Tag: review

Spilling Out to Spill Tab At Beat Kitchen

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CHICAGO – I think it’s a universal experience to have certain artists tied to specific chapters of your life. Whether it’s a breakup, a family event, or just a rough day, music has this incredible way of helping us process it all. I’ve always believed that music heals and nothing reminded me of that more than seeing Spill Tab live at Beat Kitchen on a Saturday night in June.

Claire Chicha, better known as Spill Tab, soundtracked my entire freshman year at DePaul. From move-in day to finals week, she was the artist I turned to. A constant I could fall back on during a year full of change. Her music captured the chaos, the fun, and the growth of that time. I’d get ready for Loop classes to “Splinter,” and wind down at night with “Cotton Candy.” She became the backdrop to my first experiences navigating Chicago, a city that quickly started to feel like home.

Spill Tab was also the first artist I ever saw live in Chicago at Schubas in 2022. Back then, I was a freshly 18-year-old freshman who could barely navigate the CTA and relied on the Student Center for all my needs. Fast forward to now, I’m 21 and heading into my senior year. Watching her again, this time at Beat Kitchen, hit differently. It was nostalgic, emotional, and affirming. A reminder that I’ve made it this far, still doing what I love, chasing live music, finding new meaning in familiar songs, and letting artists like Spill Tab help me write the soundtrack to my story.

On her four-show U.S. tour, Spill Tab delivered a vibrant mix of new tracks and fan favorites. Her stop at Beat Kitchen was nothing short of electric. She opened the set with the high-energy “CRÈME BRÛLÉE!,” immediately pulling the crowd into her world. Claire’s lo-fi vocals and dreamy, genre-blurring melodies transformed the intimate venue into a dance floor, especially as she moved into “Calvaire” and “Velcro.” Whether longtime fans or first-timers, everyone found something to connect to, each song revealing a new layer of her artistry.

What made the night even more memorable was the chemistry between Chicha and her band. Their genuine love for performing was contagious. Between songs, the banter was effortless and hilarious. Before launching into “PINK LEMONADE,” drummer Gabe Tout buttoned up his shirt, joking he was “getting more serious.” 

The jokes kept coming, with bassist Caleb Buchanan riffing, “What if we just talked for 45 minutes and gradually got more and more dressed?” 

The crowd laughed along, fully in on the inside jokes and off-the-cuff energy. They even shared a story about accidentally hitting a fox with their tour bus, which has not landed at some shows they’ve played, “life is so bad you have to laugh in reference to killing a fox.”

As the set continued, Claire introduced songs from her newest album “ANGIE.” Even the lesser-known tracks landed with impact. Fans shouted the lyrics to “wet veneer” and “Adore Me,” already embracing them like longtime favorites. 

One of the most striking moments came when she performed “Assis,” a hauntingly beautiful track sung entirely in French. The room fell silent in awe,  proof that language is no barrier when the emotion is real.

Amid all the bits, beats, and playful chaos –  including the band joking that they were “cooked after this tour” – Spill Tab closed the night with the explosive 2021 hit “PISTOLWHIP.” Just like the first time I heard it live, it hit with the same raw energy and cathartic release. Fans jumped, danced, and screamed the lyrics, savoring every last moment of a show that moved through so many emotions. It was the perfect finale. Wild, emotional, and truly unforgettable.

Watching Spill Tab again reminded me of why I keep chasing shows, even when life gets chaotic. The night had felt like I had just closed a chapter I didn’t realize was still open. Spill Tab’s music carried me through the start of my college experience, and now, on the edge of my last year, she reminded me why I fell in love with this city, with live music, and with the version of myself that has grown up these past three years in both. Some shows are just concerts,  this one felt like a full circle.

