Authority Zero, the Mesa, Arizona skateboard punk group returned to Chicago on September 28, 2002, headlining at Reggie’s Music Joint. Playing in support were the Blue Island hardcore band Nightcap and the Second City ska/punk band Beat the Smart Kids. Chicago’s Beat the Smart Kids is patched together with former and current members of Waste […]
Authority Zero, the Mesa, Arizona skateboard punk group returned to Chicago on September 28, 2002, headlining at Reggie’s Music Joint. Playing in support were the Blue Island hardcore band Nightcap and the Second City ska/punk band Beat the Smart Kids.
Authority Zero, whose sound is a fusion of skate punk and reggae, has been around since 1994 and has cycled through lot of personnel changes. With its current lineup of Jason DeVore on lead vocals, Mike Spero on bass, Chris Dalley on drums, and Brandon Landelius on guitar, it continues to be fun to watch. The midweek show at the smaller of Reggie’s two music rooms provided so much entertainment it had the small but enthusiastic crowd dancing and singing along.
Chicago’s Beat the Smart Kidsis patched together with former and current members of Waste Basket, The Indecisives, Still Alive, and The Damn Tracks. The ska/reggae group features not one by two sax players who seem to be the engine of the band. However, the whole group works well in conjunction and is a good complement to this night’s headliners.
Nightcap, skate punk from southside Chicago’s Blue Island, kickstarted the show with a hard-charging set. Bass player Chris Cope (Copoulos) is a leader in the Windy City hardcore scene, and is often seen making the rounds at the local punk and rock clubs with Nightcap, Fighting For Scraps and Fear City. He and his bandmates powered through their set list with sans a trace of slowing down. Nightcap was a great choice to set the tempo for a the show looking to give fans a midweek respite to get them through to the weekend.
Chop Shop in Chicago was the site of a kick-off for September live music. The Windy City’s own Apocalypse Hoboken headlined the bill after having pull out of their show there earlier this summer due to a positive Covid case. Joined by three other Chicago area bands, it was well worth the wait to see […]
Chop Shop in Chicago was the site of a kick-off for September live music. The Windy City’s own Apocalypse Hoboken headlined the bill after having pull out of their show there earlier this summer due to a positive Covid case. Joined by three other Chicago area bands, it was well worth the wait to see Apocalypse Hoboken take the stage once again.
Chicago’s Apocalypse Hoboken, whose first incarnation began in 1987, played at Chop Shop on September 2, 2022. It’s still playing shows but with a wink to the members’ ages perhaps, an AARP sticker was spotted on one of the amps. Nonetheless, AH shows are still a blast and these recent one was no exception. Wearing a needed eyepatch over his left eye, and a Hawaiian style shirt, Apocalypse Hoboken lead singer Todd Pot bounded onto the stage and wasted no time hitting top speed. However, even before he sang the first note, the band wanted to ensure that crowds members could sing along. Band members handed out folders full of pages with AH song lyrics on them. It was reminiscent of a first day of high school choir practice, or for me, middle school band practice for this former Alto Sax player. Of course, it also alleviated the need for sweaty, exhausted but satisfied fans to grab for an often wrinkled and torn set list post-show. Complementing Pot’s energy were the animated expressions on the face of guitar player Scott Hoffman. Sean Seeling, also on guitar was less animated in his expression but still equally compelling to Hoffman in his playing. Bass player Kurdt Dinse appeared more stoic in comparison but he and drummer Andy Peterson provided a pulsating rhythm section. Apocalypse Hoboken kept fans excited through nearly three dozen songs, including “Jerk Lessons,” “Pop Goes The World,” “Pocketful of Lips,” and “Monchhichi.”
The Brokedowns, founded in Elgin /Fox Valley region of IL, are usually a quartet but Covid struck again, this time temporarily knocking out guitar player and vocalist Eric Grossman. However, his presence was felt. Actually it was cardboard, in the form of a large cardboard cutout of Grossman, his bandmates brought out on stage with them. Kris Megyery, guitar and vocals, Jon Balun, vocals and bass, and drummer Mustafa Daka tore through a set which included older songs such as “Born On The Bayou Too,” and “Cash for Gold.” It also included the newer tunes, “Cinnamon King,” and “Samurai Sword.”
Canadian Rifle might reference the USA’s neighbors to the north, but they are one of Chicago’s beloved own. With a backdrop sporting their signature visuals of the words “dreams” and “goals” within what is commonly known as the No Symbol, the band slashed through its set. The dynamic performances of Jake Levee, Tim Murphy, Josh Snader, and Dustin Christian, prompted some members of the enthusiastic crowd to jump up and down repeatedly. Perhaps none more exuberantly than Lucas Sikorski of opening band WIG.
