Concert Review: Out of Order

January 23, 2023

To round out my concert-going escapade of fall quarter 2022, the Saturday after finals week, I saw Dominic Fike’s Out of Order tour live at Radius. Whether you know him from his role of Elliot on HBO’s Euphoria or have been listening to him since his SoundCloud days, Fike’s music is an indie-pop lover’s gold mine, falling under the same genre and general vibe as Brockhampton’s Kevin Abstract (explaining their past collaborations) - a combination of soft rock and hip hop resulting in catchy, memorable melodies. One of his most famous songs is 3 Nights, which charted top 10 in multiple countries upon its release. My personal favorites of his are Acai Bowl, which has a very special place in my early high school self’s heart, and Wurli.

I want to preface this entire article by making it clear that this was not a typical concert-bound outing of mine: both the plan and the execution of the aforementioned plan were very chaotic and disorganized, and we ended up missing the entire opener while we were in the merch line. This is not to mention that the lighting at the venue altered the appearance of colors of said merch, and I didn’t realize my black hoodie was actually green until I left. Nevertheless, the venue, which I hadn’t heard of until this show, was actually really cool – it was all standing room, the entire space spanning across one level. It was broken up into a bar, a food area, a merch table, and the stage by tall dividing walls. The whole thing was blackboxed, with lighting coming from pink and orange LEDs on the ceilings. Based on the “coming soon” advertisements and the general feel of the area, this venue is typically home of electronic music/hyperpop and metal, the perfect set up for gigantic mosh pits.

From what we heard of the opener, they were a hard rock/metal band that were successful in hyping up the crowd (we heard much screaming, presumably of enjoyment, from the merch line). Unfortunately I have no idea who they were. To be honest, we didn’t even know there was going to be an opener until we got there. There is nothing on the Internet about an opener, and I can’t seem to find any information on them (there is a possibility I am just bad at the Internet), but they were good. The genre wasn’t exactly my cup of tea, but I enjoyed listening from afar nonetheless.

Fike appeared on stage not so long after. The setlist is as follows:

Setlist:

1. Westcoast Collective 10. Come Here

2. Double Negative 11. She Wants My Money

3. The Kiss of Venus 12. Superstar Sh*t

4. Joe Blazey 13. Florida

5. 3 Nights 14. (Unreleased Song)

6. Rollerblades 15. Wurli

7. Acai Bowl 16. Vampire

8. Politics & Violence 17. Babydoll

9. Batshit 18. Why

Encore:

19. Phone Numbers

Fike’s voice was much better than I anticipated live– aside from being a fabulous performer, both his guitar and vocal performances were clear, interesting, and entertaining. His chemistry with the band was impeccable, and he bantered with the audience quite a bit, cracking jokes and providing personal anecdotes when it fit the natural flow of response from the audience.

Fike sang variations for virtually all of his songs. This may be an unpopular opinion, but while I appreciate the artistry that goes into remakes and melodic variations, I do wish that he had kept a song or two the same as the recorded version; in my opinion, concerts are equally about an artist’s performance, as well as the audience’s ability to recognize and sing along (or simply enjoy) a song that they recognize and love. There were several songs I didn’t recognize until about halfway through because of these variations, which is fine if this was true for a handful of songs– but this was true for almost the entire setlist. Regardless, I thoroughly enjoyed Fike’s performance, and I would recommend it for anyone who likes his music, or simply enjoys live music in general. He is definitely one of those artists who can capture your attention regardless of your familiarity.

Aside from the merch mishap and the poor time management on my own part, I would give my experience a 10/10.

Source: https://www.nzherald.co.nz/entertainment/c...

Concert Review: Waiting to Spill

December 9, 2022

I think we all know, or have heard, the wonderfully perfect tune that is Kilby Girl by the Utah-originating band, the Backseat Lovers, whether it was from TikTok or from simply frequenting the indie/alternative rock genre. From their 2019 release When We Were Friends, this song is by far their most streamed, totaling in over 189 million streams to date.

I hate to be that person, but I have been listening to the Backseat Lovers since before the release of this album, and Kilby Girl (among others, of course) quickly became one of my most played in 2019 once the album dropped. So, when my friend told me they were playing the Riviera, I immediately said yes. Similar to my experience when Noah Kahan the week before, I wasn’t quite familiar with their new music– I was mostly going for the encore songs, amongst which Pool House, Maple Syrup, and of course, Kilby Girl, were promised. Unlike Kahan, however, I was not super impressed with their latest release from October of this year, Waiting to Spill. The album does have some gems, like Close Your Eyes, Growing/Dying, and Slowing Down; however, it struck me as one of those releases where all the songs kind of blend together, which starkly contrasts my impressions of their previous releases. This is not necessarily a bad thing, but it made it hard for me to really get to know the songs individually by just shuffling the album.

The opener of the concert was the band Bendigo Fletcher. I had never heard of them prior, but I was pleasantly surprised both with how much I enjoyed their set (although we did only catch the last couple of songs), and their personalities; they put on a good show, that’s for sure. My favorite from their set was definitely Wonderfully Bizarre, and I will say they have successfully convinced me to give them more of a listen in the future.

The headliner setlist consisted of a full performance of Waiting to Spill in order (which is unique for a concert of this size, but a structure that I really enjoyed), followed by some of their more popular songs from both When We Were Friends and previous works.

SETLIST:
1. Silhouette 2. Close Your Eyes
3. Morning in the Aves 4. Growing/Dying
5. Words I Used 6. Snowbank Blues
7. Follow the Sound 8. Slowing Down
9. Know Your Name 10. Viciously Lonely
The Hits:
11. Pool House 12. Kilby Girl
13. Maple Syrup 14. Still A Friend
Encore:
15. Out of Tune 16. Sinking Ship

One thing that struck immediately was the set– it was extremely simple, the use of lighting the primary method to implement variety throughout the set. During the opening number, Silhouette, there were large floral decals decorating the stage, its delicacy contrasted by harsh red and orange lighting. Throughout the set, the lighting varied from warm reds to cool blues, depending on the song that was being played; between songs they went dark, which really heightened the dramatics of the lighting.

Aside from the set design, the performers themselves, in their long, shaggy-haired glory, were also excellent. Whenever I go to a concert without knowing the setlist beginning to end, I am so much more aware of a performer’s ability to capture me in their performance. There was something about not being able to understand anything that they said (we were quite far from the stage, and also they had thick-ish accents and tended to mumble) and the way that they engaged with us and each other throughout the performance was very endearing.

This was the first concert of this genre that I have been to– I typically frequent indie or pop concerts, despite listening to other genres on my own just as frequently. One thing that I learned was that alternative rock concerts have the most fashion-forward attendees. I was giving out so many fit compliments, and looking around to see all of the fabulous styling just made the concert that much more enjoyable. I highly recommend.

Overall, I do not regret attending this concert– I went with some of my favorite people, so that definitely contributed to the enjoyment, but the performers and overall atmosphere were also excellent. If you like any sort of rock music, I highly recommend the Backseat Lovers (and Bendigo Fletcher for that matter, although their sound is softer)– and definitely worth the ticket the next time they come into town.

Source: https://www.youtube.com/watch?v=48V-VygCeL...