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Colorado’s on Fire Again: RMCM Does What They Do Best

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Colorado folk-rock band Richy Mitch and the Coal Miners has been making music together since high school. Taking inspiration from Gregory Alan Isakov, Fleet Foxes, The Head and the Heart, Bon Iver, and the like, they have created a unique sound that reflects their love of folk and the joy of making music together. After graduating high school in 2017, the band released RMCM, their debut album. The friends parted ways but continued to make music when they could, not expecting recognition, but using the band as an excuse to stay in touch. Years later, the opening track “Evergreen” gained widespread recognition through TikTok, launching RMCM into national fame and earning them a spot on the Billboard Hot 100. From there, a loyal fanbase was ready and waiting to receive their sophomore album, Subliming. Since then, the band has collaborated with artists like Caamp and Mt. Joy, finishing their second tour and relocating to Seattle, where the outdoorsy folk-enjoying music scene has welcomed them with open arms.

On March 7, RMCM released Colorado’s On Fire Again, their fourth studio album and a project five years in the making. Speaking to the significance of this album, lead singer Mitch Cutts says, “It was written to convey the feeling of our world slowly burning down, and how wildfire tends to be a part of this cyclical ecology where devastation is followed by eventual rebirth.”

The opening track, “Berry Herman,” laments the fear and sadness of watching your home state burn. He sings about “Picking up the pieces of this world I grew up in,” only to escape to brighter, safer places. Intimate acoustics fade into soaring instrumentation, which eventually transitions seamlessly into “Churchill,” which is both a sonic and lyrical return home. “Santiago” explores similar themes, with Cutts finding himself longing for home after traveling the world. “Xrunk” and “Heywood” are more subdued, both dreamy love songs. Cutts admits that he deserves better but sings anyway that he’ll “be right there beside you / Waiting for the day that you call yourself mine.” A continuation of this admission, “Henson’s Dream” is a largely instrumental, electric guitar-heavy track that turns into another dreamy soundscape. “Talons” and “Sweet Summer” see a return to RMCM’s roots, centering piano and acoustic guitar. “7052” feels similarly intimate and bleeds into the closing track, “October Moon.” A standout on the album and the name of RMCM’s 2024 tour, the Band of Horses-inspired tune picks up just enough to bring us home alongside folksy vocals and more soaring guitar. 

Colorado’s On Fire Again sees the band sinking their teeth into moodier themes and maturing in terms of RMCM takes a thoughtful step back on this album, a project that feels more introspective while also flaunting lush instrumentation and stepping up its production. The new album embraces moodier themes and stripped vocals, creating the perfect soundtrack for a PNW spring. Proceeds from the album are going to Wildfire Councils across Colorado.

Marshall Allen’s “New Dawn”: The Maestro at 100 Years

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From far beyond the space ways, a new dawn has broken upon the world of jazz and music, these rays being cast from the release of the maestro Marshall Allen’s debut solo album “New Dawn.” Heralded as a master of creative music Allen has carved out an unmatched playing style that harnesses pure energy through gripping and unheard-of sounds on the saxophone. Allen famously pioneered the elusive techniques to expel explosive fiery tones and ideas in his improvisation that few, if any, have been able to match. 

Allen has spent most of his career as a cornerstone and leader of the illustrious Sun Ra Arkestra, since 1958 he has performed and recorded countless hours of music. However, Allen had never released a solo album until this past Valentine’s Day, with the idea of a solo release being proposed by Week-End Records Jan Lankisch as a way for him to express his voice in its own new unique way. This prompted Allen and longtime collaborator, friend, and Arkestra family member Knoel Scott to pour over Allen’s countless compositions at the Sun Ra Institute house. After carefully reviewing and selecting what pieces Scott and Allen felt embodied the project, recording for “New Dawn” began two days after Allens’ 100th birthday. Knoel Scott’s collaboration and passion for the project helped push its creation, with Scott recruiting numerous Philadelphia Jazz stars and Arkestra veterans to record. As a result of this effort, we are graced by a seven-track jazz masterpiece that not only displays Allen’s compositional prowess but also serves to peer into less seen, softer, intimate parts of his artistic dynamic. 