The aforementioned WIG, got things popping with a lively set. Sikorski on bass, and bandmates, Chris Gottlieb, on vocals and guitar, and Clayton Demuth on drums, ensured no weaker spots on this bill. WIG is a Chicago band on the rise and very worth checking out. So please do that stat!
Ruido Fest 2022 took place last month, August 19-21, in Chicago’s Union Park. The event is billed as the area’s largest Latin alternative music festival. The bands and performers came from the Windy City, across North America, and from all around the world. Amongst the forms of music presented are punk, post-punk, hip-hop, electronica, psychedelic, […]
Ruido Fest 2022 took place last month, August 19-21, in Chicago’s Union Park. The event is billed as the area’s largest Latin alternative music festival. The bands and performers came from the Windy City, across North America, and from all around the world. Amongst the forms of music presented are punk, post-punk, hip-hop, electronica, psychedelic, and more. All with a Latin American flavor.
Whilst a few bands, such as Beach Goons, Siddhartha and Maldita Vecindad, had to drop out, the remaining lineup brought three days of fun and energy to large and enthusiastic crowds. Being that this was alternative music festival taking place in the US, it was not surprising that one of the most prevalent band shirts was that of grunge band Nirvana. Everywhere you looked, people of all ages wore shirts dominated with the band’s name, and often the iconic melancholy expression of the late Kurt Cobain.
Cypress Hill, the CA hip-hop legends might be characterized as punk adjacent. Singer Dr. Greenthumb aka B-Real and percussionist Bobo took the stage after about 30 minutes, give or take, introduction by DJ Lord. By that time, a thick wall of smoke connected the stage to the audience via smoke machine with a bit of thinning out above the photo pit. Some of that was the due to the smoke machine on stage. Of course the group’s advocacy for the use of cannabis for both medicinal and recreational purposes, is a major theme in its songs. B-Real paced the stage with a rather long blunt in his left hand along with the microphone as he gestured with his right hand. The group tore through its standards such as “Dr. Greenthumb”, “I Ain’t Going Out Like That”, “Hits From the Bong”, “How I Could Just Kill A Man”, and many others. By the time they got to what is arguably their biggest hit, Insane In the Membrane, Cypress Hill had complete control of the large crowd. Capping off its set was a rollicking cover of House of Pain’s most famous tune, Jump Around. B-Real called for everybody “standing up to get down like this here” and advised that those with a Fitbit or Apple watch the this was going to fill up their activities category. Indeed the crowd, exponentially larger than any other set that weekend, with many members attending only for Cypress Hill, was jumping around almost completely in unison.
Bruses had a smaller crowd than Cypress Hill but the Tijuana native was no less enthralling. She was clad in a variation of a business suit. A black jacket covered with numerous hand painted looking designs in white, black raggedly cut off just below her knees and sporting on each leg two belts. Clunky black shoes, a black tie white shirt completed the outfit. Almost. Rising above, from behind, each shoulder blade were several, what I can only describe as, glittery black stuffed horns. Her hot pink hair, pale foundation accented with dark red lips, reddish pink eyelids ringed in black, created ethereal stage presence. Her music and movements throughout were bewitching and she had the crowd in a trancelike state.
Elis Paprika, another one of the numerous performers hailing from the USA’s North American neighbor to the south, is also a well know activist in her native Guadalajara. She rocketed off from the start of her set, never touching down until she was finished whipping up the crowd in to exhaustion. With hyper charm and perfectly complementing her strong voice and infectious songs, few would argue with the words on bright red t-shirt, an item of her own merchandise, exclaiming “Mexican Girl Power!”
Skate punk band Cardiel consists of two Valencia, Venezuela natives: Vocalist/Guitarist Miguel Fraíno and drummer Samantha Ambrosio. However, the founded their band in Mexico City in 2010. Little flash but lots of fury marked Cardiel’s set. They pummeled through song after song, hyping up the circle pit significantly.
Los Fabulosos Cadillacs, the Buenos Aires ska legends, had the swelling crowd dancing as the night two headliners. The band ripped through “Manuel Santillán, El León”, “Saco Azul”, “Mal Bicho”, “Calaveras y Diablitos”, “Matador”, and “El Satánico Dr. Cadillac”. It was a fun way to end a Saturday night on a not too hot summer day.
