DS Show Review & Gallery: Me First & The Gimme Gimmes/The Black Tones/Son Rompe Pera (House of Blues – Chicago, IL – 10/1/22)

The foremost punk rock supergroup cover band hit the House of Blues in Chicago, IL on the first day of October 2022. The band brought the humor and fun, performing others’ classics but at break-neck speed. Me First and the Gimme Gimmes has a rotating cast of characters. At this House of Blues Chicago, only […]

The foremost punk rock supergroup cover band hit the House of Blues in Chicago, IL on the first day of October 2022. The band brought the humor and fun, performing others’ classics but at break-neck speed.


Me First and the Gimme Gimmes has a rotating cast of characters. At this House of Blues Chicago, only one of the original members, Spike Slawson, was on stage. Joey Cape of Lagwagon and Fat Mike of NOFX were unable to join Slawson due to both bands being on tour. However, Slawson did have a pretty solid set of bandmates: CJ Ramone on bass, Speedo aka John “The Swami” Reis of Rocket From the Crypt on guitar, Jake Kiley from Strung Out, and Andrew “Pinch” Pinching formerly of The Damned, on drums. The entire band was decked out in white denim and glittery pink shirts, accented by white ties Slawson added a white sports jacket and Elton John style specs, as well his Lounge Lizard persona.


The band zoomed through a pair of John Denver tunes, “Leaving on a Jet Plane” and “Take Me Home Country Roads,” as well as Paul Simon’s “Me and Julio Down by the Schoolyard,” Paula Abdul’s “Straight Up,” “ScienceFiction/Double Feature” by Richard O’Brien


The set also featured Dolly Parton’s “Jolene,” Willie Nelson’s “On the Road Again,” “Rocket Man (I Think It’s Going to Be a Long, Long Time)” by Elton John, “Mandy,” by Barry Manilow and Gloria Gaynor’s “I Will Survive.”


Me First and the Gimme Gimmes serves up a reliably good time, no matter what the lineup at any given time. It’s all in good fun, though there was an early oof moment when Slawson joked about John Denver’s skills as a helicopter pilot (Denver died when the home-made aircraft he was flying crashed. The National Transportation Safety Board determined the crash to pilot errors). Aside from that, the band members play with an earnestness rather than a mocking spirit underneath the levity. They seem to be enjoying this insouciant break from their “day jobs.” The crowd was all for it and left asking for more.


The Black Tones, on its first national tour, got the show started in a big way. The duo, comprised of Eva Walker on vocals and guitar, and her twin brother Cedric Walker on drums and vocals, have built a devoted fan base in the state of Washington. The Seattle duo’s hit song, “The Key Of Black (They Want Us Dead)” speaks to police brutality fueled by racism.The name of the Walkers’ first album, Cobain & Cornbread, is a nod to both their hometown of the Emerald City, and their family’s southern roots in Louisiana.

On stage, joined by family as back-up musicians and singers they soared. Eva Walker is both an indefatigable shredder and a dynamic vocalist. Cedric Walker is a thunderous drummer, every bash complementing his sister’s swaggering stage presence. With songs like “Mr. Pink,” “Ghetto Spaceship,” and “Mama, There’s A Spider In My Room,” this band will continue to knock the socks off of those lucky enough to see them in the future.


In the middle slot of the evening were the rising stars in Son Rompe Pera. The band, like The Black Tones, is led by siblings. The three brothers Gama: The two Marimberos/Vocalists, Mongo and Kacho, and percussionist/vocalist Kilos. The family is from Naucalpan de Juárezon the outskirts of Mexico City. They are joined in Son Rompe Pera by Raul Albarrán on bass and Albarrán’s cousin, Richi López on drums. The band has played nearly every size of music venue, and was interviewed by National Public Radio. They were also featured in a video for NPR’s Tiny Desk Sessions, On this Windy City Saturday night, Son Rompe Pera buoyantly showcased its sound which is traditional marimba music and cumbia fused with garage punk and psychobilly. Marimberos Kacho’s and Mongo’s synchronized rapid fire banging of their mallets across their marimbas, whilst furiously dancing, building momentum, caused them to appear breathless as they hit the crescendos. Those moments elicited gasps from the crowd followed by roaring cheers. Son Rompe Pera did not just warm up the crowd for the headliners, Instead, it was introducing to many of the Me First and the Gimme Gimmes fans a piece of the members’ heritages and family traditions. In the process, they were also garnering new fans of their music and of the marimba and cumbia.


