CHICAGO, ILLINOIS – APRIL 03: Lily Allen performs West End Girl at Auditorium Theatre on April 03, 2026 in Chicago, Illinois. (Photo by Emma McIntyre/Getty Images for Live Nation)
CHICAGO– Lily Allen and David Harbour’s tour of their West Village apartment is my favorite Architectural Digest home tour. In it, viewers see the layouts and patterns that they specifically designed to fit their home. Lily Allen would never, ever imagine using those exact designs to dress the set for her “West End Girl” tour. Following the release of the album of the same name, Lily Allen kicked off her North America tour in Chicago for her two-show stay at The Auditorium Theatre.
The London-born singer based the album around her own personal relationship, highlighting just how messy love can be. In it, we’re introduced to her experience with an open marriage, one sided devotion, and proposed the question of, “who the f*** is Madeline?” While Allen has had many other hits like “Smile,” “F**k You”, and “LDN,” she only performed “West End Girl” front to back.
While some fans came anticipating to jam out to the older tracks, the setlist was condensed just to the songs on the album. The show opened with the title track “West End Girl,” having a re-enacted phone call with her ex as he tells her about how he wants to change their relationship to an open one. From here, we go directly into the rest of the album, kicking it off with “Ruminating.”
CHICAGO, ILLINOIS – APRIL 03: Lily Allen performs West End Girl at Auditorium Theatre on April 03, 2026 in Chicago, Illinois. (Photo by Emma McIntyre/Getty Images for Live Nation)
The party didn’t stop there, while the comparable older hits are considered her most fun, the album has some very upbeat songs, like “Nonmonogomummy” and “Dallas Major.” During the show I would scan the crowd while I was mid-dance party and see everyone doing the exact same half-dance-half-headbang move that I was doing.
From here, the show goes into different sets, props, and songs. From an exact replica of their shared room to a trail of receipts of things that her ex bought his mistress, the performance was nothing short of entertaining, as well as juicy.
She ended with “Fruityloop,” the album’s powerful closer about acceptance and making amends with things that are out of our control. A stagehand brought her flowers as the neon pink “West End Girl” sign gleamed over her head, as well as a beaming smile from the accomplished performer.
CHICAGO– A couple months back, my father and I were having a conversation about Billy Corgan’s recent street interview on the music show “Track Star.” One of the many bridges of our Gen X and Zoomer divide is the love of sports, Game of Thrones, and especially 90s alternative music. Growing up we would embark on laborious road trips to the great state of Michigan, and as you can imagine, my younger self gloomed over wasting 4 hours of my precious time.
But my father never left a dull moment to occur. He had a full iTunes catalog of countless bands he listened to growing up. Hearing Nirvana’s thrashing drums, Weezer’s earworm melodies, and the wall of sound guitars of The Smashing Pumpkins’ “Mayonaise” planted a seed inside my impressionable self that never left me.
Returning back to me and my father’s conversation, we were discussing one of the questions Billy Corgan was asked, “Who will be the next Nirvana?” My father asked me this very question, considering that I had a PhD in both ’90s alt rock and today, so I contentedly said, “I have no clue. ” And well, no one has a clue; electronic and pop music hold the crown that once was donned by the rock stars of the past.
But what I do know is that many Gen Z’ers are hungry for that band, and many aspiring musicians are gunning for that position on the mantle. A growing indie band from Atlanta, Georgia, is generating the right type of noise that might answer this question sooner than later.
On Tuesday, Feb. 24, the aforementioned band, Sword II, showcased their young and unbridled rock energy at Schubas Tavern. After crowd-warming performances by groups Con and Total Wife, Sword II took the stage in front of a roughly all Gen Z crowd, with the few exceptions of an older man that could be mistaken as a musician’s family member. The three-headed-vocalist act were dressed in dresses and a suit, resembling a prom scene from a punk-romcom. After the bells and whistles from fans at seeing the mere sight of them, the show commenced.
