Mustard Plug headlined one of the final punk rock holiday shows in Chicago. Bottom Lounge was the site for this midwest ska celebration with Grand Rapids, Chicago, Indianapolis, and Milwaukee represented respectively in Mustard Plug, The Crombies, The Operators, and Something To Do. The blasting of the horns represented how much of a blast the […]
Mustard Plug headlined one of the final punk rock holiday shows in Chicago. Bottom Lounge was the site for this midwest ska celebration with Grand Rapids, Chicago, Indianapolis, and Milwaukee represented respectively in Mustard Plug, The Crombies, The Operators, and Something To Do. The blasting of the horns represented how much of a blast the whole evening was for all those present.
Top-billed Mustard Plug, from Grand Rapids, Michigan, delivered another spirited performance befitting the spirit of the season. This included a bespectacled dancing bottle of mustard and a Santa outfitted in traditional St. Nick garb but matching in color, the iconic condiment most closely associated with hot dogs. As a nice holiday touch, one member of Mustard Plug sported a mini-Christmas Tree hat.
Mustard Plug frontman Dave Kirchgessner took to the barricade encouraging the fans join in the singing much to the delight of the attendees.
This band and this event were the perfect tree-toppers for this holiday celebration of Ska.
One of Dying Scene’s favorite two-toners, Chicago’s The Crombies, brought the jollity yet again. The band’s rollicking performance delighted its fans per usual.
This was a sort of catharsis after the band was struck with the tragic death of its beloved drummer Matt Meuzelaar earlier in 2024.
Cristian Riquelme of The Operators filled in on drums for The Crombies performing double duty on this night though facing a tough situation himself. Days before Christmas, a fire destroyed Riquelme’s home and most of his belongings. He also lost his beloved dog Brutus in the fire. Friends quickly set up a GoFundMe to help him out. And Riquelme generously helped out The Crombies.
But these sad events could not keep The Crombies and friends from this celebration. Indeed, the band members seemed inspired to celebrate in honor of their loved ones. A reminder to always dance, sing, and smile when the opportunity presents itself.
The Operators, out of Indy, returned to Chicago, just a seeming blink of the eyes after last appearing here for Slackfest. As with that earlier show, the band brought tidings of comfort, joy, and kinetic good times. Just the Operators’ standard operating procedure. Many thanks for that!
Something To Do, from just down the road in Milwaukee, also made a return trip to the Windy City. The crew last played Chicago at Reggie’s, supporting Mad Caddies in September 2023. The something to do by the band was to bring the mirth and the merry in generous portions. Something To Do wildly succeeded in this with a killer performance.
Home For The Skalidays was a wonderful way to close out a 2024 composed of good and bad and happy and sad. Despite a tough year, the show brought some sweet relief to the fans in attendance. It was a much needed celebration met with lots of gratitude.
The Lawrence Arms once again played host at the War on X-Mas. Dying Scene was in the house for both nights at Metro (a third show was added for December 5th at Cobra Lounge). The band was joined by good friends in fellow Chicago bands, Smoking Popes, Royal Dog, and Still Alive. American Steel, out […]
The Lawrence Arms once again played host at the War on X-Mas. Dying Scene was in the house for both nights at Metro (a third show was added for December 5th at Cobra Lounge). The band was joined by good friends in fellow Chicago bands, Smoking Popes, Royal Dog, and Still Alive. American Steel, out of Oakland, CA, also performed. It was a jolly good time!
Friday
Chicago’s The Lawrence Arms was founded a quarter of a century ago, but it remains as beloved as ever. The 10th Anniversary edition of the band’s annual holiday season event demonstrates it gets better each time. Brendan Kelly, Chris McCaughan, and Neil Hennessy were in top form as they ripped through an extensive set which included “You Are Here,” “Beautiful Things,” “Seventeener (17th and 37th),” “Metropole,” “The YMCA Down the Street From the Clinic,” “Chapter 13: The Hero Appears,” and “Like A Record Player.”
It was a terrific performance and surely filled fans in the jam-packed venue with much cheer.
Smoking Popes, another adored Chicago band, chose seasonally appropriate walk-on music for this event: the iconic “Linus and Lucy” instrumental by Vince Guaraldi Trio. The band members then kicked off their set, telling the crowd they did not want to “Simmer Down.” That’s good because things were just heating up. The blazing set further included “Let’s Hear It for Love,” “Rubella,” “Megan,” and “Gotta Know Right Now.” Smoking Popes also performed an enchanting rendition of “Pure Imagination.” Leslie Bricusse & Anthony Newley composed that wonderful confection specifically for the classic 1971 film Willy Wonka & The Chocolate Factory. In addition, Scott Lucas of Local H joined the Smoking Popes on stage for “Off My Mind.”
The Brothers Caterer – Josh, Eli, & Matt, along with their “brother from another mother,” Mike Felumlee, once again delivered. This pattern is pretty routine, but their performances never are.
Royal Dog, completing the Chicago trifecta for this evening, gave a high-spirited performance to get the festivities started. Royal Dog, composed of Anthony, Micki, Joey, and Castle, went from a solo project started in 2018 and transformed into a full band in 2023 year. However, the group is certainly leaving a terrific imprint on fan’s senses. This was demonstrated by its high energy set, which included “Pickle,” “Crabbed,” “Worried, Sick,” and “The Deal.”
If you have yet to check the band out, I advise you to do so at your first opportunity. You can thank us later.
The Lawrence Arms‘ Saturday night set was also decidedly non-Grinchy as far as length. It was also rollicking as the band tore through “The Devil’s Takin’ Names,” “Light Breathing (Me and Martha Plimpton in a Fancy Elevator),” “Lose Your Illusion 1,” “Alert the Audience!,” “Recovering the Opposable Thumb,” and “Are You There Margaret? It’s Me, God.”
The Lawrence Arms remains on the nice, albeit a bit cheeky, list. Lumps of coal need not be given to this trio.
American Steel, the only non-Chicago band this weekend, hails from Oakland, CA. Composed of Rory Henderson, Ryan Massey, John Peck, and Scott Healy, American Steel has been together since 1995. This event was special and brought back memories for the quartet, as Healy told me days after the show,
“The whole weekend was amazing. The Lawrence Arms are like our brothers. We did a 42-show tour where we shared a bus and probably knocked a few years off our lives. The weekend was similar. Many hugs, wives, and partners of bandmates getting to see each other after many years, dinners together, seeing so many old fans and friends. It’s why we still play shows.”
The band, presently on Fat Wreck Chords, gave a muscular performance, powering through a set that included “Emergency House Party,” “Dead and Gone,” “Shrapnel,” “Sons of Avarice,” “Mean Streak,” and “Maria.”
I very much look forward to documenting American Steel again, hopefully, sooner than later.
Still Alive played its second-to-last hometown show to kick off night 2 at Metro. After 15 years, the band’s final show is scheduled for Detroit.
The band’s blistering set included “Trials,” “I Quit,” “Make Melodies,” and “Ransom Note. Still Alive also performed a cover of The Killing Tree’s “Switchblade Architect.”