Concert Review: STICK SEASON

November 17, 2022

I originally went to this concert because my friend wanted company, and she was only going because Stephen Sanchez was supposed to be opening (spoiler alert: he did not end up opening). I had heard of Noah Kahan vaguely from TikTok– think the indie folk equivalent of Leith Ross, David Kushner, JVKE, etc. I hadn’t given much thought to him before, but it was cheap, an excuse for live music, and a way to get off campus on a Thursday, so I figured I would go with her. And I am SO glad that I did.

Noah Kahan’s debut album Stick Season was released on October 14th, 2022; less than a month before I was set to attend his concert. I’m the type of person to listen to an artists’ entire discography so I can confidently scream the lyrics right back at them, so this release date stressed me out– especially because I hadn’t realized he had released an entire album until about a week before I was going to see him live. Nevertheless, I persevered, allowing Kahan’s voice to unrelentingly blast through my headphones 24/7 for a week straight.

Upon first listen, I was floored. It appeared as though I had found the Lumineers equivalent I had searched so long and hard for– his lyrics are fantastic, and the amount of acoustic guitar (the entire album) is perfect. I was officially pumped for this concert.

The concert was at the Riviera Theater on the north side of Chicago. Kahan’s opener was Adam Melchor (if you recognize the name, it’s probably from his most popular 2018 release Real Estate). Melchor was fantastic, and I think the perfect opener for Kahan; they both love their riffs of all sorts, both acoustic and vocal. His set consisted of many tracks from his newest album, and concluded with a cover of Sufjan Stevens’ iconic Chicago. He was silly for that one.

Although Kahan’s entrance following this set was met by a slight disappointment by my friend (as he was most definitely not Stephen Sanchez), her sadness was quickly replaced by awe as Kahan jumped into his set.

SETLIST

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SETLIST -

Stick Season is based on life in a small town in Vermont; not quite relatable to us as students in Chicago, but it does inspire the nostalgia and coziness that fall brings to us anyways. As someone from the southern California coast, the vibrant colors of the fall leaves are enough for me to imagine I’m walking through a rustic town in New England, rather than one of the most urban regions of the Midwest. Kahan’s set did exactly this; he brought the audience with him as he sang about the unfortunate combination of longing and excitement and sadness that comes with leaving where you’re from.

Kahan also opened up to the audience about his mental health struggles, talking about the difficulties that come with reaching out for help: in his song Growing Sideways, he talks about experiencing therapy for the first time since childhood, attending with the intent of actually working on himself for the first time with the lyrics:

“But I ignore things, and I move sideways
‘Til I forget what I felt in the first place”

Kahan’s band also had some recognizable names, most notably Noah in the Open, who was on acoustic guitar. Something I really appreciated about this concert was Kahan’s introductions of the band at the beginning of the set; I always hated how the drummer was just a drummer until the end of the show. You could tell that the band really loved what they were doing, and their interactions with one another were at times more entertaining than Kahan himself.

I love indie-folk concerts because the fans are always respectful, enthusiastic, and filled with so much love for the artist. Never, in all of my concert-going endeavors, have I ever heard an audience sing so loud through the entire set that the artist was almost not needed at all; and I have been to the likes of Taylor Swift, The Lumineers, and many more much more prominent artists. There is something really special about “smaller” (Kahan now has 8 million monthly listeners on Spotify, but this can still be considered small in the grand scheme of things) artists and their fanbases. It truly is a community, and seeing the genuine love the audience members had for this artist was truly inspiring.

Ultimately, although I don’t know Kahan’s music like the back of my hand quite yet, I thoroughly enjoyed this concert experience. If you enjoy indie-folk music and have the time, I highly encourage you to give Stick Season a try.

Concert Review: MARINA in Chicago

February 23, 2022

This time around—a pandemic, breakup, and a new album later—Marina has put together a show that undeniably showcases all layers of herself. The set ebbs and flows between renewed hits and fresh classics with Marina holding it all together.

Artists You Need To See Live, Post-Pandemic

October 25, 2021

What I miss most about pre-Covid era is being able to support my favorite bands in person and connect with other fans who share my passion for music. Inspired by artists scheduling upcoming shows, I have compiled a list of my favorite bands to see live!

Thirty Seconds to Mars

Thirty Seconds to Mars is the perfect show for every type of concertgoer. Whether you’re a diehard fan of the band or just want something to do on a Friday night, you’re bound to have an amazing experience at a 30STM show!
30STM is truly genre-bending in every sense of the word. They combine their most recent pop singles such as “Rescue Me” and “City of Angels” with their older punk hits like “The Kill” in a way that doesn’t feel forced. Meanwhile, Jared and Shannon Leto represent opposite spectrums in the fashion world: you’ll often see Shannon donning a Harley Davidson muscle tank while Jared is literally decked out from head to toe in Gucci apparel.
Most importantly, Thirty Seconds to Mars puts on a theatrical performance without sacrificing musicianship.

Muse

Muse concerts certainly have the best production value I’ve seen, whether it be high concept shows or more casual venues. Their latest tour for their album *Simulation Theory* immersed the audience in what felt like an AI dream. Somehow Matt Bellamy is shockingly able to maintain his insane vocal range and play guitar too (see “Knights of Cydonia”).

Don Broco

If you’re looking for a high-energy, no frills, small venue rock show, Don Broco is a must see. Their music is what I’d call “hype rock.” With bops like “T-Shirt Song” and “Everybody,” you’re sure to be dancing.

ONE OK ROCK!

If you’re looking to support an international band, I would definitely recommend ONE OK ROCK! They perform their English songs that you can sing along to but also their fast, heavier Japanese songs for a change of pace. It was also great to meet their diehard fans; I still remember someone screaming “takaaaa I love youuuu” after each song ended.

Mike Shinoda

Mike Shinoda’s show is great for concertgoers who are interested in or curious about lower profile rappers. Mike Shinoda was a member of Fort Minor (yes, as in “Remember the Name”). His new music, however, is focused on working through grief and his emotions following the passing of Chester Bennington, his bandmate in Linkin Park. Mike Shinoda provides a new and interesting perspective to rap which is definitely a must see.

Trivium

Trivium shows are not for the faint of heart. Be warned, if you’re in General Admission you will most certainly be squished by a sweaty crowd and forced to support body surfers making their way to the stage.
If this hasn’t scared you away yet, Trivium performances are truly a wild and exciting experience. Though I don’t love every song they play, I’m usually too caught up in the energy and adrenaline of the crowd to notice. If you want the full ~heavy metal~ experience, attend a Trivium concert at your local venue.

All images via Kaya Lee

Bring Concerts to You

April 6, 2021

Digital media has been winking at us from the doorway of the future for quite some time. We are getting absorbed into our mediatic worlds, screens, and, in a way, moving into our artificial embodiments, day by day. The popular notion of the “future” was just a matter of innovation, yet, with quarantine lingering and dragging everything behind, we happened to become social animals with a silly pun on the word social. Just when I said OK, I got used to these online classes, online clubs, online shopping, online, online, online...things, I witnessed friends having online therapies, online relationships, and more online things that once, supposedly and ideally, would have occurred face to face. I am not in a position to blame or glorify what we are witnessing now. However, I can talk about how I am, well, taking advantage of the situation.

Music is a must in my life. When one listens to music as much as I do, we inevitably begin to delve into its multifaceted world, slowly drifting away from the popular tracks and the good, old classics. Language barriers disappear. And this search for the unknown, a search that satiates the hunger for more, starts. Yet, when your playlists consist of music from more than a hundred countries, you obviously miss out on the concerts that happen all over the world. And, unfortunately, when you live in a place where none of the popular artists stop by in their tours (I am not even talking about that local indie group we all admired once), you start to look for solutions. Now, the very same solutions for the live shows conundrum apply to today’s quarantine situation.

