Caroline Polachek, Snail Mail, Julien Baker, PUP, and many, many more. 

The final show of 2024’s TNK Fest featured a lineup of promising indie folk, rock and country acts at Schubas Tavern. Opening the night was Chicago native Minor Moon, the project of Sam Cantor. Cantor played accompanied by a band member on a pedal steel, and began the night with a warm, relaxed set — perfectly priming the audience for the styles of the upcoming bands.

Sluice, the folk project of North Carolina artist Justin Morris, took the stage second. The band featured additional members on bass, drums, and fiddle – which absolutely stole the show, adding a striking dimension to Sluice’s roving country inspired tunes. Similar to artists like Slaughter Beach, Dog and Christian Lee Hutson, Morris writes in a stream-of-consciousness style, weaving in and out of story specifics. His track “Fourth of July,” off of the recent release Radial Gate, feels like listening to someone try to piece together childhood memories while also trying to process their present reality. In a new unreleased song, a lyric that stood out to me was “my goal is to make it on Pitchfork” (which Sluice did, read the review of Radial Gate here.) It’s a perfect example of the trend in indie folk of hyper specific lyricism, its sincerity drawing audiences in and proving that songwriters don’t have to rely on big universal themes to be relatable. 

In a brief conversation following the set, Morris also informed me that the band utilizes three different sources to achieve the droning effect throughout the set, which emboldened the sound of the four piece band. They utilized taped keys on a synthesizer, a bass pedal, and a shruti box — an Indian instrument with bellows, similar to an accordion or harmonium — which provided an organ-like sound. Sluice’s unique blend of country influences, indie folk songwriting technique and experimental choices reminded me of Goshen College’s radio station, The Globe’s coined musical genre: “culturally progressive.”

The final performance of the night, and of the 2024 TNK Fest, was Nashville-based artist Mali Velasquez. Velasquez released her debut I’m Green in October 2023, and she is, in fact, green — this was her first time playing in Chicago. Joined by guitar, bass, and drums, Velasquez captivated the Schubas Sunday night audience with her emotionally charged indie rock.

One of my favorite finds so far as Radio DePaul’s music director, Mali Velasquez pulls at your heartstrings with delicate vocal melodies juxtaposed with muted, fuzzy guitars and instrumentals. She vocalizes the thoughts that most of us choose not to share, such as on the album’s opening track, “Bobby,” where Velasquez explores grief and loss. She asks the hard hitting questions about a break up in “Shove” and “Death Grip”; “Do we still wake up every morning at the same time?” and “Why do we act like strangers afterwhile?”

Velasquez’s contemplative, vulnerable style of songwriting and emotive vocal timbre is sure to draw in any fan of heart wrenching indie, and proves yet again why Chicago’s Tomorrow Never Knows Fest is one of the greatest opportunities to catch the next big thing before they’re making headlines.

Photos taken by Nina Bertuca.

Sen Morimoto’s Diagnosis Tour Kicks off in Chicago

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CHICAGO | On November 25, Sen Morimoto came to Thalia Hall, kicking off his Diagnosis tour alongside Neptune’s Core and Angelica Garcia. The show was a call for communal warmth and musical celebration, as Morimoto made his live debut of Diagnosis, a conceptual, nuanced, Neo-Soul project released on November 3.

Opening on the bill with Morimoto was Neptune’s Core, a ridiculously talented and harmonically rich group out of Chicago. From the first chord, the audience was immediately captivated by their collective stage presence and catchy songs. The live mix from the sound engineers at Thalia Hall was impeccable during the entire night, but Neptune’s Core sounded especially crisp. The band blended a variety of sonic influences invoking Led Zeppelin, Lana Del Ray and My Bloody Valentine. I got to speak briefly with Jackie Cywinski (Guitar/vocals) after their set and found out that the band consisted of four high schoolers — two freshmen and two seniors. This is certainly a band to watch as their sound continues to evolve. My favorite track of the night was “Fated Star,” a luscious shoe-gaze banger with plentiful harmonies and twinkling guitar. 

Following Neptune’s Core was Angelica Garcia who defined herself as. “A One Woman Robot Orchestra.” I don’t know if a better combination of words could be used to describe Angelica and her immersive soundscapes. She stood alone in front of two microphones and a loop machine. It was incredible to watch Angelica build each song from the beginning using only her voice and some pre-recorded loops, including bass that sent the whole venue’s heart through its collective chest. I hadn’t heard Angelica’s music before the show, but I was mesmerized during her entire set. While Angelica’s intense art-pop stylings were a significant transition from Neptune’s Core, she did a phenomenal job getting the audience involved and showcasing her warm personality. Look out for Angelica Garcia’s new record set to be released sometime next year.