Spacey synths engulfed the thick air; Sword II had a trick up their sleeve, a sampler that filled the dead air in every moment of their set. The intro consisted of blaring synths that wobbled expeditiously in a rhythm that felt like a rocket ship’s launch. As the electronic specs and sounds became ever so chaotic, the band entered the scene in a frenzy. Wailing feedback, screeching pick slides, and clashing cymbals introduced Sword II in their truest form.
Guitarist Travis Arnold and bassist Mari Gonzalez sang softly into their mics after the rapture ended. “Dark, imprisoning me.” Their vocals bounced off each other flawlessly, with Arnold serving as the tenor and Gonzalez as the soprano. Having one singer is already an arduous task for a band to take, but Sword II seemed to master their craft in implementing different voices. The other guitarist, Certain Zuko, is the most dynamic, with Kim Gordon-esque vocals and bellowing screams capturing the most attention.
In contrast to their apathetic 90’s counterpart, Sword II relished in the energy of the crowd, not afraid to interact and control them on a whim. In multiple instances, the band implored the audience, with waving hands, to move around and to just live in the moment. Being a Gen Z’er, I can attest that it is always a crapshoot of the type of audience you receive when a younger crowd shows up.
The fear of an awkward deer-in-the-headlights type or the please-notice-my-niche-recording-device type. Against all odds, Sword II managed to squeeze past both notions and curated, all on their own, an audience that reciprocated and enjoyed every moment.
The final song, “Under the Scar,” showcased Zuko’s lead songwriting chops as their most lush release—in my opinion—to date. The headbopping crowd was hanging on every word she either hushfully spoke or screamed. From the back of the crowd, where I was reserved, I noticed that no one was on their phones, drunkenly spewing to their friends’ ears, or staring into the subspace. A captured attention that sparked a feeling in me that this feeling can only get bigger
Whether or not we’ll see rock return to the heights of its golden years, I know for sure that our generation will carry the torch that was lit by the greats; Sword II will have a great impact on that.
CHICAGO- On Monday, Sept. 29, LA-based Starcrawler took the stage opening for Garbage at Salt Shed. Earlier this year it was announced that the alternative-rock legends, Garbage, would be embarking on their last North American headline tour, and that Starcrawler would be joining them for all of these shows. With the band known for their electrifying live shows, as well as their dynamic fresh take on modern rock the crowd anxiously waited for Starcrawler to kick off the night.
The band took the stage with their coordinating rockability outfits featuring their signature pink and black color combination as they adjusted their matching gear. The band, consisting of Henri Cash (guitar), Bill Cash (pedal steel/guitar), Tim Franco (bass), and Seth Carolina (drums), began the set with their track “Goodtime Girl,” as frontwoman Arrow De Wilde ran onto the stage with a ferocious energy, and gritty vocals. Establishing an explosive start to the show.
Towards the beginning of Starcrawler’s set, they leaned into a more western-punk side of sound with tracks like “Roadkill” and “Stranded” off of their 2022 release, “She Said.” As they shifted to more rocker tracks like “I Love LA,” and their cover of Ramones’ “Pet Sematary” the crowd became enthralled with De Wilde’s chaotic, eclectic stage as she moved like a force to be reckoned with for the entirety of the set.
As the band concluded their set with the electrifying track, “Bet My Brains,” Starcrawler gave it their a hundred percent. While the band played through the outro of their closing song, De Wilde left the stage, giving lead guitarist Cash the spotlight. As he stepped off the stage and into the crowd, he moved all around the venue, weaving in and out of people in between various riffs and guitar solos.
Between their electric take on modern rock and showmanship, Starcrawler started the night off with a bang, capturing the attention of the crowd and getting them excited for Garbage’s set ahead.
CHICAGO- On Nov. 5, Kevin Gates took the stage at the Byline Bank Aragon Ballroom in Chicago for a night that blended raw energy, heartfelt lyrics, and his signature personality. I’ve been a fan of Gates for years, and recently he’s been getting plenty of buzz online for both his comedic charisma and his viral song “Hard for.”
