Show reviews – Page 27

DS Show Review & Gallery: Death and Memphis; The Linden Method; and Fire Cat! in Chicago (04.21.2023)

April 29, 2023 | 3:00 pm

Death and Memphis, out of Joliet, IL, with support from The Linden Method, and Fire Cat! both of Chicago, headlined at Burlington Bar for a diverting night of music on April 21, 2023 on the Second City’s north side. Recently, I’ve documented several shows at Burlington Bar. It’s always a terrific experience. Burlington Bar is […]

Recently, I’ve documented several shows at Burlington Bar. It’s always a terrific experience. Burlington Bar is a cozy spot tucked along a well-known street on the north side of Chicago. With the actual bar up front and the music room in the back, separated by two doors, there is a warm and welcoming ambiance to the place. Whilst every show I have been to at the venue thus far has featured highly energetic bands, said shows have also been quite mellow. It may sound contrary but it’s not. Burlington Bar is a cool little joint working hard to provide its customers with good times. The Burlington’s vibe, set by the staff, and its physical appearance, is just relaxing and laidback sans pretension. We could use a few more of these types of places nearby.

Death and Memphis takes inspiration for its name from the song “Alex Chilton,” by the Replacements. Its music is a potent mix, frequently of sorrow and longing. Singer and guitar player Paul Garcia’s voice grittily conveys both sadness and hope. If the music was ever added to a soundtrack, surely the film would about a fighter (literal or metaphoric — either will work) who has been knocked down, but the full count has yet been given. In “Exhausted,” the title track from the band’s 2019 release is a prime example:

“So exhausted

I’m sick of feelin’

So exhausted

(My feet are broken

My knees are broken

My back is broken

But my spirit’s holdin’ fast)…”

Steev Custer, razor thin and leaning sharply forward, appears almost elastic while swinging his guitar loose and low. However, his tight shredding adds an integral jolt of intensity into the music.

The group is rounded out by the very strong backline of Devin Morris on bass (also on vocals), and newest member, Dave Spearman, on drums. Working in conjunction, Morris and Spearman, contribute a rhythmic gravitas and growl suited to the lyrical content and howling guitars. In addition to “Exhausted,” the band also tore through “Way Back Home,” “Maybe It’s The Way,” “Change,” and “Satisfied.” In the end the members may have been exhausted themselves, as they appear to put everything they had into the performance.

The twin heartbeats of Death and Memphis are Steev Custer and Paul Garcia. Friends since their teens the two have played together in numerous precursors to Death and Memphis. It’s the type of friendship and musical partnership in which they seem to share their own language. An often-mournful language with a slight inflection of twang. But rather than merely being two copies of one thing, Custer and Garcia, complement each other with their individual playing styles. Days after the show, I asked the two men about their relationship. Garcia responded,

“To answer your question, Steev and I are almost always on the same page. We can read each other. We’ve been doing this together for so long we developed a sense, similar to a married couple. We all as individuals as well as a whole have a passion for making music so we put in 100% right outta the gate. We are a family. Though we’ve been through other members Steev and I try to make everyone feel comfortable and an integral part of what is happening.”

Custer describes their relationship this way,

“Paul and I have been in bands together for 35 years now. He’s the only person I’ve ever met whose drive and passion for music is a match for mine. I’m certain there is no other way.“

But lest you think Death and Memphis is all melancholy, I assure you it is not. The band brings a rollicking good time as well. Garcia, Custer, Morris, and Spearman can be counted amongst some of the more positive people you’re bound to meet in the Chicago area punk scene.

Death and Memphis has a new EP coming out in the near future, to be released by Bypolar Records. Until then, members are keeping busy in various ways. For Steev Custer,

“Right now I’m focusing on the upcoming Death and Memphis release, playing in Space Age Zeros and teaching music which is a full-time job in itself.” Custer’s teaching takes place mostly at Fine Tunes Center For the Arts, a business he founded, owns and of which he is the director. He also added,

“The new EP should be out within the next couple of months. There’s a couple of other projects that go along with it, so there are several announcements coming.”