For all my beloved friends that long for concert halls and any artistic medium of music, here are two of my alternative choices of music sharing platforms. Enjoy!

ONSTAGE K

ONSTAGE K is a Korean music-sharing platform that attracted me first because of its cubic aesthetic, which encapsulates the artists it presents. While Korean pop is dominating the music industry with its singers, dancers, and performers, ONSTAGE showcases contemporary artists that are as talented but less famous than mainstream K-pop bands. If you are looking for authentic, indie/R&B/Rock, chill, and energetic music performed by amazing artists with a live band in the background, creating this artsy and carefree atmosphere, I suggest you check ONSTAGE videos.

TINY DESK

The Tiny Desk Concerts idea came when a music editor was so frustrated after a concert that he couldn’t hear anything because the crowd was cheering all the time. Later, he jokingly suggested to Bob Boilen, the now host of the Tiny Desk, that he should invite artists to perform at his own desk (read the story). Well, history happened. Now, behind a “tiny desk,” in front of a silent crowd, world-wide musicians perform their tracks in the most instrumental way possible. Having more genre and language options than ONSTAGE, Tiny Desk is definitely a must-listen.

Hope you had a nice time!

Thumbnail image via

"Celebrating America's" Duality: The Messaging Problem with the Inauguration Concert

February 4, 2021

The inauguration of Joe Biden and Kamala Harris looked a bit different this year due to Covid precautions. One such adaptation to the current public health climate was a virtual musical celebration instead of the historic ball. I was curious about the celebration, but its disjointedness turned me off. While I understand that the planners of this celebration wanted to strike a perfect balance between reflecting on the recent pain and suffering of the country and the turning-of-a-new-page era, they almost completely missed the mark. It was jumbled and didn’t give people a sense of agency or excitement about this next administration. Here are a few reasons why:

The most blatant reason is that a good number of songs didn’t fit the overall message of hope in a refined way. John Legend’s cover of “Feeling Good” and the Broadway stars performing “Seasons of Love” were both spot on because they utilized classic songs that evoke communal feelings in an audience. Seasons of Love even makes a nod to some suffering, and the lyrics (“In truths that she learned, or in times that he cried? / In bridges he burned, or the way that she died?”) fit into the broader idea of an acknowledgment of pain while looking towards the forces of love and unity that can bring “a new dawn, a new day.”

John Legend performing in front of the Lincoln Memorial. Image via

Some pieces that didn’t fit the message at all include Jon Bon Jovi’s cover of “Here Comes the Sun” and Yo-Yo Ma’s cover of “Amazing Grace.” I understand that the Beatles song was meant to play into the message of hope, but it was too upbeat for the moment and was performed very poorly by Jon Bon Jovi. It was awkward, odd, and the setting was not right. Yo-Yo Ma’s cover of “Amazing Grace” maybe could have passed if it hadn’t been done on the inauguration stage, but even then, this is a highly religious funeral song. While “Here Comes the Sun” leaned a bit too much towards the joyous side, “Amazing Grace” leaned too much towards melancholy. The balance between the two is admittedly difficult to pull off, but it could have been done better.

Jon Bon Jovi performing in Miami. Image via

Secondly, the technical framing and sequencing of the entire event was off. For one, the event should have been much shorter. The hour-and-a-half length of the program was way too long and caused many people to lose interest. Plus, the high number of performances contributed to the incoherence of the overall message. Having a shorter celebration would have tightened the theme and would have made sure each song got its fair amount of recognition and appreciation. The whole event looked like a random, jumbled collection of songs with very little thought into how the overall puzzle would look.

For another, Bruce Springsteen shouldn’t have been the first performance of the night. While the performance of “Land of Hope and Dreams” was beautiful, it started the night off slow. It would have served a better purpose if he was in the middle of the program paired with a short memorial to Covid-19 victims. The song is about the promise of freedom in America but also discusses a train that “carries lost souls” to the country, which could have been a powerful representation of those lost to the pandemic.

The sequence of a tribute to teachers followed by Foo Fighters’ “Times Like These” was a good example of framing done right: Dave Grohl specifically mentioned that the song was a tribute to teachers everywhere and referenced the particular teacher spotlighted. Demi Lovato’s cover of “Lovely Day” with healthcare workers playing along in the background also nailed this idea.

Foo Fighters making a tribute to teachers. Image via

While I understood that the technical editing of transitioning to different parts of the country was an attempt at a message of unity, it was messy. It didn’t work. It would have been much more powerful to have all of the performances outside of the Lincoln Memorial, live. This is why Springsteen and Legend’s performances resonated so well. The low-tech editing and beautiful cinematography of the lights on a winter D.C. night is all that is needed to evoke deep feelings within an audience. Jon Bon Jovi’s performance was heavily edited, and the constant panning out to the boardwalk contributed to more confusion. Keep it simple. That’s how you capture an audience.

Bruce Springsteen on the steps of the Lincoln Memorial. Image via

And finally, in an inauguration that claimed to bring together all corners of the country and people from all walks of life, there was a surprising lack of diversity among the performances. The genre was mostly pop, a primarily white-dominated genre. The only Latino music featured was from Bad Bunny and Luis Fonsi, artists who have been on the Top 40 charts in the U.S. for weeks. It was also done in a weird “pass the mic” performance, where an MC only allowed them to sing a portion of the song. It felt rushed, awkward, and as though the planners were just checking off a diversity box. There were also minimal rap/soul/hip-hop songs – one that someone could argue could pass as such was from Justin Timberlake, which was clearly white-washed. The Black Pumas’ “Colors” was the only song that spoke to any sort of diversity of people and boasted black artists. It was obvious that this concert was planned mainly by white people, as in 2018 hip hop actually surpassed rock to become the most popular genre in the U.S. How can you espouse a message of unity and hope under a “president that serves all Americans” when you don’t properly represent all Americans?

Black Pumas performing in Memphis. Image via

I was also shocked by the lack of women’s empowerment in an inauguration that is supposedly celebrating the induction of the first woman Vice President. The only women artists were Demi Lovato, who covered male artist Bill Withers, and Katy Perry, who seemed to have only been included simply because she had a song called “Firework” to go along with the brilliant display. There seemed to be no imprint or recognition of Kamala Harris’ glass ceiling break throughout the celebration. Joe Biden got to choose one of his favorite poems, “The Cure of Troy,” to be read; why was Harris not offered the same choice of a personal touch? In a celebration that seemingly wanted to avoid being tone-deaf, they certainly shot themselves in the foot.

Katy Perry performing “Firework” as fireworks blast in the distance. Image via

The messaging of an inaugural music concert, particularly this one, matters because it’s not just one concert: it’s indicative of the larger messaging issue that Biden struggles with. We saw it earlier on in the day with his speech that was riddled with contradictions. Claiming to be able to unify everyone by talking about the greatness of our country while also acknowledging the pain that has been caused to people, primarily those of color, is an extremely difficult line to walk. It doesn’t seem like Biden has gotten the hang of how to walk it yet, but he’s going to need to learn soon. Effective messaging is the key to effective governing.

