Dying Scene

DS Interview: Caitlin Edwards on Punk The Burbs, Bumsy & The Moochers, and her debut solo record

Caitlin Edwards, the singer of suburban punk ska band, Bumsy & The Moochers, and founder of local music fest, Punk The Burbs, just released her debut solo record. We caught up with her to discuss how her new project and to reflect on past milestones, her creative process, and what’s coming up next. Caitlin Edwards […]

Caitlin Edwards, the singer of suburban punk ska band, Bumsy & The Moochers, and founder of local music fest, Punk The Burbs, just released her debut solo record. We caught up with her to discuss how her new project and to reflect on past milestones, her creative process, and what’s coming up next.

Caitlin Edwards is having a moment. Actually, it is just the latest moment she is having. As lead singer for the popular suburban Chicago ska band Bumsy & The Moochers (BATM), Edwards founded the area punk fest, Punk the Burbs, almost a decade ago. On February 25, 2023, Edwards introduced her tunes from debut solo record Pluto Party during her release show at Cobra Lounge in Chicago, IL. The first single off the independently released album is the infectiously fun “Unlucky Charm.” In addition to her vocals, Edwards played the guitar, bass, and violin. John Perrin, noted below as well, played the drums. For her live band, pictured below in this piece, it’s Tim Flynn (L) on bass, and drummer Andrew Cielo (R). Oh, and Bruce, her friend’s pup and also pictured below, is the musical mascot to them all.

MG: How did you get your start in music?

CE: “I started playing violin when I was ten. My dad always played guitar and of course I listened to a lot of rock bands then so I picked up the guitar at thirteen. I taught myself how to play guitar, but having that experience playing on the violin helped. Callous already on the fingers and all that.“

MG: Who are some of your musical influences?

CE: “Most recently The Muffs, Beabadoobee, The Beths, Best Coast. Of course Green Day, Weezer, Oasis, and The Copyrights will always be bands that influence me throughout my life.”

MG: Did you have a writing partner for your solo work and is the songwriting with BATM collaborative?

CE:“Typically songs just come to me at random or just waking up from a dream. Sometimes when I’m walking around or in the shower. This goes for both projects. I could never just sit down and be like ok, gonna write a song. It just doesn’t work that way for me. Sometimes in BATM, other members will bring song ideas, chords, lyrics to the table and we’ll collaboratively write.”

MG: What’s the best show or tour you’ve ever played and why was it so special to you?

CE: “Probably Bumsy and the Moochers playing at FEST 20 last year. I’ve always wanted to play FEST. We put on our best set and the crowd was wild. So much love. For my solo project I had a ton of fun playing this recent album release show at Cobra Lounge. Once again, so much love and just having people come up to me saying they loved the album. Such an amazing feeling.”

MG: Do you have any funny or interesting stories from being on the road that you can share with us?

CE: “One time Bumsy and the Moochers played in St. Louis. We stayed at the coolest Airbnb that was a loft. Had a ping-pong table, fancy showers and beds. Then we played at this tiny hole-in-the-wall bar where there was Street Fighter 2 that people could play. I must’ve played everyone in that bar and kicked their ass. Of course I was Blanka, that’s my guy. Lol. Then we played this show with mostly pop punk bands, but everyone dug us. Even one dude said, I hate ska, but I love you guys. Not really an interesting story, just a fun time on tour.”

MG: What are some of your favorite songs to play live?

CE: “In my solo project I love playing “No Kids” and “All That Fun.” They’re songs that aren’t the typical pop punk songs that I’m used to playing so I enjoy doing something different. But I also love playing “Guess Again.” Just love the energy that song brings.”

MG: How does your creative process differ from album to album?

CE: “For my solo band, I take a lot of time writing songs, adding new parts or lyrics, seeing which songs would fit in an album because it’s just me. No input from others encourages me to make sure I’m doing everything I can to make sure my songs sound good. With Bumsy and the Moochers, even when I just write a song, I’m still getting input from everyone else. At times it’s easier because you’re getting so many ideas, but at times it’s harder. Sometimes it’s hard for us to agree on something, too many cooks in the kitchen so to speak.”

MG: How did you found Punk the Burbs and how has it been?

CE: “I created the Punk The Burbs Facebook group in 2014. Just wanted a Facebook for people to post shows, ads, events in the burbs since there was mostly groups for shows happening in the city. Doing Punk The Burbs every year is a lot of hard work, but I’m glad I’ve helped create more of a music community in the burbs. I’m also glad that we’ve introduced a lot of people to new bands they may have never heard before.”

MG: How much of the year is occupied organizing the fest each year? Do you have a team to help?

CE: “It really takes up most of the year to organize the fest. So much goes into it, even more when it’s Jason [Fein of The Run Around] and myself doing most of the work. We’ve had volunteers help at the fest before in the past, but that’s it. We’d love to have more help and actual employees next time around.“

MG: How did you decide to do a solo record at this point?

CE: “I’ve actually been wanting to do a solo record since I was a teenager. Just never got around to it because other things were happening in life, school, other bands, you know how it goes. I finally started to get serious about a solo project in 2017. Up until 2019, I never had enough songs to do an album. With everything that happened to me from 2019-2022, I suddenly had a ton of material that would be perfect for an album.“

MG: Tell us about the musicians who backed you on the record? Who produced it?

CE: “I played the guitar, violin, bass, and vocals on this record. My friend John Perrin did the drums. I knew he could do the drums exactly how I imagined them and he did! I did the production work as well. Dan Precision [Dan Wleklinski of 88 Fingers Louie and formerly of Rise Against] mixed and mastered the album. There was a few things he put in that weren’t there before. For example, the orchestral part in “Lip”, Dan came up with that. Definitely gave that song more emotion.“

MG: How do you balance Bumsy, PTB and new solo work, along with your day job/life?

CE: “I actually balance it all pretty easy these days. I’ve been doing it for such a long time, it just comes naturally. If I wasn’t doing all that stuff, I’d probably get bored. Though a nice break from Punk The Burbs Fest I wouldn’t mind. I’d much rather be creating music than being on the business side of it.“

MG: Along with that band release, do you have plans to our solo or will you play solo work on the same bill as BATM?

CE: ”I like to keep Bumsy and my solo project pretty separate. I’d get exhausted playing the same show together or doing a tour back-to-back. I am trying to piece together a solo weekender tour at the moment for 2023.”

MG: How did the song “Unlucky Charm” come about and was it about anything personally?

CE:  “Like most people, I experience anxiety from time to time. When I was younger, it was a lot worse. I used to get panic attacks. Nowadays, I have my anxiety way more under control. Music, therapy, and loved ones helped me no doubt. That’s what “Unlucky Charm” is about. Having anxiety around you for a long time and finally not letting it hang around in your life anymore.“

MG: Who directed the video for it and what was the inspiration for the video?

CE: “Justin Sostre directed the video. He’s also Bumsy and the Moochers trumpet player. Amazing musician and super cool dude. I came up with the idea. Anxiety is something that can feel like it’s always lurking, or sometimes sneaks up on you. I figured why don’t we have anxiety literally doing that, but as a creepy masked person? I always loved music videos with humor and a message. So that’s why if anything it’s meant to be a really funny video on something serious.“

MG: What do you have upcoming, both as a solo artist, with the band and with Punk the Burbs?

CE: ”My solo project has two shows coming up. We’re playing at Programme Skate and sound in Fullerton, CA April 15th. [Spoke with Edwards prior to the Fullerton, CA date]. We’re also playing at the Village Theater in Davenport, IA April 28th.”  