There was a palpable shift in energy as Sen Morimoto and his band of gifted musicians took the stage. This was the first full live performance of Sen Morimoto’s new LP Diagnosis, which offers a compelling and relatable take on modern technological and artistic evolution. The record and the performance were rightfully cynical regarding the overall devaluation of pure artistic motivation — as most artists in the social media era are forced to turn their creativity into content to feed the algorithms. While the topics of climate responsibility, existential dread, and political discomfort are prevalent in the material, it is hard to ignore how much fun everyone was having both on stage and in the pit. The feeling in the crowd was infectious — although the album had only been out for about a week — audience members were singing along and deeply impacted by the material. 

Ryan Person on drums was an absolute masterclass ripping tight fills and carrying the rhythm section through each song. Sen’s vocals and saxophone playing was captivating as well, and has always been a point of interest for me going back to his work as a rapper/producer for Massachusetts art collective, Dark World. Sen Morimoto’s artistic evolution is extremely satisfying as a fan, and the Diagnosis tour’s inaugural show certainly did the new record justice. 

Thanks so much to Sen Morimoto’s record label Sooper Records for sending me out to cover the show! Check out the Diagnosis tour in a city near you. 

All photos taken by Aden Van Hollander

Demob Happy’s Explosive Show at Beat Kitchen: A Fusion of Rock Mastery

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CHICAGO | Demob Happy, a British band hailing from England, stormed into Chicago with an impressive showcase of their musical mastery. Composed of lead singer and bassist Matthew Marcantonio, drummer Thomas Armstrong and lead guitarist Adam Godfrey, the trio put on a powerful and thunderous performance that shook the Beat Kitchen — and the crowd — to its core. Their distinctive fusion of sounds, spanning from 70s rock to 90s grunge and experimental heavy alternative, is a blend so singular and harmonious that it’s unlike anything I’ve ever experienced.

Their performance kicked off with the electrifying song, “Voodoo Science,” which was off of their latest album, Divine Machines. The song ignited with a roaring guitar solo between the bassist and the lead guitarists. Their energies resonated, sending reverberation out to the crowd with each strum of their guitar strings. Infused with intense classic rock vibes, their appearance exuded the essence of 70s rock merged with alternative styles, reflected in their outfits and hair, while their fourth semi-member played a synth in the back of the band bringing a new wave sort of feel to their music. It gave a classic rock feel with experimental vibes creating a sonic fusion that laid thick in the air. 

The momentum quickly shifted with their second song, “Loosen It.” The songs tempo accelerated infusing a more upbeat feel with the addition of a blaring cowbell in the background. The drummer, in a whirlwind of movement, banged his head; his hair wildly flying across the drum set with each thunderous crash of the drums. Pouring their hearts and souls into each and every note, the bands energy lit the crowd on fire, fueling an electric exchange of energy between each person in the room. This song is what sparked the interaction between the band and the crowd as the singer waved for us to get our hands up and sing the chorus with them. There was a brief pause in the playing of instruments leaving just the vocals to rip through the venue. This surely left a lasting impression. 

Each song brought a range of blending and mixing as their sounds were never anticipated. For some of their songs, one of the members’ girlfriends came onto the stage to sing backing vocals which added another layer of depth to their music. With the numerous guitar solos and range of vocals, it was clear this band was talented and had a high skill level. There wasn’t a moment of stillness or boredom as the energy was high and constant. Sweat and condensation coated the room, a testament to the electrifying experience pulsating within. 

“Token Appreciation Society,” offered a more gritty and captivating vibe, resonating with a divine blend of grunge and classic rock. The lead singer’s gestures echoed the style of Robert Plant, adding a familiar yet distinctive flair to their performance. The band had an aura of effortlessness and coolness that drew you into their music. You could tell these guys were cool, and you wanted to be friends with them by the time the show was over, as their passion for the music on the stage was evident — yet they maintained a composed and collected demeanor, riding the energetic flow of the show to the beat of the crowd. 

The songs “Super-Fluid” and “Muscular Reflex,” added a distinct blues feel with some tinged guitar riffs and higher pitched vocals. These songs really brought us back to the roots of rock and roll. “Super-Fluid” was a longer song, but it felt almost like an epic out of 60s psychedelic rock with its twists and turns. The instrumentals at the end of the song made it feel like it was part of a concept album from the 70s. “Muscular Reflex,” brought in a sense of 80s gothic feel while still keeping it modern and elevated. The drummer brought in some higher pitched vocals which added another layer of depth and curiosity to the song. 

The last song on their set, “Be Your Man,” was a crowd pleaser. Most of the crowd knew this song as it turned the floor into a mosh pit filled with explosive energy holding onto the last few minutes of rock and roll bliss. The crowd begged for more songs at the end of the set not wanting the night to end. (The singer even threw their setlist out into the crowd and I caught it!) After the show, the band hung out at the bar for a while signing merch and mingling amongst their fans, making it was a very personal show. 