See below for more photos from the show!

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DS Show Review & Gallery: Violent Femmes & Las Cafeteras (Thalia Hall, Chicago, IL – 10/4/22)

Violent Femmes took to the stage at Chicago’s Thalia Hall on Tuesday, October 4, 2022, for the first show of a sold-out two-night stand. Four decades past the Violent Femmes’ eponymous debut album, the band demonstrated it still has the ability to thrill audiences.  I had not seen Violent Femmes perform since I was in […]

Violent Femmes took to the stage at Chicago’s Thalia Hall on Tuesday, October 4, 2022, for the first show of a sold-out two-night stand. Four decades past the Violent Femmes’ eponymous debut album, the band demonstrated it still has the ability to thrill audiences.  I had not seen Violent Femmes perform since I was in the photos pit for its Riot Fest 2019 set so this was one of the shows I most looked forward to this month.


Founding Violent Femmes members Gordon Gano and Brian Ritchie flanked percussionist/drummer John Sparrow. Multi-instrumentalist Blaise Garza remained mostly toward the rear of the stage, where one of his instruments, a Contrabass Saxophone, towered over him. I played alto sax for several years so I was especially fascinated by very tall instrument.

The band ran through a substantial number of its best and most popular songs, “Add It Up,” “I’m Nothing,” “Country Death Song,” “Jesus Walking on the Water,” “I Held her in My Arms,” “Waiting for the Bus,” and “Gone Daddy Gone,”


Violent Femmes, from Milwaukee, WI, also included in its set a song about a horrific event in the history of Milwaukee and the USA at large. Playing “Dahmer Is Dead” seemed less a cheeky wink and a nod, and more a straightforward recognition of the Dahmer-mania (beyond normal anthropological fascination) that has taken hold of a disturbing number of American tv viewers (and streaming services programming executives). Granted, the song was written years ago, but still, it was a bit eerie to hear hundreds of fans chanting gleefully along to:

“Dahmer is Dead / Am I supposed to feel outrage? / Am I supposed to feel sorrow? / Jeffery Dahmer has no right tomorrow / Dahmer is Dead / Dahmer is Dead / A broomstick bashed him upside his head”

Songs are given to varying interpretations by those who write them, and by those who listen to them. I find it intriguing, and for the better, that the song does not necessarily provide answers to the questions being asked. That is, alongside its otherwise “just the facts” approach. Again, strictly my interpretation as one who has far more questions than answers.


Personally, I was waiting for two songs in particular, two of the band’s biggest hits.

As a cold war (part 2 – the 1980’s) kid, I wasn’t quite a teenage anarchist but I WAS looking for a revolution. At a time when I was an idealistic political junkie (still one though, sadly, a bit of cynicism has crept in as so often it does as we age), writing letters to US Senators, and participating in protests among other actions, “Children of the Revolution” struck a chord. It still ranks as one of my all time favorite songs and I listen to it at least weekly along with Pegboy’s “Strong Reaction,” Dead Kennedys “California Über Alles,” and Bad Religion’s American Jesus. And of course “Know Your Rights,” among too many other The Clash songs to mention here. Alas, Violent Femmes did not play its phenomenal cover of the T-Rex song on this night. But any related disappointment was short-lived toward the end of the evening.

As soon as the familiar first notes to their smash hit song “Blister In the Sun” started in there was an electrical feeling throughout the venue. Actually that electrical feeling was there all night long but it was ramped up ten-fold.


Gordon Gano’s very unique voice sounded almost all but drowned out at certain points by the fans down on the floor and those fans near my then position in the balcony close to the stage. Or perhaps Gano just gave the lead over to the crowd  How it sounded on the ground level might have been very different. Whichever was the case, it mattered little because in every part of the venue were ecstatic fans by time the starting lyrics kicked in.  