Story and Photography by Meredith Goldberg Liar’s Club, always supportive of members of the Chicago punk rock community, often hosts fundraisers for various individuals/causes. Recall, the venue sponsored one of the Dying Scene Resurrection Shows recently. On Saturday August 6, 2022, Liar’s Club was the site for one of several local shows benefitting the Chicago […]
Story and Photography by Meredith Goldberg
Liar’s Club, always supportive of members of the Chicago punk rock community, often hosts fundraisers for various individuals/causes. Recall, the venue sponsored one of the Dying Scene Resurrection Shows recently. On Saturday August 6, 2022, Liar’s Club was the site for one of several local shows benefitting the Chicago Abortion Fund (CAF). Venues in Chicago and elsewhere have been holding similar fundraisers in wake of the of the Supreme Court of the United States’ 2022 decision in Dobbs v. Jackson Women’s Health Organization, which overturns landmark SCOTUS decisions in Roe v. Wade(1973) and Planned Parenthood v. Casey(1992) and endangers numerous other privacy related rights. The announced amount of money raised for the CAF came to almost $2,000.
Boybrain turned on the show’s engine with a hair swirling, brains (of all genders) smashing performance. The dizzying actions of the band members were matched by their striking physical appearances. Suited up in matching half uniforms of t-shirts with “Abortions” written across them in a font reminiscent of rec league baseball jerseys, and athlete-style black grease marks under their eyes. Boybrain slammed though a tight set featuring “Blood Wolf Moon,” off its 2022 debut album In the Company Of Worms. The band is comprised of punk rock veterans from the Chicago area and elsewhere: Patti on guitars and vocals, Inga on lead guitar, Colin on drums, and “Dr. Doom” (whose first name is actually Lauren. Come on though, Dr. Doom is a pretty cool moniker) on bass and vocals.
Aweful, which we featured in the aforementioned Resurrection Show, once again offered its talents to an important cause. The trio, made up of Traci Trouble, Lucy Dekay, and Izzy Price, as always had the crowds pumped and their fists pumping. They ripped through tunes including “Far Away,” “Bubble,” “Just Like Me,” and one of their most popular singles, “No Avail.” Whipping around the stage, guitarist Dekay displayed her usual flair, whilst drummer Price and bass player Trouble fueled the backbeat. Trouble’s gritty vocals matched her stage presence as well as those of her bandmates. It’s always a fun moment to see how she and Dekay go back to back literally, appearing to be simultaneously competing for flashiest performance and joining together to create a single, more powerful organism. So powerful that watching both women then fall away from each other, as if ripped apart, collapsing onto the floor seems the natural next occurrence. Even on the floor, Trouble and DeKay, are at times, still attached, playing a sort of punk rock patty cake with their sneakers.
Djunah, an electrifying two-piece group from Chicago, is comprised of Donna Diane and Jared Karns. Diane pulls triple duty on vocals, guitar, and Moog Organ bass, as Karns powers through on drums. It was a rousing and hypnotic set. Thus far, 2022 has been a busy year for Diane, between recording vocals for Jason Narducy‘s Verboten the Musical, and the band playing festivals and sold-out shows, with at least two more upcoming fests. Those events being Louisville’s PRFBBQLOU2022 in late August-early September, and Milwaukee’s Bay View Bash, in mid-September.
Heet Deth is another 2-piece band from the Windy City. Formed in 2018 by best friends, Julia B on drums and vocals, and Laila E on guitar and vocals, Heet Deth describes itself as operatic. Wearing matching blood red shortsleeve coveralls, with their faces garishly painted red, white, and black, they manage to create their own styles even as the likes of David Bowie and Monkey from the Adicts are brought to mind. Heet Deth’s theatrical appearance is equaled by its non-stop energy.
Good to see the punk rock community standing up for all of our rights, as unfortunate as it is that these rights have to be fought for so vigorously at this point in history. Alas, the fight WILL proceed and there will be great music to keep us inspired and energized.
Story and Photography by Meredith Goldberg Back on July 25th, La Armada kicked off a mini tour in Chicago at The Burlington in support of its most recent record, Anti-Colonial Vol. 2. I caught up with founding member, and guitarist, Paúl Rivera, after the show to discuss, influences, legacies, and what drives them musically and otherwise. La […]
Story and Photography by Meredith Goldberg
Back on July 25th, La Armada kicked off a mini tour in Chicago at The Burlington in support of its most recent record, Anti-Colonial Vol. 2. I caught up with founding member, and guitarist, Paúl Rivera, after the show to discuss, influences, legacies, and what drives them musically and otherwise.