The connections made in that room were real and would surely last a lifetime, while the band reminded us that rock and roll is still very much alive —we all just have to take part in its revival.

All photos taken by Zoe Blakeman

The Dwarves, Live at Reggies; a Commanding Presence

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CHICAGO | Stepping into a dimly lit massive room with people surrounding you from all sides, the thump of the bass from the speakers is so intense you can feel it in your chest, like a ghost with two mallets is using you as a drum. The wail from the electric guitar is absolutely shredding and deafening but it’s so good you are forced to listen. A burly man with a massive beard and a leather studded jacket pushes you up to the front and you’re staring up at the band. 

The legendary bassist from The Dwarves and Queens of the Stone Age briefly makes eye contact with you in a way that says “hey, I’m glad you’re here.” But this moment is cut short when the singer Blag thrusts a mic into your face after screaming “Don’t wanna be your teacher, don’t wanna be your preacher, don’t wanna be your keeper” and looks at you expectantly. Almost on autopilot you reply with “I WANNA BE YOUR PIMP” since you knew all these songs by heart. A guy with a denim jacket wearing a Misfits t-shirt punches your shoulder and whoops, seeming proud of you. These are your people. You are home. 

Reggies is a punk rock icon in Chicago as many legends have played there, making  November 12 no different. The venue has a killer bar setup with expensive decorations and prices that would make you wish you pregamed before showing up. The first band that played was Direct Hit, another punk rock band from our neighbor Milwaukee that’s been around since 2007. The members are all a bit on the older side, which is good. After the anal retentiveness of their sound mixing the grizzled veterans put on a stellar show after a bit of a slow start. They really hit their groove halfway through and the fans couldn’t agree more. People were in the mosh pit slamming into each other with each drum crash and guitar lick and heads were banging so much it made the room start to spin. After what felt like five minutes the band finished their openers and stepped off the stage for the main event, The Dwarves. 

I talked with some folks after the show and they had nothing but great things to say about it. Some of the people I interviewed said that their stage presence was absolutely “commanding” and the energy of the room was absolutely incredible. I won’t lie, I came away from this pretty battered and sore from being in the mosh pit and screaming the lyrics to the songs — by the end I was covered in sweat and other people’s drinks but the fans truly make the show. Halfway through the show I noticed a  woman bending over with a crowd of people surrounding her. After asking I learned that she lost one of her earrings and everyone from the crowd stopped moshing and began to look for it. These are the kind of fans that make concerts truly magical. I was moshing with this large dude wearing a red studded leather jacket and we were screaming in each other’s faces during songs and slamming into each other, but when the show was over we high-fived and hugged and complemented each other on how we had so much fun and we were cool. I didn’t know his name, but that’s the kind of people you want at a concert. 

So when you’re on the street and you see long haired kids wearing all black and Megadeth or Avenged Sevenfold shirts, remember that these are the people who go to shows and concerts like this to have a great time and share music. It’s not about hating the world or the government sucks, it’s about a common shared love for some band you care about, and the Motley Crew of followers you meet along the way.

All photos taken by Fender Tavano

The Ladybug Transistor Share Their Thoughts on Reuniting for Tour & Spotify’s Impact on the Music Industry

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CHICAGO | The Ladybug Transistor is an indie-pop group formed initially as a home recording project in Brooklyn, NY in the mid-1990s by Gary Olson. They reunited this year for a fall tour and we were able to interview them and watch their show November 12 at Schubas Tavern on Southport Ave in Chicago. From intimate venues like Schubas to the stages of the Egersund Visefestival, The Ladybug Transistor has developed a uniquely authentic sound over the course of 30 years. Through a harmonious collision of musical influence, this meeting of kindred spirits in Schubas Tavern was warm and welcoming to our questions. 

Nora: So I wanted to know, like how it’s been reuniting for your most extensive tour in 15 years and maybe like, what some of the most memorable moments have been? 

Gary Olson (Guitar/Trumpet/Vocals): Earlier this year, we did a festival in Norway and that’s kind of what got the ball rolling for this reunion. And then we had another opportunity to play a good show at the Andy Warhol Museum. So once those two came into place, we knew that we could get everyone together. These days, everybody lives in a different city, so it’s a real logistics challenge to get us all together. Julian and I live in Brooklyn and Sasha’s in Montana and Jennifer’s in Pittsburgh and Jeff’s in Vermont. 

Ellie: That’s all over the place!

Gary: And then our drummer, who’s our old friend Derek, he used to play drums for Of Montreal back in the day, when we first toured with them in 99, I think. And where does he live? He lives in Bedford, Pennsylvania, from P.A.. Yeah, his wife’s family farm. So it’s really a lot of geography. There is that whole challenge and a little bit of stress with how we’re going to put this together. But we all got together at my place in Brooklyn, and I still live in the same house that I lived in when we were all starting the band back then in the late 90s and early 2000s. So we, Jeff and Sasha and Jennifer and I all live there together. I’m still there. So they’re all under the same roof. 