It’s a good time for Caitlin Edwards and she’s grabbing hold of the momentum via her talent, her work, and ability to have fun as well. Check out Pluto Party, as soon as you can and get yourself to a show when she hits your town, solo or leading Bumsy and the Moochers!

by Staff Writer MerGold
Tags: 
Bumsy and the Moochers caitlin edwards chicago Illinois pop punk

Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: The Return of Sludgeworth! Tightwire and Permanent Residue join in on the fun (Chicago – 04.08.2023)

Sludgeworth, the1990’s beloved Chicago punk band, returned to the stage on a recent Saturday night. With support from Chicago’s Permanent Residue, and rapidly ascending Minneapolis band Tightwire, it was an incredible night on stage and a helluva fun one offstage at Cobra Lounge. Longtime fans who were there at the start and have been waiting […]

Sludgeworth, the1990’s beloved Chicago punk band, returned to the stage on a recent Saturday night. With support from Chicago’s Permanent Residue, and rapidly ascending Minneapolis band Tightwire, it was an incredible night on stage and a helluva fun one offstage at Cobra Lounge. Longtime fans who were there at the start and have been waiting decades to see them play again were thrilled. Some even expressed disbelief that this was even happening. Others in the crowd, whether not born yet at that time, too young to remember them, or not from Chicago, instantly became new fans. Cobra Lounge was packed at this sold-out show. This was a momentous show, but this night also helped demonstrate why, though Chicago may be called the Second City, for some many it is #1 when it comes to its punk rock community.

First, a note about that community: It is a tight-knit one. Like a family, there are many different personalities and perhaps not everyone gets along. But far more often it is easy to witness the support those in the community have for each other, including most musicians, most of the venue owners and staff, other behind-the-scenes people, and yes from my experience most of the photographers and writers covering the shows. This night was no exception, though it did seem to be an all-star event. Tobias Jeg, founder and owner of Red Scare Industries returned to the Windy City to support one of his label’s band, Tightwire, do business, and hang with so many good friends. There were some heavy hitters among the punk rock musicians on hand to celebrate the return of Sludgeworth. Among those spotted at the event were Naked Raygun‘s Jeff Pezzati, Daryl Wilson and Ken Fitzner from The Bollweevils, Joe Principe of Rise Against, Deanna Belos aka Sincere Engineer, Brendan Kelly from The Lawrence Arms and The Falcon, Steev MF Custer from Death and Memphis, 88 Fingers Louie‘s Denis Buckley, and Joe Sowinski, currently of Static Age, but formerly of The Evictions, Major Threat, and The Old Comiskeys. Dave Simon, of Deal’s Gone Bad, The Crombies, and Anger, a popular bartender at Cobra, was on the job this night but is definitely a prominent member of the Windy City punk rock family. I would be remiss if I did not mention him. I’m guessing there were others but in the cozy confines it was sometimes hard to see much else around me as I documented the festivities.

For a smaller venue, such as the case with Cobra Lounge, that’s quite an impressive turnout. Witnessing this amount of support for each other is one of the biggest reasons this Long Island born and raised, Chicago transplant, who spends a good deal of time each year traversing the Lower East Side of NYC, loves the Chicago punk rock scene. Oh, and the oftentimes very good, sometimes great and occasionally, phenomenal music factors in too.

Ok, now that the scene is set, on to the show. I moved to Chicago in March of 2009, so I had no idea of Sludgeworth until very recently. However, in the weeks leading up to it, I was repeatedly told I had to be at this show by various friends They argued that this was going to be an important one. Fortunately, this came from close friends who were on the ground during the first Sludgeworth era. So of course I had immense trust in them. All I can say is damn! Well, that and thanks to those who insisted I attend. And of course, all that I am about to say in this piece. Because, wow! Sludgeworth is straight-up phenomenal, both in music and performance. Oh and there was the live performance debut of a future punk rock star. More on that in a bit.

Having documented Dan Schafer as the lead singer for Dan Vapid and The Cheats multiple times and also seeing him front another of his groups, The Methadones, I knew going into this event that he is a dynamic performer and musician. But with his Sludgeworth bandmates, this was taken up a notch. He worked the cozy stage, engaged the fans about as much as one can without actually jumping into the crowd. Schafer spent much of the time extending his arm, microphone wielded tightly in his hand into the upfront scrum. Yes, this is a common movement in shows. Yet the frequency with which it was done here, coupled with the frenzied glee from fans who seemed to remember every lyric to all of the songs from long ago, surely set this apart. No doubt Schafer and bandmates were having a blast.

Mike Hooten on bass, Adam White and Dave McLean on guitars, and drummer Brian McQuaid aka Brian Vermin behind the kit, each commanded their spots on the stage individually. Collectively, they powered the music against which Schafer’s vocals were set.

Red Scare Industries recently re-issued the band’s 1995 record, “Losers of the Year.” They opened with, the appropriately titled for this event, “Never Say Never.” From there Sludgeworth drove through an electrifying set that included fiery renderings of “Follow,” “Another Day,” “She’s Not Disposable,” “Waste It Away,” “Angry Man,” and “Two Feet on the Ground.”

Every band member appeared very glad to be together on the stage again. McQuaid, with Yankees cap (per McQuaid “It’s 100% Jay-Z and 0% baseball.” That said, Let’s Go Mets!) turned backwards on his head, spent most of the set with a giant grin on his face as he slammed through, in the very best way, the setlist. McQuaid was also celebrating a very special moment on stage, and he had reason to be proud.

Brian McQuaid’s 13-year-old son, Max McQuaid, made his live performance debut when he took over on the drums for the song “Anytime.” The kid crushed it. This is no generous hyperbole to encourage Max, who has been playing drums for five years. He legit killed it on the the song “Anytime.” Fans showered the younger McQuaid with some of the loudest cheers of the night, immediately adopting him in a sense as the newest member of their beloved band. Almost jumping into a bear hug with his Dad on stage just added another verklempt-inducing moment. Later, Max stage-dived, and crowd-surfed, the only one to do so this night and Schafer jokingly put the kibosh on him invading the stage to try it again. Instead, Max had to make do with rocking out on the shoulders of a family friend named Mikey. Max signed a drumstick for me after the show. I’m going to hold onto it because this young man is a drummer who we should all keep an eye on. He is part of the next generation of great Chicago punk musicians preparing to take over. I have no doubt about that.

As great as the show was, I was curious as I am sure many or most of the fans old, and new were. The obvious question being, how did this event happen?

I caught up with Schafer by DM a few days post-show to get some answers.

“We had the reissue of “Losers of the Year” on Red Scare records, and I believe, if memory serves me correct, the idea was floating during various Zoom interviews back in December. It was met with a resounding no, which turned into a maybe, into a yes, and into an enthusiastic, hell yes. How? I’m not exactly sure. There were some problems to work out, but we did.”

And the welcome news: “Yes. We will be playing again in 2023 and will have a new single.“

Indeed the band, played a new tune called “Together, Not Together.” Fans were euphoric.

Schafer shared the genesis of the new song,

“Through the excitement of playing again, they suggested it to me. I was dead set against it. They sent a riff to me, and I was like, “Hmmmm…”

He continues, “Next thing I know, words pop into my head, and we go back and forth with voice memos. We made the final touches on it the day before the show.“

So Schafer’s verdict on the show?

“I couldn’t have asked for it to go any better. I felt well-rehearsed, relaxed, in good spirits, great camaraderie, enthusiastic fans.“

 “The passage of time was a mind trip. It’s been 30 years since we broke up. Aside from a handful of reunions over the years, the thought of these songs being in somewhat of a demand in 2023 is pretty incredible.”

Incredible? Yes. Incredible news that there is more to come this year from Sludgeworth? Absolutely.

When you have such a major event headlined by a beloved band, you better make sure the two support bands measure up to the importance of the night. The organizer of this show hit the jackpot.

Playing in the middle spot was Tightwire, a band on a rocket ship to greatness, ready to blast off. I have covered the band a few times for Dying Scene since our resurrection and know that there are plenty more to follow. The Minneapolis quartet are big fans of the Windy City, and the Windy City has many big fans of the band.

The group, on the Red Scare Industries label, had the energy to match the headliners. Singer Tane Graves shredded his vocal chords, and his bass. Both guitarists Noelle Stop, often in close proximity to Graves, and Paul Mullaney, lurking in the darker corner of the small stage, contributed powerful vocals whilst driving the music. Drummer Parker Thompson seemed to be happily destroying his kit in proper service of the music.

Tightwire kicked off its set with the appropriately titled for this night, “Party,” and ended with “AYL.” In between they jammed through “Six Feet Deep,” “Told Yah,” “Hidden Planet,” “Spell On Me,” and “Anyone But You.”

I look forward to seeing them again in short order. I’d hazard a guess anyone else who has witnessed them live feels the same way.