His newest project, “Amillio 2,” even features a continuation of that track, “Hard for Pt. 2.” With all the social media attention he’s been receiving lately, fans were eager to see him live.
From the moment the lights dimmed, the energy inside the venue was electric. Fans rushed to fill the floor when the doors opened. The crowd was a mix of ages and backgrounds, probably one of the most diverse audiences I’ve seen at a concert. Everyone seemed to share the same excitement, waiting to see what Kevin Gates would do.
That feeling quickly shifted once Gates appeared around 8 p.m., walking out to loud cheers and flashing lights. Some fans were expecting him to show up in one of his signature suits, but for Chicago, he kept it casual with jeans, a T-shirt and layers of chains.
Before Gates hit the stage, a lineup of openers kept the audience warmed up. Performers like Famo, DJ Chose,andRob Kazzi each delivered short sets, even performing some of the songs they had featured with Gates. In total, the openers filled about an hour. A solid pre-show stretch that gave fans time to settle in and vibe. However, there was some confusion: earlier advertisements for the tour had listed Big Boss Vett as one of the openers for the Chicago show, and her absence left a few fans disappointed.
He wasted no time opening with “Paper Chaser.” Gates’ confidence and stage presence were undeniable, but what stood out most was the genuine joy on his face as he performed.
Although some moments of the show were lighthearted, Gates made it clear that he takes his craft seriously.
While waiting to get into the venue, I overheard people talking about coming mainly for comedy, since he’s known for his funny interviews online. But his concert told a different story, one centered on reflection and motivation. Between songs, Gates often spoke words of encouragement and affirmation. Halfway through the show, he even asked the entire crowd to pray with him before performing one of his motivational hits, “Imagine That.”
As someone who’s been a fan of his for years, I’ve learned that beyond his popular songs, Kevin Gates carries a powerful motivational drive. You can feel it through his body of work and his stage presence. His words hit home for me, and I’m sure some of the people who came expecting laughs left as newfound fans.
The concert felt both personal and powerful. Kevin Gates has beaten a lot of odds and continues to grow his audience with authenticity and purpose. I left the Aragon Ballroom deeply moved and proud to have witnessed the Kevin Gates experience.
CHICAGO— On Saturday, September 27th, alternative-rock band Fleshwater took the Thalia Hall stage by storm. The jam-packed show was a stop on the band’s tour, supporting their latest release “2000: In Search Of The Endless Sky.” With Chicago’s own Si Dios Quiere and Boise-based Ingrown first on the lineup, the show was off to a brutalist harcore start that established an intense, energetic tone for the night.
Before Fleshwater even took the stage, the stage’s set design proved to be a standout element of the show. With a massive functioning windmill standing tall on stage, surrounded by realistic flying seagulls, this added a striking and unique backdrop to the noisy musical catharsis about to take place.
As the band walked on stage they quickly launched into their set with the opening track off of “2000: In Search Of The Endless Sky,”“Drowning Song.” With the first couple of songs highlighting the effortless blend of nu-metal and shoegaze displayed in the new album, the audience was enthusiastically headbanging, contributing to the sea of movement building amongst the crowd.
When the band commenced the fan favorite track, “Linda Claire,” the crowd greeted the opening riff with a wave of excited screams as the swaying of people quickly turned into pushing, starting a pit. With beloved earlier releases, and their breakout album being highlighted, Freshwater’s set served as a culmination of their entire discography throughout their highly praised career.
Despite the fact that they played for over an hour, Fleshwater absolutely ripped through their set. The band energized the rambunctious crowd with their dynamic and commanding stage presence backed by a blistering wall of sound that felt like a sucker punch of nu-gaze.
CHICAGO- On October 31st, 2025, David Byrne took the stage for one of his four performances at The Auditorium Theatre. I was lucky enough to be in attendance. Byrne is most famous for his work in the iconic rock band, The Talking Heads. With hits such as “Psycho Killer” and “Burning Down the House,” the audience was in for a stellar performance. And sure enough, we were not let down.
