It’s equal parts astounding and impressive that The Kills have been around for 15 years. For a band formed on the perilous dynamic of Alison Mosshart’s wildly frenetic, outsized vocalist and Jamie Hince’s ultra-cool, blues-indebted guitar work, one can envision a world where they burn out quickly over two or three impressive records then leave behind a beautiful corpse. Thankfully they’re smarter than that, and their longevity can be credited, at least in part, to their commitment to evolution while still maintaining the core tenets of their sound. No two Kills records sound the same, but you also wouldn’t think any of them were made by a different band.
Category: chicago (Page 1 of 12)
To be honest, I’m not entirely sure what to make of Alex Cameron. The Australian musician is a bit of an oddball, but he’s so carefully skating the line between sincerity and parody (or truth and fiction) that it’s difficult to get an accurate beat on who he is or what he’s trying to accomplish with his music. Which isn’t a bad thing, mind you – that sort of vague template he’s presented over two full length records is dynamic and entertaining.
Alex Cameron’s debut album Jumping the Shark, for example, introduced him as a sort of worn-down sleazeball drunk. It’s a role he played into for live performances as well, applying makeup and fake wrinkles on his face to look older and creepier. Not entirely sure why anyone would voluntarily step into such a lecherous persona, but he managed to make it work by fully committing to the role and crafting smart yet gritty synth-pop songs to go along with it.
For a follow-up, 2017’s Forced Witness pivoted into a style and sound that might best be described as acerbic sheen. The songs sound much cleaner in execution, and he’s gotten rid of the wrinkles, yet the lyrics remain dark and disturbing. Each song paints a portrait of a deeply ugly, chest-thumping man’s man, as well as the sort of guys that might ascribe to a similar mentality. You probably know the type, straight from the coked-up, Wolf of Wall Street and American Psycho universes.
The characters in Cameron’s songs may be total assholes devoid of respect for women, but what makes them so compelling and the reason we listen to them ramble about perverse and disgusting things is that each one reveals deeper layers of insecurity and monstrosity. Underneath the surface of braggadocio are scared boys leaning into their worst impulses mostly because they don’t really ever face any consequences for their twisted actions.
When you combine those themes with slick, ’80s-style cheese pop (the kind that frequently includes jazzy saxophone solos), the whole exercise becomes astounding in its audacity. It’s impressive how many ludicrous things Cameron manages to get away with, all while somehow pulling memorable hook after memorable hook into the fray. Listening to it on record is one unique experience, but watching him sing these songs on stage is a whole other one. So if you’re up for catching a performance that’s weird, wild, and entirely unpredictable, don’t miss Cameron when he drops by Lincoln Hall on Wednesday, March 7th. The fantastic Molly Burch is opening the show too, so that’s an added bonus!
Alex Cameron / Molly Burch / Holiday Sidewinder
Wednesday, March 7th
8PM / $15 (advance) / 18+
Just like an album or a song, a truly great live show can change your life. Unlike an album or song, live shows are a communal experience that only exist for a brief moment in time before they become a distant memory. That’s why it’s so important to be as present as possible when you’re at a venue or music festival, to keep that memory locked inside your brain instead of locked inside your phone. Of course I’m as guilty as the next person for taking photos during a show (see all the examples below), but I do my best to only take a few and then put the device away.
Having said that, 2017 marked my busiest and most exciting concertgoing year to date. According to calculations, I attended shows on 71 days this year, and that’s not including the insanity of multi-day festivals such as the Pitchfork Music Festival, Lollapalooza, and Riot Fest. When all is said and done, my best guesstimation is that I saw 167 performances total, which takes opening acts and festival sets into account. So yeah, a lot of live music. It’s not nearly as much as the 500+ shows NPR’s Bob Boilen has pulled off in recent years, but I’d like to think it’s a solid amount for somebody that also has to maintain an active work and social life (not saying Bob Boilen doesn’t have either of those, but he arguably has more…flexibility).
