Ty Segall and the Freedom Band played a sold out show at Vic Theater on April 8th. Opening the ticket were two relatively unknown groups: Axis: Sova, and the Bed Band. Axis: Sova, a unique solo act, took the stage first. He performed his entire set only accompanied by a backing track, and with his face hidden behind a scarf and sunglasses. From song to song he meandered around the stage, singing in falsetto, picking up odd cardboard shapes which he brought with him, dancing with them, and throwing them back onto the stage. His music was catchy enough, but it was the absurdist nature of his performance that really caught the eye. It was a fitting opening to a strange night.
Next up was the Bed Band, another group lacking the instrumentation you’d expect for garage rock. They did feature two guitarists and a bass player but played their entire set using minimal beats from an antique drum machine. Their performance was much more engaging than Axis: Sova’s, as layered blues riffs howled from either side of the stage, accompanied by the thud of a metronome-like beat. They were no doubt talented, but really lacking the onstage energy and dynamic that a real drummer provides.
As interesting and eclectic as these openers were, nothing could prepare the crowd for the sheer wall of sound that Ty Segall and the Freedom Band would bring. The crowd seemed restless and waited impatiently for the fuzzed out garage psych that has brought him so much acclaim. Ty and the Freedom Band took the stage to a huge roar from the crowd and almost immediately we were shoved uncomfortably close to the concert-goers in front of us. The band paced in anticipation, just waiting for a cue to send the crowd into a frenzy. When the first distorted chord finally rang out, I was thrown into a spin cycle of people that enveloped the entire standing area. It was so physically disorienting that I couldn’t figure out what song he was playing until after he finished.
The opening track turned out to be “Alta,” from Ty’s new release, Freedom’s Goblin. It retains many of the same themes as his prior projects, but is slightly more adventurous in its sound, with a lot of the songs featuring full horn sections. There are also a number of softer, more intimate tracks on the album: a detour from his normal in-the-red style of recording. However, almost every song at the concert was played at deafening volume, instruments distorted until you could barely hear the actual notes through the fuzz. This was not some delicately arranged, orchestral show where the audience was allowed to appreciate each instrument’s melodic lines, but rather a thunderous combination of sounds fighting for attention. Only every once and a while would you be able to distinguish the blare of a trombone or wayward wail of guitar from it all. This sounds like a critique, but it was incredible and without a doubt, one of the best shows I have ever seen.
About halfway through the show, the Vic security guards decided it was too rowdy and began to enter the crowd and forcibly remove people. For almost an hour they stood at attention, flashlights flickering around the crowd for any sign of movement. Several protesting people were dragged out for making any sort of contact with the person next to them. The band unsuccessfully tried to wave them off several times. Finally, after several songs of silent, sardonically polite head-nodding and foot-tapping the security team decided we had all behaved well enough to be left alone again. As soon as they left, the crowd exploded in celebration. Somehow, the end to Ty’s set was even louder and more hectic than the opening. Upon finally leaving the Vic, I felt like I had run a marathon. My ears rang for several days afte
Some groups get feel the need to radically change their sound after several albums either out of boredom or concerted effort to appeal to more fans. On Freedom’s Goblin, and at this concert Ty Segall stuck to the same beautifully simple brand of garage psych that makes you wanna break stuff. I hope he never changes.
Going to shows in Chicago is great and all, but can prove to be a burden when it comes to navigating the L and the city itself. Luckily, there is an intimate venue in Northwestern’s backyard: Evanston SPACE on Chicago Ave. Located in the back room of Union Pizzeria, SPACE’s list of artists they have hosted continues to grow more and more impressive. Earlier this year I was able to swing by Frankie Cosmos’ show and fell in love with the venue, so I was psyched to be there for one night of his two-performance stay.
Declan McKenna and I have a history. I actually saw his first ever show in the United States back in my hometown of Columbus, Ohio (shout out to CD 102.5 FM!) in 2016. I even got to meet him after and took a picture, which I would attach if it weren’t completely embarrassing. He was the first act in a four-band show, and his set-up involved himself, his guitar, and a loop machine. He was insanely nervous and messed up several times throughout the set, but even then the crowd went crazy for his smash hit “Brazil,” probably because my local radio station played it incessantly.