Post-show, Singer Dan Alfonsi reflected on what the weekend meant to the band,
“It was great sharing a stage with Lawrence Arms and American Steel. They were both great. All of us have been listening to Lawrence Arms and their family tree of bands since high school. We’d see a lot of those bands at Metro, so it was awesome being a part of the evening. Hearing them play “Nebraska” was a highlight for sure. Definitely a bucket list show for Still Alive, and it was an honor to play War on Xmas as one of our last shows.“
Alfonsi also told me why he and his bandmates, Mikey Cervenka, Dom Burdi, Ben Standage, and Bryan Schroth, are ready to close this chapter of their musical careers.
“We all play in other bands, and we’ll stay occupied with those. Dominick plays in Beat the Smart Kids, Mikey plays in Radar Waves …[Alfonsi plays in Flatfoot 56 and Cult Fiend]… Ben plays in Blood People and Whipped, and Bryan is a part of Chart Attack. We may or may not have another ska-related band in the works.“
Still Alive will be alive for two more shows: December 27, 2024 as headliner at Cobra Lounge in Chicago, and on December 28, 2024 at Detroit’s The Majestic for Black Christmas.
I have been watching and covering Still Alive for several years. Grateful to the band for the always good time.
The 10th Annual War on X-Mas was, again, a great early gift. Season’s greeting to all and to all, a thank you!
Feature Photo Credit: Jesse Pace The Effigies was one of the pioneering bands in the early Chicago punk scene. On December 20, 2024, the group will headline a show at Metro. The show will celebrate both the new The Effigies album, Burned, and John Kezdy, who passed away during recording. Kezdy died August 26, 2023, […]
The Effigies was one of the pioneering bands in the early Chicago punk scene. On December 20, 2024, the group will headline a show at Metro. The show will celebrate both the new The Effigies album, Burned, and John Kezdy, who passed away during recording. Kezdy died August 26, 2023, days after he was hit by a truck whilst bicycling in Glencoe, IL.
At the show, The Effigies will be supported by The Bollweevils, Ganser, and DJ Joe Shanahan, Metro’s founder/owner. It promises to be both exciting and poignant and will serve as an introduction to the band for many potential new fans.
Ahead of the show, I interviewed The Effigies bass player Paul Zamost. Geoff Sabin, who stepped in on vocals after the death of Kezdy, added his reflections as well.
Dying Scene: What prompted the 2022 return?
Paul Zamost (PZ): In retrospect, we just needed a nudge, I think we all felt we had unfinished business when it came to The Effigies. So during Covid, shortly after lockdown, I got a call from Steve Economou about recording “Guns or Ballots,” and “Everything’s Coming Off” as a side project which I agreed to because I was itching to play anything at the time. But of course, Steve had ulterior motives, and his plan to revive the band was launched, so me and Steve got together to jam and ended writing 4 songs and the ball was rolling.
What went into creating the music for Burned?
PZ:Enter guitarist Keith Shigeta. Keith is a friend of my oldest son Zachary (drums), and they had a metal band called Lost in Blue. They used to practice in my basement, so I was quite familiar with his abilities on guitar, so when the opportunity to have him for play on some recording sessions arrived, we seized on it, his writing and playing contributions to Burned are tremendous, but unfortunately, Keith couldn’t commit to playing shows and is working on his own projects, and hopefully we’ll hear more from him in the future.
Photo Credit: Jesse Pace
Was there any consideration not to continue with this after the loss of John Kezdy?
PZ: Not really, we needed to finish the project the only reluctance was that we had an enormous task ahead of us in doing so,enter Andy Gerber. Andy produced and played guitar on Burned and had taken over on lead guitar, and we had started rehearsing with plans to play shows, so we were already ready on that path, and in order to release Burned, we would need to do shows to help pay for it. Enter Geoff Sabin.
Geoff Sabin: It would be hard for anyone to take over for John – his message, delivery, and conviction in his songs put him in a place all his own. There was certainly hesitation and consideration, but ultimately, I embraced the chance to honor the legacy of The Effigies and make sure John’s words have a chance to be heard.
How did The Effigies come about (for those of a new generation now being introduced to the band)?
PZ:I met Steve and John at a new club called Neo in 1980, and we made plans to rehearse. And after a few sessions, we came up with a song later to be named “Security” with John on guitar, but John decided to switch to lead vocals, and we searched the summer for a guitarist. Enter Earl Letiecq. As soon as Earl plugged in, the search was over. The chemistry was awesome then, and in a matter of 2-3 weeks, we had written our first set, which most of us still play today. We made our debut at a club called OZ in Nov 1980. We recently found a VHS recording of that show, and after having it restored, we are set to debut it on Dec 20th at the Gman[next door to Metro] after the show.
Who were your inspirations for each of you when starting as a musician (whether with Effigies from the start or not)?
PZ: Yes, up til 80,81 punk bands were treated by local promoters as a novelty or a fad that will soon go away, but we helped change their opinion, and we were soon supporting national acts, i.e., The Plasmatics, X, and PIL were some of our first gigs. But the scene was built by many other contributors, most of who were not musicians, and they contributed with fanzines, DIY shows, being DJs and having college radio shows, club owners, but the biggest contribution for us was by Timothy R. Powell, who recorded our Haunted Town and We’re Da Machine E.P.s, and the “Body Bag” single. Those recordings put us on the map.
Was there any sense of legacy building to the Midwest punk/hardcore scene as you were making music and touring at the start?
PZ:Not at the time, especially when we made it out west, and their scene was 100 times bigger. But on the other hand, Kezdy writing, “We’ll be here tomorrow with what we said today,” I consider legendary.
When did you realize or first begin to hear people describing The Effigies as groundbreaking or pioneering?
PZ:Probably in the 90s, when we did a few reunion shows and released Remains Non-Viewable, writers would refer to us as pioneers and a seminal punk band.
Was that exciting to hear, or were there any mixed emotions or self-doubt about it?
PZ: For me, being in The Effigies has always been exciting, full of mixed emotions and self-doubt! But recognition and praise help ease the self-doubt some.
What was it like to start touring with some of the legendary bands in this genre? Any particular stories that stand out as good or bad, ones that make you laugh or groan looking back on them?
PZ: We more or less crossed paths with many now legendary bands but never toured with them, but touring back then was like being pioneers, ’76 Chevy van, no internet, no GPS, no cell phones, etc. Once every road trip, we had to put on a cassette of Jon Wayne’s Texas Funeral, which provided us many much-needed laughs during long drives …yep. The only thing I regret is all the pictures I didn’t take; you never think at the time that the singer from the opening band would be a huge star someday.
Do you have any particular view on why The Effigies have had such an impact on the Chicago scene and are considered legends yet never quite hit that mainstream level of fame?
PZ:Part of our impact is that we helped open doors for bands who, years later, when punk became more acceptable, were able to break into the mainstream. But if we had become mainstream, would we still be considered legends?
Was there ever any frustration or even bitterness watching other bands becoming more famous?
PZ:On the surface, a little bit, but for the ones we came up with, we felt happy for, and I also realize that fame does not equal happiness, and fame may have prevented me from finding happiness elsewhere.
Looking back, are there things you think might have been done better or in a different way that might have had an impact on this? Is that something you even spend time reflecting on?