“When I’m out walking / I strut my stuff / And I’m so strung out / I’m high as a kite / I just might stop to check you out…”

One small kick I got during “Blister in the Sun” was watching John Sparrow playing a Weber Grill. Yes, a Weber Grill. The only thing which might top that is watching Sparrow play one with the band’s name and logo scrolled across it as with traditional drum sets.

If you have a chance to stop and check out the Violent Femmes for the very first time or the 20th or more time, I’d suggest you get on that. The show was unlike any other I’ve documented this season. Then again, the Violent Femmes continue to be unlike any other band, during any season.


Las Cafeteras, from East Los Angeles, provided a diverting warmup to the evening. The band blends folk music, Son
Jorocho, and Zapateado dancing. Son Jorocho is a style of folk music from Mexico, in the region near the Gulf of Mexico. Zapateado dancing is similar in some ways to tap dancing. An important aspect of it is the sound of the dance shoes hitting the stage. Las Cafeteras had a small wooden square on which members repeatedly danced. Combined with a set full of lively tunes, it all added up to an enjoyable whirlwind of a set.


See below for more photos from the show


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DS Exclusive: Riot Fest 2022 – Day 2 (Yellowcard, Bad Religion, 7Seconds, Yungblud, Gogol Bordello and more)

Day 2 of Riot Fest 2022 took place on September 17th. The temperatures rose and because it was a Saturday, so did the crowd size. It was a day of both music and expressions of solidarity with one nation under attack. Red Scare Industries’ No Trigger was assigned to the smallest music stage in the […]

Day 2 of Riot Fest 2022 took place on September 17th. The temperatures rose and because it was a Saturday, so did the crowd size. It was a day of both music and expressions of solidarity with one nation under attack.


Red Scare IndustriesNo Trigger was assigned to the smallest music stage in the park, the Rebels stage. However, that did not stop the boys from Boston from giving a powerful performance, including the tunes “Antifantasy,” “Holy Punks,” “No Tattoos,” and “Neon National Park.” There is little doubt in my mind, or at least lots of reason to hope, that No Trigger will be promoted to a larger stage at its next Riot Fest appearance. I’m not much of a gambler but I’ll take the bet that they will indeed be back at the festival, and sooner than later.


Fans of Bully were fortunate to not only see one of their favorites treat them to a fantastic set, but they did so from the Radicals Stage. That stage provided the most shade and the coolest setting on an otherwise boiler of a day. Rolling through “Trash,” ”Where to Start, ”Stuck in Your Head, ”Kills to Be Resistant, ”Milkman,” “Hate and Control,” “Lightsabre Cocksucking Blues” Bully gave the crowd what it was looking forward to and needed.


A formidable amount of joy was felt as The Joy Formidable took over the Roots stage. That line might be of questionable quality, however, the performance by the pride and the Formidable Joy of Mold, Flintshare, Wales (ok, I’ll stop now) was quite palpable.  The band, presently based in London, and composed of Rhiannon “Ritzy” Bryan, Rhydian Dafydd Davies, and Matthew James Thomas performed solidly a set that included “The Greatest Light Is the Greatest Shade,” “Y Bluen Eira,” “Sevier,” “CSTS (Come See the Show),” and “Whirring.”


The Get Up Kids were one of the 2022 Riot Fest bands doing an “album play” set. The album in this case was its classic Four Minute Mile on its 25th Anniversary. Though not dedicated to running legend Roger Bannister, as the title might suggest to near-lifelong runners (such as myself), it does feature track runners on the cover. More importantly, the band’s debut studio album transformed the members of the group into stars of the emo punk sub-genre. For attendees who became fans at the album’s first release and those just discovering its music, it was great to hear the full track listing, including, “Stay Gold Ponyboy,” “Lowercase West Thomas,” “Washington Square Park,” “Michelle With One “L”,” and “I’m a Loner Dottie, a Rebel.”