Another band I had the pleasure to document previously, as support for The Brokedowns a few months back, is Chicago’s own pop-punk Permanent Residue. It’s a fun crew led by singer, guitarist, and harmonica player Kate Manic, also from Fuck You Idiot. Her bandmates are Jake Levee of Canadian Rifle, on bass. drummer Victor Lord Riley, and guitar player, Vince Miller. The band, off the Long Island label, Dead Broke Rekerds, provided a great opening for the show. Its music is played at a full-throttle pace, with the songs clocking in under two minutes long. The speedy set started with “Ogden Avenue,” the title referencing a well-known street named for Chicago’s first mayor, William B. Ogden. It was followed by “O Well,” “Resignation,” and “I Don’t.” The last song in the set was the delightfully titled “David Gilmour Girls.” I expect the band to be headlining more and bigger shows. But wherever they are on the bill, make sure you check them out.

This was a top-shelf night of great music, equally great friends, and massive talent amongst the fans. Please see below for more photos. Cheers!

  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Sludgeworth
  • Drumstick used by 13 year oldMax McQuid in his live debut as a drummer. He played with Sludgeworth, his father, drummer Brian McQuaid’s band.
  • Max McQuid rocks out after his live debut performance, playing drums for Sludgeworth on a song.
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Tightwire
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Chicago all-stars aka Sludgeworth friends and fans.
by Staff Writer MerGold
Tags: 
Chicago Punk Chicago Punk Scene cobra lounge Midwestern Punk Permanent Residue

Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: The Rise Against Residency, with The Smoking Popes, Kali Masi (Chicago, 03.30.2023 – 04.01.2023)

Chicago punk legends Rise Against took over Metro Chicago recently, playing three completely unique set lists on three nights. The iconic Chicago venue hosted Rise Against – Alive & Well: The Metro Residency as the concert hall celebrates its 40th anniversary. I had the chance to witness this unique weekend, presented by Q101 FM, all […]

Chicago punk legends Rise Against took over Metro Chicago recently, playing three completely unique set lists on three nights. The iconic Chicago venue hosted Rise Against – Alive & Well: The Metro Residency as the concert hall celebrates its 40th anniversary. I had the chance to witness this unique weekend, presented by Q101 FM, all three nights. The first night, with The Bollweevils opening ahead of the band’s new record release, I was there to hang with and support good friends. Admittedly, it felt a little strange, not having my camera gear and not spending time in the photo pit, yet it was a fun time. The crowd, though heavily represented by hometown fans, also saw many traveling from all over the country and even from the United Kingdom. Oh, and a very special event took place under the Metro marquee for two RA fans. More on that in a bit.

Thursday Night

Rise Against opened the weekend on the same day as the first-ever criminal indictment of a former President occurred. There were more than a few “Happy Indictment Day!” exclamations heard both outside and inside the venue. For some, it felt appropriate, on such a precedent-setting day, that the band they were seeing is known for its socially conscious lyrics and offstage activism. Indeed, rather than opening music, the band chose to play an audio clip from one of my longtime top 5 films. It was “Howard Beale”‘s (portrayed by Peter Finch who won a posthumous Oscar for this leading performance) iconic “I am as mad as hell and I’m not going to take this anymore” speech from the classic, multi-Oscar winning film, Network. It was the whole speech, and it was brilliant.

The Rise Against residency was a sort of retrospective. Each night had a totally unique set list sans any repeats over the course of the weekend. Unlike the common practice of a band playing a different one of its albums start to finish each night of a multi-night stand, Rise Against mixed up songs from different records. Surely this was highly appreciated by those who were present for all, or at least more than one, of the nights.

Night one’s set list included, “Tragedy + Time,” “Broken Dreams, Inc.,” “Bridges,” “Paper Wings,” and “Entertainment.” Two notes on this song lineup: this was the live debut performance of “Bridges,” and the first time they have played “Entertainment” live in about a dozen years. As with the other two nights, this was an expectedly strong evening of music. Just as the film “Network” and “Howard Beale”‘s rallying cry are still relevant decades on, so too is Rise Against’s music. I don’t see any of these changing in the near future.

Supporting act on night one, The Bollweevils, jump-started the weekend in a big way. As in a big jump from the Punk Roc Doc, Dr. Daryl Wilson. Wilson has been catching major air since the formation of the band decades ago. His bandmates, guitarist Ken Weevil, a middle school teacher/former middle school principal, and “the double Petes”, bassist Peter Mittler, back from Florida for this performance, and drummer Pete Mumford, on the backbeat, delivered a boisterous performance. The set included  “Predisposition,” “Fencesitter,” “Peggy Sue,” “Bottomless Pit,” and “Cutting Solution.” The band’s new album, Essential off of Red Scare Industries, is set to be released on May 5, 2023. It features backing vocals by “the 5th Bollweevil,” Joe Mizzi of The Mizzerables, who also provides live bass duties when Mittler is not available. The release takes place just weeks before the band heads to Pouzza Fest. 2023 is shaping up to be a great year for The Bollweevils. I’m all here for it.

Friday Night

Night two also started with an audio clip, from the HBO, Aaron Sorkin created series, “The Newsroom.” In this case the oft shared scene whereas series lead Jeff Daniels, as news anchor “Will McAvoy” responds to a college student’s question of what makes the US the greatest country in the world.

Tim McIlrath, Joe Principe, Brandon Barnes, and Zach Blair throw emotional punches with their songs, and this was on full display throughout the Metro residency. While too often political punk bands can seem didactic, Rise Against never does. Instead, fans are fully engaged to the message of the lyrics, and how said message is being delivered intoxicatingly via the music.

As with the first night, RA performed some songs which have not been played live in years or never played live prior to this. Included in the former category were “My Life Inside Your Heart,” and “Torches.” It had been roughly 18 and 8 years respectively since the songs were last performed live. “About Damn Time,” and “Whereabouts Unknown,” were live debuts. The set also included “Black Masks & Gasoline,” “Survivor Guilt,” “The Great Die-Off,” and “State of the Union.”

The Smoking Popes opened night 2 with a bouncy and satisfying set. The first tune of the night was the one often, but not always played first, “Simmer Down.” It was followed by tunes including “Let’s Hear It For Love,” “Rubella,” “Megan,” and “Amanda My Love.” The Smoking Popes, consisting o the brothers Caterer (Josh Caterer, Eli Dixon Caterer, and Matt Caterer), and Mike Felumlee, per usual, were the charismatic and unusually fun punk band its fans love so much. This is at least my second time in the last 6 months or so documenting the band for Dying Scene. Hopefully it won’t the last before 2024.

Saturday Night

Admittedly, if Rise Against played an audio clip before its Saturday night set, I did not catch it. However, the band continued another pattern established during the first two nights with a set list including the live debuts of “The Black Market,” “Sudden Urge,” “Endgame,” “Lanterns,” and “Escape Artists.” Rise Against also performed “Anywhere But Here” for the first time since 2006, “Rumors of My Demise Have Been Greatly Exaggerated” for the first time since 2007, and “From Heads Unworthy,” for the first time since 2011. If the crowd’s electric reaction to these songs is any indication, perhaps the bands will consider making some, if not all, at least semi-regulars on its future set lists. RA rounded out the setlist with “Chamber The Cartridge,” “Heaven Knows,” and “Drones.” This might have been an exhausting weekend for the crowd, the band, and all others involved, yet it was also an immensely fun one.

Kali Masi was the youngest of the bands playing on this bill, with its debut album released in 2017. Yet the members of this dynamic band performed with confident abandon. Sam Porter on guitar and lead vocals, drummer John Garrison, bass player/vocals Adam Romero, and Tim Roark is on guitar/vocals tore through their set, which included “Paint me Jade,” ”Sputter,” “Some Friends,” “Trophy Deer,” “Recurring (I),” and “The Stray.”

The band will soonish be returning to the Wrigleyville area of Clark St. when they play at the Metro’s neighbor, GMan Tavern in June. I’d advise you to be there if you can. As good as Kali Masi are presently, there is ample evidence that they will only get better and better.

Now to that special moment. Rise Against super fans Nick Novak and his long-time girlfriend, Lisa Bulwan, had plans to attend the Saturday night show. What Lisa did not know was that Nick had a ring on him and was planning to propose before doors opened. Full disclosure part 1: Nick hired me to take photos of the event without giving away the surprise. Careful planning allowed that to happen and Lisa, of course, said yes. Fans lined up the block exploded into cheers. Full Disclosure part 2: I clued those fans on to what was about to happen. Hey, for this one moment I was there, not as a photojournalist, but as a hired photographer. Letting others know what was about to go down was part of doing the job well! Congratulations Nick and Lisa, from all of us at Dying Scene!