The first full composition “African Sunset” drifts from the sounds of Allen on the EWI (electronic wind instrument) to baritone saxophone and trumpet, providing a soft start that allows oneself to fade into the song and its solos. With the full ensemble sections swirling into a tapestry of sound. Part of what I found most striking upon my listening of this album is the instrumentation used throughout the tunes, more specifically the prominence of strings. Each track boasts a strong string section including violins, violas, cello, and of course bass, in my eyes this choice helps develop extremely rich and complex textures that only bow on strings can achieve. For instance, on the ballad title track “New Dawn,” the strings create an elegant floor of sound in which Knoel Scott can dance upon with his clarinet. The timbre of Neneh Cherry’s vocals sits beautifully within the group as the lyrics guide us on a journey to appreciate The Creators ever flowing and present energy. All together these elements provide an elegant ballad that gives time for one to reflect into the future and let sound wash over them. 

The following track, “Are You Ready,” pivots from the previous ballad rocketing listeners into other side of the jazz idiom with an infectious melody and snare hits that ingrain within the ears. “Are You Ready” also gives the listener ripping energetic solos from trumpet and sax that groove you to your soul. Overall, this track serves not only as a change in energy but a great way to observe Marshall Allens’ ability to provide so much in his compositions no matter the feel. 

After the enticing first half of this album comes the track “Sonny’s Dance,” an obvious tribute to the one and only Sun Ra, showing his impact on Allen’s style and album. The track feels reminiscent of many Arkestra albums and performances as soloist take a moment to spread “out” then come back in for melodic lines or interaction before soling again. Almost as if one was at Slugs on a Monday night in 1966,“Sonny’s Dance” has the markings of Sun Ra throughout propelling his legacy through artist like Allen that he has inspired. 

The penultimate track of the album, “Boma,” introduces yet another player who I honestly did not expect. With a bass line straight out of Ronnie Boykins book and a danceable Latin drum groove, it has that “make you move” factor. In this ten-minute feature, you are guided through nearly every piece of the recording group allowing for true insight into how each sonic element impacts the ears and contributes. As the longest cut on the record, each soloist can fully express the spirit of improvisation through their own voice. 

Finally, “Angels and Demons at Play” concludes the album, fully encapsulating this masterpiece and highlights the idea of reflecting into the future. Written by Allen and first recorded for the Sun Ra Arkestra album with the same name this track has been a standard of the band for decades. I believe that it is here in the album that Allen is looking both forward and back, observing the impact of his work on music while at the same time seeing what else he can contribute. 

A master of the music, it is my belief that this album displays the influence of Sun Ra on Allen and yet fully expresses his own voice as an artist. A testament to the power of music, I highly suggest this album since no one quite does it like the maestro. On one last high note, it has also been announced that Marshall Allen will be releasing another album of live recordings entitled “Ghost Horizons” from the group he heads with the same name expected out on May 23.

TNK Fest 2025: Cameron Winter and Racing Mount Pleasant at Sleeping Village

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Every January, Chicago morphs into a dark, grey, barren, ice-filled ghost town. Or at least it feels that way, as the ever-bustling nightlife of the city slows to a dull hum and warm weather month partiers settle in for some rest and recuperation following holiday spending sprees, aided by the growing popularity of “dry January”.

Chicago’s own Audiotree understands firsthand how this collective hibernation can impact your favorite independent venues and bars, which is exactly why they created Tomorrow Never Knows (TNK) Fest, a collection of the best and brightest up and comers booked in the heart of January.

I was very excited to attend the January 18 show at Sleeping Village: Geese frontman Cameron Winter in his second solo show ever, following the release of his monumental debut solo album Heavy Metal, with opening band Racing Mount Pleasant (fka Kingfisher).