Cover image via

Double Takes at Double Shot

November 4, 2019

With its cozy couches and muted atmosphere, I was hesitant when I’d first heard from my friend—a newly hired barista—that beloved coffee shop Hallowed Grounds would be hosting a concert and open mic night, inspired by NPR’s Tiny Desk concert series. But I arrived on Friday night to a pleasant surprise: Hallowed’s normally slow vibe was clearly more amped than usual. In fact, it took quite a while for the emcee to quiet the room bustling with artsy music-enthusiasts and musicians alike, and finally begin the open mic.

Image via Yarra Elmasry, https://www.facebook.com/events/395311714473970/?active_tab=discussion

Donning a Harry Styles-esque black suit with a floral collared shirt, the first impromptu performer began with a curiously named acoustic number titled "Ketamine.” "You only do coke when it's free,” Kevin crooned to an enraptured audience, black painted nails strumming a guitar to a song that remind me of Elliot Smith—both in drug-laden content and in its ending crescendo.

Next up was pink-haired Katie, donning a forest-green velvet longsleeved shirt, light denim mom jeans, and statement faux tangerine earrings. Before the open mic, I’d complimented her on the earrings and (half-jokingly) asked if they were real. “Unfortunately, no,” she responded. “But I wouldn’t it be cool if they were?"

She sang a cover of Leonard Cohen’s “One of Us Cannot Be Wrong,” in a vocal style that took on Cat Power’s raspy affect. The audience met her with scattered applause; it seemed not many in the room were fans of Leonard Cohen.

Easily the most memorable performance of the night, if one can even call it that, was the following act: a group of students put on an ambitious show, fusing performance art, music, and, one can only assume, improv. All using pseudonyms that facetiously challenged stereotypes of their own race, the group was led by a black student named Pure African, half-rapping and half-dancing to discordant background music composed of a cello, drums, and stone balls used as percussion. “What if instead of fighting our demons, our demons fought us,” Pure African announced, before (I kid you not) doing a no-hands back-flip. After ten minutes of disorienting music, nonsensical back-and-forth between Wai-Ling (the girl on cello) and Pure African, and uncomfortable laughter from the crowd, the group took their seats.

I’d thought that after the improv fiasco, the Hallowed Grounds team would end the open mic then and there. Still, they persisted with one last sign-up. Singer Miles performed a Mac Demarco-esque acoustic song “On My Knees,” in a black and white stoner poncho, green track jacket, and vans. Then, came the real performers of the night.

Black Sam, a fourth-year up-and-coming rapper truly elevated the vibe of the night. While he’d started off in a more hushed tone, by his last song, “Woke Up With A Chain”, the entire room was on its feet and echoing the chorus. Dressed in a fashionable black and white outfit complete with basketball shoes, his flow was almost as smooth as his outfit. I mean, he used “seitan” in a cypher, which I think is a feat of talent in itself.

The second scheduled performance of the night came from the well-dressed trio “White Ppl,” who, much to my relief, were not white. “It’s funny, we think it’s a funny name. You can laugh,” the apparent lead singer said in an attempt to assuage the discomfort of the gathered crowd, who met the band with scattered applause when they were first announced. Dressed in a semi-coordinating uniform of cuffed pants, hoodies, and dad caps, the band started off with an original titled "I Like The Way You Move,” which sounded much like Cosmo Pyke’s brand of nü indie and groovy RnB fusion.

From indie acoustic to rap, at a school known for its intense and competitive atmosphere, Double Shot served as a great reminder that artistic freedom, whether it be in reference to personal style, musicianship, or performance improv exercises, is alive and well at UChicago.

Be sure to show out to Hallowed Grounds’ Double Shot concert next month!

An Interview with Starcrawler's Henri Cash

October 29, 2019

Henri Cash and I became friends when we were one year olds at Kids Klub in Pasadena, California. I was the subject of his first song, “Henri’s Blues” which he wrote at 5 years old and appears on his dad’s album with Henri singing backup. He’s now been touring with his increasingly popular grunge-glam-punk rock band Starcrawler for almost four years now, has been featured in TeenVogue and W, and just released his sophomore album, Devour You with Rough Trade Records. While the rest of us graduated, came to UChicago, and have been spending sleepless nights with Locke and OChem; Henri dropped out of high school, opened for the Foo Fighters, and released two records.

For those among us who don’t regularly attend rock shows, seeing Starcrawler play for the first time can be quite a shock. Their lead singer, Arrow de Wilde contorts her skeleton-like frame in a straight jacket and bejeweled tighty-whities while spitting blood into the crowd. Henri smiles maniacally at the audience in a hot-pink fringe cowboy button down and a custom Kelly-green suit. The guitar feedback doesn’t stop between songs.

The band is aggressive, confrontational, and wild on stage, but off, they’re just some down-to-earth, super chill, LA kids. It’s honestly the most maddening part about being friends with Henri. There’s a level of ease to him and his entire crew that’s aspirational. It took Henri two months to tell me that he’d had tea in London with Anna Wintour. I had to find out from his mother that both Elton John and Jack White are personal fans of his because at the end of the day the most important things to Henri are his music and his friends.

Starcrawler shows are nothing short of spectacle. Image via

K: Can you, like, say your name and, like, where you are so that it records on this?

H: Yeah I’m in Kansas City and this is Henri

K: Ok so…. How did the band start?

H: um the band started with Austin and Arrow they were jamming together and then they were looking for a guitar player. Arrow, at school she came up to me cuz she thought it looked like I played guitar and we started jamming and then we met Tim, and she (arrow) already knew Tim; we needed a bass player and once Tim joined the equation it was a done deal

K: for you specifically why music, like why are you into it, how did it start, you know?

H: ummm I dunno I’ve just always been into music and didn’t see it going any other way it just was kinda..it was always what I was drawn to. Kinda grew up around it. Kinda all did in our weird ways

K: How would you describe the genre of music you play and how did you settle on or like come to that sound?

H: I-I think it’s just rock music…I mean, we play a-a lotta- all of our songs are different, and they don’t really sound, like some of them don’t sound like anything. I don’t know about genre or anything but it’s rock music… and we just played what comes natural to us and we still do, so. I dunno we didn’t really try to play any sorta way it’s just what kinda came out

K: yeah cuz it’s a very like, I dunno, it’s a very unique kind of sound for sure

H: thanks, yeah

"No More Pennies" is taken from Starcrawler's second album 'Devour You', out now on Rough Trade.

K: so, what instruments do you play? Besides guitar, which we know, cuz you’re amazing. (laughs)

H: so at school I played brass instruments, as you know, I play tuba. I was carrying a tuba case when I met Arrow. Tuba euphonium. I can kinda fake playing trombone um but I’m not really a good trombone player. Then I played percussion in school and in the first band I was in with friends I played bass and then I sorta fell upon guitar in this band. This is the first band I ever played guitar in

K: oh wow! I did not know that actually

H: yeah I always kinda played guitar but I never thought about myself as a guitar player because, I dunno, seems kinda generic

K: ju- guitar seems generic?

H: yeah but I found a way to make it feel right

K: Ok so how would you describe the band dynamics and like, its members? Like individually

H: I mean we’re all pretty unique people and I think that every single person affects the sound of the band but creates such an interesting dynamic on stage I mean we’re all kinda sorta, I dunno… well like your stage character is an extent of yourself in a way. I dunno how to explain it… but Tim’s a quiet person that sleeps everywhere kinda thing so he’s very calm on stage but he also plays very fiercely in a way and then Austin kinda just lays it down and- and he’s a bass player and like he makes it like a pocket kinda thing and then Arrow just has this crazy character onstage that kinda is a- it lets like the audience have something to watch and be captivated by. yeah I dunno does that answer the question

Starcrawler vocalist Arrow de Wilde shocks the crowd. image via

K: yeah thats good. so who are your biggest musical inspirations?