Please see below for more photos!

  • Rise Against: Night Two
  • Rise Against: Night Two
  • Rise Against: Night Two
  • Rise Against: Night Two
  • Rise Against: Night Two
  • Rise Against: Night Two
  • Rise Against: Night Two
  • Rise Against: Night Two
  • Rise Against: Night Two
  • Rise Against: Night Two
  • Rise Against: Night Two
  • Smoking Popes
  • Smoking Popes
  • Smoking Popes
  • Smoking Popes
  • Smoking Popes
  • Smoking Popes
  • Smoking Popes
  • Smoking Popes
  • Smoking Popes
  • Smoking Popes
  • Smoking Popes
  • Smoking Popes
  • Rise Against: Night Three
  • Rise Against: Night Three
  • Rise Against: Night Three
  • Rise Against: Night Three
  • Rise Against: Night Three
  • Rise Against: Night Three
  • Rise Against: Night Three
  • Rise Against: Night Three
  • Rise Against: Night Three
  • Rise Against: Night Three
  • Rise Against: Night Three
  • Rise Against: Night Three
  • Kali Masi
  • Kali Masi
  • Kali Masi
  • Kali Masi
  • Kali Masi
  • Kali Masi
  • Kali Masi
  • Kali Masi
  • Kali Masi
by Staff Writer MerGold
Tags: 
chicago kali masi Metro Chicago Midwestern Punk Rise Against

Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: Flatfoot 56, The Rumjacks, The Drowns, and Criminal Kids. Chicago (03.11.2023)

Chicago celebrates St. Patrick’s Day a bit early. The city partook in its traditional Dyeing of the Chicago River, followed by a boisterous post-downtown Irish parade afternoon. The events draw thousands, most seeming to be decked out in various formed of green plastic, t-shirts slightly updated, often vulgarity or cheesy wise, from the classic of […]

Chicago celebrates St. Patrick’s Day a bit early. The city partook in its traditional Dyeing of the Chicago River, followed by a boisterous post-downtown Irish parade afternoon. The events draw thousands, most seeming to be decked out in various formed of green plastic, t-shirts slightly updated, often vulgarity or cheesy wise, from the classic of bygone years “Kiss Me I’m Irish,” and silly hats. More than a few people remarked that the only thing seemingly missing were actual Irish people. The accuracy of that last part I do not know.

However, after a day accented by a few celebrants puking up green beer on the “L,” Reggie’s acted as a sort of refuge from the shenanigans (yes, I use that word sans apologies). The pride of Southside Chicago Celtic punk, Flatfoot 56, as it often does at this time of the year, stormed the stage. The band had hearty support from The Rumjacks, The Drowns, and another of Chicago’s own, Criminal Kids.

To say that a Flatfoot 56 show is always a good time is an understatement. Led by the affable founding members the brothers Bawinkel, Tobin and Kyle, the band roars through its set. Tobin Bawinkel, the towering lead singer, exudes the energy of a preacher leading an old-time revival under a big tent, the charm of your favorite high school teacher, (he actually is a high school social studies teacher in the Chicago Public school system), and the requisite charisma of a veteran frontman. Kyle Bawinkel, with a good-natured, but slightly mischievous grin, slams on bass, Drummer Dan Alfonsi, aka singer of another windy city band “Still Alive,” works in tight conjunction with Kyle for a sturdy backbeat. Original Flatfoot 56 Pipes player Josh Robieson rejoined the band a few years back, much to the delight of the Ollie Mob.

The band is well-known as a Christian group. But during the secular shows, you won’t witness proselytizing. However, you will hear stories of forgiveness, redemption, unity, and faith laid bare in FF56 lyrics. Two of the band’s most popular songs played live are actually covers of
Christian hymnals. Tobin regularly encouraged, pre-pandemic, fans to hold the
hands of their neighbors at the show, as they slowly build then burst into a very up-tempo rendition of “Amazing Grace.” Tobin still encourages fans to take a moment to introduce themselves to those around them they do not yet know.

On this particular night, however, the hymnal of choice, was the joyously rowdy version of “I’ll Fly Away.” And whether fans describe themselves as believers, atheists, agnostics, or by any other religion-related description, the crowd joins in, triumphantly singing the chorus.

“I’ll fly away, oh, Glory
I’ll fly away
When I die, Hallelujah, by and by
I’ll fly away.”

It’s quite a moving moment. Decency is a word you will often hear associated with this band. It fits, in part, because it requests one thing of its fans, to bear cathartic witness to our shared humanity. But a FF56 show is no solemn affair, Its reliable strength is neither generic nor boring.

This was demonstrated as the members of Flatfoot 56 blasted through the set, also including “Brotherhood,” “Knuckles Up,” “Winter In Chicago,” a terrific cover version of “The Wild Rover,” “Courage,” and “We Grow Stronger. 

Flatfoot 56 shows, simply put, are the very definition of a rip-roaring good time free of judgment, full of joy.

Celtic punk band The Rumjacks, was founded in Sydney, Australia but now its members are based in Europe.

Lead singer Mike Rivkees, who is actually from the United States, spent most of this time on stage in perpetual motion, springing lightly on the front of his shoes. Also playing tin whistle throughout the set, Rivkees commanded the crowd with his strong vocals. He led the bandmates, including his Mickey Rickshaw bandmate Kyle Goyette on accordion, through a rollicking set proper for a modern-day St. Patrick’s Day celebration in the USA. The Rumjacks easily satisfied the fans as it tore through “One for the Road,” ”Kirkintilloch,” “Bloodsoaked in Chorus,” ”A Fistful O’ Roses,” “Sainted Millions,” and “An Irish Pub Song.”

Hopefully we will not have to wait until the next St. Patrick’s Day celebration to welcome The Rumjacks back to Chicago.

The Drowns, out of the Emerald State helped celebrate the Emerald Isle with a spirited performance. The Seattle band has a stacked festival year. Among the upcoming highlights are Punk Rock Bowling, Punk in Drublic, and Rebellion Festival, as well as Sjock Festival. So it was a treat for those who can’t travel to a big festival to be able to see them at Reggie’s. The boisterous set included “Black Lung,” “Lost Boys Of Suburbia,” “One More Pint,” “Wolves on The Throne,” and ”Hold Fast.”

Band members felt compelled to point out one of their tour highlights or perhaps lowlights. The band hit White Castle pre-show. For at least one of its crew it was the first taste of the iconic fast-food joint. There is a White Castle right around the corner from the venue. Unsurprisingly (at least to me, as I am not a White Castle fan), the band expressed more than a little regret at that dinner choice.

The Drowns also played a barn-burning cover of Sweet’s “Ballroom Blitz.” Of course, that classic song was featured in the classic comedy “Wayne’s World,” which has several keys scenes set in the Windy City area. The crowd was absolutely all for it.

Regret is something you may experience if you don’t catch this The Drowns live at your first chance. Whether it is at a huge festival or in a more intimate setting, the crucial thing is to catch them. You will be glad you did.

I am always delighted to see Southside Chicago’s own Criminal Kids on the bill. The band fired up the hometown crowd to kick off the party.

The rough and tumble but sweet attitude befitting a band with this name was demonstrated as Criminal Kids blasted through “Little Bitch,” “Night,” “Outcast,” “Vanity,” and “Life.”

The band’s rambunctious cover of The Undertones classic from 1978, “Teenage Kicks,” was a notch above terrific.

Is this where I say it’d be a crime to miss Criminal Kids? Ok, I will apologize for that groaner. The manner of expressing this idea might be dorky. But the sentiment is not.

See below for more photos!