The next time I saw him was this past August, a few days after the release of his debut album What Do You Think About the Car?. I remember it being absolutely crazy to me how much he had grown in just a year and a half. He had a full band and dedicated fans who showed up wearing glitter, holding posters, and screaming his lyrics. Let’s just say that his show at SPACE was like when I saw him in August, times 100.
First was his opener, Chappell Roan, who he is touring with. Roan is 19 (as is McKenna) and was clearly a raw talent. Her voice was angelic and breathy as well as rich and rugged, and she combined it with a killer stage presence. She played a few songs off of her recent EP School Nights, which was released by Atlantic Records, along with a cover of The Cranberries’ “Dreams,” which matched almost too perfectly to her voice. By the bridge of the song, she had the entire crowd yodeling along with her. What was most notable about Roan was her incredible control of her voice at such a young age. She truly made it look easy and sung about topics that were relatable to the teen-filled audience.
Speaking of a teen-filled audience – that’s exactly what it was. Although there were definitely older folks there, they stuck toward the back of the venue. The middle of the crowd was basically a sea of jean jackets who were obviously superfans, screaming in delight at any sign that McKenna was coming onstage. This speaks a lot to the relatability of his lyrics to this demographic, proving that he has obviously formed a strong bond with his fan base. Until McKenna came on, they enjoyed singing along to the throwback songs that were played over the sound system beforehand, such as “Take on Me,” “Toxic,” and “Hey Ya!”. When he finally came onstage, girls screamed and everyone pushed forward, whipping out their phones in hopes of catching the first moments of McKenna’s performance on their Snapchat stories.
McKenna opened with the first single off of his latest album, “The Kids Don’t Wanna Go Home,” and immediately I noticed his lovably ridiculous outfit: A Ghostbusters jumpsuit, complimented by a gold glitter guitar. After playing the first few songs, he stopped to talk about the instrument, explaining that he had just purchased it today and referring to it as a “shiny boy.” The audience laughed adoringly at all of his comments, eager for what was to come next, which happened to be “Basic,” one of McKenna’s first singles released in 2015. The crowd soon became his back up singers, filling in spaces he left empty and yelling the chorus with all of their hearts: “Cause you’re basic/And you’re basically on your own.”
McKenna played banger after banger, continuing the set with “Bethlehem,” “Listen to Your Friends”, and “Humongous.” The crowd went especially crazy for the latter song, which was justified as it involves some of McKenna’s more emotional lyrics: “Do you care?/I’m big, humongous, enormous and small/And it’s not fair, that I am nothing and nobody’s there.” The band ended the song with a great build and solid jam sesh, encouraging moshing amongst the crowd.
McKenna finished the show with a solid trio of his more popular songs: “Why Do You Feel So Down,” “Paracetamol,” and, of course, “Brazil.” It was a somewhat predictable set, but McKenna definitely gave the crowd what they wanted with an energy that was hard to beat. During “Brazil,” he encouraged everyone to jump and they abided without hesitation, which led to McKenna himself jumping into the crowd as balloons fell from the ceiling. To me, the show ended just as it should: with McKenna literally being lifted up by adoring fans.
Ezra Furman played a packed show at Thalia Hall on Monday, February 26th. The show was part of his tour of the US and Canada hot off the release of his sonically adventurous LP entitled “Transangelic Exodus.” Furman has been touring backed by Tim Sandusky on saxophone, Jorgen Jorgenson on bass and cello, Ben Joseph on keys and guitar, and Sam Durkes on percussion. Furman’s previous solo albums “Perpetual Motion People,” “Day of The Dog,” and “The Year of No Returning” were all recorded with the same lineup, and produced by Sandusky at his Chicago studio “Studio Ballistico.”