La Armada
La Armada was first formed in 2001 by grade school friends in the Dominican Republic: guitarist Jonathan Salazar, guitarist Paúl Rivera, bassist Mani Marte, and drummer Eric Urrea. Casper Torres has been on vocals for the group for a decade and is from Puerto Rico. “We have been going to play shows in Puerto Rico pretty much since we were 14 or 15 years old, so we all knew each other and grew up as friends,” says guitarist Paúl Rivera.
La Armada
“We discovered punk, hardcore and metal pretty much in the mid 90’s when internet service became available in the Dominican Republic. Metal is more known in the DR, and we enjoyed it but never really identified with the lyrics and imagery.”
Rivera continues, “Punk came more natural because we were feeling a lot of the same discontent they would be singing about, especially because during that time we were on the tail end of a dictatorship state and on route to a Neo-liberal pseudo dictatorship.”
Growing up in the DR, the band members were exposed to music at very young ages. “Music is always around in the Caribbean. Our first form of musical love was what was around, merengue, salsa, and Bachata. But once we discovered Spanish punk, American metal, and so on that’s when it became an obsession. “
La Armada
However, that obsession did not cause the band to entirely separate from the music of its native region. Rather, it fused the multiple genres to create its own unique sound.
“When you are young and on the island you kinda rebel against the music your parents listened to, when you grow up and become an immigrant there is a yearning for it and those are the rhythms we try and incorporate into the heavy genres we participate in.”
La Armada
While La Armada has always had much to say with its music, Rivera notes the group has one strong, recurring theme, “Anti-Colonialism. Which we explain is just not in the historical context of large nations extracting the wealth of the global south. We also lump up what we call “neocolonialism” into this motto, which we define as all external forces that have an influence over masses of people, like news, information, social media, ads, product placements, etc.
Rivera adds: “A lot of these things are destroying our sense of worth, the environment and each other, but we consume it daily because it’s wrapped up as entertainment. It’s hard to know right now what is more dangerous, the physical or the digital sword.”
La Armada
I also asked Rivera what are some of the bands and sounds most influential, to La Armada. “Musically it’s all over the place. Spanish Punk rock like La Polla, Escuela de Odio, and more. American Hardcore like Bad Brains and Sick of it All, the island music we grew up with like merengue and bachata. Canadian, melodic Punk like Propagandhi, classic metal bands. And on and on.”
Turning to the way the band operates, Rivera says, “As a band model, we take a lot from the DIY hip hop scene. Limited Merch drops, live sampling, owning your own masters, etc.”
La Armada
From Burlington Bar’s stage, band members spoke repeatedly about pursuing your art and how artists need to really go after it. Rivera expanded on that post-show.
“We’re just at point where we’ve been doing this for so long and are now in our mid and late 30’s that anything other than being the absolute best version of the band wouldn’t be worth it.”
La Armada
He also noted, “As a small, DIY band that literally carves out any traction or momentum against all odds, we have made our peace with just putting the work in and trusting that the rest will take care of itself.”
Rivera explains, “Basically, if we’re going to do something, we are really going to go for it. Otherwise, none of us really have time for hobbies. For example, our album roll out consisted of 6 singles, 5 music videos and different pieces of visual art. All made in collaboration with artists from the Caribbean diaspora across the world. That was a big effort, but that was the only way we were going to do it. All or nothing.”
La Armada
Of course, La Armada found itself affected by the pandemic. Rivera addresses this:
“First off, we were lucky that everyone remained healthy, employed and nobody had immediate family affected by it. However, artistically it was rough. We were used to being on tour for 3 to 4 months out of the year and all of a sudden that was taken away from us. It felt like you lost your identity.”
He continues, “We were also planning on heading back out on some tours that coincided when COVID first hit so, we got left holding a bill for goods we had purchased for tour, which also completely sucked.”
La Armada
Rivera recognizes that despite difficulties, the group members might have been luckier than many others.
“A lot of bands and artists went through the same and much worse situations. Somehow, we made it to the other side and are now able to look at things differently, as in, simply doing the work is the reward.”
That work includes the new La Armada record.
“Our new record is Anti-Colonial Vol. 2 – It is the follow up to 2017’s Vol. 1. We wrote it and recorded it during the pandemic in 3 different spurts at the studio because things kept getting canceled because of Covid protocols.”
La Armada
Still, Rivera stresses the importance of remaining positive:
“It was a difficult time to do art, but it was the only way to keep the band going and maintain some sense of inspiration going.”
La Armada
The band has played sporadically thus far in 2022. “This year we had our Chicago release show in February, a weekend in the Midwest in March and now are now touring again in longer spurts.”
The “longer spurts“ began with this particular night at Burlington Bar, where family, friends and fans wished them safe travels and hopes for a good time out on the road.