  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • Flatfoot 56
  • The Rumjacks
  • The Rumjacks
  • The Rumjacks
  • The Rumjacks
  • The Rumjacks
  • The Rumjacks
  • The Rumjacks
  • The Rumjacks
  • The Rumjacks
  • The Rumjacks
  • The Rumjacks
  • The Rumjacks
  • The Rumjacks
  • The Rumjacks
  • The Drowns
  • The Drowns
  • The Drowns
  • The Drowns
  • The Drowns
  • The Drowns
  • The Drowns
  • The Drowns
  • The Drowns
  • The Drowns
  • The Drowns
  • The Drowns
  • The Drowns
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids
  • Criminal Kids

 

 

by Staff Writer MerGold
Tags: 
chicago Criminal Kids flatfoot 56 Reggie's st. patrick's day

Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: Bayside, I Am The Avalanche, and Koyo at Metro in Chicago (02.26.2022)

Bayside returned to Chicago to perform a headlining show at the legendary Metro Chicago. It also was my return to the venue just blocks from Wrigley Field after not covering a show there for at least a couple of years now. I was as glad to be back at the Metro, which just celebrated its […]

Bayside returned to Chicago to perform a headlining show at the legendary Metro Chicago. It also was my return to the venue just blocks from Wrigley Field after not covering a show there for at least a couple of years now. I was as glad to be back at the Metro, which just celebrated its 40th Anniversary, to document the show as Bayside fans were to be watching it. Bayside, currently on its “Just Like Home” tour, had strong support on the bill from fellow Empire Staters Koyo opening and I Am The Avalanche in the middle spot. It all added up a fun Sunday night.

Bayside, founded in the Queens/Long Island area, made a stop at one of its favorite U.S. venues. Frontman Anthony Ranieri told the crowd that they should play all of their shows at the Metro, even the out-of-state ones. With its large stage, intimate size floor space, and a balcony affording a great view, it’s no wonder both musicians and fans love the Chicago icon. Ranieri, who made a brief appearance during the I Am The Avalanche set led his bandmates through a rip-roaring performance. The set was jam-packed with some of Bayside’s very best songs, including, “Sick, Sick, Sick,” “How To Ruin Everything (Patience),” “Already Gone,” “Duality,” “Hate Me,” and “Go To Hell.” The band also performed a cover of Smoking Popes’ “Megan.” At one point, I Am The Avalanche singer Vinnie Caruana bounded on stage to join Bayside for a tune, just as Anthony Ranieri ran on to stage during the IATA’s set to hug and sing with his tour mate. Bayside appeared to be having a blast on this tour. For the fans, including some who traveled from as far as California, to see the band live, there is little doubt they could feel it and experience that feeling as well.

Once Brooklyn, NY’s I Am The Avalanche, blasted onto the stage, hardly a breath was taken. Its powerful set included “I Took A Beating,” “Amsterdam,” “Green Eyes,” “The Shape I’m In,” and “177.” The highlight was easily a rousing edition of “Brooklyn Dodgers,” the band’s wistful ode to its hometown and the people from it.

Koyo is also from Long Island, as am I, born and raised. Though I haven’t lived on the Island for many years, I still put that down as a point in the band’s favor. However, not much help was needed in scoring Koyo. A muscular performance start to finish, the group drove through “Moriches,” “A Song For Anthony,” “Fifty First Dates,” “Straight North,” and “Ten Digits Away.” Koyo provided a pretty strong kick-off to a very fun evening.

Please check out more photos from the show below!

  • Bayside
  • Bayside
  • Bayside
  • Bayside
  • Bayside
  • Bayside
  • Bayside
  • Bayside
  • Bayside
  • Bayside
  • Bayside
  • Bayside
  • Bayside
  • Bayside
  • Vinnie Caruana of I Am The Avalanche joins Bayside on stage
  • Vinnie Caruana of I Am The Avalanche joins Bayside on stage
  • I Am The Avalanche
  • I Am The Avalanche
  • I Am The Avalanche
  • I Am The Avalanche
  • I Am The Avalanche
  • I Am The Avalanche
  • I Am The Avalanche
  • I Am The Avalanche
  • Bayside’s Anthony Ranieri joins in a song with Vinnie Caruana during I Am The Avalanche’s set
  • Bayside’s Anthony Ranieri joins in a song with Vinnie Caruana during I Am The Avalanche’s set
  • Koyo
  • Koyo
  • Koyo
  • Koyo
  • Koyo
  • Koyo
  • Koyo
  • Koyo
  • Koyo
  • Koyo
  • Koyo
  • Koyo
by Staff Writer MerGold
Tags: 
bayside chicago I Am The Avalanche Koyo Long Island Punk

Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: Night 2 of Sounds of the Street Festival with Lower Class Brats, Subversives, Killing Pixies, Doc Rotten, and more. (Chicago 02.11.2023)

The second night of this year’s Sounds of the Street Festival was capped off by yet more Texas punks. In this case, the capital city’s Lower Class Brats. The Austin-borne legends were joined several popular Chicago groups, as well as bands from across the United States. (Check out our coverage of Night #1 here.) Lower […]

The second night of this year’s Sounds of the Street Festival was capped off by yet more Texas punks. In this case, the capital city’s Lower Class Brats. The Austin-borne legends were joined several popular Chicago groups, as well as bands from across the United States. (Check out our coverage of Night #1 here.)

Lower Class Brats, originally from Austin, TX, but presently based out of California, have been tearing up stages for nearly 30 years. The band brought its ferocity to 2105 South State, wasting no time demonstrating why it has such a devoted following. Lower Class Brats, with a song called “Ultraviolence,” takes some inspiration from “A Clockwork Orange.” One of the nods to the Stanley Kubrick film adaption of the Anthony Burgess novel, was the black Bowler atop Bones’ skull. Bones, one of the two remaining founding members in the band, was perpetually in motion throughout the set, He and his bandmates powered through their performance leaving throngs of fans sweaty and satisfied.

The Subversives, out of Minneapolis, MN, have been around since the 1990’s. However, with a new singer, there’s a renewed energy in the form of an intense young singer with the moniker Quinn T. Sensual. Sensual confidently led his veteran bandmates through their time on the stage with piercing confidence. It was a solid set, keeping the fans moving on the floor. The Subversives are back. And quite a few were glad to see it.

Killing Pixies, from Detroit, MI, came out full throttle. Buoyantly fresh sounding, the pop-punk quartet, delivered sweet sounding tunes which also serve as razor-sharp anthems. The band members are far from shy about calling out those who would deny them basic human rights; perhaps the biggest such targets being the men who work to end access to safe and legal abortions. Killing Pixies gave one of my very favorite performances during the weekend. I am excited to see what else they have for all of us in the future. I’m hazarding a guess it will sting in the very best way.

There are many different types of Rotten in the world, and two of them were on display during night 2: Rotten Stitches and Doc Rotten. The latter was up first. Its new lead singer, Johnny Douglas, alternatively scowling and smiling, was clad in an English football-looking Adidas t-shirt. But instead of an advert for a sponsoring airline or cell phone company, the words “Unite” across the front, and “Resist” on the back. Not only do those two words make up the title of band’s 2022 release, but they are a sort of mission statement for the Trenton, New Jersey crew as well. Known for politically charged tunes, this Rotten was relevant while honoring the spirit of the its street punk ancestors.

The other bands on Saturday’s line-up: Squared Off, The Oi!takus, The Decayed, Anti-Feds, and Fear City, all showed off their own brands of street punk, contributing to yet another exciting musical weekend here in Chicago, Check out more photos from Sounds of the Street Festival night 2 below!