At the same time, Custer reflected on this evening,

“I thought the show was a blast. All the bands were awesome and it was great to see everyone having a good time.“

Chicago skate punk crew, The Linden Method (TLM), used this night to showcase its latest album “Grief.” The band, comprised of singer/guitar player Alex Wight, Xack Brame on bass, and Jake Fritzler, drove through “November,” “Reverent,” “Original Sin,” and “Is This Thing Even On?”

TLM also performed “Monsters Inside,” a searing portrait of mistakes made and redemption being sought:

“It’s past the past-time

‘Cuz I’m trying to be better than the prick you knew from the suburbs

And I’m not running from memories

Not passive or patient

I’m trying and failing

And still not prevailing and clinically struggling.”

Robby Di Domenico, TLM bassist for several years, joined the band on secondary vocals for “Better Off Dead.” Di Domenico played on the recording of the tune from the group’s EP “Falling Short.”

Echoing the sentiments of Death and Memphis’ Steev Custer, Wight was ecstatic with how the evening went. A day or two later I touched base with him to get his feelings on it,

“I thought the show was a perfect intimate punk show at a great venue. We all had an absolute blast and are thankful that Death and Memphis and Fire Cat! had us out for the evening.“

The night’s bill also marked the first show of 2023 for Chicago’s Fire Cat! The band is in the planning stages for more events this year per singer/guitarist Tim Robaczewski. Fire Cat!, which also includes Lou Pontillo on bass, guitar player/backing vocalist Justin Saunders, and drummer/backing vocalist Liam O’Brien lit up its set with “Sleepless in Chicago,” “Big Business,” Wide Awake,” and “Eastland.” The band seems to address the idea of last stands in the face of futility in “Battlecry!,” the title track from its 2018 EP, which they played as well.

“All differences aside, this is goodbye, I try to accept

But I can’t help but sympathize

I see them all running like it’s the end

Like they have something to live for

Hum their battle cry: next time I’ll try.”

Fire Cat! may sing of trying “next time,” but this time it succeeded kicking off the show in a very lively way. Hoping the band finds itself quite busy during the remainder of the year.

Please see below for more images from the show!

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by Staff Writer MerGold

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DS Photo Gallery & Show Review: Djunah / Huntsmen (Empty Bottle – Chicago, IL 3/24/2023)

April 28, 2023 | 2:12 pm

Djunah’s record release show for Femina Furens happened on March 23rd at the Empty Bottle, in Chicago IL. I wasn’t at the release for their previous album, but I’ve seen videos of it on YouTube so I knew this release was going to be a special show. I expected good things from Huntsmen since Djunah […]

Djunah’s record release show for Femina Furens happened on March 23rd at the Empty Bottle, in Chicago IL. I wasn’t at the release for their previous album, but I’ve seen videos of it on YouTube so I knew this release was going to be a special show. I expected good things from Huntsmen since Djunah hand picked them to open. I was pumped for this show and my enthusiasm was not misplaced.

I had zero familiarity with Huntsmen prior to this show, other than hearing they were a doom band. When I think of Chicago doom, my mind immediately goes to slow sludgy metal with low guttural screaming. As such, I was expecting something in that vein, but I was pleasantly surprised by how wrong I was. As they prepared to start their set, the band positioned their own lights around the stage, all projecting a warm orange glow. The fog machine saturated the stage, setting somewhat of a somber mood. The start of their music further added to the atmosphere. The beginning of the set, as well as many other songs started clean and melodic. I was taken aback when they busted out three-part vocal harmonies. They were often led by Aimee’s angelic voice, supported by Marc on bass and Chris on guitar, who took the lead for other songs. The music didn’t stay this soft and gentle however; it wasn’t long before the guitars became aggressive and distorted, the bass gritty and driving, with drums heavy and pounding. These parts of the songs still weren’t slow and sludgy like I expected. They weren’t punk rock fast, but held a solid driving mid-tempo, a good speed to keep you paying attention. It felt to me like a modern take on the pioneering metal bands of the 70s that doom couldn’t exist without. The melodic, harmonic vocals continued on top of these parts creating wonderful contrast. At strategic points in the songs, much to my enjoyment, Ray on drums adds some well-fitting screaming vocals underneath the tapestry of vocal harmonies. Turns out Kirill on guitar was the only member to not contribute on vocals, but his energy on guitar more than made up for it. Huntsmen really surprised and delighted me with their unique and creative style of doom rock. I thoroughly enjoyed their performance and am already digging into their recording catalog. Even if you don’t think doom is your thing, you owe it to yourself to give them a listen.