7Seconds announced their retirement in 2018, citing health issues as the primary reason. For that reason, the band appearing at Riot Fest this year was especially compelling. The band returned to touring earlier this year as support for Circle Jerks, alongside Negative Approach. Sammy Siegler sat in the drum chair in place of Troy Mowat, whose health issues continue to keep him sidelined. Kevin Second’s voice was strong and the setlist featured many entries from the band’s classic 1984 album The Crew. The album was remastered and reissued in deluxe style by Trust Records in 2021. Among them: “Here’s Your Warning,” “Definite Choice,“ Not Just Boys Fun,” “This Is the Angry,” “Here’s Your Warning,” “Definite Choice,” “Not Just Boys Fun. 7Seconds also played “We’re Gonna Fight,” plus covered “99 Red Balloons” by Nena.


For those who might not know, Alexisonfire is from St. Catharines, Ontario, Canada and named after an American porn actress. There was some controversy surrounding that latter fact but let’s move now to its Riot Fest appearance. It was a crowd pleaser, featuring in the setlist “Accidents,” Boiled Frogs,” “Sweet Dreams of Otherness,” “Pulmonary Archery,” and “Drunks, Lovers, Sinners.” For a hot late summer day, near that stage was a pretty cool place to hang.


Yungblud is an excitable boy (a nod to Warren Zevon there) and an exciting performer. Dressed in black dress pant style shorts held up by a single suspender over a long sleeve black and white striped shirt added up to him looking a bit like a post-modern day Pinocchio sans the pointy cap. Yungblud’s infectious charm was obvious, as he bounced across the stage almost nonstop through “The Funeral,” “superdeadfriends,” “parents,” “Tissues,” “I Love You, Will You Marry Me,” among others. His set ended with a show of support for the Ukrainian activists at the festival as the English rising star brought a group of them onstage. The Ukrainian flag being held high by said activists demonstrated again the solidarity for the war-torn nation on display at Riot Fest 2022.


Bad Religion is yet another of what I call FORFs — Friend of Riot Fest. As in, the band is a regular part of the festival’s lineups over the years. This should continue ad infinitum. They are a brilliant group every bit deserving of the word legend which has long been attached to them and the innumerable tattoo tributes across the globe. One crowd member expressed their love with the BR symbol shaved into and painted onto his skull. Meeting Greg Graffin for the first time, in the media tent, he exuded humility and kindness. Graffin: “Hi I’m Greg.” Me, in an attempt to be professional and not fan girl the PhD Punk icon from one my top 5 bands: “Thanks, I gotta go shoot 7Seconds now.” Yes, I’m a dork. But I’d hazard a guess Graffin was ok with that awkward bailing out. Back to their performance though. When the music kicked in Graffin, Jay Bentley, Brian Baker, Mike Dimkich, and Jamie Miller got straight to the point with “Recipe for Hate.” That was followed by “New Dark Ages” and “Fuck You.” With so many classics over the decades of its existence, the band couldn’t possibly hit all of them. However, it did a pretty good damn job of getting in a lot of them. Among those they drove through were “Dept. of False Hope, “We’re Only Gonna Die,” “Suffer,” and “21st Century (Digital Boy),” They concluded the set with “Fuck Armageddon… This Is Hell,” “Sorrow,” and my personal favorite, “American Jesus.” Whew and Wow. That about sums up Bad Religion in general and its Riot Fest performance in particular.


Gogol Bordello returned to Riot Fest as a replacement for Bauhaus which had to cancel its American tour due to lead singer Peter Murphy entering rehab. The Gypsy Punks released their latest album, Solidaritine, just one day before its set at Douglass Park. It appeared clear a priority for the band was to continue increasing and solidifying support for Ukraine and its efforts to fight back against Russian Vladimir Putin, his government, and the Russian military (Putin, of course, directed the military invasion of Ukraine on February 24, 2022). Earlier in the day, Eugene Hutz, the Boyarka native singer of Gogol Bordello, participated in a moving tribute to his homeland in a performance alongside a Ukrainian dance troupe. The full band known for its rousing performances did not disappoint as they ran through “Immigrant Punk,” “Wanderlust King,” ”My Companjera,” “Immigraniada (We Comin’ Rougher),” “Think Locally, Fuck Globally,” and “Mishto!”