H: I don’t even know man there’s so many… um it changes like I keep saying different things every time cuz it’s a constant change. But uh yeah right now I really like- I’m listening to a bunch of country music but I really loved the white stripes as a kid and ACDC and a bunch of different things and we’re all into different types of music. And yeah its cool we’re influenced by so many different kinds of music and I think that’s what also makes it quite different is we all don’t listen to the same exact thing but we have mutual things that we listen to together and different things that we all have to ourselves kinda thing

K: yeah that’s pretty cool. But you’re all super into music, obviously

H: yeah we’re all music geeks I guess

K: ok so you’re from LA, so am I, it’s the best place ever…

H: yes. Same preschool, man

K: yeah, ACCC, that’s where it at!… so like how do you guys encapsulate like an LA sound? Like what do you think are aspects that like is an LA sound

H: I think again it’s like we never tried to sound like we’re from LA it’s just like where you’re from like you act like. Like people from New York sound like their from New York like their accents or whatever and I think just growing up and being absorbed in la music I guess our whole lives just kinda like positive vibes like I don’t even know its an interesting sound for sure

Henri Cash and the author at her 7th birthday

K: why do you dress the way you do and how would you describe it?

H: um I dunno I like to wear things that stand out kinda, things you can see from afar that’s why I really like western kinda clothes cuz they’re shiny and they have a bunch of things on it that like pop and i dunno my favorite designer I guess was Nudie, he’s a Los Angeles suit maker um that made suits for all these old western dudes like Hank Williams and his suits were really expensive. That gold suit that you see Elvis wearing is Nudie suit. I just like kinda shiny things cuz when you’re on stage if you have something that stands out its ya know I makes a difference . people hear what they see and if you look like you’re dressed to impress you probably will impress I dunno

K: right so I wanna talk about that friggin awesome pink shirt you have

H: oh yeah!

K: yeah so can you talk to me about how so how you got it where you got it from and then like why it is the way it is

H: so I wear a lot of vintage western clothes but I also kinda get some stuff made for me as well and that was one of those ones cuz I wanted something that kinda encapsulated the things that mean something to me and so I had a like, the lamb on it and some palm trees on it to make it like an la thing and California poppies cuz those are all things that were around me I guess so it just felt right and then that green suit that’s embroidered I found a suit in salt lake city and got it tailored and then I got it customized with all that embroidery and that’s all done by this lady named Jessica Owens. She also makes arrow’s like crazy white suits too , costumes and stuff and she’s just really good at what she does. Like she also makes these suits for Tenacious D when they dress up as devils and shit like that. She’s great

You can find Henri on Instagram @henricash. Image via

K: you have a pet pig.

H: yes I do.

K: can you talk about your pig? And why a pig?

H: I love pigs . Ive always loved pigs. My favorite animal as a kid was a warthog so I just always wanted to have a pig and then my parents would never let me get a pig but when I turned 18 I figured I would just get myself something that I wanted so I got myself a pig and and its kinda like a child, they’re a lot of work and it needs a lot of attention

K: who takes care of the pig?

H: (deep breath) uh when I’m gone my mom and brother do. They do a good job of it. Taking care of it and when I’m at home I do.

K: whats the pigs name

H: Beasley.

K: ok alright moving on back to music. Whats your favorite song to perform?

H: um I dunno I like performing these new songs. Theres a song called no more pennies that’s really fun to perform because its different than all the other songs so it-it’s a little bit more challenging to pull off I guess

K: how so?

H: its just more challenging because you have to nail the vibe right and with a lot of faster songs it’s a slower song so pulling out a slow song in the middle of a set of fast songs if you don’t execute it properly it can be a downer. A Debbie downer. but if you execute it perfectly it makes everybody feel really good. I dunno.

K: what’s the craziest thing that’s happened to you guys on stage

H: on a stage. Damn. So much crazy stuff has happened. In our last show in Denver our tour manager got punched in the face…

K: what why?

H: just this, they came to the show, this old lady and old man, probably in their like 50s or something, they came wasted already and this guy kept being obnoxious, the husband, and um he got knocked out because he was being obnoxious to some other people.

K: wait he got knocked out

H: well he got knocked out by someone else just another audience member so our tour manager and the doorman had to help carry this man outside and the the wife of this man kept sticking her tongue out at our tour manager for taking him outside for like two minutes or something and I guess she just walked up to him afterwards when he wasn’t looking and just punched him in the face and then after that she tried to punch him again but he just picked her up and put her outside and that was-that’s that.

K: that’s pretty crazy

H: um theres been crazy stuff um this guy once was smacking my ass really hard while we were onstage in japan

K: wait so he was onstage with you?

H: well yeah at the end of the show I invite people up onstage usually young kids who are in the audience and I let them play guitar but this guy rushed the stage and, well I was stage diving and he was smacking my ass, but then he came onstage and he started hitting his head against the wall until his head was bleeding and then he jumped out into the audience and started like fighting with people more like it was crazy cuz he was just getting super hurt he was bloody and like at the end of the night he was just on the ground barely breathing kinda thing.

K: so is that a typical audience? So you have young kids but then you also have these like 50 year olds so like what does the audience composition look like, like who comes to your shows?

H: our audience looks really different yeah its kinda half kids half adults

K: so when you say kids and adults can you clarify?

H: I’m gonna say probably 14-24 for when I say kids and then adults can range form ya know 25- 80

K: 80!

H: yeah but when we were in England people would come out in their 90s to see us.

K: what are those people like?

H: they’re in the mosh pit.

K: they’d be in the mosh pit?

H: yeah its crazy cuz they’re like I saw the Beatles when they were like playing clubs or something. It’s insane some people are just dedicated to music up there. Their whole life is seeing shows so it’s an honor when they come cuz I mean they’ve seen everybody so for them to give a shit about us means we’re doin something right

K: right and-and who does give a shit about you? Like you’ve been played on the radio a fair bit ya know.

H: yeah you know radio…

K: I’m asking you to brag a little bit about like who your fans are (laughs)

H: I mean my first favorite fan like when we were in high school I mean Elton John played us on the radio and he talked about us and that was pretty cool um there’s been so many I’m trying to think um… Jack White came to our show um…

K: and you’re a big fan of his as well right?

H: yeah so that made me feel really good . There’s so many and it’s really honoring but like yeah.

K: Can you tell me a little bit about what your day to day is like on tour

H: getting in the van in the morning, like at 6 am or 7am, driving for 6 hours, getting to a venue, eating somewhere in between at like some shitty place on the road and hoping that its good then tryna eat someplace before soundcheck, unloading a bunch of stuff, carrying a bunch of stuff, carrying a bunch of heavy shit. Also I’m really good at packing a van, just want to put that out there and we play the show, get out at like 2 am , go to bed and do the same thing all over again. Get like 5 hours of sleep a night. Five hours is actually really good

Henri being really good at packing a vanvia Katherine — Henri being really good at packing a van
via Katherine

K: and you’re how old now?

H: nineteen

K: and school didn’t agree with you?