PZ:We made plenty of mistakes over 4 decades, but you can never know what the outcome of a different decision would have made, so why dwell on it? We just keep moving forward. For me, playing these songs 45 years later is probably more gratifying than they would be had we had more earlier success.
Are there any younger bands in which you are reminded of The Effigies? In which you see yourselves reflected?
PZ:Until recently, we had not played since 2010, and our exposure to newer bands has been reduced significantly, but next year, we should be playing a lot more and seeing a lot of new bands.
Have you been approached by musicians or bands who cite being influenced by The Effigies, and what is that experience like?
PZ:It is always great to hear that when you don’t have the finances to quantify your success, hearing that you influenced others is priceless.
How does it feel to be able to introduce whole new generations of music fans to The Effigies?
PZ: Optimistic! The opportunity to reach listeners worldwide never existed like it does today, and we always felt we would have had greater success if more people knew of us and could find our music. And we have been silent for so long that our social media presence was non-existent, but it’s gaining steam, and a good thing is if new listeners find us from Burned, we have 5 more albums for them to discover.
The show on the 20th promises to be fairly emotional for you and for the fans. What are you looking forward to most about it?
PZ:The show is a crossroads for us, it marks the end of 1 era and the beginning of another. I’m looking forward to introducing Geoff to our fans, who I believe will be easily accepted and admired.
What do you want to convey about and do for John via the tribute?
PZ:Keep his words and our legacy alive.
Was there ever any other venue in consideration, or was Metro just such an obvious one?
PZ: Yes,Metro is where we to play and basically were started back when it was called Stages. Our second gig ever was there, opening for Black Flag. We have had lots of great memories there, and no other venue in Chicago has such a rich history.
I imagine, such as with Pegboy at Metro earlier this year, it will be a bit of a reunion of punk legends on stage and in the crowd. Are there people you expect to see again for the first time in a long while that may be particularly emotional?
PZ: I expect to see a lot of old friends and family as well hopefully, I can engage with them, but more importantly, I hope to see a whole lot of new faces.
Photo Credit by Thomas Economou
It has been a tough several years for the Chicago scene with the loss of not only John, but his brother Pierre Kezdy in 2020 and then Steve Albini earlier this year.
PZ:Yes, indeed, Pierre was one of my favorite people in the scene, his first band, Strike Under, debuted the week before us, and we played with them a lot back then. His loss was greatly felt by many in the Chicago scene and was another factor in The Effigies reuniting,
PZ: Steve Albini’s loss was felt worldwide. We, fortunately, had our 2-inch tapes baked and transferred at his studio 2 weeks before he passed. We had briefly discussed him remixing some of the early stuff. Steve was closest with John Kezdy and has always credited John and The Effigies as the reason he got started in music.
Steve Albini, left, with former Electrical Audio intern Nick Novak. Photo courtesy of Nick Novak
Last year, I spoke with Pegboy‘s Joe Haggerty about his time with John in the Effigies. Among his reflections, he had this to say:
“The coolest thing about punk rock is that I had this cool relationship with this fucking idol of the punk rock scene. I mean, not recognized by the rock and roll hall of fame, but who fucking cares.”
PZ:It’s cool that Joey got to fill in for a while, he got to play the now infamous Green Day show when they were starting out. Pegboy has always had a great relationship with The Effigies, and if all goes well, we may be playing with them in London next summer.
Any advice to musicians just starting out?
PZ: My advice to bass players is to never learn how to set up a drum kit! (rim shot) my advice to bands: I would say have fun because 99% of us won’t make it big. But the experiences you’ll have will make you rich. And never give up your dreams because some come true 45 years later.
Anything else you would you have Dying Scene readers to know about the band and the music, or you want to add about anything at all?
PZ:Thanks to all for writing about us and introducing us to new potential fans who we hope to see on Dec 20th, and for helping keep our dying scene ALIVE!
Burned was released in 2024: Per an official statement from the band:
“Cede The City” is taken from the forthcoming new album BURNED; lyrics in the song refer to the Highland Park shooting incident in July 2022 that original lead singer John Kezdy and his wife were involved in prior to his untimely passing.
In addition to the Chicago show, The Effigies is thus far scheduled to play shows at HQ in Denver, The Whisky A Go Go in West Hollywood, and in Blackpool, UK, at Rebellion Festival. Please check out the respective websites for further information on dates and tickets.
Thanks to Paul Zamost and Geoff Sabin. Dying Scene will see you at Metro.
Additional reporting by Forrest Gaddis. The punk rock community has always been known for giving back. Punk Rock Saves Lives has been one of the leaders in this area. Here’s a guide to some other ways how you can get involved this holiday season, donate, and be inspired to keep it going. Links to the […]
The punk rock community has always been known for giving back. Punk Rock Saves Lives has been one of the leaders in this area. Here’s a guide to some other ways how you can get involved this holiday season, donate, and be inspired to keep it going. Links to the events and charities can be found in the descriptions below.
Punk Rock Gives Back‘s mission statement on its website tells you what it is about upfront and clearly:
“Punk Rock Gives Back supports the causes YOU care about. We are a resource and partner for individuals, businesses, musicians, and artists to develop events and endeavors that serve the greater good.”
On Saturday, December 7, 2024 the group hosts a charity show, from noon to 5 pm at the beloved Alex’s Bar in Long Beach, CA.
There is also the 2nd Annual Ornament Auction, with bidding starting on December 1st at 10 a.m. PST and running through December 7th at 4 pm PST. “Supporting charities chosen by the artists” per the announcement. Among the dozens of creatives involved is Jim Lindberg of Pennywise; Bones Brigade skate legend Urethane founder Steve Caballero, Monkey from The Adicts, actor and playwright John Ross Bowie (TV shows The Big Bang Theory, Speechless, and more) also known for his NYC punk band Egghead; as well as Four Chords and a Gun, Warren Fitzgerald of The Vandals, Chloe Trujillo, Mike Herrera of MxPx, and Stacey Dee of Bad Cop/Bad Cop, Punk Rock Pottery and so many more. If you can make it to the event, great; if not, you can always help online as well.
Filthy Fill’s 20th Annual Punks 4 Tots takes place on December 7, 2024 at Jandro’s Garden Patio in San Antonio, TX. Admission is a $10 new unwrapped gift, or $8 cash at the door. Bands playing the event are FATMD, Brutal Poverty, Brewtality, Inc, Nauscam, Code 88’s, and Zeke The Man Not The Band
Punks for Presents is a punk rock Christmas tradition in Richmond, VA, involving four nights of holiday-themed punk rock and metal bands. Starting December 6th at Wonderland, Black Flake (Black Flag), Steady Diet of Nutmeg (Fugazi), and X-Mas (X) will play. The following night December 7th at the Fuzzy Cactus, Van Hailin’ (Van Halen), Faith Sno More (Faith No More), and the Sharped Dressed Santas (ZZ Top) will play. Both shows are 21+ with a $10 cover charge.