Yellowcard was one of the three Saturday Night headliners. The band performed in full, its fourth album, also its major label debut, 2003’s Ocean Avenue. Way Away,” released as the album’s first single, and credited as Yellowcard’s injection into the realm of mainstream popularity, started off the set. Title tune “Ocean Avenue,” was followed by ”Empty Apartment,” and “Life of a Salesman.” The rest of the album including “Miles Apart,”  “Twentythree,” “View From Heaven,” “One Year, Six Months,” “Back Home” took diehard Yellowcard fans on a nostalgia trip. But what a trip!


See more Riot Fest 2022 day 2 photos below!


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DS Festival Recap: Riot Fest Day One – Part One (9/16/22) w/Descendents, Lagwagon, Sincere Engineer and more

For the first time, Team Dying Scene had two photographers on the ground and in the pits in Chicago for the annual 3-Day Riot Fest. It was a blast to have another great photographer documenting RF. We both have our own perspectives. This is mine for day 1, Friday, September 16, 2022.   On the […]

For the first time, Team Dying Scene had two photographers on the ground and in the pits in Chicago for the annual 3-Day Riot Fest. It was a blast to have another great photographer documenting RF. We both have our own perspectives. This is mine for day 1, Friday, September 16, 2022.

 

On the day 1 train rides to Riot Fest, I queried those headed to Douglass Park about whom they were most looking forward to seeing play. It would have taken several pairs of hands to count how many attendees on the nearly full CTA train cars of the red and pink lines responded with Sincere Engineer. Chicago area’s Deanna Belos, performing under the stage name of Sincere Engineer, has been on a rocket ship to national stardom these past several years. It’s not hard to see why. Sincere Engineer combines infectiously great tunes with a self-effacing wit and an utterly charming stage presence. This was not her Riot Fest debut, but it was her first on one of the event’s main stages. She blasted out a set list including “Trust Me,” “Bottle Lightning Twice,” “Dragged Across The Finish Line” and of course, “Corn Dog Sonnet No.7.” That last song was the inspiration for the “Corn Dog Mosh Pit,” in which participants held up corn dogs as they slammed into each other. Back to those fans on the morning “L” rides headed to Riot Fest? Eager as they headed to Douglass Park and left Riot Fest satisfied. If Belos ever asked  “what am I supposed to do now?” I think a good response would be “pretty much whatever you want.”

Please look for an upcoming DS special feature on Sincere Engineer. 


Carolsdaughter, aka Thea Taylor, from Temecula, CA, is just a couple of months shy of her 18th birthday. However, has already witnessed her song “Violent” featured in over a quarter-million TikToks. Taylor, as Carolsdaughter, has also amassed 882.7K followers on her own TikTok channel. That’s in addition to the 183K followers on her Youtube channel. But the musician/comedian demonstrated that she is no flash-in-the-pan influencer too many often assume of young people with such large social media fan bases. Her performance at Riot Fest proved this. With an appearance recalling Gwen Stefani in her No Doubt days, Carolsdaughter utilized the entire stage, running from one corner to the next, with a few pogo jumps sprinkled in whilst belting out haunting lyrics. This included the aforementioned “Violent”: “don’t make me get violent,
I want my ring back, baby, that’s a diamond,
You don’t listen anyways, I’ll be quiet
I don’t really feel like fighting” was quite captivating.

As accomplished as she is at such a young age, it will be fun keeping an eye out for her future projects. We will be listening.


Boston Manor was founded in March 2013, in Blackpool, Lancashire, England. “Datura,” the band’s latest album is scheduled to be released on October 14, 2022, to critical acclaim. The record has thus far generated three singles, “Foxglove,” “Passenger,” and “Inertia.” As with the past Boston Manor releases, its sound is a fusion of punk, emo, dance, and electronica. The band’s Riot Fest set was intense as demonstrated through “Foxglove,” one of the above-mentioned recently released singles.