Byrne performed in Chicago for four nights, with his final performance being November 1st. Something was special about this performance in particular: it was on Halloween. As my friend and I waited in line, we observed audience members were all dressed up for the holiday. My friend and I are big David Byrne/The Talking Heads fans, so we decided to pay homage and dress up as David Byrne himself and the lamp that he used to dance with on stage.
Among the crowd, we received at least three “I was your age when that album (Stop Making Sense) came out” as well as a lot of compliments. It made me smile knowing that I was surrounded by people just as excited as me. Finally, we got to our seats. The first thing I noticed was that we were the youngest people within eyeshot, then a kind woman told me I had amazing energy, and then the show started– all in that order.
The lights went down, music swelled, and audience members were immediately enthralled. Opening with The Talking Heads’ hit “Heaven,” a crowd of people close to double my age all joined in harmony as they listened to the man wail. And they wailed along.
The visual effects really stood out. Both the floor and the walls were screens. There were flashes of fields, mixed with a montage of New York City life, and even an apartment tour led by Byrne himself. Keeping all the visuals absolutely hypnotizing, audience members were treated to a display of activism when a variety of slogans popped up. While some of them were funny, such as “Merry drunk, I’m Christmas,” others referred to today’s political climate. Cheers erupted from the audience every time.
Something that really stuck out was the inclusion of the band and performers on stage. Instead of having a pit or off-stage performers, they joined Byrne and his dancers in moving along with them. Despite the constant movement, they never skipped a beat.
When the concert began ending, he performed a cover of Paramore’s “Hard Time.” While the older crowd wasn’t too into it, I had no shame dancing in the aisles. He then followed that up with “Psycho Killer.” Everyone suddenly stood up and celebrated the spooky holiday with a spooky song to match it. The performance ended, but we were greeted with an encore of “Everybody’s Coming to my House” and “Burning Down the House,” a great way to end a great concert. When the lights came up, the audience was left smiling from ear to ear.
CHICAGO — We live in a time where microtrends rule our aesthetic, lifestyle choices, and output. Many people and artists fall into the trap of clinging onto the hottest trend on the market and squeezing it for short-term results. French-born pop artist Oklou transcends this notion and has made a career by making her seemingly Y2K worship a staple of her brand and more than a cash-grab schtick.
On Oct. 21, 2025, Oklou performed for a sold-out crowd at the historic Metro, a venue that carries a legacy of being one of the top in the Chicago area. The French artist crossed the pond to embark on her U.S. and Canada tour for her new acclaimed album “choke enough.” The album has made a splash in alt-pop and electronic spaces, bringing a new element to the scene by introducing more ambient, stripped-back production over Oklou’s quiet and soft-spoken singing.
As I walked up to the Metro I saw the long line of fans waiting for the floodgates to open. I noticed that the aesthetics – Digicams, mesh shirts, and septum piercings – were all represented in the mainly Gen Z crowd. The few older fans I witnessed in the line dressed exactly what I would imagine a 2000’s club crowd would look like. A variety of funky hats, cheetah-printed scarves, and alien-like glasses ushered me into a world where all walks of life are accepted.
Our hivemind of Y2K appreciation eventually spilled into the main floor of the Metro. In front of us, a staggeringly tall white tarp overlooked the audience from the background. The foreground, on the other hand, consisted of a snow-white stage draped with geometric shapes scattered across it. The stage more resembled a jungle gym that was hit by an arctic blizzard than a usual setup. Some audience members and I hypothesized what could come from the bizarre setup we were witnessing. Were there more instruments under the boxes? Would the tarp reveal something spectacular beneath it? I noticed that we were being brought into Oklou’s imaginative world before the show even started.
In the midst of our baffled conversations, a bright spotlight flashed from behind the stage. To a roar of applause, the opener, umru, appeared from the abyss to perform his opening DJ set. umru looked more like a car mechanic than a DJ. The spotlight turned out to be his headlamp strapped to his head, helping the New York based DJ see the turns and knobs in front of him.