If you are under twenty-one, have no fear, Punks for Presents has some all-ages shows as well. December 13th at the Camel features Imaginary Toys (The Cure), Beastie Toys (Beastie Boys), Snowmen of Death (S.O.D), Snoasis (Oasis), Alice in Candy Canes (Alice in Chains). On the fourth and final night, you can catch the Good Cretins (Ramones), Snow Control (Bad Religion), Something to Write Santa About (The Get-Up Kids), Sleighs the Day (Saves the Day), Sorry Ma, Forgot to Wrap the Gifts (Replacements), A Message To You Rudolph (The Specials) at the Hardywood Park Craft Brewery. These shows also have a $10 cover charge. All profits from doors, donations, and merchandise at these shows are used to purchase presents for hospitalized children in the area. Tickets are available for purchase here.
At San Diego’s Tower Bar, Punk Rock Chili Dog Social will put on a Toy Drive Potluck. They request you bring an unwrapped toy for their donation box to support those in need. The Noise Agents will be playing with support from Andy K of Demob, One Square Mile, Strychnine Ninety Nine, and Halloween Jax. $10 cover and 21+.
Combining KT’s Kids, Liar’s Club, and Off With Their Heads has been a Chicago punk community tradition for several years. They are all back together on December 15, 2024, starting at 6pm. The 8th Annual X-Mas Benefit Taco Party also features Grassface and Wrong War on the bill.
KT’s Kids is all about C.A.M.P. which stands for Children with Adapted Mobility Play.
But if you cannot make it to the actual event you can still donate to this amazing organization on the KTs Kids website.
These are just a few of the events showcasing important causes. Even if you are not able to attend please check out the links in the event descriptions for possible ways to donate. And perhaps there are some similar punk rock events in your own area. Be on the lookout for them. But even if there are not, there are many ways to get involved in your community, music-related or not. One thing is for sure, there are few things more punk rock than caring for each other
The Slackers returned to Chicago once again to host another Slackfest at Reggie’s. The NYC legends headlined both nights and brought along some friends for the fun. Night 1, the band was supported by Todd Hembrook from Deal’s Gone Bad and The Hemispheres, Meskales, and Danny Rebel & The KGB. Night 2 support came from […]
The Slackers returned to Chicago once again to host another Slackfest at Reggie’s. The NYC legends headlined both nights and brought along some friends for the fun. Night 1, the band was supported by Todd Hembrook from Deal’s Gone Bad and The Hemispheres, Meskales, and Danny Rebel & The KGB. Night 2 support came from the Operators, Rude Girl Revue, and a solo set by Danny Rebel.
The Slackers have been playing great ska, reggae, and soul for more than three decades. The NYC legends have hosted Slackfest in Chicago for 7 years. It is arguably the most eagerly anticipated event for Chicago area ska fans and many others who travel to the Windy City to attend this annual weekend.
Frontman Vic Ruggiero, on organ and guitar, shared vocals with trombone player Glen Pine. Saxophonist Dave Hillyard, Bass player Marcus Geard, Jay Nugent, on guitar, and drummer Ara Babajian completed the powerhouse sextet.
The Slackers started the revelry with “Don’t Forget The Streets.” The extensive set also included “I Still Love You,” “Old Dog,” “Pick and Choose,” “Married Girl,” and “Wasted Days.”
Ruggiero and Hillyard performed a delightful cover of the Louis Prima classic “Just A Gigolo.”
The Slackers never disappoint the long-time fans and bring new ones into the fold with each performance.
Meskales, from the capital city of state next door jumped into its high-energy set immediately. The Madison, WI crew blasted through a set that included “Enfermo Ska,” “Guerra Fría,” “1312,” “El Muro,” “Skawboy,” and “Mis Amigos.”
A few days after the show, singer Salvador Luna described to me what it meant to participate in the weekend,
“Playing at Slackfest was so much fun! We can’t wait to do it again. It was an honor to share the stage with The Slackers”
Meskales serves up some great Spanish language ska. Whilst it’s great to know the language, it’s not a necessity. No matter what language you speak, this band will have you skanking and grooving from the first note played. But yeah, being bilingual is always the way to go if possible.
Montreal, Canada’s Danny Rebel & The KGB made its Chicago debut at Slackfest 2024. The band engaged the crowd from the jump and found itself receiving a warm welcome on this cool Friday evening.
The breezy set included “Spiral Eyes,” “You Must Learn,” “Mad Man,” “Chew Toy,” and “Fire.”
Slackfest meant double duty for frontman Danny Rebel. He also played a nifty solo set on Saturday.
After the weekend, Rebel recalled the experience for me,
“The show was a lot of fun. It’s always good to play a city we haven’t played before. Always honoured to directly support our heroes, The Slackers. We opened for them a few times since 2008. Also, really appreciate Reggie’s crew for their accommodation and making sure our cups were always full.“
Todd Hembrook of Deal’s Gone Bad (DGB) and The Hemispheres returned to his one-time city with two former bandmates: Keyboardist Anthony Abbinanti of the former and T.J. Annerino of the latter on bass. Hembrook’s deep, soulful voice was warmly welcomed by many of his friends and fans in attendance. Among those were Tony Duggins of The Tossers and Dave Simon of The Crombies and Anger, as well as Hembrook’s bandmate in DGB.
Hembrook, Abbinanti, and Annerino played a tight but powerful set with “California & 26th,” “Things Are Gonna Get Better,” “Enjoy The Ride,” “The Liar & The Thief,” “AZ Plates,” “Put On Your Coat,” and “Movin’ On.” That last tune was from Hembrook’s DGB days.
Hembrook now lives in Northern Kentucky, “…literally right across the river from Cincinnati,” as he told me. However, the Chicago music community will forever claim Todd Hembrook as one of its own.
Prior to its second regular set of the weekend, The Slackers performed in a more intimate setting. On the floor level of the venue, mostly known for hosting comedy nights, the band mixed storytelling and song for a nice precursor to the final set of the weekend.
Closing out the event, The Slackers truly delivered with a set including “Keep Him Away,” “Watch This,” “Don’t Let The Sunlight Fool Ya,” “Cooking For Tommy,” and “Sarah.” Ruggiero also performed an acoustic version of “The Happy Song.”
For those on stage and those in attendance, this was a pretty happy weekend. Well, at least while the music flowed.
Rude Girl Revue is a supergroup composed of members from such bands as Hub City Stompers, The Scotch Bonnets, Stop The Presses, The Skluttz, and others.
My first impression of the band was to imagine a ska musical version of “A League Of Their Own,” with the matching baseball jerseys. But Rude Girl Revue is in a league of their own for sure on stage and as nearly a dozen members tore through a rollicking set including “Rude Girl Shake,” “Lioness,” “Get a Grip,” “Behind Every Santa, there’s a Mrs. Clause,” and “Slay Belles.”
Belles were slayed but so too was the stage. Give me more of this Rude-ness! If you are in the Baltimore, MD area you can check out Rude Girl Revue at Metro Baltimore on December 13, 2024.
The Operators, from eastbound and down from Chicago, are vets to the Reggie’s Rock Club stage. Hailing from Indianapolis, IN, The Operators hit the State Street venue with a very rambunctious set including “Better Off Alone,” “Don’t Do Me Dirty,” “Waste My Life,” “Ain’t It Obvious,” and “Catfished.”
Both Reggies and The Slackers hold a special place in the heart of The Operators frontman Brandon Sanders. He has played the venue four times thus far: three times as The Operators and once as Brandon Sanders and Friends.