La Armada
That road will take them across North America. “We are first doing the eastern US and Canada for 3 weeks during August, then we take a 3-week break and follow that up with 3 more weeks out west for shows with Propagandhi, Tørsö, and headliners of our own.”
Story and Photography by Meredith Goldberg Signals Midwest, from Cleveland, OH, returned to Chicago, supported by Mush, Downhaul, and Into It. Over It. Its performance at Subterranean – aka SubT – was a fun one. The members seemed especially grateful that their friends in Into It, Over It were able to join them. Signals Midwest […]
Its performance at Subterranean – aka SubT – was a fun one. The members seemed especially grateful that their friends in Into It, Over It were able to join them. Signals Midwest lead singer/guitarist Maxwell Stern expressed the sentiment that they should be supporting Into It. Over It instead of the reverse.
Signals Midwest played to what appeared to be an almost capacity crowd in the warm club on a hot night. Said crowd was vastly mellower than most of the shows we cover here in Chicago, with virtually no circle pit, and many fans watched from a second level. Nonetheless, the crowd members were very vocal as they repeatedly shouted their approval.
Signals Midwest performed 7 of the 12 tracks on their new LP “Dent,” which was released in April 2022. The set opener, “I Used To Draw,” was one of those seven. Other “Dent” tracks performed included consecutively “Tommy Takes A Picture,” “Gold In The Grey,” “Sure of It “ and “All Good Things.” The band also performed “Your New Old Apartment,” though without the song’s featured performer, Sincere Engineer. Signals Midwest closed its set with “Alchemy Hour,” from the album, “At This Age” (2016).
Chicago’s own Into It.Over It ripped through its set, performing songs from a cross-section of its albums. These included, among others, “Discretion and Depressing People”, and “Fortunate Friends” from the album Proper; “Spinning Thread”, and “Upstate Blues,” from, Intersections; “Brenham, TX,” and “Augusta GA,” from 12 Towns; and “Heartificial” and 22 Syllables” from 52 Weeks.
The band members also made it absolutely clear their opinions on the recent Supreme Court decision overturning Roe v. Wade. Joe George Shadid, has a sticker on his guitar stating, “Abortion on Demand & Without Apology.” Evan Thomas Weiss echoed the message posted on the band’s Facebook page. Whilst promoting a t-shirt to raise money for abortionfunds.org, Into It. Over It declares, “this band aids and abets abortion. it is our belief that abortion is a human right and we’ll continue to do what we can to fight for the human rights of US citizens.peace and love.”
For the band Downhaul, from Richmond VA, the SubT show marked the furthest from home the group has performed. Gordon Phillips, singer and guitarist for the group said it was during the middle of the tour so they were feeling pretty comfortable with their sets at that point. He did admit they might have been a bit nervous because they usually play venues much smaller than SubT. However, Downhaul received a very warm welcome and Phillips and the rest of his bandmates were very happy to have numerous good friends in the crowd. This group of friends included members of the Atlanta based band Worlds Greatest Dad, who were in the city on a night off from their own tour. They were also accompanied by Signals Midwest’s Max Stern on lap guitar. Up next for Downhaul? The members are finalizing, for release, some new songs they recorded in June and playing Fest for the first time ever. Needless to say, the band is very excited about its future.
Mush, the 5-member group from Chicago and Grand Rapids MI, was the first band to play. The band’s spirited set launched an enjoyable evening in the Bucktown/Wicker Park area of Chicago.
Story and Photography by Meredith Goldberg Windy City Sensation returned in Chicago over the weekend of July 16-17, taking over Liar’s Club for two nights of a loud and rowdy rock cocktail with a twist of punk and hardcore. The iconic bar/venue on West Fullerton Avenue played host to a multitude of bands all competing […]
Story and Photography by Meredith Goldberg
Windy City Sensation returned in Chicago over the weekend of July 16-17, taking over Liar’s Club for two nights of a loud and rowdy rock cocktail with a twist of punk and hardcore. The iconic bar/venue on West Fullerton Avenue played host to a multitude of bands all competing for title of most hyper-energetic set.
Of course, the music was pretty damn good too.
Jump starting the weekend were some well-liked sons of the Windy City, Bad Sons. The Chicago born and bred street punk crew has two modes working in conjunction “Fast. Loud.” The band hit its targets on both.
Though no exact stats available at the moment, Milwaukee might be the non-Chicago city with the highest number of bands having played at Liar’s Club. Convert, the first of the weekend’s several Milwaukee bands, followed Band Sons. Convert made up of musicians from two different hometown scenes: punk rock, and electronic music. Somewhat obscured through a very dense layer of blue fog its performance nonetheless broke through strong and clear.