  • Squared Off
  • Squared Off
  • Squared Off
  • Squared Off
  • Squared Off
  • Squared Off
  • Squared Off
  • Squared Off
  • Squared Off
  • Squared Off
  • Squared Off
  • Squared Off
  • Squared Off
  • Squared Off
  • Squared Off
  • Killing Pixies
  • Killing Pixies
  • Killing Pixies
  • Killing Pixies
  • Killing Pixies
  • Killing Pixies
  • Killing Pixies
  • Killing Pixies
  • Killing Pixies
  • Killing Pixies
  • Killing Pixies
  • Killing Pixies
  • Killing Pixies
  • The Oitakus
  • The Oitakus
  • The Oitakus
  • The Oitakus
  • The Oitakus
  • The Oitakus
  • The Oitakus
  • The Oitakus
  • The Oitakus
  • The Oitakus
  • The Oitakus
  • The Oitakus
  • The Decayed
  • The Decayed
  • The Decayed
  • The Decayed
  • The Decayed
  • The Decayed
  • The Decayed
  • The Decayed
  • The Decayed
  • The Decayed
  • The Decayed
  • Anti-Feds
  • Anti-Feds
  • Anti-Feds
  • Anti-Feds
  • Anti-Feds
  • Anti-Feds
  • Anti-Feds
  • Anti-Feds
  • Anti-Feds
  • Anti-Feds
  • Anti-Feds
  • Anti-Feds
  • Doc Rotten
  • Doc Rotten
  • Doc Rotten
  • Doc Rotten
  • Doc Rotten
  • Doc Rotten
  • Doc Rotten
  • Doc Rotten
  • Doc Rotten
  • Doc Rotten
  • Doc Rotten
  • Doc Rotten
  • Doc Rotten
  • Doc Rotten
  • Rotten Stitches
  • Rotten Stitches
  • Rotten Stitches
  • Rotten Stitches
  • Rotten Stitches
  • Rotten Stitches
  • Rotten Stitches
  • Rotten Stitches
  • Rotten Stitches
  • Rotten Stitches
  • Rotten Stitches
  • Rotten Stitches
  • Fear City
  • Fear City
  • Fear City
  • Fear City
  • Fear City
  • Fear City
  • Fear City
  • Fear City
  • Fear City
  • Fear City
  • Fear City
  • Fear City
  • The Subversives
  • The Subversives
  • The Subversives
  • The Subversives
  • The Subversives
  • The Subversives
  • The Subversives
  • The Subversives
  • The Subversives
  • The Subversives
  • The Subversives
  • The Subversives
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
  • Lower Class Brats
by Staff Writer MerGold
Tags: 
chicago Lower Class Brats music festival Reggies Sounds of the Street Festival

Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: Night 1 of Sounds of the Street Festival with Piñata Protest, Get Dead, Noogy, Shitizen, and more. (Chicago 02.10.2023)

Reggies Rock Club once against hosted the Sounds of the Street Festival. As the name of the 2 night event suggests, the lineup was dominated by street punk bands, with a dose of Oi! and other subgenres in the mix for good measure. There were nine bands on the first night’s bill. Here were some […]

Reggies Rock Club once against hosted the Sounds of the Street Festival. As the name of the 2 night event suggests, the lineup was dominated by street punk bands, with a dose of Oi! and other subgenres in the mix for good measure. There were nine bands on the first night’s bill. Here were some of the highlights.

At the top of the night’s bill was Piñata Protest out of San Antonio, TX. Partly through the use of the accordion and a Merenque Guira, the band fuses traditional Tex-Mex music with punk for its own unique sound. Though it had been a long evening, Piñata Protest’s highly spirited performance provided the crowd a much-needed shot of rhythmic adrenaline. The group whipped up the crowd and left exhausted fans, old and new in its wake.

Bay area punks Get Dead loaded up its set list, coming just short of 20 songs. Singer Sam King, with his very animated facial expressions, led the charge through said set list which included “Disruption,” “Fire Sale,” “Pepper Spray,” “Stick Up,” “Glitch,” and “This One’s for Johnny.”

Noogy, another group from the Lone Star state on the bill, may have a playful name but what it had to say was far more serious. The Dallas-borne band rumbled through a set list including “ACAB,” “Whatever,” “Studcounter,” “Robinhood,” and “2017.” Noogy will travel across the ocean this summer to perform at Rebellion Festivals and no doubt will garner more fans and wider attention.

On a lighter note, Sounds of the Street Fest has become known for being a weekend full of mohawks on both musicians and fans. Perhaps more of the classic punk ‘do percentage-wise than most other festivals. They were everywhere you turned, of all colors and variations. But Noogy bass player John Grefer sported one of the most majestic. Electric blue and seemingly skyscraper tall, it was certainly a nominee for best in show.

Chicago’s Shitizen has always had the ability to stand out in a crowded bill. Returning to the Sounds of the Street, was no exception, even as its performance was exceptional. Charismatic lead vocalist Claudia Guajardo, once again broke free of the stage. In one moment she roamed the floor like a tiger ready to pounce. A tiger in a puffy coat that is. The next moment she was standing still, one arm leaning against the stage with mic in hand, reminiscent of a college lecturer, discussing whatever came to her mind. It was, per usual, a dynamic performance by Shitizen.

The remaining bands on the night’s bill, Shitbag, Infirmities, Primitivs, Poison Hand, and The StickUps, each brought their own brands of energy, intensity, and fun to Friday night.

Check out more photos from Night 1 of Sounds of the Street Festival below!

  • Piñata Protest
  • Piñata Protest
  • Piñata Protest
  • Piñata Protest
  • Piñata Protest
  • Piñata Protest
  • Piñata Protest
  • Piñata Protest
  • Piñata Protest
  • Piñata Protest
  • Piñata Protest
  • Piñata Protest
  • Get Dead
  • Get Dead
  • Get Dead
  • Get Dead
  • Get Dead
  • Get Dead
  • Get Dead
  • Get Dead
  • Get Dead
  • Get Dead
  • Get Dead
  • Get Dead
  • Get Dead
  • Noogy
  • Noogy
  • Noogy
  • Noogy
  • Noogy
  • Noogy
  • Noogy
  • Noogy
  • Noogy
  • Noogy
  • Noogy
  • Noogy
  • Shitizen
  • Shitizen
  • Shitizen
  • Shitizen
  • Shitizen
  • Shitizen
  • Shitizen
  • Shitizen
  • Shitizen
  • Shitizen
  • Shitizen
  • Shit-Bag
  • Shit-Bag
  • Shit-Bag
  • Shit-Bag
  • Shit-Bag
  • Shit-Bag
  • Shit-Bag
  • Shit-Bag
  • Shit-Bag
  • Shit-Bag
  • Shit-Bag
  • Infirmities
  • Shit-Bag
  • Infirmities
  • Infirmities
  • Infirmities
  • Infirmities
  • Infirmities
  • Infirmities
  • Infirmities
  • Infirmities
  • Infirmities
  • Infirmities
  • Infirmities
  • Primitivs
  • Primitivs
  • Primitivs
  • Primitivs
  • Primitivs
  • Primitivs
  • Primitivs
  • Primitivs
  • Primitivs
  • Primitivs
  • Primitivs
  • Primitivs
  • Poison Hand
  • Poison Hand
  • Poison Hand
  • Poison Hand
  • Poison Hand
  • Poison Hand
  • Poison Hand
  • Poison Hand
  • Poison Hand
  • Poison Hand
  • Poison Hand
  • Poison Hand
  • Poison Hand
  • The StickUps
  • The StickUps
  • The StickUps
  • The StickUps
  • The StickUps
  • The StickUps
  • The StickUps
  • The StickUps
  • The StickUps
  • The StickUps
  • The StickUps
  • The StickUps
by Staff Writer MerGold
Tags: 
chicago Illinois Reggies Live Sounds of the Street Festival Street Punk

Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: The Brokedowns Record Release with Chinese Telephones, Dangerous Chairs, and Permanent Residue (01.28.2023: Chicago)

When Dying Scene last documented a live performance by The Brokedowns it was long ago. I jest, it was just about a month earlier, opening for The Arrivals on New Year’s Eve. This time, The Brokedowns headlined a sold-out show, with support by Dangerous Chairs, Chinese Telephones, and Permanent Residue. Big sounds in a small […]

When Dying Scene last documented a live performance by The Brokedowns it was long ago. I jest, it was just about a month earlier, opening for The Arrivals on New Year’s Eve. This time, The Brokedowns headlined a sold-out show, with support by Dangerous Chairs, Chinese Telephones, and Permanent Residue. Big sounds in a small venue added up a lively Saturday night at the popular Burlington Bar in Chicago’s Logan Square neighborhood.

This event was the official record release party for The Brokedowns‘ latest release, Maximum Khaki, on Red Scare Industries. The band members – Kris Megyery, Jon Balun, Eric Grossmann, and Mustafa Daka introduced the fans present to many of the songs off the new album, including “Obey the Fumes,” “Ernest Becker at a Costco,” “Chakra Updates,” “Samurai Sword Decontrol,” “Honk If You’re Horny,”

The bouncy melodies in many of the tunes made for soft serve deliveries delivery of some stinging commentary.

Take for instance, “Ernest Becker at a Costco.”

