About 45 years ago, Crass made one of the most iconic and important statements in punk history. In their poignant critique of the commercialization of punk, its rise in popularity, and the state of the scene in the late ’70s, Steve Ignorant boldly declared that Punk is dead.
For the following decades, this question remained a topic of debate, with many individuals eager to contribute their thoughts. From The Exploited responding with their iconic song “Punk’s Not Dead,” to this very publication’s namesake— the question is still out there: Is our scene alive, or is it dying?
Honestly, Crass’ brutal criticism of their more famous peers and the zeitgeist of the punk scene at the time remains as relevant today as it was back then. Now, nearly half a century after the movement began, the generational divide between those who witnessed its inception and those just discovering their first punk record or strumming their initial three fast chords widens. This leaves us in a precarious position, uncertain about the future of the subculture we are a part of.
But there is a lifeline, though. Amidst big production companies, ticket sellers and their scummy practices, unaffordable music festivals, and multi-million dollar fast fashion companies appropriating and turning punk aesthetic into a product still exist people who do this for the very same reason this scene started. People who are sick and tired of the routine, of music tracks that are too long and slow, who want to be the bridge between those who were there when it all began, and those who will keep it going. Punk Rock Tacos and the folks behind it are a prime example of those that keep this whole damn thing going.
Noah Corona and the Punk Rock Tacos team have consistently organized shows for the past couple of years. These DIY, grassroots events, born from a love for music and the scene, might not appear as such at first glance. Despite that, they exhibit excellent organization, high production quality, and showcase incredible bands. While their professionalism might deceive you into thinking this is their primary occupation, it’s actually a passion project that has steadily grown, establishing itself as a vital part of the Chicago suburban punk scene.
On the evening of Friday, December 15th, our friends from Punk Rock Tacos put together a very memorable all-ages show featuring five bands from all over the Chicagoland area and as headliners, the iconic punk rock trio, The Queers. The venue, a Mexican restaurant serving some tasty tacos, was filled to the brim with punk rockers eager to mosh and slam dancing during the sold-out show.
The show started with Downhill Runner taking the stage. Seeing this band live for the second time remains an absolute treat. They’ve skillfully captured the sound of early-aughts pop-punk and skate punk, refining and reintroducing these sounds, ideal for an evening of partying and drinking. If I was any good at it, these guys would definitely make it to my skating playlist, but since I am not, I will just listen to them as I walk places.
One of the more exciting characteristics of Downhill Runner is the back and forth between the drummer and the bass player on vocals. It definitely gives the songs an extra layer of vocal complexity which, paired with the slightly grittier vocals that you would expect from a band playing this type of punk, make them stand out. But the vocals are not the only interesting bit about this band, as their songs generally are energetic and fast with some tempo changes to keep the crowd invested, as well as some instrumental breaks changing up the pace of the songs.
Downhill Runner will be taking a short break from live performances, but don’t fret as they’ll be putting out some cool stuff during early next year, stay tuned! In the meantime, check out their new-wave(ish) alternative-punk song La Resistance from their album Rebel Radio.
Next up on the lineup, The Run Around takes the stage by storm. This self-proclaimed ensemble of friendly party hooligans thrilled the audience with their rendition of classic Midwestern punk rock. Their live performances stand out due to their knack for crafting irresistibly catchy tunes that have the potential to become anthems. It’s nearly impossible not to have a fantastic time when they’re in action.
Their song ‘Bombs Away,’ for example has all the ingredients for a punk rock song that could become a classic any moment, and seeing it performed live reinforces that as it made me want to jump and sing along, which I would have had I not been juggling a camera and maybe a can of PBR.
The Run Around put on an excellent show. Their music is solid, and the vibes they create are fantastic. I’ll definitely be humming their songs for the rest of the week and keeping an eye out for their upcoming shows. If you haven’t already, I highly recommend checking out their song ‘Bombs Away‘ from their EP of the same title.