H: no it’s not that school didn’t agree with me, I liked school, I went to art school so it was pretty fun but the school district, it was a public school district and you cant be gone for too long and it just didn’t work out. They try to like fine you when you’re not there cuz it’s like a public school and they make money per day you’re there and so when it came to senior year it just didn’t make sense anymore for like me to be there when I could be doing my professional gig… I tried online school but they wanted me to do it for like 6 hours a day and that’s just impossible with the … with the schedule

K: ok my last question: What’s next for Starcrawler?

H: touring. Lot of touring, yeah.

K: right you guys just released an album

H: just a couple days ago so yeah a couple years of touring and then another album after that but we’ll be going everywhere with this one. More places than last time. We went to Norway and Sweden which was pretty cool. When we were in Norway it never got dark. We were there over the summer. It was just bright the whole day. Yeah its pretty crazy

K: but you like being on the road and you know going different places

H: yeah I like going to places and learning new things it’s like an education of stuff you wouldn’t learn in school um like you get to know every gas station stop of the I-7 in the middle of America or something or you just get to like go to cool museums, you learn a lot of history

K: what do you do when you’re back in LA?

H: work on records. It’s just as busy sadly but there was like a second of break when we were making this album but we were just making this album, that’s what we were doing which is still a lot of work but I don’t like not having anything to do so I like constantly working on something

K: ok I think that’s my questions so thanks so much for doing this! I’ll see you in a few days!

H: yeah see you on Thursday!

Featured image via

Spring '19 Chicago Concerts Schedule

April 1, 2019

With only one grueling quarter left of school, spend some time away from the Reg or people-watching on the Quad to check out the amazing acts coming to Chicago! From stadium tours featuring the likes of Ariana Grande and The 1975, to more intimate shows at Green Mill jazz club or Thalia Hall, you’re bound to hear something you like!

APRIL

¿Téo?; Image via. — *¿Téo?;* *Image* *via*.

4.1 - Lil Baby - Riviera Theatre

4.2 - 4.3 - Andrew Bird - Green Mill

4.3 - ¿Téo? - Subterranean

4.11 - Nicky Jam - Rosemont Theatre

4.12 - JAN BLOMQVIST - Spybar

4.12 - Fat Night - Emporium

4.12 - MUSE - United Center

4.28 - Julia Michaels - House of Blues Chicago

4.29 - The Japanese House - Bottom Lounge

MAY

5.2 - CHVRCHES and Cherry Glazerr - Aragon Ballroom

5.8 - The 1975 - United Center

5.8 - Santigold - Vic Theatre

5.11 - Hellogoodbye - Chop Shop

5.15 - Passion Pit - Riviera Theatre

5.17 - FKJ - Concord Music Hall

Santigold; image via — *Santigold; image* *via*

5.18 - Yann Tiersen - Thalia Hall

5.21 - The Who - Hollywood Casino Amphitheatre

5.23 - Florence + The Machine - Huntington Bank Pavilion

5.23 - 5.24 - Local Natives - Thalia Hall

5.28 - Kali Uchis & Jorja Smith - Aragon Ballroom

5.29 - FRENSHIP - Thalia Hall

5.30 - 6.1 - Empire of the Sun - Metro Chicago

5.31 - Chromatics - Park West

Jorja Smith and Kali Uchis; image via — *Jorja Smith and Kali Uchis; image* *via*

JUNE

6.4 - Anderson .Paak - Huntington Bank Pavilion

6.4 - 6.5 - Ariana Grande - United Center

6.15 - Young the Giant - Hollywood Casino Amphitheatre

6.16 - Vampire Weekend - Huntington Bank Pavilion

6.21 - 6.25 - The Rolling Stones - Soldier Field

6.27 - Third Eye Blind - Huntington Bank Pavilion

6.28 - The National - Huntington Bank Pavilion

Anderson .Paak; image via — *Anderson .Paak; image* *via*

Feature image via.

A Blast from the Past: Interpol at Chicago Theatre

February 14, 2019

On February 8, New York based band Interpol came to town for a night at the Chicago Theatre, much to the delight of former Living and Travel Editor Emilia, who kindly bought us both tickets to the show. We haven’t been to a concert together since October for Brockhampton, and June previously for Depeche Mode (we do love a good boy band), so it was high time for us to yet again brave the crowds of fans and go rock out for a night.

Having grown up in the aughts and had all my pivotal developmental milestones when bands like The Killers and The Strokes reigned supreme over the hearts of us moody kids, Interpol’s crowd was remarkably comprised of people of all ages. The show was exactly as my pre-teenaged self would have hoped, with the suited band performing a mix of their most popular songs and their newer songs following an opener by Sunflower Bean.

Energy remained high throughout their two hour set, with plenty of chances to hear Interpol’s greatest hits while taking in the the beauty of the classic landmark that is Chicago Theatre. Their setlist never fails to disappoint, especially with “Obstacle 1” in the encore.

As far as the venue goes, it’s safe to say it never hurts to arrive just in time to grab an organic vodka Red Bull before the show starts and take some mirror pics in front of the chintzy red velvet couch on the second floor mezzanine. The concert ended around eleven, giving Emilia and me plenty of time to grab some post-concert bubbly at Cindy’s Rooftop.

In the mean time, give their most recent album, Marauder, and their latest single “Fine Mess” a listen.

All photos courtesy of Joe Ruffalo, including featured image.

A$AP Rocky Injured Generation Tour Review

January 30, 2019

It was hard for me to imagine seeing A$AP Rocky in person. Being so used to zoning out to his music with my headphones in, I couldn’t imagine myself before him, feeling the bass of his set charge through my body. But in fact, on the 9th of January, 2019, what I thought could never be was happening.

I got lucky, I got to the floor, and I pushed through a jam-packed crowd to the front. Playboi Carti, accompanying A$AP, rallied the crowd and the mosh began. And A$AP continued that rally throughout the night.

Jumping out on stage with a mask, he set the crowd into a frenzy. Throughout the set, A$AP performed in a flurry of endless movement and emotion. And the crowd echoed this energy, from bangers and top hits to more chilled out tracks. He kept the crowd engaged for the entire performance, ending with his more recognizable hits.

For a complete list of the cities A$AP will be touring in, click here.

Featured image via

Source: http://thesource.com/2018/10/30/asap-rocky...

2018 Fall Concert Roundup

October 24, 2018

Take a break from p-sets and essay writing and swing by one of Chicago’s many concert venues this quarter for some incredible live music. From emerging acts to some of the biggest names in music, there’s something for everyone this season.