“Get in line for the offering you just can’t beat the price

Say c’est la vie to the sky-high fees

Say hello to paradise

I’m in the bargain bin

And I cannot decide

Between the shrink wrapped shit

Or the sweat shop skid.“

It is an immensely infectious ode to “Big Boxes” and those who find themselves entranced by them. At least, in my interpretation, and personally the song reminds me of the documentary, “Walmart: The High Cost of Low Price.”

The playful song titles and droll lyrics in Maximum Khaki translated live, with an onstage cameo by Chris Sutter of Meat Wave for the tune “Keep Branson Weird,” added up to a killer night of punk music.

Chinese Telephones, out of Milwaukee, WI, and around since 2004, have shared a bill with The Brokedowns in the past, so it was no surprise they fit so comfortably in this lineup.

Just after taking the stage lead singer Justin Telephone put on a pair of very dark sunglasses. He informed the crowd he wasn’t trying to look cool. Rather, the eyewear was to protect him from the bright lights as he was still recovering from a concussion. Head injury be damned, he, along with bandmates Daniel James, Andy Junk, and Logan Stang ripped through “I Can’t Be Right,” “Crying in the Chapel,” “Back to You Again,” “Live Like This,” “Stay Around.” It was a rowdy and fun set. Hopefully, Justin Telephone will soon be fully recovered.

Chicago’s Dangerous Chairs, is comprised of “Little Dave” Merriman from The Arrivals, Jim Mertz, Andy Cline, Chris “The Kid” Landefeld, and Brian Fee. It’s a new group with veteran musicians and a 2022 debut album, “Introducing Dangerous Chairs.” The record is loaded with evocative tunes. Among those in this night’s set were “Jeweler’s Lens,” “Slow Bleed,” “Regret Song,” “Statue,” and “Rooftops.” Just as The Brokedowns reminded me of another filmed piece of pop culture, so too did the Dangerous Chairs tune “Superman Is Painless.” It immediately made me think of a song from the iconic film M*A*S*H. An instrumental version of the tune also served as the theme for the equally iconic television adaptation. Turns out I had good reason. Per Merriman:

“It’s a play on Suicide is Painless, the theme to M*A*S*H, along with the fact that he commits suicide in the song and also that he would always feel no pain.” That’s a pretty heavy description with lyrics even heavier:

“Problematic Superman

As tired as he’s old

His emblem hides his broken heart

and his deeds all seem so cold…”

“...The only way to kill the man

Could only come from his own hand

And when we found him dead at least

You’d think we’d understood”

Apparently I was not the only one to think of the tragic story of the man who first played Superman. Merriman again,

“Andy, one of the guitarists, mentioned the George Reeves connection after it was named.”

Dangerous Chairs ventures into dark waters but does it so well. I am looking forward to hearing more from this group.

Permanent Residue, of Chicago, describes itself as “snotty pop punk.” The band, composed of Kate Manic, Jake Levee, Victor Lord Riley, and Vince Miller, wasted no time getting the crowd involved as it commenced the evenings proceedings. Lead singer Manic, with her furious vocals, led her bandmates through a pummeling set which included “Ogden Ave,” “Resignation,” “Oh Well,” “I Don’t,” and “Gilmour Girls.” Keep an eye and an ear out for Permanent Residue, a band that surely will leave its mark, not in name only.

Please see below for more photos!

  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns
  • The Brokedowns with Chris Sutter of Meat Wave
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Chinese Telephones
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Dangerous Chairs
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
  • Permanent Residue
by Staff Writer MerGold
Tags: 
Burlington Bar chicago chinese telephones dangerous chairs Illinois

Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: Sincere Engineer, Fluorescents, Droughts, and Rodeo Boys (Chicago: 01.14.2023)

Sincere Engineer headlined a sold-out show at Bottom Lounge on Saturday, January 14, 2023. Supporting her on the bill were Fluorescents, Droughts, and Rodeo Boys. It was an electrifying night of music from the top of the bill to the bottom. This show was a milestone for Sincere Engineer, as Deanna Belos revealed to me: […]

Sincere Engineer headlined a sold-out show at Bottom Lounge on Saturday, January 14, 2023. Supporting her on the bill were Fluorescents, Droughts, and Rodeo Boys. It was an electrifying night of music from the top of the bill to the bottom.

This show was a milestone for Sincere Engineer, as Deanna Belos revealed to me:

“It was our first sold-out headliner that wasn’t a record release show. We actually haven’t played too many headliners here [Chicago]. I think a total of four. And two were record releases.”

Though it was sold out because of Belos aka Sincere Engineer, she still seemed taken aback that so many people showed up specifically for her. Throughout her performance, Belos kept repeating “this is crazy,” with what appeared to be a slightly nervous smile on her face. That humility, evident on stage and off, is surely another reason so many have become fans of her and why the merchandise line stretched so far across the venue floor. Belos, manning her own table, took a moment to interact with each person who approached.

This night was likely a standout not just for Belos as she was not the only one to feel the very warm embrace from the crowd. Whilst setting their gear up on stage, Adam Beck, Kyle Geib, and Nick Arvanitis surely could hear the fans shouting out their love for them. Some audience members could be heard loudly requesting the names of the trio.  

Belos’ first song of the set seemed to address the restive feelings right before taking the stage. From Bottle Lightning Twice

“I got a brown paper bag

I’m breathing in and out in the back, you see?

And all the people are staring at me

Pull into the station it’s a fever dream

The crowd goes wild while I’m in the ring

Big open spaces, little train car seat

A lightweight tapped out, it seems

But I’ll be okay when I feel the electricity.”

Belos’ voice, tinged with a bit of gravel, soared over the crowd. Beck’s muscular drumming in conjunction with Arvanitis’ powerful bass playing combined for a forceful rhythm section. Geib’s potent guitar playing and that of Belos’ completed the very tight quartet.

 The band also drove through “Let You Down,” “1K Rats,” “Corn Dog Sonnet No. 7,” and “Dragged Across The Finish Line.”

On this chilly night, Belos lamented, in “Out of Reach,”

“I watch the weather on tv.

I watch the green on the screen cover up this stupid fuckin’ city.

And now it’s like you won’t believe.

All the things I want and need

Just seems so fuckin’ out of reach for me.”

It was special evening for Belos in another way as her parents were in the audience and her mentioning them prompted cheers from the crowd. Days later, Belos excitedly told me, “It was nice having them there!! They’ve only been to a few of our shows!”

Sincere Engineer was also celebrated in another way. Bottom Lounge added the very popular corn dogs to its menu. However, Belos is not likely to be ordering one for herself. Reminder as to how the convenience food became an important part of her first big hit, Belos told me,

“And it was like a time when I moved out of my parents’ house and went grocery shopping on my own for the first time. I bought a box of frozen corn dogs, and they were horrible and sat in the back of the freezer for years lol.”

Following the show, Belos again confirmed her dislike of corn dogs. This was met with raised eyebrows and exclamations of surprise from fellow musicians on the bill, and from fans waiting to meet her. It also prompted a lively discussion of how to make corn dogs more palatable (pour syrup on them was one suggestion) or possible alternative snack-on-a-stick options (Pancake on a stick!). I must also add that while I am a fan of both dogs and corn, I too am not a corn dog fan.

For those lucky enough to score tickets to the show, it left them hungry for more. Belos is in the process of ensuring the fans get it, informing me that,

“Up next is recording LP3 in February, Europe tour in May! That’s it’s so far, both have been announced already!!”

Sincere Engineer has also been added as a special guest opener for the July 15-22 dates on this year’s Sad Summer Fest.



Chicago’s own Fluorescents came on as bright and animated as its name suggests. This was also, thus far, the biggest crowd, for which the group comprised of Bobby Guidi, Tyler Milka, Sasquel Roby Exum, and Alex Klump, has performed.

The band lit up the stage as they zoomed through “Locked Away,” “Vibe,” “Mood,” “T.A.S.T.,” and “Funeral.”

Fluorescents have cited the pop-punk of the early-aughts as a primary influence, along with the 2010’s easy-core trend. Joining ferocious performances with terrific songs, Fluorescents will surely find itself playing for ever-growing crowds.