As for The Slackers, Sanders estimates that he’s shared a bill with the group “about 15 times thus far.”
Vic Ruggiero is a mentor of sorts to Sanders and was the one who prompted the Indy-based musician to start The Operators in 2018. Sanders described to me the origin of his friendship with Ruggiero,
“We met in 2015. We immediately got along so it was quick getting him down to Indy. I started booking The Slackers in Indianapolis in 2015, and he would crash at my place. Vic is definitely a friend first, then mentor. He has sound advice.”
The Operators return to Chicago on December 28 for Mustard Plug’s Home For The Skalidays 2024. The event takes place at the Bottom Lounge and sounds like a great way to close out this crazy year.
On Thanksgiving eve, I asked Vic Ruggiero what Chicago means to him and The Slackers. Reflecting on it, he had this to share:
“So, Chicago has always been a great scene for us, they were the first of a few cities that really welcomed us early on in the 90s. I’ll never forget them singing our lyrics with us from the first record at Fireside Bowl…and that place and others often had DJ nights before or after the gigs, so I’d meet folks…after parties… the local bands and guys like Chuck Wren did a lot to keep a thriving local scene… And cuz Chicago is a touring hub, we’d often be on a bill with bands from all over that I was curious to see anyway… so it was a show for me, too..with our own Slackfest gigs we try to invite em! Seems the Rust Belt was always our bread and butter for years… a close drive from NYC and tons of gigs between Ohio, Indiana, Michigan… PA, Western NY, Toronto included, and Chicago is in the middle of all that… there’s folks from Iowa, Nebraska, Minnesota, Missouri, and Wisconsin too… places we don’t go often enough cuz we make big circles these days… It used to take us a year to get back everywhere, now it’s 2 at least, and some we’re lucky to get to every 3-5… or 10 like Omaha!! so having these congregation spots like Chicago or Austin makes it so we can stay in touch with folks. I love touring so I go out solo or with a small group to lots of places, but the Slackers is 6 guys, 8 people total, that gotta drive, fly, sleep… staying somewhere for a weekend is like the old jazz bands that’d play weeklong stints… and we get to play more variety of songs cuz we don’t wanna repeat stuff. We do that when we play shows near each other, too, for the folks that come to more than one. Plus, Chicago lets us do that nerdy storytelling behind the songs afternoon, which is demented for the band cuz we never talk about that stuff, even with each other…“
Slackfest gets better each year. We at Dying Scene are already waiting eagerly for the 2025 date announcement. We’ll see you there! Thanks, and Cheers!
Just days after the Presidential election, more than a few of us were looking for a pleasant distraction from the results and the unending post-mortems that followed. Duff McKagan, of the legendary rock band Guns ‘N Roses, made a solo stop on his Lighthouse Tour, at one of the newest Chicago music venues, Outset. He […]
Just days after the Presidential election, more than a few of us were looking for a pleasant distraction from the results and the unending post-mortems that followed. Duff McKagan, of the legendary rock band Guns ‘N Roses, made a solo stop on his Lighthouse Tour, at one of the newest Chicago music venues, Outset. He brought along Lee Ving, founder of the famous/infamous band FEAR, performing under the Range War moniker. This was a little bit different from what we at Dying Scene usually cover. Different but good. It served well as that aforementioned much-needed distraction.
Before helping found the legendary rock band Guns ‘N Roses, Duff McKagan was known for his work in the Seattle punk bands The Fartz and Fastbacks.
On his Lighthouse tour, McKagan brought an optimistic feel to the venue just days after the dramatic national news. But he was not up for anything heavy. At one point, McKagan thanked the crowd members for taking time to be there together, noting the varied professional and personal lives of the fans. It was a much-needed night of lightheartedness backed by really good music.
The set included “Forgiveness,” “Chip Away,” “This Is the Song, “I Saw God on 10th St.” He also was joined on stage by FEAR frontman Lee Ving at one point, as the two performed “All Turning Loose.”
It was a set that spanned various genres and years, covering numerous iconic songs. These included The Stooges’ “I Wanna Be Your Dog,” Johnny Thunders’ “You Can’t Put Your Arms Around A Memory,” “I Fought The Law” by The Crickets, and David Bowie’s “Heroes.” Of course, he covered his own most famous band, Guns ‘N Roses, performing “You’re Crazy.”
The evening was a pleasant one. For the large number of fans wearing G ‘N R shirts, a great opportunity to see one of their favorite rock stars in an intimate setting. That’s not a bad way to end such a tumultuous week.
It might come as a surprise to some Lee Ving, founder of the infamous punk band FEAR, has a country band. It sure was to me. But Ving, with his FEAR bandmate Frank Meyer, took the stage as Range War. Ving brought his still fierce vocals, his guitar, and a harmonica to a laidback setting. It was an engaging set, which included not only songs off Range War’s 2014 album Home On The Range but also the FEAR hits, “I Love Living In The City” and “I Don’t Care About You.”
Ving and Meyer also just dropped the final FEAR album recently. The Last Time was just released by Atom Age Industries/FEAR Records. Here’s our review from earlier this month.
This was the first time Dying Scene has covered a show at Outset. The West Town neighborhood venue is a new addition to the Chicago music scene. With dark wood accents and clean lines, it has a modern yet warm and cozy feel to it. Fans can enjoy the shows from the ground floor or balcony, and each level is equipped with a bar. The sound quality was also pretty terrific. The venue also has a large patio area, which I imagine is quite lovely on warmer evenings. I look forward to covering more shows at Outset for Dying Scene.
Manchester, England was represented big time in the Uptown neighborhood of Chicago. The Riviera Theatre hosted The Smith’s co-founder Johnny Marr and his co-headliner James. It was a great show, made a bit greater because the venue is within walking distance of my home. Johnny Marr co-founded The Smiths with Morrissey in 1982 in Manchester, […]
Manchester, England was represented big time in the Uptown neighborhood of Chicago. The Riviera Theatre hosted The Smith’s co-founder Johnny Marr and his co-headliner James. It was a great show, made a bit greater because the venue is within walking distance of my home.
Johnny Marr co-founded The Smiths with Morrissey in 1982 in Manchester, England. The two were songwriting partners, and though the band was active for five years, it left behind a massive legacy.
Marr will also leave a formidable legacy as a solo artist. This was apparent by his performance at “The Riv” on a mild Thursday evening. He spent much of the time at the edge of the stage and sprinkled in some light bantering with fans.
His searing guitar playing, with extended solos, was intense but not ostentatious. It was non-verbal poetry.
The set list was pretty well-balanced between The Smiths tunes and Marr’s solo work. Amongst the latter: Marr performed, “Panic,” with a bit disdainful glee as he sang the lyrics “hang the dj,” repeatedly. With a mischievous grin Marr informed the audience, “We don’t do freedom rock in England, we do the opposite,” before launching into a spirited version of “This Charming Man.” “Please Please Please Let Me Get What I Want,” was gently pleading and poignant.