Some Hearts is based out of both Tulsa, OK and Los Angeles, CA, which one member, Niah Bervin, joked was “weird, I know haha,” found its way into the heart of the opening night crowd with its energetic set.
Criminal Kids has around for a while and has deservedly developed a reputation for rollicking sets. From the regularity of the band’s appearances at Liar’s, it is obvious this is a favorite spot for them. It even recorded a live record at the venue in September 2021. All of this contributed to a sense the band was very much at home, among friends, on the compact stage at 1665 W. Fullerton. Its performance did not disappoint.
From Criminal Kids immediately to a crime of another sort. Crime Line comes out of Norfolk, one of the cities making up Hampton Roads, a metropolitan area in southeastern Virginia. (Note: it is also where I lived for several years so I know the area well) Along with its Naval facilities, Hampton Roads might be musically best known for homegrown hip-hop legends Missy Elliott and Pharrell Williams. As shown in the documentary, “Hardcore Norfolk: The Movie” (2011) it also has a strong punk rock legacy. The most well-known of which is likely Waxing Poetics. Crime Line carries that legacy forward with its rambunctious performance. Lead singer Ray Braza might have been purposefully or perhaps subconsciously but bloodily inspired by Jack “Choke” Kelly from legendary Boston hardcore band Slapshot. Braza smashed up his own head with the resulting blood running down his face and garishly mixing with sweat to soak his white t-shirt failed to stop him. Alas, it was difficult to determine if tears completed the metaphorical holy trinity symbolizing the hard work it takes to succeed.
Capping off night 1 was Dinos Boys out of Atlanta Georgia. Chase Tail pulled triple duty for the weekend. Tail is the lead singer for both Dinos Boys and RMBLR, with each band at the top of its respective night’s bill. In addition, Tail organized the event. However, if he was exhausted at any point, it did not show.
Aces, from Milwaukee, got the Sunday session off to a pummeling start with its no flash all thrash set. The band appeared to be buoyed by its latest EP, released this year, “Raw Deal,” which includes the single, “Outta Time.”
Flesh Panthers are vets of the Second City punk scene. Revrend Zombotron led the group with an enthusiasm which led the crowd to slam against the stages and the walls surrounding the compact stage. Flesh Panthers’ lively performance was a highlight among many highlights during the Windy City Sensation 2022 weekend.
And then there was Baltimore’s BBQT. The 5-piece crew from Charm City delivered an especially exciting set. Gabbie “Sleaze-E-G” Torres dominated both the stage and the floor. At times she appeared ready slither right off the stage. Thankfully, the stage is built fairly low to the ground. Her bandmate, guitarist Alex Briscoe, brought to mind a whirling dervish with his nearly continuous spins. He remained in perpetual motion for the duration of the BBQT set.
Closing out the weekend, RMBLR left the crowd panting and exhausted. Event organizer Chase Tail growled into the mic, slashing across the stage. At one point he dropped to the floor of the stage and proceeded to easily do one-handed push-ups.
Despite a few brief technical glitches with sound gear and guitar straps, the weekend was a bit of chaotic glory. If there is a Windy City Sensation 2023 there will be high expectations to meet. I have little doubt that organizers can and will exceed those expectations.
Please see below for more images from Windy City Sensation.
Story and Photos by Meredith Goldberg Noah Corona just needed to find a place to eat within a block or two of his home in the Chicago suburb of Villa Park, IL. It was the first day of the Covid lockdown. Lacking groceries and concerned that driving to get food might lead to him being […]
Story and Photos by Meredith Goldberg
Noah Corona just needed to find a place to eat within a block or two of his home in the Chicago suburb of Villa Park, IL. It was the first day of the Covid lockdown. Lacking groceries and concerned that driving to get food might lead to him being arrested, he walked around the corner from his home and came upon Cemitas Poblanas. The restaurant offered a $9.00 burrito meal, so it instantly became Corona’s daily spot during the pandemic. It also led to friendships with the staff and owners, “Mauro and Jennifer, a couple who had come from NYC in November ‘19 to start their new business. They are both originally from Puebla, Mexico, and spent 18 years in NYC, and worked in restaurants for a lot of that time,” says Corona (whose surname surely caused a few of his friends to tease him in 2020).
Cemitas Poblanas also has a small stage, which planted the seeds in Corona’s mind, of an idea he would work to fruition over the following year. Thus, was born “Punk Rock Tacos,” a monthly Friday nights DIY (do it yourself) event.