Jennifer Baron (Bass): But that was a highlight. I think also having just downtime in Brooklyn and being able to go to the Flatbush Food Co-op and taking neighborhood walks together and revisit the house that’s on the cover of one of our albums. 

Ellie: Yeah, did that remind you, a lot of the nineties and stuff?

Gary: Yeah, so much of the neighborhood inspired the album The Albemarle Sound record and Argyle Heir that, you know, that was it was nice to have that back in the air. 

Jennifer: Well then going to Norway, we can speak to how that opportunity caused The Albemarle Sound to be reissued by a label called Cara Records, a small label in Norway. And they did a gatefold like a booklet and scrapbook photos and so we have a few copies of that. So that was an opportunity to all meet over there and meet there early and then practice all week. They set us up in this beautiful space like a historic building. Was it like a men’s club or something? And we practiced all week. And then we also played the festival then too. And then we also played in New York City in Brooklyn.

Gary: Yeah. So after we did that, we kind of knew that we could do it. And then once we overcame that hurdle.

Ellie: What was it like recording with Elephant Six Recording Company? Because we were kind of doing research and their name came up. And like, obviously they have like of Montreal and like all the other bands. So how was that process? 

Gary: Well, you know, it’s been, you know, to even be associated with them is great. You know, a lot of those bands were really coming up around the same time that we were, you know, around 98. They were always all very active from from 98 to-. It was an exciting time, almost like this bubble between, I would say like 97 and 2002, and that all seemed to really peak. And there was always so much going on and bands coming through towns and bands staying with us in our house. And you know, that led to Jeff and Sasha’s band, the Essex Breed, doing a record for Elephant six and on Robert Schneider’s direct label. 

Nora: I was wondering if there were any specific artists that inspired your music when you were producing?

Gary: Yeah. I think, you know, especially when it came to Albemarle Sound time we were, you know, we listened to a lot of stuff back then. When you listen to the oldies radio in New York, they actually played stuff from the fifties and sixties and we’d hear a lot of production that we liked and tried to apply that to what we were doing at the time. What were we listening to in the house, you guys? 

Jeff Baron (Guitar): Gene Clark, Beach Boys and Zombies a lot. Yeah. 

Gary: The Byrds

Jennifer: Kevin Ayres 

Jeff: It’s weird at least for me and these guys, we grew up hearing the sixties music, like the Rock ‘N Roll stuff because our parents were into it. You know it wasn’t our generation. It wasn’t our generation, but we grew up with the new wave stuff, you know, like The Smiths, The Cure, The Violent Femmes, The Replacements. The Housemartins, New Order, Joy Division and all of that. They were all underground bands and now but then I think, but when we formed the band, we had moved on from that. 

We’re like, okay, there’s all this other stuff from the sixties that we didn’t know. We only at least, I mean, like we knew the Beatles and the Stones. You hear what’s on the radio. Yeah, but you didn’t hear the deep cuts of the Beach Boys or the deep cuts of the Zombies or like Gene Clark, who was in the Byrds but I didn’t really know had a solo career. 

Gary: We kind of stood out back then because we played with a lot of indie rock bands who were always really loud, and we were just kind of doing our thing, you know? It wasn’t even that the guitar was always the main instrument. And it just felt really natural for us.

But for other people to see this band mixed with men and women and  the trumpet and flute and organ and violin, it was a real novelty to them. But for us, like, it just was very normal. 

Ellie: Yeah, that’s cool. I do think it’s very easy to find deeper cuts now just with streaming services. So like, back then, finding that must have been so difficult and it just opened up a new world, I mean, with sounds and stuff. 

Jennifer: Jeff read liner notes, like they were encyclopedias.

Jeff: We both worked in record stores. I guess that helped us. 

Gary: That was like having a library .And I think that we would have listening habits back then, you take a chance more on an album, you just play it over and over again and then you’d have more growers. You know, you just listen to the whole 40 minutes rather than-.

Jeff: You know, the Spotify algorithms now. 

Jennifer: So like I was a DJ at my college radio, which was the first all women’s college. To have an all women-run radio station, too. So of course, we were playing vinyl. I mean, we had CDs, but, you know, and we’ve just always listened to vinyl. Do you listen to vinyl?

Ellie: I have a pretty, well, it’s not a huge collection, but I definitely have about two crates of vinyl. 

Jennifer: I was going to ask, are you interested in it? 

Ellie: Yeah, I definitely am. And I think a lot of people our age are getting back into it because I think it just feels more authentic and genuine.

Nora: And the sound quality is a lot better. Spotify is like MP3s I think, so I know it’s very compressed.