Speaking no words to the crowd, a composed umru started his set with a varied mix that ranged from bubblegum bass, hyperpop, and Jersey club, married with vocal chops from well-known EDM and trap records. This amalgamation of pounding drums and offbeat vocal selections seemed reminiscent of Dariacore, a niche genre born from the internet in the early 2020s and made popular by Oklou’s frequent collaborators.
Excited by his choice of music, I frantically looked around me to see who I could share this moment with. I was despondently met with stoic stares and slight head nods from the audience. I braced myself for what I thought would be another disappointing crowd that were either too awkward or embarrassed to enjoy themselves with the music. Though during the climax, all of the ensuing chaos from umru’s set came to a halt. An abrupt string section was met with many confusing looks around me. Then, out of the blue, the muddled audience were hit with Chief Keef’s vocals from his record “Kush With Them Beans,” and a hardstyle drum came blasting from the speakers. This sudden switch turned the once frozen-solid crowd into a frenzy. umru’s DJ set awoke the crowd from its awkwardness and prepared them for what was to come.
As the crowd anxiously waited for the performance of the night, a familiar sight of a beaming light appeared from behind the white tarp. From the screams of the fans in attendance, the light slowly made its way to face the crowd. Emerging was Oklou with the same headlamp Umru donned, resembling the famous poster from John Carpenter’s “The Thing.” The intro to Oklou’s track “ICT” started playing through the speakers as she made her way to the microphone, accompanied by her fellow musician Casey MQ, who played keys and guitar. Oklou took no time to display her musical chops throughout the show, with vocals that matched the studio quality of “choke enough,” guitar playing, keyboard magic, and even a performance with a recorder.
The star of the show, though, was everything outside of the music. The stage setup that had me and others intrigued had no secret behind it but rather gave the feeling we were in the clouds, floating with the music and Oklou. The white tarp lit up with accompanying videos featuring distorted and blended clips of characters dancing, driving through highways, and swirling shapes that looked like Rorschach inkblots. The lighting throughout the concert was calculated and displayed an intense attention to detail.
In some performances, the light glowed behind the tarp to give Oklou a silhouette-like figure, adding to the world-building she was creating right before our eyes. Two light fixtures that resembled street lamps shined onto spurts of smoke that clouded the stage, creating an atmosphere even David Lynch would appreciate. The only time the lighting strayed away from its monochromatic look was when Oklou performed “galore”, from her previous project under the same name, a clear homage to the art direction of her earlier work.
As the show entered its last stages, Oklou appeared to grab a headdress covered in what appeared to be pieces of glass taped chaotically all over it. A narrow floodlight appeared and waved left and right before carefully shining directly onto the headpiece. Immediately, the light refracted in every direction, revealing spots of light that moved symbiotically with Oklou. Within seconds, the venue turned into a disco frenzy as the rumbling synth intro of “choke enough” started playing.
The theatrical performances and dazzling display of musicianship all culminated in the climax of the show. After performing “family and friends,” a cloud of mist and smoke smothered the stage and venue. A flood of bright lights above the tarp shined onto the performers as a harpsichord rendition of “harvest sky” softly played in the background. Oklou proceeded to sing her verse of “harvest sky” over the harpsichord, transforming her club banger into a medieval-like ballad. At the end of her soft-spoken verse, the white tarp flashed with a greenish scar that bounced along the intro synth of the track. Casey MQ turned to the crowd with a boastful look, swaying back and forth with his arms crossing his body. Oklou stood on top of one of the geometric structures and swayed to the beat, standing confident and free over the screaming crowd.
“harvest sky” is a fan favorite and one of the more popular tracks from “choke enough.” Hyperpop artist, underscores, known for her seminal album “Wallsocket,” provided lush vocals on the euro-trance inspired song with Oklou. There were swirling rumors among fans in person and online that underscores would make a surprise appearance at this show. No one knew a thing. I mean, Bladee didn’t magically appear for his verse on “take me by the hand,” so it was doubtful, right?