There was also a nice touch by guitar player Mikey Cunniff. Cunniff appeared on stage with a sports car yellow guitar emblazoned with Topo Chico branding and wearing a Placebo t-shirt. Placebo, one of the top billed Riot Fest 2022 artists, was forced to pull out of the festival, according to a statement the band put out, “…due to unprecedented visa and logistical issues beyond our control.” 


Taking Back Sunday, from my native land of Long Island, was back at Riot Fest after performing at the event in 2021. The band played a solid set much to the appreciation of many fans in the crowd. Those fans eagerly sang along as TBS ran through “Set Phasers to Stun,” “Timberwolves at New Jersey,” “You’re So Last Summer,” and “Flicker, Fader’.”

Taking Back Sunday, a Riot Fest semi-regular, was yet again a reliable part of the event and I’m sure this will be far from its last performance there.


The legendary Descendents kicked off their set with “Everything Sux.” Considering that the festival’s long-time slogan is “Riot Fest Sucks,” this was a great choice. Through nearly 30 songs, the Californians held their fans in sway as crowd surfing fans continually made it to the barricades before being pulled to safety by security personnel. In addition to the opening tune, Descendents also jammed through “I’m Not A Punk,” “I’m the One,” “Coffee Mug,” “When I Get Old,” “Merican,” “My Dad Sucks,” and “I Don’t’ Want to Grow Up.”

Descendents may sing about everything sucking but the band itself has never earned such a description.


San Diego’s Rocket From The Crypt has long been a fan favorite. With all members dressed in matching black attire with white trimmings, the group brought to mind a Mariachi band. Rocket From The Crypt had a common Riot Fest musical assignment: Playing one of its best albums in full, from start to finish.  In this case, it was the band’s penultimate album, 2001’s Group Sounds which features the very popular  “Savoir Faire,” and also includes “Straight American Slave,” “S.O.S,” “Carne Voodoo.” RFTC also performed “Sturdy Wrists”, “Glazed” and “Don’t Darlene “ from its second album Circa: Now!

Rocket From The Crypt members Speedo, Petey X, ND, Apollo 9, JC 2000, and Ruby Mars provided die-hard fans what they were looking for and it’s hard to imagine they didn’t pick up more than a few new fans in the process.


Yet another great band from California played, Goleta’s Lagwagon. The band’s walk-on music was Theme from “The Warriors” (composed by Barry De Vorzon) and its set sprinkled with humor as frontman Joey Cape led Lagwagon through a set which included “After You My Friend”, “Falling Apart,” “Wind in Your Sail,” “Island of Shame,” “Razor Burn.”

Many fans at the very front wore Lagwagon attire and appeared ecstatic that their time waiting, often crushed up against the metal barricades, paid off with an experience they’ll remember for years. 


Chicago’s own Alkaline Trio matched Lagwagon and perhaps even superseded them with choice of walk-on music. This time it was a tune that had stage and security personnel, the fans, and yes even us photographer singing in hearty unison. The tune which provoked this sunshiny moment in the darkness of just past the gloaming? One of the biggest hits by the legends (and Riot Fest alums) from just 85 miles west-northwest past Chicago. Of course the tune was “Surrender” by Cheap Trick. It was glorious.

Once on stage Alkaline Trio blazed through a set which included “Time to Waste,”  “Calling all Skeletons,” “Sadie,” “Fatally Yours,” “Bleeder,” and “Radio.” 

Matt Skiba, Dan Andriano and Derek Grant also had a couple of dedications to gift. 

“How about a love song? How about a love song for Chicago? Tonight. Another one” proposed guitarist/vocalist Skiba as he introduced “Every Thugs Needs a Lady,” on which bassist/vocalist Andriano took the lead vocals. The conclusion of the song led to this delightful (partial) exchange between Skiba and Andriano as drummer Derek Grant sat back took it in:

Skiba “That, that was a 9 and a half.” 

Andriano “Thanks buddy… see I’m getting better.”