Jeff: The Spotify algorithm where you do the song radio that you like, any song that comes on. I have noticed that it’s like what the radio used to be like. The radio chose what the hits were, and that was all they played. Now when I hear them, when I listen to stuff that I grew up in, R.E.M. and like all the bands I mentioned, if I do an algorithm based on Robyn Hitchcock or Camper Van Beethoven, it’s always the same song from all those bands like John Cale, there’s more than one song. It makes me a little sad.

Jennifer: The other sad thing is I just read an article about this. I mean, first of all, it’s so horrible that you get paid so little. They’re changing it and making it even worse that you have to get X amount of plays to get paid anything. So there’s a protest against that. But oldies are the biggest played songs on Spotify, so it’s really like a barrier against new cutting edge–if you’re underground and you want that. It’s actually getting worse, so buying vinyl is great. Bandcamp just got sold for a second time which is also really troublesome too. But still that’s the best way to support artists directly. 

Nora: I also, I’ve seen a lot of smaller artists selling cassettes too. I think that’s been kind of a revival. 

Gary: Albemarle Sound will turn 25 next year, so we’re thinking about finally doing a cassette edition of that. 

Nora: That would be awesome! I think that cassettes are really cool. 

Jennifer: Yeah. Well, and again, it’s another thing that you have to pay undivided attention. You can’t skip around the tracks, it’s super cumbersome. So you’re sort of invested in the listen. 

Jeff: It’s like having to use a map to find your way through.

Jennifer: I imagine all the tours we did before social media. We were touring with atlases, the beginning of cell phones, calling cards. Do you guys remember in New York we would always get calling cards, put more money on it. Touring Europe the same thing before social media, before Siri, Alexa. And we’re Gen-X kids, so we learned how to do all this stuff anyway, being, you know, just being the way we were with our generation. 

And like, even, like you were saying, with albums, like we all have other bands too, but I put out cassettes, it was on a label. It was like almost all cassettes and everything’s handmade and you have an album as a concept and you listen to the songs in order that we, the artist, chose. For Spotify, everything’s out of context.

It’s so much of you’re listening and everyone will say, “what’s playing,” no one knows. And then they have to use an app to find out because it’s not connected in any way to the album itself or the artist. You just hear the song and it’s a vibe, you know, like you were saying, you don’t even necessarily know what you’re listening to. 

Ellie: Yeah, there’s definitely that disconnect. One last question, what advice would you give to younger people making music now or just some of your shared experiences? 

Gary: I mean, what helped us was like, just we worked pretty hard and we worked on our own identity and we weren’t really shy about reaching out to bands we liked.  That led to some opportunities for us, you know, some stepping stones.

Sasha Bell (Keyboard/Flute/Vocals): Yeah, I mean, I guess we weren’t trying to be like anyone else consciously anyway. So it just leads to a more authentic presentation. 

Jennifer: Be true to yourself like what has to come out from within when you’re making music and writing music and not worrying about what label you’re on or who you sound like. I think a lot of people were probably surprised to hear we even lived in New York. Like hearing the first couple of albums, like “oh this sound, they live in New York?”. 

Julia Rydholm (Keyboard): Well, this was a different focus. 

Jennifer: And keep at it, I guess. Don’t be disheartened. It’s really difficult. The music industry can be so bleak. Don’t think about that side of it. 

Gary: Yeah. I mean, I guess we were pretty lucky in that we had a record label. But I took that chance and I wrote a letter, in pencil, to Merge Records and I mailed them a cassette and I got a phone call back a few weeks later asking if we wanted to do a record. And like, if I hadn’t done that we probably wouldn’t be sitting here right now. 

Julia: But it’s an act of love. You have to trust in your labors of love, right? And invest in your labors of love. 

Jennifer: And definitely reaching out. Absolutely. Making relationships. If you have like minded people you want to play music with or who’s other music you love, send them a little appreciation note. I know that there’s reciprocity there. As you were saying, make those kinds of connections and find your community where you feel supported and try to support independent musicians. 

Like you were asking about influences and stuff. I think we could say this for a lot of us. Some of the music that we were raised on is because our parents raised us on amazing sixties music and we had vinyl all over the house. It’s just all some of my favorite music stuff. It’s still our favorite or stuff we listen to in high school going between The Smiths, New Order, The Cure, you know, it’s like, still, I just feel, I feel really fortunate to have been able to be surrounded by that. Just surround yourself. Be curious, you know, dig deep, look for old 45s, go to record stores, try to find stuff that’s not on the Internet, you know? And like, I think I feel thankful to be raised by people who value music. 

All photos by Nora Williams and Ellie Sherwood

Deeper at Thalia Hall

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CHICAGO | Deeper, a band out of Chicago, just wrapped their world tour; stretching all the way from the moody PNW playing in intimate and grungy venues like Mississippi Studios, trucking back to their home turf performing at Thalia Hall and finishing out in Denmark, playing against the cozy backdrop at Bumann and Sohn. 