Needless to say, it was tough choosing only ten performances from 2017 to highlight. Then again, this list could easily have been the ten best live shows I attended at the Empty Bottle this year, since they hosted an incredible array of big name bands and artists vastly underplaying at their tiny venue in celebration of their 25th anniversary. Instead, things are just a little more diverse than that, focusing on the moments that really stood out to me for one reason or another. Some were emotionally moving. Others were genuinely surprising or fun. The thrill of discovering something new, and the pleasure of hearing a set list comprised of many of your favorite songs. There was so much to love, and it’s my sincerest hope that you are inspired by this list to check out more live music no matter where you live. After all, science says that regularly attending concerts makes you happier.
On an exceptionally chilly Monday night on the Near West Side of Chicago, a few hundred people gathered at House of Vans for a remarkably intimate set from The National. The band had flown into town from Europe for a special performance at the Obama Foundation Summit, but arrived a couple days early to give fans an extra special treat. Tickets to the show were being given out for free through an online lottery, and considering the 500 person capacity of the venue, it’s safe to assume that a lot more people entered than actually won. Those with luck on their side were treated to an engrossing and often aggressive performance that skewed towards the dark and political.
In my 13 years of attending Lollapalooza, I’ve had a number of people ask me why I go when “it’s so terrible.” While calling the festival “terrible” is absolutely a matter of opinion, it’s one that’s held by a wide range of people. To most, the idea of spending multiple days in the vast wasteland of Grant Park with 100,000 (per day) of your closest friends is nearly the equivalent of torture. It’s hot and sweaty with lines everywhere and access is tiered by how much money you’re willing to pay and nothing sounds great in the park and a whole host of other complaints. I’ve heard them all, and none of them have deterred me from continuing to go year after year. I understand too, and those grievances are not entirely unjustified. But in my view those issues are also a bit short-sighted.
Lollapalooza may be, as Jim DeRogatis puts it, the music equivalent of “Walmart on the lake,” but I’d argue that the damage it causes every summer is pretty much worth it if you’re going for the right reasons. Specifically I’m talking about the music. If you LOVE live music, Grant Park is not the ideal venue to see it in. Neither is a space where tens of thousands of people (many drunk or on drugs) are all crammed together trying to find the best sight lines. Some are even content to simply talk the entire time and ignore what’s taking place on stage. But where else are you going to have the chance to see 170+ artists over a four day period at a cost that falls somewhere around $350? Economically speaking, you won’t find a better deal than that. Were you to choose 10 artists each day that you’d be interested in seeing perform live and add up the costs of tickets to individual venue shows from each, the total price would be at least double. Hell, I spent nearly the cost of a full weekend Lolla ticket to see Paul McCartney this year, when his prior Chicago show was at Lollapalooza. Also, festivals can serve as a music discovery engine. You can easily wander from stage to stage and stop when you hear something good. I’ve found more than a few new artists at Lolla over the years by stumbling past during their sets.
My grand point is that if you’re there solely for the music, the atmosphere doesn’t matter nearly as much. Unfortunately, most Lolla attendees aren’t there for the music, or at least don’t make it a huge priority outside of a handful of bands they truly love. That’s part of the problem, and one the fest feeds into by creating plenty of distractions for those less musically inclined. Have some food! Wander into the merch store! Check out some tents devoted to various causes! Hang out in some hammocks or check out the wine bar! And new for 2017, strap on some roller skates or play an arcade game! Hey, if it keeps randos who don’t care about the music away from the stage, then more power to you. I wouldn’t know what to do with myself at Lolla if I wasn’t there to watch as many artists perform as possible.