I make it no secret that Djunah is one of my absolute favorite bands from Chicago. If you haven’t seen them before they’re a two-piece band with an amazingly full sound. Donna Diane plays guitar and sings, while also playing bass lines on synth with her foot. Jared Hemming’s drum work is original and interesting, it complements Donna’s playing perfectly without overshadowing it. This was the record release show for their new album, Femina Furens. The new songs have a more complex flavor compared to their previous album. Where the songs on Ex Voto drew me in instantly, Femina Furens needs to be heard a few times to fully digest and appreciate the songs. It’s an incredible album and well worth the time investment. The show started off with an excellent foreboding tone. Donna came on stage wearing a hooded gown, holding a sword. Yes, a real goddamn sword. She looked like a warrior ready for battle. After brandishing the sword above her shoulders, she rested it with an Epiphone Les Paul on a guitar stand. That’ll come back into play later. The last few times I’ve seen Djunah they mostly played the new songs. This show they played a balanced mix of new and old, hearing the old songs live again was like running into an old friend. Throughout the set Donna’s guitar was loud and raw, with excellent use of multiple distortions to craft fantastic tones and textures. I am in love with the sound of her deep, thick, distorted synth bass. It’s something you have to experience live, you will feel the sound pressure vibrate your insides in the most pleasing way. Jared’s drumming was on point as always, technical and complex, matching Donna’s riffs and rhythms perfectly. Donna’s powerful singing was passionate and expressive, and the screaming. Her screaming is just pure concentrated catharsis. For the most part, Donna uses her Gibson SG for the Ex Voto songs, and her Kurt Ballou guitar for the Femina Furens songs. But for the last song of the night, she picked up the aforementioned Epiphone. At the end of the song, while the synth bass rang out indefinitely, Donna scraped and slashed the strings creating a cacophony of noise and feedback. The guitar screamed out as it was punished for its sins, strings were sacrificed then Donna kneeled over it and stabbed from above. She left the guitar there, feeding back like a death rattle, as she walked off stage, sword above her shoulders just as she came out. Djunah record release shows are truly something to behold. As of this writing, you can still catch the second leg of their 2023 North America tour.

This show was freaking fantastic. Huntsmen converted me into a fan and Djunah had already hooked me. Catch them live any opportunity you get. More photos below:

by Staff Writer manvsfriction

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chicago Chicago Rock Djunah djunah band Doom

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

April 16, 2023 | 10:00 am

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!

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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.
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Chicago all-stars aka Sludgeworth friends and fans.

by Staff Writer MerGold

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Chicago Punk Chicago Punk Scene cobra lounge Midwestern Punk Permanent Residue

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DS Gallery: Vein, Escuela Grind, Sunami Opposition, Instigate, Hate Still Burns in Hingham, MA (3/26/23)

April 13, 2023 | 12:51 pm

A sold out show at the Sons of Italy Lodge in Hingham, Massachusetts, on 3/26, played Vein, Escuela Grind, Sunami, Opposition, Instigate, and Hate Still Burns. The rawness performed and crowd was to die for …

by Staff Writer WSNT

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band photos Hardcore massachusetts photo gallery Punk

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

April 10, 2023 | 8:21 pm

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

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

April 1, 2023 | 7:00 pm

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

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DS Photo Gallery: St. Patrick’s Day in Boston Dropkick Murphys, Turnpike Troubadours and The Rumjacks

March 21, 2023 | 11:00 am

Despite living in the Greater Boston Area for the four-plus decades I’ve been alive, and despite having seen numerous Dropkick Murphys lineups play numerous Dropkick Murphys shows – from a show where they appeared sandwiched between The Mr. Rogers Project and The Pietasters at The Living Room in Providence to headlining the hometown Agganis Arena over St. Patrick’s Day weekend – I’d never actually seen the band live and in person on the most Boston Irish of holidays itself. Until now. The 2023 installment of the Dropkicks’ annual St. Patrick’s Day weekend festivities took three days at the massive new MGM Music Hall that serves as the literal back door to Fenway Park, with Sunday’s wrap-up show happening across the street at the comparatively quaint 2200-capacity House Of Blues.