Marr kicked off the show with a lively rendition of “Armotopia” and was mesmerizing with “Spirit, Power, and Soul.” There was also a cheeky version of Electronic’s “Getting Away with It.” Electronic is one of Marr’s bands, with the other members being Bernard Sumner from New Order and The Pet Shop Boys’ Neil Tennant. The tune is a sly, though unsubtle, roasting of Morrissey’s perceived melancholy posturing.
“I’ve been walking in the rain just to get wet on purpose I’ve been forcing myself not to forget just to feel worse I’ve been getting away with it all my life (Getting away)“
Marr ended the evening with a two-song encore. The first was an exuberant cover of Iggy Pop’s “The Passenger.” He was joined by James’ frontman Tim Booth, with Booth handling lead vocals.
Finally, “There Is A Light That Never Goes Out’ was also a duet of sorts. Or rather a call and response as Marr sang the eponymous lyrics and turned the microphone so the very enthusiastic crowd could sing the same words.
But the very first words of that tune perfectly fit the mood,
“Take me out tonight Where there’s music and there’s people“
It was a great night for both.
Marr’s fellow Mancunians in James were transcendent. Singer Tim Booth, clad in a loose white shirt with flowing blue pants, was alternatively in perpetual motion during some songs, sinuously dancing about the stage, or in meditative stillness during others. Often both modes during the same song. Booth utterly captivated those in attendance while leading his incredibly talented bandmates through an amazing set which included “Out to Get You,” “Stay,” and “Mobile God.”
This set includes the heart-rending “Moving On.” Booth recalled to the audience how being able to be with his mother as she passed away was a beautiful experience. It’s a subject he’s touched on numerous times in interviews, describing death as a sort of rebirth. The song, along with its official music video, is in equal measure, full of sorrow and peaceful catharsis:
“I’m on my way Soon be moving on my way Leave a little light on Leave a little light on.”
Booth’s performance reached greater heights during “Getting Away With It (All Messed Up).” Quite literally, as he scaled the wall at stage right, climbing into the first opera box to momentarily sing and dance with fans seated there. He then moved up onto the second and third opera boxes, doing the same before finishing up on the balcony. It was a little nerve-wracking to see the singer standing partially on the edges of these areas. Indeed, Booth could be seen testing the railing, checking for possible looseness, of the first opera box before committing to the move. Thankfully, sometimes, with the help of fans who often but not always held his hand during these moments, he made it down back to the stage safely.
And though the tune’s name is similar to that of the aforementioned Electronic song, it is quite different.
“We’re getting away with it All messed up Getting away with it All messed up That’s the living.”
James finished out its set with a rousing rendition of its biggest international hit “Laid.” The infectious beat, the wonderous falsetto, and the sometimes relatable lyrics (if not literally, but in spirit) all combine to make it so good. The song’s narrator acknowledges a toxic relationship, and his inability to leave is confirmed in its closing moments.
“You’re driving me crazy When are you coming home?“
The song was a massive hit when first released in 1993. It later became known to a certain demographic as the theme song to the American Pie movie franchise.
And in 2024, it was again sent out into the public conscience for new fans to be created. SPOILER ALERT (but it has been out for many months so come on…) In one of the final scenes in the season 3 finale of the critically acclaimed and award-winning Chicago set television show, The Bear, the song is blasted during a party in which the characters dance together joyously. Yes, I did mean to use the word joyously when describing a scene from The Bear.
The comments from the official video posting on Youtube are further testimony to the the power of movies, shows, and social media to bring beloved songs to whole new generations. Or remind those of us who immediately loved it why we still do and always will.
Without a doubt, this was one of my very favorite shows to cover for Dying Scene in 2024. I hope to see both sets of musicians back in Chicago sooner than later. Ideally sharing the bill again. I hope everyone gets that opportunity.
Rain had been predicted for several days in the week before the start of Riot Fest 2024. The first two days of the festival were sweltering but dry. Sunday morning, however, was greeted by heavy clouds and a torrential downpour. This meant gates had a delayed opening, and some of Douglass Park was taped off. […]
Rain had been predicted for several days in the week before the start of Riot Fest 2024. The first two days of the festival were sweltering but dry. Sunday morning, however, was greeted by heavy clouds and a torrential downpour. This meant gates had a delayed opening, and some of Douglass Park was taped off. As a result, we at Dying Scene had a lighter day. But sets from Laura Jane Grace & Catbite performing Operation Ivy, The Vandals; and Pennywise more than made up for the muddy grounds and having to carry a bunch of plastic bags in case camera gear needed covering. Read all about it and check out the galleries linked from Instagram below.
Laura Jane Grace & Catbite performing a full set of Operation Ivy tunes? Umm, hell yeah. I know I’m not alone in that thinking after seeing the Riot Fest 2024 lineup. The fabulous Philadelphia ska outfit Catbite joined the dynamic Laura Jane Grace as the rain began to ease up, and the result was jaw-dropping. “What’s up Riot Fest?” asked Laura Jane Grace. Grace followed it up with this pledge:
“We’re going to do as many of these songs as we can.”
Rolling from one tune to another they did get to perform quite a few. Highlights of the exuberant set included not only the classic “Take Warning,” but also “Bombshell,” “Unity,“ and “Missionary.” It ended with the defiant “Officer.”
Together, Laura Jane Grace & Catbite might not be on their “way to save the world.” However, they brought a lot of unity to the festival grounds, renamed four years ago in honor of legendary abolitionists Frederick And Anna Murray Douglass. There is something pretty poetic and pretty punk rock in that. Check out more pics!
Orange County, CA icons, The Vandals attacked the stage in a most impish manner. For those uninitiated, most band members decked out in more subdued tones. Not guitarist Warren Fitzgerald, in his vivid yellows and oranges. Wearing bright colors is part of his modus operandi.
Per usual, the ever-limber Fitzgerald was a photographer magnet. Twisting himself into poses that seemed painful to even look at, he provoked a fist bump and this exchange with lead singer Dave Quakenbush:
DQ: “That was rad Warren dude, you still got it.”
WF: “I got hurt…almost hurt so many times.“
DQ: “And then you pulled it off, you looked cool.”
“WF:“I’m not hurt yet.”
DQ: “You looked really good doing it too.”
WF:“Thank you.”
Quakenbush, Fitzgerald, bass player Joe Escalante, and drummer Josh Freese played a rollicking set which included “Café 405,” ”Cowboy,” “It’s A Fact,” “N.I.M.B.Y.,” and “Anarchy Burger (Hold The Government.)”
As hoodie weather sets in, with the holiday season in the not-too-distant future, I look forward to blasting some “Oi To The World” on the regular. Lots more pics here.
Pennywise, my final set of the weekend, was an interesting experience. It seems appropriate that it was the penultimate band at the NOFX World Stage before NOFX played Riot Fest for the final time. For at least most of the photography allotted time, there were only two shooters in the photo pit. Perhaps due to Rob Zombie having a competing set, The other photographer informed me he was shooting for himself. With four cameras on his person, he jokingly acknowledged reminding people of the Dennis Hopper character in Apocolypse Now. A much nattier version, though. I also wondered which of the two of us, Pennywise singer Jim Lindberg would borrow a camera to take a photo of the crowd. It’s something I have seen him do in the past, but this afternoon, it was all about the music.