Which finally brings me to Lollapalooza 2017, aka the year things got better but also worse. Let’s start with the good. They improved the restrooms considerably. Entire sections were devoted to urinals, while the traditional plastic port-o-potties were replaced with slightly nicer ones that actually had porcelain toilet bowls that flushed. For once, I didn’t dread using the restroom. At least not at first. Because we can’t have nice things, the very clean and very easily accessible restroom areas slowly descended into chaos as the weekend progressed, until finally on Sunday night I used a urinal that had “Fuck the Police” written in giant letters across it, while a large turd sat below – clearly the result of someone who didn’t have the time or foresight to wait in line to use an actual toilet. This is why we can’t have nice things. In a less disgusting change for the better, this year Lollapalooza also upgraded their video screens. These new gigantic HD displays surrounded the two biggest stages, and made viewing performances from a distance much, much easier. No complaints about those, and I hope they continue to invest in them for the future. Lastly, I’ll say nice things about the roller rink and arcade that were added this year, not because I skated or played any video games, but because I found them to be fun distractions that fit well with the overall aesthetic vibe of the festival.
On the negative side, I’ve only got one complaint, but it’s a major one. It seemed that this year Lollapalooza was struggling with lineup flop sweat. The festival celebrated its 25th anniversary in 2016 and because they had “50% more artists than usual” requesting to perform, the decision was made to expand from three days to four. When it was announced organizers said it was a “one time only” thing, but they also weren’t about to turn down that extra money, so the change became permanent. And in all honesty, last year’s lineup wound up being pretty great – enough to justify the extra day. Not so much for 2017. Maybe it was how they scheduled it, but there were multiple periods this year where music lovers were left with artist choices that went from bad to worse. Obviously there are fan bases for SUICIDEBOYS and The Drums, but neither are exactly critically acclaimed nor particularly dynamic live performers. Yet they were on two of the main stages at the same time on Thursday. The same can be said for Vance Joy and Royal Blood on Saturday. Not meaning to be too insulting, but there’s very little original or novel about either artist. Sunday forced the choice of Milky Chance vs. London Grammar on you, and it was a little tough to get excited about either.
Call me a snob if you must, but just because an artist has some radio hits doesn’t automatically make them good or worth your time. To a degree, they make music for casual fans – those that don’t listen to much music in the first place, who automatically accept and embrace whatever band is pumping out of nearby speakers under the assumption that it must be good. If you can live your life that way, taking what’s being given to you without questioning, exploring and coming to your own decisions on what’s good, I feel a little sorry for you. There’s joy to be found in the fringes, but if a festival like Lollapalooza doesn’t give you those fringes then you can wind up trapped in a sea of mediocrity. Hence my criticism of their booking/scheduling for 2017. There were still plenty of great moments (that I’ll highlight in a minute), but fewer than usual with more duds and dead spots that almost make one want to take some time away from the stages and explore some of those aforementioned other options and activities happening in Grant Park. My advice, which organizers absolutely will not take, is to revert back to the three day format. With one less day for bookers to worry about, the quality vs. quantity will be more even-handed and they can ensure that music fans of all types can be satisfied better. It worked quite well for a decade before they added that fourth day, and I see no reason why it wouldn’t work in their favor again.
Lastly, I want to take note of some fantastic performances from Lollapalooza 2017. While I’m a little disappointed I didn’t stumble upon some incredible new artist this year as I often have in the past, there were still a few surprises that caught me off guard in a very good way.
White Reaper put on a better than good performance on Thursday, which was a wonderful way to kick off the festival.
But it was Cage the Elephant’s day, and arguably entire weekend, as their wildly unhinged set was so fun that it was just about all anybody could talk about. I still can’t stop thinking about it, and am under the firm belief they’ll be headlining Lollapalooza sooner rather than later.
As for headliners, while we only got 3 songs from Muse, they managed to make the most of it as everyone went completely nuts in the pouring rain to massive jams like “Psycho” and “Hysteria”. Had they been able to continue their performance in the rain, it likely would have gone down as one of the greatest in Lolla history.
I remain firm in my conviction that The Lemon Twigs are a band to watch, and they delivered yet again on Friday with another stunning set that hopefully won them many new fans.