As has been customary for many of the St. Patrick’s Day weekend festivities that Dropkick have thrown over the years, this run capped off what had been a pretty busy tour schedule in support of their latest album, in this case This Machine Still Kills Fascists, the Woody Guthrie-inspired record that they put out on their own label last year (a follow-up, Okemah Rising, is due out this Spting). Openers rotated slots across the four main shows (Saturday also had an early “soundcheck”-style abridged set and meet-and-greet); St. Patrick’s Day itself featured The Rumjacks and Turnpike Troubadours; Nikki Lane and Jesse Ahern also took their respective turns in the rotation at the weekend’s other shows.

The Rumjacks kicked off the St. Patrick’s Day festivities promptly at 6:30pm to a fairly robust crowd in spite of the early set time. Probably helps that the holiday fell on a Friday and that it’s spot at the end of Lansdowne Street puts MGM right at the start (or end, I suppose) of a run of bars eager to cash in on the most pub-crawlingest of holidays. The Australian lads’ set had a bit of a hometown feel to it, not just because most Celtic/Irish punk bands do pretty well in this market, but because not only is local boy Mike Rivkees manning frontman and tin whistle duties, but his fellow Mickey Rickshaw bandmate Kyle Goyette has been handling accordion duties and may/may not officially be a Rumjack now? The band ripped through a baker’s dozen Irish bangers including “Through These Iron Sights,” “One For The Road” and, of course, “An Irish Pub Song.”

Turnpike Troubadours occupied the middle slot on the bill, and they’re a band I’d been looking forward to catching again for a long time. The last time I saw Turnpike was back in 2018 at Lucero’s Family Block Party in Memphis. It was good, but it wasn’t, from my understanding as someone who was considerably late to the Turnpike game, a really representative set for a variety of reasons, and the band went on hiatus early the following year in order to allow frontman Evan Felker to sort out some personal demons. The band reunited about a year ago and good grief are they making up for lost time.

Earlier in the week, Turnpike had played in front of something like 75,000 people at the Houston Rodeo and Livestock show which, I’d imagine, is something like Texas’ version of St. Patrick’s Day in Boston. And while that’s a level of nerve-wracking that I can only begin to wrap my head around, it probably has to be a different sort of nerve-wracking to be main support for a long-running Boston Irish punk rock band on their home turf on THEIR day, particularly when you’re A) not from around here and B) playing a style of music that doesn’t always translate to the rowdy, occasionally finicky Boston punk crowd. But make no mistake – Turnpike killed.

The band took the stage and immediately dove into “Long Hot Summer Days,” a boot-stomping cover of a John Hartford track that Turnpike have made their own over the last decade-or so. The song leans heavily into the fiddle and even heavier into multi-part vocal harmonies, and I heard someone up along the barricade comment once the song was done that it was probably the most “punk rock” moment they’d see tonight, and in many respects, that sentiment wasn’t wrong. But at it’s core, “Long Hot Summer Days” is a blue-collar working song and Dropkick Murphys are one of the last local vestiges of a blue collar core that is all but falling by the wayside, and so maybe Turnpike as a band are not unlike Dropkick’s cousins from Oklahoma. From there, the band ripped through a total of ten songs of love and heartache and rebellion. “7&7” and “Gin, Smoke & Lies” and “A Tornado Warning” were particularly well-received by the crowd that, sure, was chock-full of scally caps but was also not without it’s own share of cowboy hats. In Boston!

From there, obviously, it was time for the main attraction, the one-and-only Dropkick Murphys. As per usual, the band took the stage to the Sinead O’Connor/Chieftains rendition of “Foggy Dew” before immediately ripping into “State Of Massachusetts” from their 2007 classic The Meanest Of Times. Frontman and founder Ken Casey handed off live bass playing duties to longtime touring member Kevin Rheault years ago, leaving him free to endlessly, tirelessly pace the stage and interact with the crowd from both behind and atop the barricades at stage front.