While the photo pit might have been a bit barren, the crowd was not. Whether the RF attendees were there for NOFX or Pennywise, or most likely both, did not matter. The Hermosa Beach, CA legends delivered a fusillade of songs starting with the recalcitrant “Fight Till You Die.”
Lindberg then looked to the sky, observing that “The clouds have parted for Pennywise, thank you very much Jesus.”
Pennywise also performed robustious versions of “Date with Destiny, and “Fuck Authority.” Fletcher Dragge prefaced that latter tune with a speech he described as the same one he’s been giving “for the last fucking 20 years.” But this has a special timeliness to it as he spoke to the crowd,
“Election year motherfuckers, who you voting for?”
Dragge was apparently pleased with the crowd’s response, continuing with, “A lot of boos, that’s good, that means you hate everybody right? That’s a good place.”
After adding that “they’re all motherfuckers, both sides are fucked,” and assuring everyone that “We’re all in this together,” the band launched into a ferocious version of the aforementioned “Fuck Authority.” It was a powerful battle cry and a much-welcome one to many of those on the lawn and surrounding the band on stage.
Pennywise also had a bit of fun covering just under a minute of NOFX’s “Bob.” The band ended with “Bro Hymn,” joined up front by all the friends, family, and fans watching the sides and rear areas of the stage. It was an exceptionally festive moment.
I know I’m amped up for the next chance to shoot this band. You wanna borrow my camera, Jim? Check out a bunch more pics of the PW set here!
You can again peruse Days 1 and Day 2 if the mood hits.
Once again, covering Riot Fest was abundantly fun, though extremely exhausting. And by the end of the festival I cannot wait to tear off the wristbands that tickled my skin all weekend long (I save them as mementos). When everything is complete I can finally breathe a sigh of relief. DONE!
Riot Fest Day 1 was hot, and Riot Fest Day 2 was even hotter. A virtual scorcher, weather-wise and musically, DS hit the photo-pits for The Hives, The Dead Milkmen, Sincere Engineer, Descendents, and D.O.A. as they tore up the stages in Chicago’s Douglass Park. You can see additional day 2 band galleries on Instagram […]
Riot Fest Day 1 was hot, and Riot Fest Day 2 was even hotter. A virtual scorcher, weather-wise and musically, DS hit the photo-pits for The Hives, The Dead Milkmen, Sincere Engineer, Descendents, and D.O.A. as they tore up the stages in Chicago’s Douglass Park. You can see additional day 2 band galleries on Instagram via hyperlinks in the corresponding paragraphs below.
One of the most eagerly anticipated sets on the second day of this year’s Riot Fest was from The Hives. The matching and sharp-dressed Swedish punks exceeded all expectations with a ferocious performance from the first note played. With various band members sporadically taking their places on the giant speakers in front of the stage and with the lead singer “Howling” Pelle Almqvist moving to sing at the barricades and above the fans, the photo pit got a bit chaotic. It was so chaotic (please note, though not out of control) that we shooters were instructed to exit just seconds into the third song. One fellow photographer joked after that if you could not get a good photo within the first minute of that set, you shouldn’t be shooting Riot Fest. Indeed, The Hives set was the epitome of the performances upon which we concert photographers thrive.
Included in the raucous set were the songs “Bogus Operandi, “”Rigor Mortis Radio,” “Walk Idiot Walk,” and “Hate To Say I Told You So.” “Countdown to the Shutdown” was the last song played by The Hives but it wasn’t the last song heard. While lots of bands have walk-on music, The Hives also has a walk-off songs. In this case, Carly Simon’s “Nobody Does It Better,” which, f.y.i., is the theme song to the 1977 James Bond film, “The Spy Who Loved Me.” Band members bowed and waved as the iconic American singer-songwriter’s voice wafted gently from the speakers. More than a few witnessing The Hives’ Riot Fest performance might argue that nobody did it better, at least not on this day.
The Dead Milkmen took the stage a few minutes ahead of time, catching us shooters and those letting us into the photo pit a bit off guard. It was all good, though, as we were given a bit more time to make up for it. The Philly outfit brought its legendary tongue firmly in cheek. The exuberant set included some of the band’s best songs, including “Serrated Edge,” “Punk Rock Girl,” “Bitchin’ Camaro,” and “Big Lizard.”
The Dead Milkmen also performed “Grandpa’s Not a Racist (He Just Voted for One),” off the band’s 2023 album Quaker City Quiet Pills. The lyrics to the song and the fact it was released just last year, make it hard not to think of a certain segment of the voting population in this election year, and of a certain 2024 Presidential Candidate.
They’re coming for his Jesus They re coming for his gun They’re coming for his Jesus There coming for his gun They’re coming for his Jesus They’re coming for his gun Grandpa’s not a racist – he just voted for one
Grandpa’s screaming something about white genocide as he crawls under the bed looking for someplace to hide He talks a lot of bullshit when he’s hittin’ the rum But we know Grandpa’s not a racist – he just voted for one.
Last night we found Grandpa wandering the streets Whistling Dixie and wearing a white sheet Letting everybody know He won’t be replaced by the Jews and we said “Oh, Grandpa, who could ever replace you”
Do you know a racist Grandpa? You see one every day He wonders why the N-word is something he’s not allowed to say and while he’s the worst person under the sun We all know Grandpa’s not a racist – he just voted for one.”
The Dead Milkmen set was the one I knew I would not miss at this year’s Riot Fest. I enjoyed interviewing Joe Jack Talcum and covering and documenting the band’s delightful set at House of Vans several years back. I hope to document as many more The Dead Milkmen shows as possible because I’m kind of a punk rock girl who has had the pleasure of riding in my friends’ Bitching Camaro on numerous occasions.
Sincere Engineer is most often described as a stage moniker for singer/rhythm guitar player Deanna Belos in her sole work. But it has also been described as a band, including by Belos herself on occasion. Whatever its most accurate characterization, if there indeed is one, Sincere Engineer has been a Dying Scene favorite pretty much since its debut album, Rhombithian.
Of course, one of the big reasons is Belos’ smartly charming and self-deprecating songwriting. She is unafraid to wear her often aching and/or longing heart on the short sleeves of her black Carhartt t-shirts nor is she wary of letting you know this is the case. The first song the band played “Anemia” perfectly illustrates this
I’m a walking open wound Don’t make any sudden moves I’m a walking open wound It’s a pleasure to meet you
Aware of this, it is unsurprising the group’s walk-on music is the classic instrumental version of the Johnny Mandel theme from M*A*S*H*, also known by its official song name “Suicide Is Painless.”
However, the joy she and her bandmates, Kyle Geib on lead guitar, Nick Arvanitis on bass, and drummer/back-up vocals Adam Beck display whilst expressing sometimes heavy emotions is infectious.
Also included in the roaring set “Dragged Across The Finish Line,” “Corn Dog Sonnet No. 7,” “Old Coat Pocket,” and “Overbite,” among others.
Sincere Engineer is currently on the road in the western part of the United States, supporting New Found Glory’s Catalyst 20 Years Later Tour. To say this is a dream come true for Belos’ might be a bit of an understatement. Speaking to her from said road, Belos’ described to me what it has been like.