Then there’s the always reliable Run the Jewels, who continue to assert their dominance with every performance. While they didn’t bring any special guests with them, they did pull some random guy up from the crowd with a sign asking if he could rap “Legend Has It”. The whole thing was a blast, really.
Saturday saw a very accomplished set from Highly Suspect, a band that on record might seem like your typical alt-rock fare these days but who are secretly hiding guitar skills so impressive that even some of the greats would probably approve.
And I have to compliment Mac DeMarco for a typically bizarre and hilarious set that ended with a couple of covers for which he didn’t know the lyrics (Vanessa Carlton’s “A Thousand Miles” and The Champs’ “Tequila”), and the obtuse noise pollution that is “Chamber of Reflection”.
Overall though, it felt like Lollapalooza saved the best for last, since Sunday was packed with remarkable performances. Lo Moon managed to impress and give me chills with their ambitious and ambient epics.
Joseph seemed to be having a blast as their incredible vocal harmonies sounded even better in person and gave life to tired bodies.
Car Seat Headrest continues to evolve as a live band, often switching things up on the recorded versions of tracks to take them down interesting detours.
The Shins have also grown significantly since I last saw them a few years back, seeming more at home in their own skins, having fun and running through a set list that includes almost all of their best songs.
Finally, Arcade Fire put a nice little bow on the entire four days with a strong performance and set list that pulled from across their entire catalog. Let’s just say they were wise to minimize the number of songs played from their unfocused new album Everything Now.
So that about wraps up my thoughts on Lollapalooza 2017. It was a pretty good time this year, as it is just about every year, even when the music wasn’t quite up to par. Let’s hope they literally get their acts together and do a better job with booking for 2018, tough as that has to be in the current 4-day structure. At least everything else ran smoothly and resulted in few to no inconveniences for those who knew what they were doing. Will I be back again next year? Probably, out of tradition mostly, but it’s my sincere hope that maybe one of these days they’ll finally manage to assemble one of the greatest festivals of all time.
So you’re headed to Lollapalooza. Whether it’s your first time or your thirteenth (points to self), spending four days in the heart of Grant Park is never easy, but if done properly, is always a ton of fun. And while there are plenty of activities to do and things to consume, the real reason you’re there is to see and hear some of your favorite bands and artists perform as well as maybe make some new discoveries. So in between waiting in line to get in and waiting in line to get a beer and waiting in line to use the restroom and waiting in line to get food, you could realistically catch a good 8-10 performances each day. The punishment on your body won’t be great, but the rewards will likely be worth it when all is said and done. Whether you’ve already planned out your Lolla weekend or are simply going to play it by ear, it helps to at least have an idea of some of the top artists for every hour of every day. This guide is here to help! After the jump is a roadmap to four days of festival fun that will hopefully ensure a quality experience with fewer challenges and scheduling conflicts.
But first! A couple of annual tips about how to manage your time at Lollapalooza, from somebody who hasn’t missed a single day since 2005. First and foremost – prepare for weather! Coat yourself in sunscreen and bug spray before even leaving the house. You’ll thank me later. Bring a poncho, because it’s probably gonna rain at some point. As I’m writing this, the forecast says rain on Thursday and Saturday, so you’ll want to stay dry as best as you can. Wear comfortable but disposable shoes. If it rains at all over the four days, Grant Park will turn into a mud-filled swamp, and your shoes may not survive, so don’t wear your new, flashy sneakers. Don’t pick flip flops or heels, either. You’ll likely be on your feet for several hours each day, and the last thing you’ll want is to feel like your feet are going to fall off. Speaking of which, don’t forget to rest every now and then! Get off your feet by finding a comfortable spot to sit in the grass or dirt. It can be near a stage so you don’t miss anything except maybe some sweaty bodies rubbing up against one another. Just be aware that if you stand the entire time and keep walking between stages, your body will take a huge beating and each subsequent day will be a greater struggle than the one before it. Tons of water helps too, so drink more of that than you’re comfortable with and use the park water stations to keep refilling containers for free. Lastly, a word about stage locations. The Grant Park, Lake Shore and Perry’s stages are all on one side of the park. The Bud Light, Tito’s Handmade Vodka, BMI and Pepsi stages are on the other side. It is about a 15 minute walk from one end of the park to the other. Make sure your daily strategy doesn’t involve too much back and forth otherwise you’ll get worn down fast. Similarly, if you want to see the start of a set taking place on the opposite side of the park, you’ll need to head out early to make it in time. With good planning and everything in moderation, you too can survive Lollapalooza weekend without taking a trip to the medical tent or at least feeling like death for days afterward. Now then, let’s get to that day-by-day artist guide!