A seven-piece band formed at University of Michigan, Racing Mount Pleasant took the stage around 9:00pm. Their debut album, released under the band name Kingfisher (their name change was finalized just days before the Sleeping Village shows), titled Grip Your Fist, I’m Heaven Bound was released in November 2022. The group combines indie rock sensibilities (soft guitars and mellow vocals) with dense instrumental harmony and lilting meter changes, resulting in a warm, enveloping soundscape perfect for escaping into during cold January nights. Their sound is reminiscent of artists like Black Country, New Road, and Bon Iver. Despite playing without their drummer until the last song, the band performed a tight set to a receptive audience, and the lack of drums actually somewhat set the stage for the upcoming headliner set. “Do You Think I’m Pretty” was the stand-out track of the set, with an infectious, singable horn riff.

Next, Cameron Winter took the stage accompanied exclusively by an upright piano. His debut album, Heavy Metal, was released in early December of 2024, to mass critical acclaim. The album feels timeless, like it could have been released any time in the last 50 years. Winter taps into a more intimate, raw, and introspective side on Heavy Metal,  in comparison to Geese’s raucous, theatrical sound.

Winter controlled the crowd with little more than the pure strength and depth of his voice. Simply sitting at the piano with a white t-shirt on, he played through most of the tracks on the album, with a few unreleased songs sprinkled in. He stopped mid set to show the crowd a few items that had been tossed on stage, such as a Pokemon card, before continuing on, but Winter didn’t need to entertain the crowd with stage banter; the crowd was happy to witness the genius-in-the-making perform so early in his career. His candor and authenticity was a welcome and refreshing change. 
The first time I heard Heavy Metal, I felt like I was being spoken to personally. On a literal level, yes, as Winter addresses a character named “Nina” throughout the album, but I was also moved by his surrealistic lyricism littered with introspection on the human condition. Cameron Winter has nowhere to go but up, and I look forward to his meteoric rise to indie rock icon status.

Who is Cameron Winter? And why is he “full of heavy metals?”

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More music is released in a single day in 2024 than all of 1989 combined. I’ve always struggled with the overwhelming fact that more music is produced than I’ll ever be able to listen to. However, I recently came across an album that actually eased my panic about the volume of creation. Cameron Winter’s debut album, Heavy Metal, is a collection of songs that literally stopped me in my tracks. Upon hearing the first few notes, I instantly recognized this project as something special, something that would become vital to my own listening journey. 

Despite the success he’s found as the frontman of Geese, Cameron Winter has drifted solo. Heavy Metal is completely different from Geese’s country-tinged psych-rock jam sound. This project is truly a solo album, a culmination of Winter’s songwriting talent and life experience. I was a bit shocked to learn Winter is 22, only one year older than myself. And yet this closeness in age may be why I was so drawn to Heavy Metal. Winter and I have experienced life at a different trajectory (I don’t make music, I’m not in a band, and I have never toured with King Gizzard), but being a 20-something-year-old appears to wield a shared experience – one shrouded with uncertainty, reinvention, and an unwarranted wisdom about the world.

Heavy Metal takes my favorite approach to songwriting – slightly absurd, emotionally charged, and peppered with metaphor. One review, featured on Winter’s website, confessed “the first few songs I thought were like obscure covers of successful musicians because I think I underestimated his songwriting.” I’m a little embarrassed to admit I had the same reaction. “Nausicaa (Love Will Be Revealed)” had such a familiar quality that I actually Googled the lyrics to check if it was a cover song.

The album opens with “I will keep breaking cups until my left hand looks wrong.” These lyrics capture more of a feeling than anything – of inadequacy, of perseverance, of struggle. And then comes the phrase that instantly made me fall in love with the album – “I will keep rolling until the best shirt falls off, until the conga line is a thousand chickens long.” This feels very Dylan-esque to me. There’s also a surreal element with the chickens, reminiscent of something from an Adrianne Lenker song. I’m weary to compare Winter to other songwriters because I don’t want to detract from his own talent. But I also think it’s what makes the album great – many influences have contributed to something that feels uniquely Cameron Winter.