Dropkick Murphys have had a bit of a nebulous lineup over the years, and the 2022/3 edition is no different. With Al Barr still sidelined to tend to his ailing mother, the current lineup finds Casey joined longtime drummer Matt Kelly, guitarist James Lynch, multi-instrumental virtuosos Tim Brennan (that’s him on accordion on the right) and Tim Brennan joined by Rheault on the bass and Campbell Webster on bagpipes and tin whistle and maybe percussion during some of the Woody Guthrie songs? It was a little tough to tell because the high-energy show was filled a constantly changing pre-programmed digital backdrop and the stage was replete with myriad moving parts, barely two songs goind by without some change in instrumental duties for at least one if not more Dropkicks.

The band was also joined on stage by a host of special guests on the evening. Erin McKenzie (seen at left), most notably of The Doped Up Dollies but also collaborator with the likes of Big D and The Kids Table and Lenny Lashley and, of course, the Dropkicks, joined for a charged-up rendition of “The Dirty Glass.” Turnpike Troubadours’ Evan Felker came out for “The Last One,” the track he lent his vocal talents to on record on This Machine Still Kills Fascists. They were also joined on stage by Woody Guthrie’s grandson Cole Quest on dobro.

Dropkick Murphys have done a lot of good for both the music community and the community-at-large, particularly here in Massachusetts, over the course of the last quarter-century. Even if you strip away some of the over-the-top garish green shamrock imagery in the crowd (and out on the street), St. Patrick’s Day weekend serves as a way for the community to come together and both celebrate with the band and, ultimately, celebrate the band and what they stand for and to repay the favor to the band who now carry the torch for the punk music scene in Boston. It’s like old home day but for a full, unofficial long weekend, and I’m glad to say I finally shot the weekend’s crown jewel event. See below for more slideshows from each of the bands performances!

The Rumjacks Slideshow

Turnpike Troubadours Slideshow

Dropkick Murphys Slideshow

by Staff Writer jaystone

Tags:

boston celtic punk dropkick murphys st. patrick's day the rumjacks

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DS Photo Gallery: Joshua Ray Walker and Vandoliers at The Middle East in Cambridge, MA (3/8/23)

March 17, 2023 | 4:01 pm

Remember a bunch of years ago when Joe Strummer (RIP) was asked his thoughts about what constituted “punk” and his answer was along the lines of “punk isn’t about the boots or the hair dye” and instead it’s about having exemplary manners to your fellow humans and especially about not being an asshole? Because I do, and because if you ask me – and I’m operating on the assumption that you did because you’re reading Dying Scene – some of the most “punk rock” music that’s being created in American music nowadays doesn’t come from bands that are on “punk” labels or play music that involves Les Pauls and Marshall stacks or mohawks or skateboards or two-tone wingtips or come from places like southern California or the streets of Boston. Instead, some of the most important and progressive and culturally-inclusive and, in that sense, most “punk rock” music being created comes from places like Tennessee and Texas and the Carolinas and the Deep South and comes from music we’d traditionally call “Americana” or “outlaw country.” There is something inherently “punk rock” about sticking up for the poor or the marginalized or the different or the outcasts when you live in a place that those of us in our safe, suburban coastal elite homes might otherwise look down upon for the Redness of their political views.

And so it was that a tour featuring a pair of acts that have been featured at places like the Grand Ol’ Opry and the Ryman Auditorium and the State Fair of Texas and onThe Tonight Show w/Jimmy Fallon became, in my mind, one of the most eagerly-anticipated “punk rock” tours of the early stages of the year that is 2023. I’m talking, of course, about the recent Joshua Ray Walker/Vandoliers tour that found itself upstairs at the iconic Middle East in Cambridge, Massachusetts, last week. It was the first time that either of the acts – who both hail from the Lone Star State – had played in Massachusetts, and safe to say it was a resounding success.

Vandoliers had been very recently in the news for auctioning off their stage-worn dresses after a show in Tennessee in protest of that state’s abhorrent anti-drag legislation, and they carried that energy through a barn-burning hourlong show-opening set. Frontman Josh Fleming pointed out how he’d spent many hours in his younger years watching old YouTube videos of punk shows that had taken place at the Middle East over the years, and while his band’s sound may include a fiddle and a trumpet and a large-body Gibson acoustic and songs about highways in its home state, the live show is every bit as “punk rock” as many of those performances from years-gone-by. Personal highlights included “Cigarettes In The Rain” and “Every Saturday Night” and, of course, their rousing cover of “I’m Gonna Be (500 Miles),” a song that I’m 99% sure I saw Down By Law cover in that same venue more than a quarter-century ago.