The 2017 edition of the Pitchfork Music Festival is now officially in the history books. It’s been three incredible days of music, and arguably one of the festival’s best years in recent memory. Sunday brought another fair share of surprises and delights, though one truly disappointing piece of news created a minor hiccup in an otherwise smooth day (and weekend). That disappointing news was that experimental electronica duo The Avalanches were forced to cancel their set at the very last minute due to a serious family illness. These things happen, and of course wish nothing but the best for the group and those they care about. It would have been their first-ever show in Chicago, so hopefully they’ll make up the date at some point in the near future (though that would likely be at a separate venue for a separate ticket price). The cancellation resulted in a minor schedule change, moving Jamila Woods from the small Blue stage over to the much larger Green stage to take The Avalanches’ place. More on her performance in the recap below. Please join me after the jump for further details about all the various performances that took place on Sunday. And if you missed the recaps from Friday or Saturday, just click on the links and you’ll be transported directly there. Keep an eye out for photos posts here within the next few days.
Two days down, one left to go. While I’m always impressed with the general lineup and flow of the schedule for just about any day of the Pitchfork Music Festival on any given year, there was something about Saturday this year that stood out. I had a strange sense of uncertainty about how some of the performances would go, and about how the crowds would react to them. Sometimes you’re expecting a rousing success and instead it turns out to be a tepid mess that nobody likes. Other times you watch an artist pouring his or her heart out while a bunch of people chat instead of paying attention to what’s happening on stage. The music festival world can be a complex and fickle beast. So on a day where it felt like there were more question marks about artists than usual, I’m pleased to report that the entire day went tremendously well. So much so that it handily bested Friday and I can’t imagine Sunday improving upon it. But we’ll just have to wait and see! In the meantime, please join me after the jump for a lengthy summary of every performance I witnessed on Saturday. They’re all sorted by paragraph, with the artist name bolded for easier navigation. I’ll be sharing a full photo set from Saturday at some point in the coming days, so keep an eye out for that!
Day one of Pitchfork is done, and boy was it a lot of fun. Apologies for that rhyming introduction – I immediately regretted it after I had typed it, but still liked it enough to not delete it. But yes, on the whole it was a delightful day and a great start to another year of the festival. The primary lesson that I learned – well, rather had reinforced on me – was that the best performances always had genuine passion and respect behind them from both the artists and the crowds. There are some examples of the good, the bad, and the middling peppered throughout this recap, so join me on the other side of the jump for a chronicling of all that went down from a musical perspective on the first day of the 2017 Pitchfork Music Festival.
Here’s the portion of the preview guide where I provide sound and sane advice on how to make the most of your Pitchfork Music Festival weekend. Advice such as: wear lots of sunscreen and drink lots of water. The current forecast isn’t particularly hot, but that doesn’t mean you won’t wind up dehydrated. Try not to drink too much alcohol either, because as fun as that might be for you, most large crowds don’t like drunk people all that much. Plus, it’d be a big help if you wound up remembering everything you did and all the music you saw. To put it another way, drink all you like, just maybe don’t do it to blackout levels. Don’t forget to take a seat at least a couple of times each day. I’d recommend about 15-20 minute sit breaks every 3-4 hours if you’re going to be there all day long. There are some good, grassy spots in the shade at Union Park to hang out under, where you can at least hear, if not see the stages. Your body will thank you for the breaks, and you won’t wind up all sore and aching by the time Sunday rolls around. Make sure to explore! There’s a lot of really cool stuff happening just a short walk away from the stages, so if you’ve got a break between bands be sure to investigate some of the tents. There are posters, books and records all for sale, some companies give out free snacks to anyone passing by, and if your phone battery winds up drained there are some charging stations just in case. Everybody’s friendly and there to have a great time, so I hope you enjoy every aspect of your festival-going experience! Good luck!