Corona’s DIY ethos was inspired by the late Mark “Monk” Hubbard. The visionary Seattleite Hubbard created the famous Burnside Skatepark Project in Portland, OR. Hubbard also founded Grindline, a company which designed over 400 skatepark across the United States and elsewhere. Corona met Hubbard, a DIY inspiration to many across the world, one month prior to Hubbard’s June 2018 death. Hubbard’s band Grindline, named after his company, was playing in Oakland, CA at a skateboarding event, the P-Stone Invitational. Corona says that during Grindline’s set “He [Hubbard] stared so intensely into my soul as he performed 5 ft in front of me.”
It was a life-changing moment for Corona and would lead directly to his passion project: Punk Rock Tacos (PRT). This is the first of many ideas Corona has for PRT. One he hopes to tackle next is building skateboarding bowl behind the restaurant.
The first PRT Sunday edition led to some patrons being disgruntled by the rowdy punk rock music, so these special showcases take place in a small exterior area behind the restaurant.
Looking forward to the Fourth of July this year, Corona organized an event to take place on the Sunday the 3rd. As a nod to Independence Day, the 13-band showcase featured two American flags adorned to the back of an old Army flatbed truck. Said truck, which Corona purchased for the event, also served as the stage.
Although this was a Fourth of July event, it was hardly a day for shouting “Murica” and chanting USA USA USA.
Instead, there was a strong diversity of band and crowd members, more than a few Anti-Fascist and Anti-Nazi patches on clothing, call-outs for change and fighting back by the musicians, Pride t-shirts spotted, in addition to feminist statements made. One singer received roaring applause to his declaration that men who lay hands (violently) on women are trash. In many ways, Punk Rock Tacos Fourth on the Third represented what should be the ideals of this experiment in democracy. Oh, and rocking the pit harder than anyone else in attendance were a four-year-old named Lucas and an Australian cattle dog named Max.
Of course, the main reason for the event wasn’t to focus on the disturbing events of the last several years, and especially the past few months.
For Punk Rock Tacos founder Noah Corona, this was event was not about politics or division. Rather, it was about release and people having an out outlet to express themselves. Corona reflected on the event a day after the Highland Park mass shooting. He has also been shaken by a fatal motorcycle accident just blocks away from the event which Corona informed me occurred “while we were partying.” Per Corona, “Life is too shitty to not have a good time, and if people don’t have their outlets a whole lot more death would be upon us.”
No Dead Heroes’ mission statement is, “We’re here to fuck shit up.” Shit did not actually get fucked up but the band tore through its 30-minute set much to the delight of the attendees. Those in lawn chairs and car seats removed from their vehicles to be used as lawn chairs, as well as those who stood both near and away from the stage. Frank Lombardo propelled the band both in voice and on the drums. Whether it was the heat of the bright afternoon or his physical efforts, Lombardo’s reddened face painted a portrait of punk rock intensity.
Milwaukee’s The Rustix don’t consider themselves a political band according to its social media. However, per a Facebook post from June 25, 2022, “Rustix and the Midwest Hardcore Punx scene stand in solidarity with people that have uteruses. If you don’t, don’t come to our shows, you aren’t welcome.” For the band members some issues transcend politics and The Rustix brought a set that was as tight and strong as that message.
WAYDSB states on its website: “We want to share our perspectives with you, and maybe our music will help you understand and feel what it is we’re expressing.” The band demonstrated this motto during its banger of a set. Drummer Liam Cavanaugh was clad in a (LGBQT+) “Pride” shirt and rainbow tie dye style cap, while guitarist James McFadden wore a t-shirt sporting the name of satirical 2016 U.S. Presidential candidate Deez Nutz.
Quantum, out of Crystal Lake, brought the fun. With a combo multi-bongo and just enough cowbells set up, how could it not? There was Bass player Shawn Belletynee draped in an American flag as a cape, a brand-new song entitled Planet B.S., and blood. Well, blood on the bongos at least. Lead singer Zac Dawson decided it was a good sign and queried “Blood on the bongos, isn’t that a Bob Dylan album?”
Noah Corona’s own band, The Throwaways, elicited loud cheers and clapping for both the music and for his creation of Punk Rock Tacos and this event. It was obvious by his constant smile throughout the day, how grateful Corona was for that appreciation and the joy his hard work has brought him. The Throwaways, as a band, honored his hard work with its rollicking set. Immediately after the set Corona was back on the ground making sure the rest of the evening went off without a hitch.