Since turning 21 this year, the song “Drinking Age” feels particularly relevant to me. Cameron reflects “I don’t know if I’m ever gonna stop reminding myself everything is lying / Today I met who I’m gonna be from now on and he’s a piece of shit.” Reinvention is a natural part of young adulthood, where one is forced to piece together foundations of an independent, grown-up life. Towards the end of the song, Winter states “This is who I’m gonna be / this way, a piece of meat.” The way we view ourselves is sometimes misaligned from reality. We must learn to live with the disconnect, or find a way to correct it. But even through grappling with the complexities of human nature, each person is just a piece of meat floating on a rock. Simple as that. 

Winter has clearly felt fed up with the world. Some of my favorite lyrics of loathing include… 

“Your building is full of people who hate you and bite off fingers.”

“I’ve been getting spanked with everybody lately.”

“I am bitching to the wall of my long-armed and knuckle scraping ways.”

And put quite simply… “Fuck these people.”

But within moments of feeling washed up and used by the world, Winter details moments that seem sort of beautiful, such as…

“I’ll talk to every crowded room, I’ll go to great carnivals of pain and fight, entire fields of cops to keep a coconut in my hand.”

Heavy Metal has a very enigmatic quality. It was recorded in a string of Guitar Centers across New York, features a five-year-old bassist named Jaden, and has been described by Winter as an “inconvenience” and “a pain in the ass” to create. Winter doesn’t take himself too seriously… while at the same time very seriously examining the internal complexities of himself and his life experience. Whether Heavy Metal is just a one-off for Winter, or a gateway to something more, this album has already taken a special place in my life. “Rest assured, my solo album unique,” he says, “because barely anybody knows who my band is, I’m young and not afraid of living with my parents and I’m free to chase whatever ideas I want.”

Cameron Winter is also a part of Chicago’s Tomorrow Never Knows Festival, where he’ll be performing at Sleeping Village on January 18. Click here for tickets and more information. 

Third Times the Charm

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This summer, Clairo dropped her third studio album Charm, which has now been nominated for Best Alternative Album in the 2024 Grammy Awards. Her music career started in 2017 with the release of four singles, including the songs “Pretty Girl” and “Flaming Hot Cheetos,” which gained traction for their unique bedroom pop sound. However, it was in 2019 when her career really started to take off with the release of her debut album, Immunity. In these first couple of years, Clairo was known for her indie-pop melodies and soft girl aesthetic. She perfectly encapsulated the vibes of 2017-2019 with lo-fi, bedroom pop songs that quickly became her image, though they did not fully feel authentic compared to her style now.

In 2021, Clairo moved to upstate New York, taking time off to work on her sophomore album, Sling, with producer Jack Antonoff. This is when we saw the biggest shift in Clairo’s music, with a new slow, soft, and understated vibe. Clairo has repeatedly spoken of her love for Carole King and Joni Mitchell and how they serve as muses for her sound. I think with Sling, these influences stood out more in the sound of this album but were not yet heavily noticeable. With Sling, we began to see Clairo’s songwriting abilities take charge with standout tracks like “Harbor” and “Blouse.” However, with Sling, producer Jack Antonoff’s influence heavily rubbed off on some tracks like “Zinnias,” which limited their potential. You can feel her wanting to break away from lo-fi pop, but it seems too constrained by the conflict between her breakout sound and Antonoff’s production.

Charm was not a huge breakaway from the sounds of Sling, but it solidified her whimsical, soft, groovy sound. However, her choice to work with producer Leon Michels aided her further into the sonic, folky path she wanted to take. Clairo said that the experiences that inspired this album were “fleeting moments… where I’ve been charming or have been charmed,” setting a romantic, reminiscent, and intimate mood. The first track, “Nomad,” reflects on the dilemma of being heartbroken while also seeking connection. This song serves as the bridge from Sling to Charm, incorporating the solitude of Sling while stepping into the melodic nature of this album. Electric guitar slides between notes, with an upright bass playing softly behind, welcoming listeners into the world of Charm. “I’d rather be alone than a stranger… I’d rather wake up alone than be reminded of how it was a dream this time,” Clairo perfectly encapsulates the feelings that come along with the choice to remain alone to avoid another heartbreak. The following track, “Sexy to Someone,” was the leading single from the album. This groovy pop melody explores the need to feel sexy in order to feel like her life is interesting. This song gained a lot of popularity on TikTok for the universal feeling it touches on. “Sexy to Someone” incorporates a saxophone, cello, flute, piano, and guitar, adding to the soulful roots of the album. 