Headlining this run – although both acts played hourlong sets so it made it feel like a co-headlining affair – was the one-and-only Joshua Ray Walker. If you’re not familiar, here’s the brief version: Walker is a Texas-born-and-bred singer and songwriter and dare I say guitar virtuoso. He’s a larger-than-life figure both in myriad ways and writes songs that can make you smile (see “Sexy After Dark”) and songs that can make you cry (see “Voices” or “Canyon” or like 3/4ths of the rest of the catalog) and, quite frequently, songs that can do both at the same time (see their honky-tonkified version of “Hello”). Oh, and he’s got a voice like a goddamned angel.

The live music scene in the greater Boston area can be a bit of a fickle beast at times, particularly for bands that aren’t from around here; I’ve seen far bigger “punk rock” names play the very same venue to far smaller and less enthusiastic crowds than the one that showed up to party and dance and holler on this particular late winter Tuesday evening. Because it’s not about the mohawks or the hair dye – it’s about the people and the connection. See more pictures from the shindig below!

Joshua Ray Walker Slideshow

Vandoliers Slideshow

by Staff Writer jaystone

Tags:

americana i feel sexy after dark joshua ray walker outlaw country vandoliers

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DS Photo Gallery: SACK with Huntingtons and The Young Rochelles (O’Briens – Boston, 3/5/22)

March 13, 2023 | 7:47 pm

SACK brought their sweaty, high-energy street rock carnival to a sold-out O’Brien’s Pub last weekend. It was the last stop on their brief, four-day ripper of a Northeast tour that found them shredding the gnar alongside a couple of Ramonescore-inspired stalwarts – Huntingtons and The Young Rochelles – for the long weekend. Let’s have a […]

Hitting in the leadoff spot for the evening were The Young Rochelles, who kicked off the shindig in perfect fashion – which we of course mean both literally and figuratively. The Long Island-based trio blistered through a pogo-friendly set that included “E.T. Cell Phone,” “I Need My Mommy To Do My Laundry” and, of course, “I Never Saw The Ramones.” Also, can we give Ricky Rochelle props for manning both lead vocal AND drumming duties, but not doing it with one of those Phil Collins/TED Talk headsets? That shit can’t be easy.

Batting second was none other than Baltimore’s finest, Huntingtons. I lost count (read as: ran out of fingers) but I’m pretty sure the quartet ripped through like 20-ish songs in a set that couldn’t have been much more than thirty-five minutes and featured what may well be the first attempt at a circle pit I’ve ever seen at O’Briens, which is all the more impressive when taking into account that the median age of paid ticketholders was closer to 40 than 20, and it was a Sunday night. In quintessential Huntingtons fashion, the set finished with an extended, stage-crashing singalong rendition of “No Pool Party Tonight” that was one of the highest highlights of the evening.

Last but not least, of course, was SACK. What is there to say about SACK that best puts the band into words for those that haven’t seen them. It’s loud and it’s fast and it’s metal and it’s sweaty and it contains myriad singalongs to such heartwarming classics as “I Used To Give A Shit” and “I Hate The Bech Boys” and “Live Action LARP.” Oh, and of course the tender ballad “I Tried Suicide.” It’s one hell of a party and I totally thought another photographer was going to eat shit with his camera in the pit but he was far braver than I’ll ever be. If you’ve only seen Kody sing while playing lead guitar in TBR or the Lillingtons, seeing him in full-fledged punk rock frontman mode is a sight to behold.

Check out more shots from the raucous evening below!