Saint Pe and Anna Burch set the tone with brief but captivating opening sets that contrasted each other well. Burch’s pleasant, guitar-driven tunes and earnest songwriting opened the night. Her new release “Quit the Curse,” captures the same vibe that artists like Frankie Cosmos, Angel Olson, and Kevin Morby have popularized. Saint Pe followed with energetic and upbeat Southern rock and blues. Formed by a departing member of acclaimed Atlanta group Black Lips who wanted a change in environment, Saint Pe were very laid back. No longer seeking recognition or trying to establish themselves as a group, their set felt like a slightly more formal jam sesh with some really great tunes.
As the lights finally dimmed around 10:30, after two opening bands, an impatient and restless crowd sat hushed as each member of the band walked out matching white suits. A pleasant piano track played in the background. Entering the stage last, Ezra skipped and spun to the mic, dancing along to the background music and mumbled a few inaudible words. Then, without warning, the peaceful piano cut off and the band ripped into “Suck the Blood from My Wound,” the title track from their new release. The sheer energetic force of the music and Furman’s stage presence was electrifying. In between thrashing out chords on his guitar, and howling into the microphone in his trembling tenor, he stumbled around the stage holding his head, throwing himself onto the ground, completely immersed in the frantic emotion of the music. When the final chord rang out there was a moment of dead silence. The crowd stood in complete awe.
I’ve been to lots of concerts where the band opens up with immense energy like this, and as the show goes on things get a lot slower, save for a hectic encore or two. It’s really difficult to maintain that much energy for an entire set, or at least so I thought. Ezra Furman put almost every other frontman I’ve seen to shame with his uncompromising stage presence. For nearly two hours he bared his soul to the crowd, stumbling around the stage and tearing at his hair, all while belting out song after song filled with deeply personal material. A few times he lurched towards the edge of the stage with such fervor that I thought he might dive headfirst into the audience. Each song was a cathartic story and where words failed to express emotion, his contorting, anguished movements told the rest.
Underneath this impassioned energy, Furman’s backing band did not miss a beat. They seemed to take cues from his every jolting movement. No riff or rhythm felt rushed, and they played even the slowest, most intricate tracks off “Transangeleic Exodus” to perfection. Who would’ve thought a saxophone/cello harmony could stand in for an entire string section? The show ended on the rejoiceful “Tell em’ All to Go to Hell,” after Furman thanked the crowd for their support. No encore. It wouldn’t have felt right anyway.
I returned to Beat Kitchen on Friday night for The Academic’s first show in Chicago, and knew just from the look of the audience that it was going to be a lot different of a night than Panda Riot the previous weekend. Beat Kitchen’s small concert space was packed to its brim with young adults. Some were couples, and others in groups. It was equally male and female, but you could tell everyone was there for The Academic and that they had been waiting a long time for this night.
The 1 Class was the first opening band, hailing from Chicago and consisting of only two people: Chris Holben, vocalist and guitarist, and drummer Jacob Dollaske. Right off the bat Dollaske’s skill was clear – he played complicated rhythms, appearing to nearly work his body to death by the end of their set. They were very much your typical indie-pop pretty boys, reminiscent of the likes of Two Door Cinema Club. Their lyrical content was a tad cliché and Holben had a tendency to slip a little out of key in his belting range, but overall they showed good potential and had the crowd bopping along.
Next up was August Hotel, another local band who seemed to have a larger fanbase in the crowd than The 1 Class. Before they even stepped on stage, their setup made me very curious about their sound – they had four mics, a keytar, two keyboards, a bass guitar, guitar, and drums. However, it started making a little more sense when five men stepped on stage and assumed their positions. Lead singer Joe Padilla looked very Judd Nelson à la The Breakfast Club in a long black trench coat and black eyeliner, while the rest of the band fit the artsy-college-kid stereotype. Their sound was poppy with much inspiration taken from the 80s: think an odd mashup of Hippo Campus and Depeche Mode. As Padilla said during the set, “The 80s are back and it’s cool again.” Padilla’s voice was one that could only come from a background in theatre, which didn’t mesh the best with the instrumental aspect but definitely worked for the band as a whole. All in all, they were great performers, and when they told the crowd to “go f***cking mental” during the last song, they did.