I don’t know about you, but there are concerts that are burned into my brain. Moments where I’m totally consumed by the sound and the present, listening and looking. The presence, release and total concentration that Deeper brought to the space was hypnotic. Since I started listening to Deeper, the post-punk attitude, layered with their catchy hooks totally drew me in. If you’re into The Cure, Television, Horsegirl or any of the above, add Deeper to the playlist. Listening to their music feels like a nod of approval from your cool, older cousin. 

Thalia hall, an old opera house turned music venue, has hosted some of the most monumental artists of our generation to date. I remember the first time I went, it was to see Phil Elverum and the architecture of the venue transported and elevated the already cathartic experience. The arches, curves and bends of the decoration seem to become characters in the show; encouraging and adorning the performers. In the late October air, this ornate and spooky building seemed to seamlessly match the late fall bogginess. 

The crowd was sparse to begin with, which may have had to do with the fact that there were two openers and I had made the executive decision to get there right as doors opened. The air was heavy, waiting for the show to start, but people seemed to be taking their time settling in, grabbing drinks, getting merch and guessing what songs would be played. As more people filtered in, it reflected how diverse Deeper’s audience really is. Shoegaze hipsters drinking IPA’s, cool alt teens, punky kids with Manic-Panic dyed hair and pretty nonchalant millennials — all flocked to the soundscape escape. 

Careful!, Deeper’s latest album is a celebration for all post-punk and new wave lovers out there — while still crafting catchy pop hooks for any occasion. Need a car song? A walking to work song? A flappy kitchen dance song? Full bodied and pumping with rhythm, this album feels like an excuse to dance and wallow at the same time, (Grief-dance… is that a thing?). Deeper has created a sound universal enough for any age — dad approved and loved by teens — anyone who wants to dwell on the existential ooze of it all and rock out are queuing Careful! 

Deeper, which originally consisted of singer and guitarist Nic Gohl, guitarist Mike Clawson, bassist, guitarist and synth-man Drew McBride and drummer Shiraz Bhatti, were longtime highschool friends who bonded over their love of different post-punk and new wave bands. They’ve said groups like Devo, Television and Wire lay at the core of their friendship and musical influences. Since the inception of the band, Clawson has passed away and Kevin Fairbairn was brought on to play bass. It’s clear that the love for creating raw sounds and just trying to emanate some sort-of sonically enticing noise rings true for their discography. Much of the new album was produced during the pandemic and they’ve said that since being kept inside, a lot of the process looked like just messing around and seeing what noises stick. 

Starting off their set with “Build a Bridge,” the first song off Careful!, synthy and full of energy, it filled the space and sent them into the rest of their set with a strong push. There was never a moment of static, or hesitation as they seemed to move seamlessly on stage; leaning on each other and operating singularly. It’s always humbling to see a band be able to remain present, while still maintaining their center and effortlessly delivering amazing live performances. 

Following up with songs off their 2020 album Autopain, like “This Heat” were crowd pleasers for any loyal fans of the band. Interweaving shorter, interludes “Heat Lamp” and “Pilsen,” synth-extraordinaire Drew McBride lulled us all into a psychedelic haze. Keeping up the pace with songs like “Airplane Air” and “Glare,” the onstage verve seemed to cast a spell on the audience. All of us suspended gawking at the band and bouncing along to the music. 

I left the set feeling the glow of noise still on me, still stuck in the music. Grateful and shiny, I couldn’t help but feel frozen in the aftermath of their set. The frenzy of people leaving was filled with murmurs of admiration and amazement. One guy summed it up better than I’m able to: “Holy shit.” 

All photos by Bella Parkinson

Eye on the Bat, Eye on the Prize: Palehound at Empty Bottle

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If you weren’t already “in the know”, now’s your chance to catch up. Palehound has been an absolute force in the indie rock world since the release of their freshman record Dry Food, which is easily one of my favorite albums to play while sitting on my porch chain-smoking Marlboro Reds. On July 14th of this year, the band released their fourth album Eye on the Bat, and it was completely unsurprisingly 29 minutes of heat. I know 29 minutes seems like the shortest long play imaginable, but it still does not compare to the famously 18-minute PinkPantheress album, to hell with it, which sparked memes about how short the songs are for way too long past the point it stopped being funny. Are short records making a comeback? Regardless, though it is short, I do also feel that Palehound’s writing proves a certain level of tastefulness that makes it just make sense.

Seeing them play live has been on my to-do list since probably around 2019, and I was incredibly lucky to have been able to make it while their tour stopped at the Empty Bottle on November 17th. Unrelated to the show (I’ll get to the point, I promise), but my fondest memory of the Empty Bottle was when I stumbled into their HonkyTonk Happy Hour on a sweaty summer day after dancing to an old guy cover band playing 25 minutes’ worth of Fleetwood Mac at a nearby block party. Chicago is awesome. That was also the day I learned how cool swing dancing is. If you weren’t aware, the Empty Bottle also has a cat named Peg that patrols the venue premises. Sometimes when I go there for a show, I catch myself looking for the kitty just as much as I am watching whoever is on stage. Fortunately, for Palehound, I was mostly watching their set.