So there’s your non-music advice column. Let’s get to the nitty gritty for Sunday, shall we? At this point in the weekend you’re probably a little worse for wear and just want to have a pretty chill final day. The great news is that this can be achieved with relative ease. Follow me after the jump, and we’ll break that schedule down by the hour.
One of the things I admire most about the Pitchfork Music Festival every year is the dedication to crafting a lineup that’s diverse in style, background and gender. While that is always showcased throughout the entire weekend, it feels particularly prominent on Saturday this year. You can gravitate from rock to folk to funk to pop to R&B to hip hop all in the course of a few hours, and at least half of those artists and bands prominently feature female members. A third have persons of color, though that’s actually the lowest amount of all three days. The point being, other festivals should take note, and make more of an effort to be inclusive. I feel like it creates a better sense of community among the attendees too. The strangers I encounter at Pitchfork Fest every year are among the nicest and coolest people you could ever meet, so don’t be afraid to say hello to me or anyone else.
Okay, let’s get into this preview of Day 2. After dancing yourself clean with LCD Soundsystem the night before, I can understand that it might be hard to get out of bed and be ready to hit it hard first thing the next day, but there are rewards to those willing to show up early. Join me after the jump and I’ll explain why.
Slap on some sunscreen and hose yourself down with bug spray, because Pitchfork Music Festival is starting early this year! Well, a couple of hours earlier than usual. In past years, the opening Friday has always been a shortened day, typically kicking off around 3PM. I’m not exactly sure what the point of that was, beyond letting some people take a half day of work and still make it in time, or perhaps working a full day and not missing too much. Maybe it was also a budgetary concern, as the cost of booking another 3 or 4 artists to fill out the lineup might have been just a touch more than they wanted to spend. Whatever their logic, it seems like the organizers have stopped kidding themselves and are finally ready to extend the overall festival experience by a couple of hours. Gates on Friday open at Noon, and the first artist takes the stage at 1PM.
Of course just because we’re getting a full day on Friday doesn’t mean there are more names on the lineup to help fill that extra time out. Instead, a number of artists at the start of each day will perform unopposed, meaning you’ll have the choice to either watch one specific performance, wander around Union Park and explore other areas of the festival (/drink more/hang with friends), or simply show up late. The choice is yours, but I would strongly recommend arriving early all three days. You’re likely to discover something truly great as a result. There is at least one set starting before 2PM each day that has the potential to be among the best of the entire weekend, and it’d be a shame for you to miss out! Then again at Pitchfork, just about every set is a must-see. Navigating the weekend filled with such great music can be a little challenging, which is why this day-by-day preview guide is here to help! Join me after the jump for a breakdown of Friday’s lineup and schedule, where I’ll do my best to point you in the direction of exciting, fun, and amazing things to do, see, and hear.
Welcome to the beginning of Pitchfork Music Festival Week 2017! It’s become tradition here on Faronheit in the last few years to spend a full seven days celebrating the three day blissful orgy of music that descends upon Chicago every July in the form of the Pitchfork Music Festival. In my opinion, you won’t find a better curated or more diverse festival lineup anywhere other than Pitchfork. They put their brand and reputation on the line to celebrate great and innovative artists across backgrounds and genres. If you’re unaware or ignorant of the festival, perhaps a glance at some past coverage will provide an accurate impression of how things go each year. We couldn’t be more excited to bring you a complete festival guide all week long on Faronheit, which includes day-by-day previews, day-by-day recaps, plus a whole bunch of photos and other media along the way. Whether you’re headed to Union Park this weekend and are unsure about what bands to see, or are interested in the lineup and are looking to vicariously experience the festival without actually going, the hope is you’ll make this site one of your stops for key information and on-the-ground reporting. It’s a pleasure to put this guide together every year, and I hope it’s reflected in the content posted.