Ah Shitizen. With all due respect to, and respect is most definitely owed to them, Josh on drums, Elliot on bass, and Jerm on guitar, it is lead singer Claudia Guajardo who steals the most focus at every Shitizen show. With her hyperkinetic energy and charisma, she is the very definition a band’s front person. As is the case at every Shitizen show, Guajardo refused to stick only to the stage. But this being on the back of a truck, she did accept an assist from her boyfriend Adam Kreutzer (lead singer for Kreutzer and the newly joined drummer for Knoxious.) who helped her in and out of the high up flatbed stage. She scaled the truck herself before the set and after, but Kreutzer’s help allowed her the continuity of singing, microphone in hand. It’s a blast to watch Guajardo in frenzied action. The band is also a model of DIY as they finished up making their band shirts and merch themselves the morning of the event.
Metro Chicago’s Real Bad Real Fast was formed in 5 or 6 years ago. They invited friends and family to this event on Facebook with a sentiment presently shared by a good portion of the USA: “Come celebrate Freedom (cough)” adding “At least freedom enough for us to rock your socks off!!” As the gloaming set in, lights were installed on the already too confined stage before knocking off of socks began.
Corona described the event as epic and credited his second in command organizer Matthew “Cactus Matt” Durica and sound engineer Steve Anthony for much of the success of the event and PRT, and told everyone involved that he was “proud of all of us.”
A few days after the event Corona stated, “I am happier than shit right now, and all I can think is, what’s next?”
Photos and Story by Meredith Goldberg One of the final installments of the Dying Scene’s “Resurrection” shows took place on Saturday, June 18, at Liar’s Club, in Chicago, IL. Herb Rosen, Liar’s Club owner and a founding member of Chicago legends Rights of the Accused, offered up the venue for the party. He included the […]
Photos and Story by Meredith Goldberg
One of the final installments of the Dying Scene’s “Resurrection” shows took place on Saturday, June 18, at Liar’s Club, in Chicago, IL. Herb Rosen, Liar’s Club owner and a founding member of Chicago legends Rights of the Accused, offered up the venue for the party. He included the whole door and a percentage of the bar, even some gift certificates. Bar manager, Gary Kessler, and his crew helped ensure attendees had a good time between sets.
To kick things off, a raffle was held with Liar’s Club denizens and others offering up gift certificates and services from their businesses, which included Twisted Scissors, Citizen Skate Shop, Joker’s Cajun Smokehouse and a two hour photo session with yours truly. The bands on the bill donated merchandise along with their sets. A few others brought miscellaneous items for the raffle. Said raffle ended up very successful as to funds raised. However, partygoers seemed much more interested in donating via raffle along with the nominal cover charge. It took a while to get the prizes doled out due to winning actually being beside the point to those who participated. In fact, it seemed that many people took this break between the third and four to sit on, and by, the iconic front stoop right outside Liar’s Club.
Four very popular punk bands from Chicago immediately jumped on opportunity to help a publication that has covered them. One band did have to drop out due to unforeseen circumstances. Good thing a visit to one of the top skate parks in the city happened because this is how B.R.O.K.E. caught our eyes. Barely had the offer of the set been uttered before the members said yes.
Chicago’s veteran blue collar stalwarts Squared Off, led by its founder Jo “Hoser” Villa, kicked off the night with a hard charging set of both older and more recent tunes. The band ended their time on stage with a raucous cover of Stiff Little Fingers’ Suspect Device.
Voice of Addiction was up next. Ian Tomele, founding member of VoA, also helped with some of the logistics of the night, with his experience organizing and promoting shows being of great help. The VoA trio was very enthusiastically welcomed back to their first set at Liar’s since 2019. The band spoke of its new record, news which was excitedly received.
Aweful was the penultimate set of the evening and the trio was on fire per usual. Drummer Izzy Price added a dollop of sweetness to the sassiness by asking the crowd and his bandmates, guitarist Lucy DeKay (also of Mystery Actions), and Traci Trouble, lead vocals/bass, to join him in wishing his girlfriend Erin a very Happy Birthday. All obliged the shiny purple hot pants wearing drummer.
B.R.O.K.E. ripped through its set. One that was full of humorous and catchy tunes. A song with a reference to disgraced actor Armie Hammer wanting to eat people elicited laughs. This type of very dark, verging on gallows, ripped from the headlines, humor is embedded in the band.
Liar’s Club stands up for so many in its community. On this night it stood up for those who cover the tight-knit punk rock community in Chicago. In doing this, it lent a hand for Dying Scene to cover punk rock communities from massive to miniscule, in Chicago and across the United States.
Check out more photos in the gallery below!
*If you’re interested in donating to our cause but couldn’t make it out to one of our shows, you can send your extra dollars and cents to paypal.me/dyingscene!
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