In a TikTok interview with creator @marg.mp3, Clairo touches on the sonic influences of this album. She credits a majority of her influence to many bands and artists under Mag Records, like the Innovations and Monik. These influences pop out heavily on many of the tracks, including “Thank You,” “Slow Dance,” “Glory of the Snow,” and “Echo.” These songs all incorporate the use of synthesizers, bass guitar, and tambourines while sticking to Clairo’s intimate and playful lyrics. Many of Clairo’s vocals on Charm are soft and grainy, as if they are playing from a gramophone, amplifying the retro, sonic vibe. The songs “Terrapin” and “Juna” both use a unique touch of mouth trumpet sounds that became a staple of this album. The album ends with “Pier 4,” a sullen, acoustic melody recounting themes of loneliness, self-reflection, and the failure to connect with a partner. This song serves as the perfect closer for the album. Charm explores themes of romance, friendship, self-discovery, heartbreak, and human connection. I think Clairo’s choice to close with this track serves as a metaphor for the relationship she’s built with the listener coming to a close, inspired by fleeting moments of charm that only last briefly before inevitably parting ways in search of a deeper connection.

This album stands out among the rest of Clairo’s discography due to its genuineness and individuality. The ways in which she has evolved into a sound that feels the most authentic to herself have deeply improved her songwriting and production. I believe Clairo’s music will only evolve further, and she is fully deserving of her Grammy nomination. I guess what they say is true: third time’s the charm!

Revisiting the Captivating World of Margo Guryan with SubPop’s “Like Someone I Know”

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Margo Guryan’s impact has repeatedly touched the mainstream, but as an artist she has yet to become a household name. Even after working with superstars Harry Belafonte, Ornette Coleman, Miles Davis, and Neil Diamond, Guryan kept a low profile.

Captivated by jazz, Guryan studied composition at Boston University. She played piano and loved the process of writing and arranging. Shortly after signing to Atlantic Records, Guryan’s approach to music was shifted completely by the Beach Boys’ Pet Sounds. Deeply inspired by the intricate harmonies, Guryan createdTake a Picture, her first full-length album. Despite poor record sales, this album has captivated listeners, gaining a cult-like following, for almost 60 years. It’s been described as “full of love songs draped in Sgt. Pepper-ish splendor: orchestral strings, psychedelic guitar, Dixieland brass, harp, harpsichord, [and] flutes.” 

SubPop’s Like Someone I Know: A Celebration of Margo Guryan, is a 12-track cover album breathing new life into her brilliant songwriting. Many of these covers bring out the eerie quality of Guryan’s music. Although her vocals are often relaxed, the songs themselves seem quite urgent. She sings softly, but it always feels like there’s something bubbling under the surface. 

Clairo’s cover of “Love Songs”is one of my favorites from this project. Her version shifts into a more reflective tone, rather than Guryan’s observational singing style. “Today I was cryin’ in the sunshine,” she sings, “when someone said, ‘is something wrong?’ and I said, ‘no, it’s just a song,’ and I can’t tell you why love songs always make me cry.” The writing styles of both Clairo and Guryan are so personal that it often feels like reading a diary entry you forgot you wrote. Clairo absolutely embodies Margo’s quiet strength, while still remaining true to her personal musicianship.

 June McDoom also surprised me with her cover of “Thoughts.” It drifts in between feeling totally disorienting and completely peaceful. “Nobody hears me / No one hears me” is repeated throughout the chamber of sound. As a listener, you can’t help but to wonder if you’re interrupting a private moment. Should I be hearing this right now?