Droughts are also from Chicago. They consist of Joe Klomes, Nick Spiese, Will Seals, and Will C. Klomes, the latter of whom expressed his apprehensiveness at speaking in front of crowds due not knowing what to say. But he did better than I suspect he thought he did. The group jammed through “Stay Behind” “Lose Light,” “Cutouts,” “Marionette,” and “Welcome Back.” It was a strong set and hopefully the band will grace more stages this year, at home and elsewhere.

Self-described in its Facebook profile as a “Just a queer as hell four piece rippin’ grunge tunes from Lansing, MI,” Rodeo Boys lit the fuse for a blasting cap of an evening. Tiff Hannay, Cody Lee, Taylor Dody, and Dandy Waltz were clearly having a great time with their music, their fans and each other. The lively and playful set included “Dog Leg,” “Be Your Man,” “Pump 6,” “Queen Anne’s Lace,” and “Tidal Wave.” In the month prior to playing at the April 2023 Stoop Fest in its hometown, the band will be heading to a fest in a state famous for rodeos. Rodeo Boys will be featured in the Don Giovanni Records Showcase at SXSW in Austin, Texas on March 16, 2023.

Please see below for more photos from this show!


  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer
  • Sincere Engineer fan once has a special request: Can I play Bless My Psyche for you?”
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Fluorescents
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Droughts
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
  • Rodeo Boys
by Staff Writer MerGold
Tags: 
Bottom Lounge chicago Deanna Belos Droughts Fluorescents

Post a Comment

Your email address will not be published. Required fields are marked *

DS Show Review & Gallery: Heet Deth, Lollygagger, The Cult of SpaceSkull, and Hail Alien in Chicago (01.13.2023)

Liar’s Club, on Friday the 13th, brought the heat of Heet Deth, the acidic humor of Lollygagger, the spooky drama of The Cult of SpaceSkull; and in place of Hail Satan, it was Hail Alien. All of this added up to an entertaining way to spend a few hours on a crisp winter evening. Heet […]

Liar’s Club, on Friday the 13th, brought the heat of Heet Deth, the acidic humor of Lollygagger, the spooky drama of The Cult of SpaceSkull; and in place of Hail Satan, it was Hail Alien. All of this added up to an entertaining way to spend a few hours on a crisp winter evening.

Heet Deth returned to Liar’s Club as headliners. We were excited to first introduce the duo to our readers last year. Julia Bards and Laila Eskin were dressed in their uniforms of red overalls with the band’s name slashed in white across the back. The black and red grease paint on their faces rendered them looking like slightly less deranged first cousins of the late Heath Ledger’s The Joker from The Dark Knight. Different color scheme but similar mood. In the case of Heet Deth, they don’t want the world to burn, just the stage on which they perform. And burn up the stage, they did. Blasting through its set, Heet Deth gave the crowd not just a visual wow, but an auditory one as well. The band directs its anger at those who put profits over people and the environment. In “Bootlicker” the band addresses those supporting politicians caging kids:

“How’s this for progress? I’ll set the stage We’ll flip the script, throw you in there How you think you’re gonna like it Bootlicker.”

Borrowing from cinematic history to make a point in “Planet of the Apes“:

“We’re not here to be put in our place

To praise the demagogues of a fascist state

Here is just one solution, reverse the institution

There is no master race This is the planet of the apes“

The group’s set also included “Blood,” “Big Bang Boom,” and “We Should Have a Party.” Heet Deth pulls no punches and the ferocity of its music and performances stick with you for days. Put this band in your ears, in front of your eyes, and on your “must see list.” Or for some, your “must see again” list.

Speaking of flames, Lollygagger’s fiery performance got pulses racing. Matthew Muffin, Kinsey Ring, and Michael Sunnycide tore up the stage with abandon. Sunnycide, as he typically does whilst drumming for Lollygagger, was sporting a leather chest harness and ball gag. This added a bit of cheekiness to their time on stage. A few days post-show, Sunnycide revealed to me the inspiration for the getup:

“The chest harness and ball gag is just for fun. Because the band name is Lollygagger, the ball gag is quite literally and figuratively a gag. Just embracing my inner Judas Priest.“

But simply being humorous is not all there is to Lollygagger. The band members suffer no fools. In fact, they name the fools out loud. One of the biggest fools of all being Roger Stone, the infamous Republican political consultant who would fit well in Dick Tracy’s Rogues Gallery. Stone served no time for his 2019 felony convictions for witness tampering, obstructing an official proceeding, and making false statements to Congress due to being pardoned after commutation by his crony, the twice impeached ex-president, Donald Trump. In “Stone.” Lollygagger rails against the over the top real-life character who, yes, does in fact, have the visage of another impeached, ex-president inked on his back. That being Richard Nixon of course.

“Disinformation and American Pride
The shortest ladder to the top of the slide,
You slide down to the bottom then you’ll be back at the top again
A little bit of this and yea a little bit that,
A little bit of shit and yea a little bit of scat,
There’s more than one way to disembowel the American cat.”

The band also blasted through “Sick Semper,” “My Boss is a Dick,” and “Mighty Methuselah’s Salami.”

However, it was the first song of Lollygagger’s set that lit the fuse. “Liar’s Club,” is a tribute to the very venue in which this event took place. Those who know about the legendary West Fullerton Ave dive bar will know immediately to whom the song refers:

“Fashion annihilation!

Your pretty face will be crushed by Gary’s leopard boots

Lipstick and Leather

you know that I know that this place it just fucking rules”

Liar’s Club manager Gary Kessler and his epic shoe collection rule as indeed does the venue and Lollygagger itself. Check them all out ASAP.

If there is a punk rock version of LARPing [Live Action Role Playing], The Cult of SpaceSkull can surely be described at doing that. That’s not a bad thing. This band, from Detroit, is horror punk, with a dash of performance art. The band “characters” go by stage names. Led by Red Witch on vocals, the rest of the band members were almost fully covered by long red hooded robes and corpse face masks, bringing to mind demonic Monks. But there’s more, as in sword fighting, an inflatable black and white skeleton tube man, and an unnamed red and black glitter-covered creature. In addition, Red Witch has a nemesis who tries to destroy her. The troupe ran through a set which included, “Fucked Up,” “Red Bitch,” “SpaceSkull, and “Satan’s Slut.” Red Witch told me, post-show, that they often change up characters and storylines but for this event the arch nemesis dress all in black, was known as Beserker. It’s a unique experience to say the least.

Hail Alien, from Metro Detroit, kicked off the show with a kinetic performance. Spencer Rogers and Sean Tarolli’s solid set got the crowd revved up for a terrific night of music.

SPECIAL NOTE: Heet Deth has yet another reason to celebrate. The duo is nominated for best rock band in Chicago Reader’s Best of Chicago 2022 poll.

Dying Scene readers will recognize several other nominees in various categories. Reigning champ for best Dive Bar, Liar’s Club is, again, nominated for that category. Gary Kessler, the manager of Liar’s Club, the king of cool, and owner of an epically fabulous shoe collection is reigning champ for Best Music Venue Bartender, and, again, nominated in that category (Ok, I am a bit biased. Liar’s Club has been my “home bar” here in Chicago for most of my coming up on 14 years (!?!?) here after all). Lastly, Chicago punk/post-punk legends Naked Raygun, veterans of DS coverage, including an extensive interview I conducted with founder/lead singer Jeff Pezzati a few years back, the reigning champ for best punk band is, again, nominated in that category. And of course best musical festival reigning champ is Riot Fest, which our team Chicago has covered extensively for several years is, once again, nominated in that category. But there are quite a few other DS covered nominees in musicians, venues, festivals and more, we have not mentioned here as well. So please check it out the link above and vote for your faves, whoever they may be, or just use it as a visitor’s guide to the Windy City.

Hey, we strive to bring you the very best and we appreciate our readers! Thank You!

Check out more photos from the show below

  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Heet Deth
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • Lollygagger
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • The Cult of SpaceSkull
  • Heet Deth reaHeet Deth reads a The Cult of SpaceSkull pamphlet
  • Hail Alien
  • Hail Alien
  • Hail Alien
  • Hail Alien
  • Hail Alien
  • Hail Alien
  • Hail Alien
  • Hail Alien
  • Hail Alien
by Staff Writer MerGold
Tags: 
chicago Hail Alien Heet Deth Illinois Liar's Club

Post a Comment

Your email address will not be published. Required fields are marked *