If I had to sum up my time seeing them play the new record live, I would use only one word: delicious. El Kempner’s luscious speak-singy vocals are so distinct to their sound, and they are so much cooler live than in the recordings (which is saying a lot already). Having the whole band up there added like five layers to the experience. I was already a pretty big Palehound fan, but finally getting to see them play live jumpstarted me into my next musical obsession. Massive thanks to Radio DePaul and Empty Bottle for hooking this up.

If I had to make one piece of criticism about this particular show, it would be a commentary on the crowd. Every time I go to the Empty Bottle, I find that the crowd is always a complete hit or miss, no matter the type of music playing that night. The crowd for Palehound was about exactly what I expected on the dyed-hair-sad-guy front (present company included), but most of this sold-out crowd stayed almost entirely still the entire time. There was your usual swaying and head bobbing, but there was basically no movement even during their more upbeat tracks. I understand going to a show and only wanting to listen to the music, but please… move to the back. All things considered; I still had an incredible time.

Oh, and for anyone wondering, no I did not end up finding the cat.

The 90’s Rock Revival is Alive and Well: Dazy & Lifeguard at Cobra Lounge

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CHICAGO | If you stepped into Chicago’s Cobra Lounge in the West Town neighborhood on December 4, 2023, you might have wondered if you had mistakenly time traveled to 1995.

Cobra Lounge, perhaps one of the city’s lesser known venues, is a 300 capacity club that specializes in heavy music. The stage is high, the ceiling is low, the lights are dim and the walls and floor are completely stone, brick, and concrete; adding to the grungy analog ambiance of the bands taking the stage.

The show started off with Illusion of Choice, a 4-piece outfit out of Chicago’s DIY scene, who play on bills with bands like Turquoise and Sleepwalk. 

Their vocalist offered the audience to come to the stage and grab a piece of chocolate from a box he had received at work, reinforcing the intimacy of the Monday night gig. The band played a set dripping in 90s nostalgia, particularly drawing influences from Weezer’s debut and sophomore releases. The stage banter was punchy and sarcastic, with the vocalist noting, “If everyone in the world stopped using their phones, your life would still suck because you’re a loser.” The anti-mainstream tone of these notes coincided with the bands’ musical influences and their rejection of the mainstream in the 1990s.

Lifeguard, one of Chicago’s most promising up and coming bands, took the stage second. The trio, made up of Isaac Lowenstein on drums, Kai Slater on guitar and vocals and Asher Case on bass and vocals, is still entirely high school aged. Their youth didn’t fool anyone for long though — the group started off their set with a bang, Lowenstein propelling the band forward into a loud track in an odd time signature. Slater played a unique 12-string guitar, powering the band’s loud, fuzzy sound. Slater and Case delivered seamless dual vocals and even synchronized jumps, reminding the crowd that the band had their set down to a science. They rarely even stopped to speak between songs; even when Slater switched guitar, Case and Lowenstein filled the silence with a virtuosic drum and bass solo featuring a creative harmonic riff. 

The band’s most recent release is a cover of The Jam’s “In The City,” an homage to their 70s and 80s punk influences, while also incorporating aspects of 90s grunge, 2000s garage rock and experimental and art rock influences like Brian Eno, exemplified in the moments of droning bass and repetitive riffs as the drums kept their ever changing rhythm.  Lifeguard’s ability to combine their influences into something new and engaging continues to keep the band on an upward trajectory — not to mention their dedication to their craft.

The show’s headliner, Dazy, hails from Richmond, Virginia, though he mentioned he might enjoy playing Chicago more than his hometown. The solo project of James Goodson, the music of Dazy is like the soundtrack to your favorite coming of age movie, or the music your dad threw on in the car — it’s an unashamed 90s radio rock revival. Accompanied by band members on bass and drums, Goodson put on an energetic performance, playing a Fender Jazzmaster guitar à la Kurt Cobain. Dazy’s music has the catchiness and simplicity of one hit wonders like Chumbawamba and Wheatus, but with more heart and staying power.

One of Dazy’s newest singles, “Pressure Cooker” which was a collaboration with Militarie Gun, is reminiscent of the Breeders’ “Cannonball,” beginning with a noisy and fuzzy bass riff. Additionally, Goodson’s vocal melodies were easy to sing along with, a mark of a good radio hit. Dazy’s set finished with “Out of Body,” off of his 2022 album of the same name, which included a section of gang vocal “na na nas,” a hallmark of 90s hits, like blink-182 and Will Smith.