Another standout is “Take a Picture” with Frankie Cosmos and Good Morning. “Take a picture so we can remember how it feels to love each other just in case of cloudy days to come,” the lyrics chirp. From Guryan’s version, it feels like she’s almost pleading, bargaining not to lose the good things in her life. But with Frankie Cosmos and Good Morning splitting the vocals between verses, this cover shifts the meaning of the song. It becomes more about the relationship between two people, both afraid to give each other up.

“Can You Tell Me”is perhaps the most beautiful cover on this album. Syrian-American folk musician, Bedouine, has been on my personal music rotation for quite some time. Her voice is so classic, yet fits snugly into the music of today. Bedouine’s stunning vocals turn this tune into a lullaby, reminding me of a child being sung to.

“Love” is one of Guryan’s best instrumental pieces. The original is dark, unsettling, and almost trancelike, before breaking into a jazz groove. Barrie’s version is similarly suspenseful, but her vocals are so unique. The instrumental flows between looped sounds, droning notes, and even some strings as Barrie wows with her layered harmonies.

These are just a few of my favorites, but every song on Celebration Like You is special in its own way. This album introduces modern elements to Guryan’s work, but still remains a touching tribute to her legacy. There’s something so intriguing about her unique approach not only to music, but to life. It’s exciting to hear her spirit captured in a new way. 

Listen to Margo’s original songs side-by-side these covers here.

What a Relief: Finally, a Solo Album from Katie Gavin

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After years of championing the queer hyper-pop group MUNA, Katie Gavin goes her own way in her new debut album, What A Relief, released on October 25th. As queer female artists find their way into the mainstream, Gavin finds her place among them as a worthy addition. 

Straying away from the synth-infused pop hits of MUNA, Gavin enters territory that feels more intimate and exploratory. Many of the acoustic guitar driven melodies paired with Gavin’s smooth vocals feel straight out of the Lilith Fair era. As she hops across genres, exploring pop, folk, and country, the overall tone remains reminiscent of 90s icons including Indigo Girls, Alanis Morissette, Tracy Chapman, and the like. Still, as her influences remain clear on each track, Gavin still manages to infuse the album with her own unique twists. 

The album opens with the soft but candid “I Want It All,” flaunting haunting vocals and gentle instrumentation. This carries us easily into the first single, and perhaps one of the catchiest tracks, “Aftertaste.” Gavin’s country twang lends itself to easy rhymes and a jangly melody as she explores lingering heartbreak. “You’re the only reason I came here / You’re the only reason it’s so clear to me now / Give me another taste,” she sings, as if begging for a second chance with a lost love. 

“The Baton” sees Gavin take her first dive into familial themes and parental anxiety. She sings to a future daughter alongside a bright fiddle melody—both themes that are later found in “Inconsolable,” where fiddle turns to haunting violin. The second single on the album, and another catchy hit, is “Casual Drug Use.” Gavin’s Americana twang comes back in full force as she sings about the comfort of friendship through the struggles of addiction. 

Another highlight comes with the first and only feature on the album. Gavin is joined by Mitski on “As Good As It Gets,” and their voices complement each other well in lilting harmonies. “I want you to disappoint me,” sings Mitski as the two resign to live with the inherent shortcomings of their relationships. “Sanitized” provides a welcome pivot, favoring looping, percussive instrumentation over the acoustic sound we have grown used to. Rhythmic bells and striking minor chords make for a hypnotic, Fiona Apple-esque product. 

“Sweet Abby Girl” features contributions from fellow MUNA bandmates Josette Maskin and Naomi McPherson and in many ways feels like a tribute to their years together. The album closes with “Today,” which feels both final and distinctly hopeful. “And I’ll find my way / ‘Cause I was given today,” sings Gavin as both the song and album come to a close. 

What A Relief proves Katie Gavin’s worth as a solo artist through its deeply introspective lyricism and genre-hopping qualities. It carries a certain timeless quality that promises a bright future for both Gavin and the state of indie music today. 

Concert Review: Genevieve Stokes at Beat Kitchen

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

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

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

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

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

Concert Review: Soul Glo at Bottom Lounge

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

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

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

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

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

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

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