Right before the point in the song where she sings her verse, observant fans in the crowd saw what they thought was a figure emerging behind the white tarp. From the darkness, underscores appeared to a raucous crowd that, at the sight of her, started jumping around from sheer excitement.
The trio of Casey MQ, Oklou and underscores all stood on top of their respective elevated platforms and looked upon the crowd from all walks of life. The music, lighting, art direction, dances, crowd, and atmosphere all came together for this moment. In here I felt free: free from judgement, free from the ongoing chaos in our world, to enjoy this moment. A moment like this comes and goes, but Oklou embedded herself into my memory, a memory I’ll always cherish.
CHICAGO- On October 14, the first night of Grammy Award-winning rapper Doechii’s “Live from the Swamp Tour” took place at Byline Bank Aragon Ballroom. For the uninitiated, Aragon is a historic venue in Uptown with an eclectic mix of 1920s atmospheric grandeur, a palatial Spanish courtyard interior, and 21st-century nightclub equipment, complete with galaxy murals and a lone disco ball.
Although I am a huge fan, I’ll admit I was slightly nervous. The line for entry had stretched several blocks down the road by the time doors opened at 7 p.m., and some ticket holders were anxious about whether they’d even make it inside. My fears were swiftly assuaged, though, as she delivered a musical tour de force that would leave any doubter converted to a superfan.
The self-proclaimed “Swamp Princess” took the stage at 9:30, emerging from a two-story boombox set to thunderous cheers. The setlist itself was sectioned into “Lessons” like Bars, Flow, Genre, and The Art of Storytelling, with relevant songs for each section. Doechii’s masterful flow and impeccable breath control were on display as she began with the slick rhymes of “STANKA POO,” “BOILED PEANUTS,” and the energy quickly ramped up for her viral hit “NISSAN ALTIMA.”
The stage was Doechii’s playground, and we had clearly arrived right on time for recess. She barely spent a moment in one spot as she danced, strutted, and sang her way up and down the set. (Spoiler alert: there are slides and she uses them!) Her versatility cannot be understated, as she delivered covers such as a freestyle over Beyoncé’s “America Has a Problem” as well as remixes of audience favorites- a standout being “Persuasive” with snippets of Charli xcx’s “360.”
However, the one thing Doechii emphasized the most was community. Her act was supported by longtime collaborator DJ Miss Milan, with dancing from her younger sisters Sydney and Courtney. Audience participation was welcomed- “Alter Ego” even began with a call-and-response to the audience. As the crowd was coming off the high of performing Tyler, the Creator’s parts in “Balloon,” she urged us to hold one another close. “We are your community tonight,” she declared to those who had come alone.
The encore performance was cut short, but as I followed the throngs of people down Aragon’s grand staircase on dance-sore legs, I was certain of one thing: the next visit Doechii makes to Chicago, I’ll be first in line.
CHICAGO- On October 3rd, at Wicker Park’s own Chop Shop, Caroline Kingsbury and MARIS absolutely blew me away. The energy, the enthusiasm, they had it all. For two hours, the duo poured their hearts into every note, leaving the crowd feeling liberated and possibly more queer than before.
What struck me the most about this show was how unique it felt. This wasn’t just a concert, MARIS and Kingsbury wanted to create a whole experience for attendees and build connections with them. From handing out gifts, recreating iconic MARIS stars, jumping into the crowd mid-set, and their boldest move, making the opener their fans. The two artists created an entirely dedicated space to their intergalactic personas.
MARIS and Kingsbury allowed their supporters to sign up for karaoke for the first hour of the show. At Chop Shop, two pages quickly filled with eager fans willing to sing their hearts out, with the slim chance that the two artists will come out and join them. Fans belted out songs like “Snow Angel” by Reneé Rapp, a handful of Chappell Roan hits, and more.
The excitement hit its peak when MARIS and Kingsbury joined in for a karaoke rendition of their own track, “Give Me a Sign.” Watching strangers bond over karaoke before the main show even began was magical. It proved just how powerful live music and queer spaces bonds people.