The Academic’s entrance was greeted by a roar of applause. Vocalist and guitarist Craig Ferguson greeted the audience with a smile and his thick Irish accent: “Hello, Chicago! We’re The Academic and we’re here all the way from Ireland!” They then launched into the first song on their debut full-length album Tales From the Backseat, “Permanent Vacation.” Immediately similarities could be drawn to fellow British bands Kaiser Chiefs, The Wombats, and Catfish & The Bottlemen, mainly due to their indie rock melodies, lyric repetition and shoutable choruses. Ferguson’s sugary sweet voice was complemented nicely by skillful guitar riffs and head nod-inducing drum lines, coming together to produce a very well-rounded sound that was great to dance to. Toward the middle of their set, they began to play tracks from their 2015 EP Loose Friends, and even an unpublished song called “Small Town Lovers” that Ferguson explained the man standing to the right of me had requested on Twitter before the show. Their older work has guitar lines more reminiscent of The Strokes, a quality that I found myself enjoying, particularly on the slow-building track “Thought I Told You.” Before getting into the last three songs, Ferguson broke up the set with a story from their stay in Chicago. He explained that often, his small stature and baby face get him mistaken for a child, which is something that inspired their song “Fake ID.” While staying in their hotel in Chicago, Ferguson went for a swim in the pool, only to be asked by the lifeguard if he was over 17 and therefore allowed to be there without an adult. This anecdote had the crowd smiling from ear to ear and boosted the already intimate stage presence of the band. Ending with their most popular track “Bear Claws,” which had the whole crowd singing along to its catchy chorus: “Ay, oh, I’ll never let you go.”
With an already strong fanbase in Chicago and the rest of their first U.S. headlining tour, there is no doubt that The Academic will continue to grow in popularity in the states. Their personality, talent, and solid delivery definitely deserves to be rewarded, and I walked away from the show excited to listen to more of their album – which is what it’s all about, right?
New York-based artist Aaron Maine’s synth project, PORCHES, turned Thalia Hall into a “band practice” on Wednesday night. The five-piece group featured Cameron Wisch on drums, Maya Laner on keys and guitar, Seiya Jewell on keys, and Dan English on bass. Featuring an even mixture of songs from their two most recent studio albums, The House and Pool, the band played with the energy of the space, luring the crowd in and out of reverie. They chose to play on a center stage, making the performance feel intimate and interactive.
Before PORCHES took the stage, a London-based band called Girl Ray set the tone for the evening. The group used similar dynamic tones, rhythms, and harmonies to the headliner, priming the audience for the energy of the following show.
PORCHES opened with their song “Now the Water,” playing with colorful lighting and the excitement of the crowd. They followed with the aptly titled song “Mood,” drawing on a pulsing beat and blue tones, lulling the crowd into the rhythm of the rest of the show. The instrumentals varied from heavy synth to more standard guitar and drum riffs. The band continued to toy with the ambience, linking one song to the next with ease and using the intimacy of the space to engage the audience.
The use of a center stage complimented the relaxed atmosphere. The band played facing each other for the majority of the show, with the audience ringing the stage around them. Those closest to the stage essentially shared a perspective with the band, truly making the show feel more like a rehearsal or house party than an actual concert. Occasionally the band would address the crowd (to much acclaim), but the majority of the time they just jammed with each other.
Towards the end of the show, Maine invited up a guest to the stage. Saying it was the first time they had ever done this, the guest pulled out a flute and took bassist Dan English’s mic on stage. They band then launched into an acoustic version of “Leave the House.” The band played two more songs before retiring backstage.
PORCHES surprised the audience with another “first” in the form of a new, unreleased track as the last piece of the encore. The song, titled “Wobble,” started slowly and escalated into a crescendo, highlighting the band’s ability to manipulate moods and energy by layering sounds on top of each other. The new song was the cherry on top of a fantastic show at Thalia Hall.
Walking into Subterranean on W. North Ave. was almost like entering another world. With its three levels separated by narrow staircases, the audience had the option to stand near the stage on the main floor or on the upper floor, where crowd members were able to lean against the railing to watch the performer from above.