SACK Slideshow

Huntingtons Slideshow

The Young Rochelles slideshow

by Staff Writer jaystone

Tags:

boston huntingtons ramonescore Red Scare Industries sack

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DS Photo Gallery & Show Review: Nora Marks, Robot Heart Throb & James the Boneless (Liar’s Club – Chicago, IL 1/28/2023)

March 8, 2023 | 4:06 pm

Shooting the show at Liar’s Club on January 28th posed another first for me in my Dying Scene adventure. I had no prior familiarity with any of the bands this time. The night was going to be a total surprise, what was I getting myself into? Why was James boneless? Who was throbbing the robot’s heart? What was Nora marked with? Or did Nora do the marking? And what would I do if all the bands sucked? Well, thankfully I didn’t have to answer that last one because none of the bands sucked. It was a fun show I was lucky to cover.

First up, to start the night off right, was James the Boneless! There’s quite a backstory for James here. He went through a prolonged period of IV drug abuse, partially disintegrating his freaking bones. Yes his bones, yikes! Thankfully James cleaned up, but that accomplishment brought about another challenge. How could James get back into playing guitar? Well, it would appear he strapped on his sweet Dean Cadillac guitar and taught himself to play it sort of like a slide guitar, baring all the strings. He grips them from the top side of the neck with his forefinger. Although it gives him a way to play, his condition still brings notable pain to the performance, but James pushes through and puts on a great show. The band plays a breed of bluesy soul music with driving rock parts mixed in. The large lineup of the band generated a full and diverse sound. Besides the band’s usual bass, drum, and sax accompaniment, a synth, trumpet, and additional saxophone were added to the mix for the evening. James said he brought the extra musicians out because it was their debut show at his favorite Chicago venue. Beyond filling the stage with a full sound, I quite appreciated the contrast between the relaxed parts of songs and how they transitioned into energetic rock hooks.You can catch Jame’s the Boneless at Beer Can’d Fest on April 29th, at the Reopening of the Exit Fest (TBA), and at One City Tap on May 19th.

James was followed by the talented Robot Heart Throb. Described as genre fluid, Robot Heart Throb brought gentle R&B style passages that could morph all the way into heavy rock parts with some hip hop influence sprinkled throughout. At least that’s what I picked up. It was eclectic to say the least and I’m sure there were more influences at play. I’m hard pressed to think of any bands with a similar sonic footprint, making them a truly unique act to witness. The majority of their set consisted of drums, bass, keyboard, and lead vocals. However, the band’s fluidity also spread to their multi-instrumentalist approach to songs. Over the course of the night, the keyboardist took over the bass while the bassist picked up a guitar. On another song the keyboardist sang lead vocals, allowing the frontman to show off his own guitar chops. Besides playing guitar, he brought a saxophone to the mix, and even flute on one song! How often do you see a flute on stage somewhere like Liar’s Club? I’m saying not often, prove me wrong. The mix of arrangements brought all kinds of different vibes to their set. Be sure to check out Robot Heart Throb at their Schubas debut, an EP release show, on April 7th.

Nora Marks closed out the evening, bringing a more traditional lineup and a sound more akin to what I’m used to on stage at Lair’s. They have a fairly standard four piece rock lineup, with 2 guitars, bass, and drums. Their vocal parts fill out nicely with rhythm guitar belting out the lead vocals, backed up by both the lead guitar player and the bass player. Their lineup presented solid, solid rock grooves to the stage. I would say their sound was somewhat laid back but came with plenty of driving parts too. All in all the songs had a feel good vibe you don’t always get these days. The drummer and bass player laid a tight foundation holding everything together. The lead guitar player churned out chimey melodies with her Telecaster that complemented the crunchy power chords of the rhythm player’s Firefly single-cut nicely. Things didn’t stay too mellow though. Towards the end of the set the lead vocalist left his guitar behind and took his microphone for a field trip into the audience. He let loose a great amount of energy and got the crowd even more worked up. It was a powerful end to the evening for sure.Nora Marks will be playing in Chicago on April 2nd as part of the Mic1park Midwest Magic Tour, don’t miss it!

Once more, this was a fun show, a pleasure to hear and a pleasure to shoot! Great performances all around by very talented musicians! Big thanks to Meredith for inviting me to shoot the show. The bands may have all been surprises to me,but it was no surprise to enjoy another excellent show at Liar’s. See the full gallery below!

by Staff Writer manvsfriction

Tags:

chicago Chicago Punk Chicago Rock James the Boneless James the Boneless band