MARIS and Kingsbury then took center stage. They opened the show with a theatrical entrance, and launched into their hit, “Give Me A Sign.” Kingsbury followed with a set of her solo music, opening with three tracks from her 2021 album “Heavens Just A Flight,” a nostalgic treat for longtime fans. The crowd swayed, danced, and felt every emotion she poured into her performance, as she always does. The transitions between artists were seamless, with the two feeding off of each other’s energy for each passing.
After Kingsbury’s “Massive Escape,” the crowd watched MARIS climb on stage with an inflatable joint, passing it to Kingsbury, truly capturing their chemistry. The bit led seamlessly into “Mary + I.”
MARIS didn’t just stop there. Fans watched the Montana native break it down, shred on an inflatable guitar and even hit a costume change during “Heavenly Bodies.” She had the crowd in the palm of her hands, MARIS’ energy was infectious despite her admitting she was feeling under the weather that night. She even treated fans to some unreleased tracks, such as “Jessica,” which led to her jumping into the pit for a “mush pit,” a mosh pit but friendlier, as she described it. The crowd’s energy then took a switch during a fan-led project for her 2024 single, “Chamelion” where attendees held up hand-drawn chameleons and phone flashlights.
As the emotions settled, Kingsbury returned to the stage, tambourine in hand, instantly lighting up the room. The Florida-born artist danced, did high kicks, and engaged the crowd with props and flags. It’s no secret that her songs are meaningful to her, she packs in so many moments of her lifetime into her tracks, striking a chord within listeners. That was especially clear when performing “Funeral,” dedicating the track to her brother.
The rest of the night was a celebration of queer joy, as well as a mix of dancing and swaying. Mid-set, MARIS and Kingsbury even sat down for a quick fan Q&A, before surprising the crowd with a cover of Chappell Roan’s “Pink Pony Club.” Their bond with each other was undeniable. It was no secret they were having fun that night at Chop Shop. To close the night, they came full circle, returning to where the show began, their hit “Give Me A Sign,” paying homage to the tour and the wild ride they just put attendees through.
Together, MARIS and Kingsbury proved that live music can be more than entertainment – it can be a form of liberation. Their co-headlining show at Chop Shop was a celebration of individuality, creativity, and queer joy, leaving fans buzzing long after their final notes.
CHICAGO- On Sept. 10th 2025, Wisp with opening musicians Dream, Ivory and aldn performed at Metro in Chicago. Metro is an intimate and independent historical venue which provided the perfect ambiance and community space for a magical Wednesday night show. Wisp is a California-based group as well as an up-and-coming band in the genres of alternative rock and nu-gaze. They are currently on a headlining tour for their debut studio album “If Not Winter” as well as stopping to support other headliners at shows for Korn, System of a Down, and Deftones.
The lead, Natalie R. Lu, mostly sang music from their new album “If Not Winter” which was released in Aug. 2025. At the show, they performed their first live cover of “Yellow” by Coldplay. The recorded studio cover was released that same day. She also performed the title track of her debut EP, “Pandora,” that was released in April 2024.
They closed out with her debut single “Your Face”which was released on TikTok in April 2023, where it had 100,000 views in a single day. The song’s streaming numbers are currently around 150 million on Spotify alone. Lu’s social media reached millions of views while “Your Face” met with similar streaming numbers which opened up large opportunities like being signed to her label Interscope Records.
The official music video for “Your Face” was released in November 2023 with Boni Mata and Nick Vernet directing. The video takes place underwater with the cinematic visual appeal of clothed bodies swimming and was directed intentionally to avoid actors’ faces. The YouTube music video currently has 9 million views. Her many other music videos carry unique visuals which emphasize the songs storytelling, the songs’ pop elements, and the bands genre-merging abilities.
Overall, Wisps performance was mesmerizing and a digestible listen for those new to the nu-gaze. Their stage presence, amazing openers, a brand new release, and kind co-attendees made this concert memorable and solidified their spot on my personal list of new artists to look out for. Thank you Radio DePaul for sending me to the show and thank you to the Wisp team and Metro staff/security.