By the time I arrived, opener Elton Aura already had the crowd vibing with his Tyler, The Creator-esque flow and the live band that was backing him up. A self-proclaimed “Renaissance singer,” Aura is from Chicago and said that he was picked up by Yellow Days’ team to open for the show. Throughout the set, Aura demonstrated a strong rapport with his band, consisting of a drummer, bassist, guitarist and even a trumpeter that came out for a few songs. Aura’s quirky dance moves and personality caused the crowd to turn on to him quickly.
He definitely portrayed a nerdy-yet-relatable character, sporting two braids, large glasses and a Hiatus Kaiyote shirt. When a man in the crowd complimented him on it, Aura told him to come find him after the show. He even gave the microphone to audience members on a few occasions, asking them how they were liking the set so far. After the show, I wasn’t surprised to see a small crowd gathering around him, snapping selfies and asking questions.
The atmosphere in the crowd filled with electricity as soon as the lights dimmed and Yellow Days, aka 19-year-old George Van Den Broek, stepped out with his band in tow. Van Den Broek sported his signature blue electric mandolin and was accompanied by a keyboardist, drummer and bassist who he took the time to introduce after opening with “So Terrified of Your Own Mind.” Before launching into fan favorite “Your Hand Holding Mine,” Van Den Broek noted that it was his first time in Chicago and said with a charming smile, “We Are Yellow Days, what’s up?” After only a few songs, Van Den Broek’s performance confirmed that everything about him is unique. On the surface, he seems to glow from the inside out; somehow pulling off shaving both sides of his golden locks and wearing the rest in a ponytail.
However, the pleasant strangeness of his appearance is only complimented by his insanely powerful voice. Sounding similarly King Krule but with a more impressive range, Van Den Broek is known for his high pitched yelps at the very end of notes, exciting the audience while slightly jolting them. Van Den Broek’s sweet yet soulful guitar riffs accompanied by organ-y keys curated a jazzy surf-pop sound that fit his voice perfectly. Van Den Broek successfully slithered through hit after hit, smiling as the audience sang along to the likes of “Hurt In Love,” “That Easy,” and the highlight of the night – “Gap In the Clouds,” which was recently featured in a trailer for the new season of Donald Glover’s “Atlanta.”
As soon as Yellow Days departed the stage, the crowd demanded an encore, and the band immediately returned to play “Nothing’s Gonna Keep Me Down,” during which Van Den Broek seemed to let all his inhibitions go, showing off his range and control with improvisational vocals.
Having already released a new single on April 6 titled “The Way Things Change,” Van Den Broek’s trajectory seems to be heading ever upward. So long as he continues in this direction, I have a feeling that Yellow Days’ future is neon-bright.
My Friday night started with an Uber trip to a part of Chicago I’ve never been to before: the West Loop. Immediately, I could tell that I would love it. The industrial vibe of the neighborhood was only enhanced by Bottom Lounge’s exposed brick walls and neon signs. The venue was mainly populated with hip 20-somethings, drinking PBR and reminiscing about growing up listening to The Strokes. Their rhythm guitarist, Albert Hammond Jr., started pursuing solo endeavors in 2006, but has only in recent years come into his own with headlining tours.
I got the chance to see Albert three years ago on tour for his album Momentary Masters, a show that lined up pretty much perfectly with my decision to start a music blog of my own. His show was one of the first that I reviewed, so I was shocked when he direct messaged me on Instagram a few days later, telling me that his mom had showed him my review and that he loved it. The short conversation that we had pretty much made my life and became my singular claim to fame. Looking back, it is what convinced me that I could make music journalism my career. So, naturally, when I heard that Albert would be making a stop in Chicago when touring his new album, Francis Trouble, I knew I had to go and that I had to review it.