Sushi, the third act of the night among the five bands, marked the halfway point of the event. Hey Fat Mike, wondering when punk rock became safe? Well, Noah Corona challenged that notion—at least for the workplace. Stripping down to his vibrant Keith Haring underwear, flaunting a summer body in the midst of winter, Noah delivered a wild punk rock performance.
It was hectic, violent, erratic as hell, it was awesome. Sushi opened up their set with the song “the Alcoholic,” a self-aware confession about self-destruction screamed over a catchy surf-punk riff and followed up with some intentionally raw hardcore punk akin to that of early Black Flag.
As their set progressed, the energy surged, with Noah engaging the stage, singing with the crowd in the mosh pit, and even rolling on the floor—creating an electrifying atmosphere. What struck me most was their riff-heavy compositions; had Sushi emerged in the early ’80s, they’d undoubtedly have shared stages with Black Flag and Dead Kennedys. Sushi picked a very specific style of punk rock and it was the right one for them as all the musicians in the band were in their element, I would say like fish in water but more like… fish on a plate… raw… like Sushi? Ok, that analogy does not quite work, but the point is that all four members of the band knew what they needed to do and did it well. Check out the live recording of their set that day!
With an imposing presence, The Usuals made it to the stage. Their time to blow us away had come, and that they did. With over twenty years of experience, these dudes have created a pretty wide array of songs that go from melodic to a more classic punk sound, and honestly everything in between.
Playing a tight set, and displaying some great musicianship, what stood out to me the most is that they were having just as much fun on stage as we were in the crowd, well, that and their guitar player was wearing an incredibly funny tropical button up shirt with what I believe was the face of his bandmates surrounded by Monstera leaves. As these guys played their faster and more aggressive songs, the pit just kept on getting more and more active, a sign of a great set.
A few songs into their set, there was an unexpected surprise as Curt Harrison, the lead singer, invited his young son onstage. The budding punk rocker grabbed a guitar and stood beside the microphone, becoming the band’s rhythm guitarist and backing vocalist alongside the seasoned members. As The Usuals neared the end of their set, bass player Justin Schenk decided to share his bass with the crowd, sparking absolute mayhem! The instrument became a tool for the frenzied punters in the pit, doubling as a prop and, at times, a mock weapon. If you enjoy these kinds of shenanigans, I would highly recommend catching this band live, but in the meantime my recommendation would be to listen to their song ‘Cheers to No One’ from their EP From the Valley to the Alley.
And finally the band everyone had been waiting for, the one band of the evening that needed no introduction, The Queers. With an iconic and immediately recognizable melodic and sometimes leaning more towards pop punk, the entire venue erupted into singing and jumping to their more well known songs like ‘Fuck the World’ and ‘See You Later Fuckface.’
Playing their signature songs filled with obscenities, crass lyrics, and eternally youthful angst, us in the crowd were able to enjoy a true classic act of punk rock. Not having had the opportunity to see The Ramones live, I think this is probably as close as I will ever be to listening to that very particular type of what some people refer to endearingly refer to as bubble-gum punk.
Despite Joe Queer’s pleasant and occasionally sweet vocals, in contrast to the raw and abrasive styles of the earlier bands, it did not stop those up front from moshing, slamming and pushing people around in a frenzy fueled by the fast guitar, and driving beat of the drums. Singing about crushes, and the frustrations that come with growing up as an outcast it is easy to see how this band would still be relevant to this day, and how they were able to connect both with the older folk at the show and also with the younger members of the audience.
With an extensive setlist spanning across The Queers’ active decades, the phenomenal night drew to a close. Standing under what seemed – at least from the perspective of a photographer – the world’s brightest spotlight, it was time to say goodbye. With a prolonged and well-deserved ovation, Joe Queer concluded the set offering an encore with a few additional songs before concluding the night.
Head below to check out the full photo gallery of that great evening!
Downhill Runner
The Run Around
Sushi
The Usuals
The Queers