Dazy, Lifeguard and Illusion of Choice each proved that the 90s rock revival is in full swing, just as each band is beginning to make their mark on the rock music scene.

Spending Some Time With The 1975

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The 1975 has proven themselves as a band that continues to be a force to be reckoned with a full ten years into their journey of releasing recorded music and 20 years as a performing band. 

They had recently headlined Chicago’s own Lollapalooza in August and made a return at the end of October playing Allstate Arena in Rosemont. Even with some distance between the venue and downtown Chicago, fans from all over the city and suburbs filled the arena for a night of emotional release, nostalgia, and dancing. 

I attended their show on October 29, after seeing the alternative band last year in Los Angeles. The basis of this second North American leg of their tour was similar to the first—it saw the return of their elaborate living room stage setup complete with windows, televisions, a dining room table, and a desk that doubles as a piano where frontman, Matty Healy, plays the anthemic first notes of their self-titled song from their most recent work, Being Funny in a Foreign Language. 

Prior to The 1975’s two-hour show, opener Dora Jar took the stage with her three band members to sing six of her avant-garde-influenced pop songs about her life and her emotions. I stood in the pit and was in dire need of anything that could entertain me and Jar delivered, as she brought a quirky and playful energy to the show that made the crowd even more excited to see what was next. Jar is self-described as “an artist who refuses to be defined” which paired well with the alternative nature of The 1975’s performative style, signature sound and era-defining aesthetic. 

Everything about the show and venue ran like a well-oiled machine. When 8:30 pm rolled around, the large curtain that covered the stage setup fell to reveal a projected night sky and a dark stage with each member of their band (the three main members plus two synth players, another rhythm guitarist, and their long-time saxophonist) milling around the set, which added to the performative nature of the show itself. Suddenly there was a knock on the door which guitarist, Adam Hann, answered, and to the fan’s delight, it was Healy himself wielding a bottle of red wine and his signature leather jacket. 

As Healy played the anthemic first tune, the screens on each side of the stage introduced the members of the band in a sitcom theme song style, unlike any show I have previously attended. As the last line of the song “This is what it looks like” echoed through the large arena, fans of all demographics went ballistic as the band began to play their jaunty second tune from their latest album, “Looking For Somebody (To Love).”
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The band ran through some popular singles from their latest album with fan favorites such as “Oh Caroline” and “I’m In Love With You.” Their guitar lines cut through the arena; The 1975’s trademark is their 1980s-esque guitar sound that is the one constant throughout their expansive discography. As the sign that says the name of this leg of the tour—Still…At Their Very Best—dropped over the stage, Healy’s smooth falsetto ran through their first-album classic, “Robbers” which is a tune that holds a lot of significance with the band and its fans alike. The audience singing the famous phrase “You look so cool” back at Healy is something that will stay with me for a long time. 

There were many performance aspects of the show, which the band is very vocal about including. At the midpoint, a fan threw a (fake) phone on stage to which Healy discarded it in the trashcan and said, “What am I supposed to do with this?” After the song “About You,” he grabbed the phone out of the trash, knelt on the living room floor, and began to eat it. Any fan knows that this was a bit, but it added to the existential nature of The 1975’s music. At least it was not raw red meat, which I witnessed in Los Angeles last year… (it was not the most appetizing thing I have ever watched). 

The set had a good mix of old and new, with selections from all five of their albums. There were fan favorites such as “If You’re Too Shy (Let Me Know)” complete with a saxophone solo, “TOOTIMETOOTIMETOOTIME” complete with Healy’s TikTok famous autotuned mic and “The Sound” where Healy effortlessly moves the audience to jump up and down for the song’s entire last chorus. Healy has always aimed to be interactive with his audience members, and even at the ¾ mark in the show took a fan request from the front row, to which the band played “Ballad of Me and My Brain,” a setlist rarity. He said “fantastic choice” to the girls who chose it, and the audience loved every minute of it. 

As the show progressed, the setlist became grittier in lyrics and in tone, aligning with the band’s timeline. With the arrival of their third album in 2018 and subsequent fourth album in 2020, came a higher interest in grungy guitar tones and controversial lyrical phrases. Third-album favorite “Love It If We Made It” challenged Healy’s vocal ability live, and he delivered. The song (which is one on the more political side) was emotionally charged and high energy. The show’s closer “People” acted as an encore with the main members of the band leaving the main stage to perform on the B stage in the middle of the general admission pit. 

I had been waiting for that moment for my entire life. “People” is their head-banger; showing The 1975 at their angstiest making it the best possible closer they could have chosen. As they played on the B-stage, audiences scattered, leaving a gaping hole in the front of the pit. I went with a close friend who was just as excited to hear the tune as I was — needless to say we ditched our second-row spots and danced for the song’s entire 3-minute run. It was euphoric and something I will remember forever.