Five-piece band The Marias were the opener, who self-describe themselves as “psychedelic soul.” I had never listened to their music, but had heard a lot of hype surrounding their recently released EP, Superclean Vol. 1. Let me just say, that hype was well-deserved. Frontwoman Maria delivered sugary-sweet vocals along with fellow vocalist and drummer Josh Conway. Their bass-driven tracks and jazzy influences delivered a sensual vibe reminiscent of Prince. However, there was also a hint of that “dream pop” sound that is so popular right now – think Triathalon or Clairo. Songs were sung in both English and Spanish, with Maria’s natural rhythm and stage presence drawing much of the audience to sway in response. Highlights included “I Don’t Know You” and “Only In My Dreams.” Although The Marias only formed in late 2016, they definitely had their share of superfans in the crowd and I immediately added them to my Spotify reservoir.
When Albert Hammond Jr. stepped onstage, I was surprised to see that he had an entirely new and seemingly younger band. However, it was immediately evident within the first song, “Caught By My Shadow” off of Momentary Masters, that they were an extremely talented and cohesive front. Including Albert’s signature white Fender, there were three guitars that worked together effortlessly to deliver the fast-paced and guitar heavy sound of Albert’s music. That explosive first song was followed up by the softer “Holiday” off of 2006’s Yours To Keep, which quickly became an audience sing-along. Wearing his signature white jeans and a yellow bomber jacket, Albert was quick to note that we were the loudest crowd of the tour so far – which is something I do not doubt, as everyone seemed to know the words to every song and proceeded to shout them.
The rest of the set consisted of almost every song off of Francis Trouble, with some older songs mixed in such as “Side Boob,” “St. Justice” and “101.” There’s no doubt that Albert has a captivating performance style. He often held his microphone like a cigarette, in between two fingers, and used his bandmates’ amps as platforms to jump off of. The set ended with “In Transit,” his song off of Yours To Keep that was famously used in The Strokes’ tour documentary of the same name. It seemed that the entire crowd joined together in excitement to sing and dance, and then immediately demanded an encore once the last few chords rang out. The band wasted no time coming back out, but Albert instead entered the crowd for “Postal Blowfish”, a Guided By Voices cover that appeared on Yours To Keep.
As one can imagine, Albert being in the crowd got pretty rowdy, but he seemed to be having the time of his life. After getting back on stage, Albert played a few more songs off of Francis Trouble as well as my personal favorite, “Blue Skies” from Yours To Keep, a soft ballad that he didn’t play during his last tour. That was enough to make my night, but it didn’t stop there. After the show, I got the opportunity to meet Albert, who somehow remembered me from my review three years ago. I usually hate to meet musicians that I love because I’m scared that I’ll be disappointed by how they act in real life, but Albert was extremely gracious, meeting and taking pictures with everyone who wanted to and carrying out real conversations.
There’s no doubt that Albert Hammond Jr. is a rockstar – but he’s also more than that. It was clear that he had made a positive impact on countless people in the audience, myself included, but it was also evident that he is in this business for the right reasons. I hope that never changes.
Philadelphia-bred but Chicago-based rockers Panda Riot seem to have planted themselves firmly in Chi-town’s local music scene. At Saturday’s vinyl release party for their fourth album, “Infinity Maps,” one thing was clear: Panda Riot has built a vibrant community around their dreamy, shoegaze-y sound.
Two opening acts meant that Panda Riot didn’t step on Beat Kitchen’s stage until midnight, but their performances made it hard to complain. First up was Sleepwalk, a local band consisting of four angry-looking men dressed all in black. Rocking a bald head and septum piercing, the lead singer delivered soft but impressive vocals backed up by driving drums and distorted guitars, resulting in what sounded like an American Football-Pixies hybrid. Next was Silver Liz, who’s set got off to a rocky start due to issues with sound levels, but effectively redeemed themselves by the last three songs. Guitarist Matt Wagner played fervently without making their sound too harsh, and once singer Carrie Wagner hit her stride, one couldn’t help but compare them to Beach House.
Once Panda Riot took the stage, there was no doubt that they were a cohesive front, which makes sense as guitarist Brian Cook and singer Rebecca Scott have been making music together since 2005. This specific show was to celebrate the release of the first vinyl pressing of their new album Infinity Maps, which came out in 2017. After a few songs, Scott explained that the pressing company had actually pressed the vinyls incorrectly and were printing new ones as soon as possible. This meant that anyone who bought a vinyl at the show would be mailed a new one as well, spurring excited shouts of “BOGO” from the audience.