Skiba: “I would have given you a ten I just don’t want you getting cocky on me right?”

Andriano: “I can’t be reading my clippings” …”…I get a little confidence boost though with that, thank you Matt”

Skiba: “…No problem bro.”

This was immediately followed by Skiba declaring “This song’s for the Descendents, it’s called “Mercy Me.”

Alkaline Trio capped an enjoyable day 1 for Dying Scene correspondents.


Coverage of days 2 and 3 coming soon. See below for more day 1 photos.


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DS Show Review & Gallery: Mustard Plug, Big D and the Kids Table, and Green Room Rockers (Chicago, IL)

If it is a ska show, there are two things you can count on: an abundance of energy…and saxophones. And if you have two saxophones, even better. September 30, 2022 at Chop Shop in Chicago, was chock full of the two above-mentioned elements and much more. Mustard Plug, out of Grand Rapids, MI, has been […]

If it is a ska show, there are two things you can count on: an abundance of energy…and saxophones. And if you have two saxophones, even better. September 30, 2022 at Chop Shop in Chicago, was chock full of the two above-mentioned elements and much more.


Mustard Plug, out of Grand Rapids, MI, has been around since 1991. Founding member and singer Dave Kirchgessner, roamed the stage, sometimes approaching the crowd. At least once he pulled out a large (fake) knife and with rapid movements pretended to stab the attendees. The crowd appeared to love it. The rest of the band were also highly energetic, with some members swinging their instruments side to side and holding them above their heads. Mustard Plug kept the crowd engaged as it tore through “Box,” “Hit Me! Hit Me!”, “You,” as well as “The All-Nighter,” “Go,” “Away From Here” and covered “Waiting Room” by Fugazi. The crowd and the band left sweaty, and appeared exhausted but with very large grins.


Big D and the Kids Table is celebrating the 15th anniversary of Strictly Rude, its 4th studio album. As I was shooting the show the David McWayne’s malleable facial features transformed so dramatically from moment to moment, it felt a bit like I was shooting a series of head shots for an aspiring actor wanting to show his range. Jutting his legs across the stage when not jumping up and down, he appeared to have learned to dance partially by watching the childhood toy, The Slinky. It was delightful.

As to the music, from the aforementioned album, “Noise “Complaint,” “Steady Riot,” and “Hell on Earth” were performed. McWayne and his bandmates also ripped through “Dee Bottle,” “My Girlfriend’s on Drugs,” “Describing the Sky,” “What the Hell Are You.” In addition, the band covered The Specials’ “Little Bitch,” and “Wailing Paddle,” by The Rudiments.” It was a good fun set and a great complement to the headliners.


The Hoosier state’s Green Room Rockers gave the audience a fun set that included, “Pieces,” “Conqueror,” “Alone” “Old Friend,” “Walking in the Park, ”Northbound Train,” “Can I Change My Mind,” ”You and I.” GRR lead singer and organist, Mark A Powers, performed with an unflinching smile, as he slammed down on the keys and periodically skirted away to pay attention to other parts of the stage and audience.



See below for more photos!


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DS Show Review & Gallery: Authority Zero, Beat the Smart Kids, and Nightcap – Live from Reggie’s in Chicago

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 Kids is 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.


See below for more photos!

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DS Show Review and Gallery: Apocalypse Hoboken, the Brokedowns and more, Chicago, IL (9/2/22)

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!


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  • Apocalypse Hoboken

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DS Show Review and Gallery: Ruido Fest (Cypress Hill; Los Fabulosos Cadillacs, Bruses, Cardiel)

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. 


Other highlights from the weekend included sets from Sgt. Papers, El Mato, and Avantist.

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DS Show Review + Gallery: Rock For Rights Chicago w/ Boybrain, Aweful, Djunah, and Heet Deth

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.

More photos below!


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DS Exclusive/Show Gallery: La Armada

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.”

La Armada

La Armada is represented by: Thousand Islands Records for Canadian distribution, Lockjaw! Records for UK and EU distribution and our own Mal De Ojo Records for the US and Latin America.

More photos below!

La Armada

La Armada

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