OCTOBER

10.24 - Ed Sheeren - Miller Pavilion

10.24 - Kali Uchis - Riviera Theatre

10.25 - Mitski - Vic Theatre

10.25 - 10.26 - Nine Inch Nails - Aragon Ballroom

10.26 - 10.28 - Phish - Allstate Arena

10.26 - 2.16 - Elton John - multiple venues

10.27 - Zedd - Wisconsin Center

10.27 - GooGoo Dolls - The Chicago Theatre

10.28 - BROCKHAMPTON - Aragon Ballroom

10.29 - Billie Eilish - Metro

10.30 - Of Montreal - Thalia Hall

10.30 - Maggie Rogers - Riviera Theatre

10.30 - Porches - Bottom Lounge

10.31 - Lily Allen - Vic Theatre

NOVEMBER

11.1 - LANY - Riviera Theatre

11.1 - Juanes - House of Blues Chicago

11.2 - Alesso - Aragon Ballroom

11.6 - Josh Groban - United Center

11.7 - Tennis - Thalia Hall

11.8 - Vic Mensa - Saffron Rails

11.9 - Wild Nothing - Thalia Hall

11.9 - Gucci Mane - UIC Pavilion

11.9 - slenderbodies - Chop Shop

11.10 - Elle King - Vic Theatre

11.10 - Steve Aoki - Aragon Ballroom

11.14 - Rufus Du Sol - Aragon Ballroom

11.15 - Playboi Carti - Aragon Ballroom

11.16 - 11.17 - America - Arcada Theatre

11.17 - Iggy Azalea - Aragon Ballroom

11.19 - Jack White - Aragon Ballroom

11.20 - Rufus Wainwright - Vic Theatre

11.21 - Amine - House of Blues Chicago

11.23 - Louis The Child - Aragon Ballroom

11.23 - Snakehips - The Mid

11.24 - 12.8 - Cardi B - multiple venues

11.27 - Young the Giant - multiple venues

11.28 - Khruangbin - Vic Theatre

11.30 - Smashing Pumpkins - Aragon Ballroom

DECEMBER

12.1 - Walk the Moon - Aragon Ballroom

12.1 - 12.2 - Death Cab for Cutie - multiple venues

12.2 - 3OH!3 - Metro Smart Bar

12.3 - AlunaGeorge - Bottom Lounge

12.4 - H.E.R. - Riviera Theatre

12.6 - Travis Scott - United Center

12.8 - Manchester Orchestra - Aragon Ballroom

12.8 - The Beach Boys - Lerner Theatre

12.10 - The Internet - House of Blues Chicago

12.11 - 12.12 - Pentatonix - Rosemont Theatre

12.12 - Roosevelt - Bottom Lounge

12.13 - John Legend - Civic Opera House

12.14 - 12.15 - Art Garfunkel - City Winery

12.14 - Cloud Nothings - Thalia Hall

12.14 - Chromeo - The MID Chicago

12.15 - Post Animal - Metro Smart Bar

12.21 - All Time Low - House of Blues Chicago

12.22 - Kurt Vile - Riviera Theatre

12.22 - The Drifters - The Lerner Theatre

12.30 - 12.31 - Galantis - Aragon Ballroom

Feature image via.

Lolla Aftershows You Need to Know About

July 22, 2018

After the party it's the afterparty! Swing by one of the more than 55 shows happening post-Lollapalooza insanity. Included below are some of the highlights, but you can peruse the official list of aftershow acts coming to Chi-town here. Act fast though, most of the shows are sold out or are selling out fast!

Wednesday, August 1st

CHVRCHES, image via — CHVRCHES, image via

TYCHO - Concord Music Hall - 8pm

CHVRCHES W/ SASHA SLOAN - Metro - 8pm

FRANZ FERDINAND - Park West - 8pm

LANY W/ HARRY HUDSON - Bottom Lounge - 6pm

Thursday, August 2nd

THE NATIONAL W/ ALEX LAHEY - Metro - 10pm

THE WOMBATS W/ FUTURE FEATS - Lincoln Hall - 10pm

JUNGLE W/ SUPERORGANISM - Park West - 10pm

GALANTIS - PRYSM - 10pm

Friday, August 3rd

DUA LIPA W/ BUDDY - The Vic Theatre - 10pm

CATFISH AND THE BOTTLEMEN W/ YUNGBLUD - House of Blues - 10pm

BROCKHAMPTON W/ ROMIL - Concord Music Hall - 10pm

GOLDLINK - Lincoln Hall - 10pm

Saturday, August 4th

WALK THE MOON W/ PALE MOVES - Concord Music Hall - 10pm

THE VACCINES W/ THE REGRETTES - Schubas - 10pm

CIGARETTES AFTER SEX - Lincoln Hall - 10pm

PLAYBOI CARTI - PRYSM - 10pm

Gucci Mane, image via — Gucci Mane, image *via*

Sunday, August 5th

GUCCI MANE W/ CHROMEO - PRYSM - 10pm

Feature image via

Chicago Summer Concert and Festival Schedule

May 29, 2018

This summer, catch some of the biggest acts and most buzzed-about up and comers in the music world. Whether their headlining festivals or performing at the best venues around town, there's plenty worth seeing no matter what genre, vibe or venue you gravitate towards.

JUNE

6/1 - Depeche Mode - United Center

6/1 - 6/2 - Taylor Swift (with Camila Cabello and Charli XCX) - Soldier Field

6/3 - Bon Iver - Jay Pritzker Pavilion

6/5 - Post Malone (with 21 Savage) - Huntington Bank Pavilion

6/5 - Shawn Mendes - American Family Insurance Amphitheater

6/7 - alt-J - Huntington Bank Pavilion

6/8-6/10 - Chicago Blues Festival - Millennium Park (FREE)

6/8 - 6/10 - Spring Awakening Music Festival - Addams/Medill Park

6/15 - Top Dawg Entertainment: The Championship Tour (Kendrick Lamar with SZA, ScHoolboy Q, Jay Rock, Ab Soul and Sir Lance Skiiiwalker) - Hollywood Casino Amphitheater

6/22 - 6/24 - Country LakeShake Festival - Huntington Bank Pavilion

6/22 - 6/24 - Ruido Fest - Addams/Medill Park

6/23 - 6/24 - Mamby on the Beach - Oakwood Beach

6/29 - Halsey - American Family Insurance Amphitheater

6/30 - Harry Styles - United Center

JULY

7/2 - Paramore (with Foster the People) - Huntington Bank Pavilion

7/6 - 7/7 - Radiohead - United Center

7/6 - 7/8 - West Fest - Chicago Ave between Wood St and Damen Ave

7/8 - Arcade Fire - American Family Insurance Amphitheater

7/13 - Imagine Dragons - Hollywood Casino Amphitheater

7/14 - Kesha and Macklemore - Hollywood Casino Amphitheater

7/17 - Panic! At The Disco - United Center

7/20 - 7/22 - Pitchfork Music Festival - Union Park

7/23 - Sylvan Esso - Riviera Theatre

7/27 - The Beach Boys - Ravinia Pavilion

7/27 - Animal Collective - Vic Theatre

7/28 - Chris Brown - Hollywood Casino Amphitheater

7/29 - 7/30 - Foo Fighters - Wrigley Field

7/31 - Charlie Puth - Huntington Bank Pavilion

AUGUST

8/2 - 8/5 - Lollapalooza - Grant Park

8/3 - Shakira - United Center

8/10 - 8/11 - On The Run II: Beyoncé and Jay-Z - Soldier Field

8/13 - 8/14 - Smashing Pumpkins - United Center

8/15 - Sam Smith - United Center

8/18 - Beach House - The Chicago Theatre

SEPTEMBER

9/8 - Childish Gambino - United Center

9/8 - 5 Seconds of Summer - Aragon Ballroom

9/14 - Maroon 5 - United Center

9/23 - 9/24 - Leon Bridges - Aragon Ballroom

9/29 - Dark Star Orchestra - Vic Theatre

Feature image via

Chicago Spring Concert Schedule

March 28, 2018

Spring in Chicago calls for warmer weather and a jam-packed concert schedule–what more of an excuse do you need to get out and go see some of your favorite acts? See below for our roundup of the best acts coming to the city this spring!