Let’s get started by providing a proper introduction to all of the artists set to perform at Pitchfork Music Festival 2017. After the jump you’ll find a Spotify playlist featuring two songs from every single artist on the linup, along with individual links to websites, music videos and more. The Spotify playlist is ordered by day and set time, while everything else is sorted alphabetically. There are plenty of ways to get to know these artists, but obviously listening to their music is the most important of all. So click some links, stream some songs, and begin your education!
Tuned In is a feature in which special guests from the world of pop culture share a playlist of songs based on a topic or theme of their choice.
Jena Friedman is the definition of a multi-hyphenate. She’s been a field producer for The Daily Show with Jon Stewart and a correspondent for National Geographic Explorer. She’s written for The Late Show with David Letterman, and is currently hard at work on her first film Serial Dater, starring Imogen Poots and John Cho. She wrote and is directing that one. So yeah, you could say that she’s got a lot of talents, and has been putting them all to good use. It’s left her plate very full, yet you might not know it because she’s not in front of the camera that often.
On a personal level, I found out about Jena Friedman a few years back via her stand-up comedy. She is tremendously funny and possesses that rare quality of being able to make you laugh about some of the darkest and most challenging topics facing our world today. Her recent, pre-election stand-up special American Cunt dives headfirst into politics, feminism, abortion, guns and religion without losing sight of our shared humanity no matter what your personal opinions might be.
After getting her start in comedy here in Chicago more than a decade ago, Jena Friedman is coming back to town next Friday, June 2nd for a set at her old stomping grounds, The Hideout. It is part of the Onion/A.V. Club’s 4th Annual “26th Annual Comedy Festival,” and promises to be a hilarious late night of stand-up with plenty of whip-smart insight about the pitch black turn our world has taken in recent months.
Friday, June 2nd at The Hideout (1354 W. Wabansia Ave.)
10:30 PM / $15 / 21+
It feels like every calendar year there are about two or three local Chicago rock bands that manage to raise their profile high enough to earn attention and praise on a global level. Such hallmarks are important for any local scene as proof it is thriving, and to serve as an inspiration for those little guys trying to get their various music projects off the ground. In 2016 for example, Twin Peaks grew larger than they ever had before, earning steady radio airplay and touring around the globe. The same can be said for Whitney, though those guys had an obvious leg up by forming from the ashes of another higher profile Chicago band Smith Westerns.
So what local rock collective is set to break out in 2017? I’d put my money on the guys in NE-HI. They’ve grown a tremendous amount in the last couple of years, really expanding their sound into new corners beyond Wire-esque post-punk while also giving new focus to their songwriting. It all comes together in spectacular fashion on their sophomore record Offers, which is out on February 24th. Not coincidentally, their tour will lead them straight to the Empty Bottle that very same day for what promises to be an unforgettable hometown album release show.
Beyond sounding prolific and incredibly catchy on record, NE-HI are perhaps best known for their wildly fun live shows. Their songs get transformed into these hulking behemoths on stage that rattle your body in the best sort of way. It makes perfect sense that most of Offers was recorded live to capture that blissful yet intense energy. The riffs are tighter and the hooks that much more addictive than ever before. In certain ways it feels like they’re channeling the sunny and meandering side of Real Estate mixed with the garage rock heft and psychedelia of The Velvet Underground. It works surprisingly well, and I encourage you to check out the tracks below to hear exactly how that shakes out. Also, if you’re in Chicago please come out to the show and support local music!
NE-HI / Deeper / Cafe Racer
Friday, February 24th
9PM / $10 (advance) / 21+