“It’s such a blast being out on tour with New Found Glory! They’re so nice, and the shows have been incredible! They were my first favorite band, so it’s been awesome to get to know them and see them every night!“
Riot Fest’s regular rotations include numerous members of the “Punk Rock Docs Club” including Bad Religion’s Dr. Greg Griffin, PhD; Dr. Daryl Wilson, MD of The Bollweevils; Dr. Dexter Holland, PhD of The Offspring, and of course, The Descendents‘ Dr. Milo Auckerman, PhD. The latter two were on stage in Douglass Park this year. Dying Scene was able to hit one of those sets.
After taking the stage Guitarist Stephen Egerton gestured to its side area to give a shoutout to skateboarding legend Steve Caballero, whose own band, Urethane, also played Riot Fest 2024. The Descendents launched into its performance. The frenetic and extensive set included “The Only One,” “Silly Girl,” “Clean Sheets,” “Look Good On Paper,” “I’m The One,” and “Suburban Home.”
If the Descendents were offered an annual residency at Riot Fest, few would likely complain.
D.O.A. is still alive and killing it. The only member of the band from start to present, singer Joey “Joey Shithead” Keithley, told the audience that the band has been around for 47 years and added, “I’m in the middle of my third life sentence but don’t worry I can do the fucking stretch. I’m ok, I can do it.”
The band made a strong case for never retiring with its powerful set. Two of the highlights were blistering performances of “Smash The State,” and “The Enemy.”
D.O.A. was recently on the bill for NOFX’s final show. They have a couple of Pacific Northwest shows scheduled in November 2024, providing direct support for Duff McKagen. Check them out if you can!
Day 1 of Riot Fest 2024 kicked off on a hot Friday morning. Festival organizers announced a few months back that the annual weekend Chicago event would be moved to the nearby suburbs. That caused a bit of a kerfluffle, with some applauding the move, and some vehemently opposed to it, often depending on where […]
Day 1 of Riot Fest 2024 kicked off on a hot Friday morning. Festival organizers announced a few months back that the annual weekend Chicago event would be moved to the nearby suburbs. That caused a bit of a kerfluffle, with some applauding the move, and some vehemently opposed to it, often depending on where those reacting lived. But in the end, the festival once again took place at Chicago’s Douglass Park.
While change-ups and new offerings are an annual occurrence, this year, there were more than in past years. This included the renaming of some stages, as well as the change of location for at least one. The carnival rides were still on-site, as were the wrestling ring, skate ramp, and Wedding Chapel. That last feature was, this year, in an enclosed Church like structure (offering softer, better lighting for photographers) in a new area called Riot Land. In Riot Land, attendees were treated to, among other things, a version of Logan Arcade, a Riot Fest history museum built into an homage to the iconic Fireside Bowl and a convenience store. There was also the Strip-o-Rama and Helzapoppin’. Though this may seem a lot, I am sure I have missed a thing or two during my time on the event grounds. Aslas, hooting from the photo pits again this year kept me away from partaking in many of the aforementioned sites. Perhaps next year, when my fellow Dying Scene Team Chicago member Mary Sunde is in the photo pits again and I am documenting the “Characters of Riot Fest.
.Riot Fest also served as the Chicago send-off for NOFX, now on its Farewell Tour. The band headlined all three nights of the festival. I was there for its Night 1 set, which took place on the stage named in its honor, NOFX World Stage. The band came onto the stage doing the Time Warp from the Rocky Horror Picture Show. Mike “Fat Mike” Burkett spent a few minutes joking with the massive crowd on the grounds and a significant number of fellow musicians flanking the band just off the performance area of the stage. Finally, the band kicked off a generously long set, which included “Backstage Passport,” “Don’t Call Me White,” “Franco Un-American,” “Idiots Are Taking Over,” “Timmy the Turtle,” “Linoleum,” and “Six Pack Girls.” It was a raucous set, demonstrating that NOFX is still able to bring the energy.
Of course, Burkett kept the jokes going throughout the set, telling Chicago “you’re the biggest city in Illinois.” Poking fun at the crowd members he told them they looked old and that fellow headliners Fall Out Boy were probably telling the crowd they looked young, throwing sly shade to FOB’s lead singer. That was followed by provocative references to Israel and God (Burkett has been described as a Jewish Atheist) prompting Eric Melvin to interject with, “That reminds me of the next song we should be starting right now.” Burkett assured his bandmates that “…I can’t get canceled again, it’s only six more shows,” adding that “whatever I say on my fucking golf course I can’t get in trouble for,” to which Melvin replied, “Look, in like ten years you’re going to care, I swear.”
All par for the course for a NOFX set and one the fans relished. It was also obviously emotional for more than a few of its most ardent fans, many of whom were seeing their beloved group for the final time. If providing closure to its fans was in order, NOFX served it up marvelously and gave them a particularly lasting memory among years of lasting memories.
As is always the case, there are conflicting sets, and choices need to be made. Shooting The Warning was one of the best decisions of the weekend. It’s a propulsive sister-punk act out of Monterrey, Mexico. You might say that the family that plays together stays together (and slays its performance together as well). Blasting through the set, The Warning introduced itself to the Riot Fest crowd in an explosive way, and the crowd loved it. Spotted just beyond the barricade, a fan was swelling with pride as he waved a large Mexican flag during a set which included “S!ck,” “Qué Más Quieres,” “Six Feet Deep,” “Hell You Call A Dream,” and “Automatic Sun.”. The only warning I can give about this band is you may regret missing your chance to catch this band.
New Found Glory made Riot Fest a stop on its “Catalyst 20 Years Later Tour.” The Riot Fest performance was listed as a non-Catalyst setlist. Of course, the band still roared through some of the album’s tracks including “Downhill From Here,” “Truth Of My Youth,” and “Failure’s Not Flattering.” NFG also treated the crowd to “Something I Call Personality,” and “Head On Collision,” from Sticks and Stones. There was a celebratory feeling both on stage and in the crowd. Two decades later, NFG continues to go places, downhill not being one of them. New Found Glory resumes its tour, with special guest Sincere Engineer, on October 11, 2024, in Dallas, Texas.
One of the first bands to kick off Riot Fest weekend delivered a wallop. Winona Fighter, out of Nashville, TN, whipped through a high energy and fun set which included “Hamms In A Glass,” “I Think You Should Leave,” “I’m In the Market To Please None,” and “You Look Like A Drunk Phoebe Bridgers.”
Post-RF, the band is scheduled to play Aftershock in Sacramento, CA on October 11, 2024, and Ceremony Festival in Nashville, TN on December 14, 2024.
Three members of The Descendents, ALL sans Milo Aukerman (yeah, I had to), pulled double duty during Riot Fest 2024 weekend: Stephen Egerton, Karl Alvarez, and Bill Stevenson, with Chad Price on lead vocals. Riot Fest veterans, The Circle Jerks, The Exploited, and The Lawrence Arms, were back and very welcome, delivering terrific performances.
Great music and strong performances on the first day of Riot Fest made roasting under the sun a bit more bearable than it might otherwise have been.
Be on the lookout for my Day 2 and Day 3 coverage as well as the take from my fellow Dying Scene Team Chicago member Mary Sunde. You can also head to our IG thread to see more shots from Day One!