3/24 - Mura Masa - The Mid

3/27 - Lorde - Allstate Arena

3/27-3/28 - Justin Timberlake - United Center

3/30 - Wolf Alice - Metro

4/2 - Crumb - Beat Kitchen

4/20 - Khruangbin - Lincoln Hall

4/26 - Tom Misch - Metro

4/26 - Bon Jovi - United Center

4/27 - King Krule - Riviera Theatre

5/2 - Jorja Smith - Thalia Hall

5/10 - Jukebox the Ghost - House of Blues Chicago

5/11-5/12 - HAIM - Aragon Ballroom

5/22-5/23 - U2 - United Center

5/30 - The Kooks - Vic Theatre

6/7 - alt-J - Huntington Bank Pavilion at Northerly Island

Feature image via

Chicago Winter Concert Schedule

January 18, 2018

Beat the cold and head out to one of the amazing headliners this winter. From arena shows to intimate theater performances, this season's performance roster spans all iterations of venue size, vibe and music genre. Keep reading for a timeline of the most exciting performances happening in Chicago through the end of the quarter!

January

The Killers - 1/17 - United Center

Passion Pit - 1/17 - Riviera Theatre

Milky Chance - 1/26 - Riviera Theatre

BØRNS - 1/27 - Riviera Theatre

2Cellos - 1/28 - The Chicago Theatre

February

MØ & Cashmere Cat - 2/1 - Riviera Theatre

Postmodern Jukebox - 2/3 - Riviera Theatre

Benjamin Clementine - 2/6 - Metro

Marilyn Manson - 2/6 - Riviera Theatre

AWOLNATION - 2/14 - Aragon Ballroom

Lauv - 2/16 - Lincoln Hall

Portugal. The Man - 2/16 - Aragon Ballroom

Hippo Campus - 2/16 - Vic Theatre

Majid Jordan - 2/21 - Vic Theatre

Two Feet - 2/25 - Lincoln Hall

March

Miguel - 3/5 - Riviera Theatre

Ty Dolla $ign - 3/8 - House of Blues Chicago

G-Eazy - 3/9 - Aragon Ballroom

Demi Lovato & DJ Khaled - 3/9 - Allstate Arena

P!nk - 3/9, 3/10 - United Center

Bahamas - 3/10 - Metro

Kaki King - 3/14 - City Winery

Mura Masa - 3/24 - The Mid

Lorde - 3/27 - Allstate Arena

Justin Timberlake - 3/27 - United Center

BASSNECTAR - 3/30, 3/31 - Rosemont Ballroom

Feature image via

Fall Concerts Roundup

September 13, 2017

This concert season boasts an impressive roster of artists hailing from all corners of the globe and all genres of music. From indie favorites (Glass Animals, Fleet Foxes, The War on Drugs, Arcade Fire), to timeless acts (Rodriguez, Guns N' Roses, Janet Jackson), and Billboard chart toppers (Halsey, HAIM, Ed Sheeran, the Weeknd), keep scrolling for our ultimate fall concert roundup!

September

9/15: HAIM @ Riviera Theatre

9/15: Oh Wonder @ The Vic Theatre

9/15-16: Ed Sheeran @ Allstate Arena

9/16: Apocalyptica @ Park West

9/20: Father John Misty @ Auditorium Theatre

9/28: Glass Animals @ Aragon Ballroom

October

10/3-4: Fleet Foxes @ The Chicago Theatre

10/6: The Script @ Riviera Theatre

10/6: The Growlers @ The Vic Theatre

10/7: Enrique Iglesias & Pitbull @ Allstate Arena

10/10: Rodriguez @ The Vic Theatre

10/11: The Kooks @ The Vic Theatre

10/18: Imagine Dragons @ United Center

10/19: The War on Drugs @ Aragon Ballroom

10/24-25: Katy Perry @ United Center

10/26: Janet Jackson @ Allstate Arena

10/28: Ben Folds @ Riviera Theatre

10/30: Arcade Fire @ United Center

November

11/2: The Weeknd @ United Center

11/6: Guns N' Roses @ United Center

11/6-7: LCD Soundsystem @ Aragon Ballroom

11/8: Silversun Pickups @ Riviera Theatre

11/16: Hoodie Allen @ The Vic Theatre

11/19: Halsey @ Allstate Arena

11/21: Liam Gallagher @ Riviera Theatre

11/29: Grizzly Bear @ Riviera Theatre

December

12/3-5: Pentatonix @ The Chicago Theatre

12/5: JAY-Z @ United Center

12/6: Lindsey Stirling @ The Chicago Theatre

Feature image via

21 Pilots Soar at United Center

February 9, 2017

Ski masks, skeleton suit onesies, backflips off the piano, guys in hazmat suits spraying fog, crowd-surfing in a giant inflatable hamster ball, a live game of Mario Kart - the Twenty One Pilots concert at United Center was an enjoyable hot mess with one crazy stunt following another and consistently high energy music.

Hailing from Columbus, Ohio, the duo - lead vocalist Tyler Joseph and drummer Josh Dun - were on tour for their latest chart-topping album Blurryface. The album is hard to pin down, jumping between hip hop, angsty alt-rock, indie pop and reggae, with lyrics exploring the anxieties of growing up and the constraints of society, delivered in spitfire rap or a slightly nasal sing song.

Their live performance is imbued with an irrepressible physicality that reflected the album's restless energy. Joseph and Dun "disappear" from the stage to pop up halfway across the stadium, crowd-surf (drum set included), and jump on and off the piano like it was a stepping stool. They began their set with an explosive rendition of "Heavydirtysoul", storming the stage in ski masks and blazers, and ending with an unexpected gunshot sound. The duo alternated between more intense songs with aggressive baselines and ukulele/piano driven ballads from Blurryface and older songs from Vessel. Live, the slinky lethalness of "Heathens" from Suicide Squad took on an extra skin-crawling dimension. The audience - a mix of pre-teen boys with pink mohawks accompanied by their parents and 20-somethings clutching cups of beer - began to sing along loudly to the nostalgic lyrics of "Stressed Out".

The intensity of the performance was matched by the creative visuals. As Joseph danced around the stage, the screens displayed dizzying graphics - bloody rabbits running through forests, skulls with gaping mouths, floral rose patterns, falling bookshelves - and live footage of the band. The pair frequently changed their costume, from a chill Hawaii floral kimono, sunglasses and ukulele to skeleton onesies to blazers with ski mask, matching the mercurial nature of the music.

Filled with wild stunts and consuming music, the Twenty One pilots concert was one hell of a ride from takeoff to landing.

Check out Blurryface:

Photos via Alexia Bacigalupi

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Tunes and Trends: Kero Kero Bonito

November 2, 2016

Despite being a Wednesday night, Kero Kero Bonito’s fans packed into the Subterranean patiently waiting to jam out with the British, J-pop band. Starting off the show with a back and forth chant of their name, a composition of the Japanese onomatopoetic words for frog croaks and a type of fish, KKB didn’t have to do much more to hype up the crowd. Vocalist Sarah Midori Perry’s sweet but engaging voice flooded the crowded room as their fans eagerly sang and rapped along (some of the most dedicated even learned the Japanese verses) over producers Gus Lobban and Jamie Bulled's bubblegum, electronic beats. Their lyric’s appraisal of originality and self expression was echoed through the set as Perry danced around the stage and even changed into a cap and gown for the song Graduation. The concert’s feel-good vibe can be summed up by Perry’s verse in their hit Flamingo, “You don’t need to change- It’s boring being the same- you’re pretty either way.” Scroll through the gallery to take a look at the show and some of my favorite outfits of the night.