Although the flaw with the vinyl pressing was a definite bummer, it didn’t seem to stop Panda Riot from celebrating. In fact, by the end of the show, they had half the crowd in a dancing daze. A new addition to their usual set was a light show projected onto a hanging white sheet, which only enhanced their ethereal sound. However, this didn’t mean the band lacked energy. Bass player Cory Osborne made sure this was never a question by diving into the crowd and playing there for several songs, slowing his pace only to kiss his girlfriend. Fervent rounds of applause accompanied the end of every song, and the overall intimate vibe of the show made me feel like everyone there was in the same group of friends (and maybe they were).
Panda Riot played much of Infinity Maps, duly impressing the crowd with their performance. Stand out songs included “Helios/June 20th,” “Ghosting,” “Double Dream” and “Arrows”. The band proved to play the strongest when in unity in terms of chord progressions, and were very solid all around in their musicality. Although Panda Riot is still very much local, this new album could be what causes them to make it big in the states (they’ve already cultivated fan bases in Japan and Taiwan). From this vinyl release show, it appears that they have what it takes.
“Fuck you means I love you at a Brockhampton concert,” shouted Kevin Abstract, “so everyone say fuck you.” The audience responded “FUCK YOU” with resounding energy. “Now everyone say I’m gay.” Everyone I could see shouted “I’M GAY” at the top of their lungs. Kevin stepped back into the flashing lights with the rest of Brockhampton and they played “JELLO” — one of the groups many recent hits. The building shook as the sea of people bounced up and down.
Brockhampton, the self-proclaimed “boy band” out of Texas, formed in 2015 after meeting on an internet forum for Kanye West fans. They released a mixtape in 2016 and their first three albums throughout the latter half of 2017. The trilogy (entitled Saturation I, II and III, respectively) lived up to its name and saturated the internet with a new type of hip-hop. The 14 person band features vocalists, producers, videographers, web developers and managers. The concert was just as non-traditional as their sound, capturing an angst in the age of the internet attitude that resonates with many millennials.
The first surprise of the night was the lack of an opener–Brockhampton decided they could warm up the audience on their own. The show began with a masked Ameer Vann walking out on stage wearing an orange jumpsuit over a white t-shirt. The crowd screamed and lurched forward as Kevin Abstract, Merlyn Wood, Joba, Dom Mclennon and Matt Champion walked out after him; they all wore the same orange jumpsuits and white t-shirts.
After the first song Kevin Abstract asked the crowd to clear a large circle and, when the beat dropped, “to go fucking crazy.” They played “STAR” and the moshing did not disappoint; within 45 seconds I was lying on the ground on top of two other people, with one person on top of me. The fans were nice enough and I was quickly pulled out of the pile of bodies, but the mayhem had just begun.
Despite the 48 songs the boy band has released in the last eights months, it felt like every audience member knew every lyric that was sung. Brockhampton encouraged the singalong, frequently cutting the music and letting the crowd scream the choruses.
Near the end of the show Kevin Abstract sat down and said there was no more music because he had something very serious to talk about, “Brockhampton is breaking up.” The crowd booed and Kevin laughed. “Now Matt Champion wants to tell you a joke,” clearly caught off guard Matt Champion told a strange improvised story about Dom wetting the bed and Merlyn drinking it. Most people did not laugh, but I was impressed with the spontaneity of the moment.
Next Bearface, the member responsible for some of the slower jams on the Saturation albums, came out and serenaded the audience with his disembodied voice and airy guitar. He started with “SUMMER”–the last song from Saturation II. The solo was a welcome break from the controlled bouncing, pushing and chaos that dominated the rest of the show.
After Bearface walked off, the other five jumpsuited vocalists came back on and played two more songs. Before leaving, Kevin Abstract asked the audience to boo them off stage. After a long sustained boo, I left drenched in sweat but smiling.
In the past six months Brockhampton has swept the internet with their new take on hip-hop. In their “Love Your Parents Tour” they are showing fans that their creative spirit is burning brighter than ever. If the boy band continues in their pursuit of stardom and innovation, Brockhampton will be a name to watch closely.
Schubas Tavern on a cold Thursday night became the perfect site for Shame’s Chicago stop on their latest USA tour. Schubas Tavern was giving off a distinctly church-hall atmosphere, with a few colored lights projected above the drum set and red lights illuminating the band. The intricate carved wooden arch, which framed the small stage, completed the venue’s transformation from iconic back-of-a-bar stage to post-punk church. Shame is a five-piece South London indie-rock band made up of: Eddie Green, Charlie Forbes, Josh Finerty, Sean Coyle-Smith and Charlie Steen. The band members are barely out of their teens, but have toured the US multiple times, and come to this show fresh from a set of Australian festival dates. At Schubas Tavern Shame treated us to new album, which takes the name of British Sunday morning staple Songs of Praise. However, instead of choir boys singing heavenly hymns, we were faced with the angsty post-punk of five lad’s lamenting the current state of British society.
The congregation consisted mainly of an older crowd with glasses and beards in tow, but there were also a few younger members of the flock. Warmed up by openers The Gotobeds, Pittsburgh indie-rockers, the crowd was ready to do some serious head-nodding. By the time Shame made their way to the stage the house was full. Responding to a crowd member’s half-hearted cheer, Shame gave a few joking screams of their own, marking the start of the band’s attempt to bring the crowd out of their comfort zone.
The preacher was front man Charlie Steen, who took to the stage, cowboy hat in tow, to ramp up the applause. Shame started the sermon with the first song from their album Dust on Trail, a chord heavy opener with Steen singing in a low monotone, inviting the crowd to “walk with me,” before rising to a more hoarse shouting and climaxing with a guitar solo. The crowd dutifully nodded along.
The second hymn of the evening was “Concerte,” featuring shame’s characteristically catchy guitar riffs. With Steen removing the cowboy hat and reaching forward to the crowd, lightly patting their heads, blessing them in turn. Steen and bassist Josh Finerty started their signature call and response vocal lines, adding a depth and variety to the their performance. With their hit single “One Rizla” we were able, for the first time, to really hear the lyrics. The vocals could generally have done with a higher volume. As Steen’s ironic and gritty lyrics were lost slightly on “Tasteless”, a quick paced dissection of the music industry and mass consumption.
As we headed into the second half of the album, the band started to get more into their groove bring the high energy performance which has come to be expected from a shame show. During the ring guitar chords of “Tasteless” Steen held his arms open to the crowd, welcoming them to come come closer. During “Friction” we saw the resurrection of Christ but a shirtless and nipple rubbing one. Steen started pacing the stage encouraging the crowd to not be afraid.
The band then departed from the album line up, skipping ahead to the end track “Angie,” a slower break from the playful anger of “Tasteless” and “Friction.” “Angie” an ode to a young girls suicide, with distinct Oasis guitar and sing-along chorus vibes. On the penultimate song “Lampoon,” shame ramped up the energy, and the crowd responded by forming a small but dedicated mosh pit. During their final song “Gold Hole,” a tale of lecherous love, Steen attempted to walk on the crowd, while bassist Finerty fully let loose falling on to his back and bouncing back up with surprising agility.
Green kept pace throughout the whole show with constant head thrashing, bent over while playing some fantastic riffs. Smith kept the songs glued together with a driven rhythm guitar. Drummer Forbes never missed a beat, providing the driving force of the sermon. With the album a short and snappy 39 minutes, the set was over in less than an hour. It would have been great to hear a few of shame’s older songs, such as “Visa Vulture,” which has a great ironical croning tone.
Leaving through the sweaty crowd of Schubas to smoke cigarettes and talk more with fans, Shame had successfully converted a crowd of folded-arm head-nodders to a congregation with hands held high in praise. Songs of Praise is certainly an album to be reckoned with, and Shame a band to keep a close eye on.