Frightened Rabbit and Maps & Atlases - May 8th 2010

Chicago's Maps & Atlases used their opening set in front of Frightened Rabbit at Metro Saturday to win over the sold-out crowd, and succeeded in gaining a boatload of new fans before the June release of their debut album, Perch Patchwork. Though they are often described as 'math rock', the awkward label does not quite do them justice. Take the shifting world-music rhythms of Paul Simon, throw in wildly flickering angular riffs balanced against mellow folksy guitar, and front the project by a second-cousin to Jim James' aching southern-drenched yowl, and you are close to their oddly compelling sound. You would be tempted to hear the wiry, frantic guitars and sharp-turns of the beats and label them progressive, but their strong pop sensibilities made it feel more engaging than what you normally find in music this complex and experimental.

Maps & Atlases somehow succeeded at being the best of both worlds in indie pop and prog-rock, inserting just enough of their jam band tendencies and mesmerizing guitar skills, making their upcoming debut LP a must-hear. In the course of their half-hour set, they won over the room to the point that a large portion of the crowd were dancing and clapping along. Maps & Atlases were refreshingly unique and challenging, proving to be a strangely addictive band worth keeping an eye on in the world of indie rock.

Scotland's finest export, Frightened Rabbit took the stage for the first time in Chicago as a five-piece; having added guitarist Gordon Skene while recording The Winter Of Mixed Drinks. The band opened the show big, with the steady surge from quiet angst that greets "Skip The Youth" to its thrashing conclusion. They made excellent use of the added member on "The Modern Leper" by wisely throwing four guitars at the shaggy crowd-pleasing opener from their 2008 masterpiece, The Midnight Organ Fight, with, front man, Scott Hutchison passionately bleeding out the emotional lyrics. It is Hutchinson's way of urgently belting out the songs as if it were the first time he sung them that keeps Frightened Rabbit so fresh. Even songs like, the piano thrusting plea for loving, "The Twist" feel different and vibrant each time you see the band live because of how willing Hutchison is to throw himself into the songs.

As wonderful as Hutchison is, as evidenced by his haunting encore-opening solo-acoustic performance of "Poke", the band's layered guitars and slamming beats by brother Grant Hutchison hit just as hard as the biting lyrics. The enthusiastic, sold-out crowd needed no cue to jump in on the clap-a-long beat of explosive anthem "The Loneliness And The Scream", where the web of riffs filled the venue brilliantly. Skene worked an extra drum on the right of the stage for "The Wrestle", though Hutchison's expressive, thundering drum skills needed no help. The band did an excellent job with the set list, nailing just about everything they could to please the fans in the hour-and-fifteen-minutes. It was unfortunate to get nothing off their debut, but when the last two albums you release eclipse it by such a large margin, it is hard to argue with the decision.

Hutchison announced, calmly swaying break-up tune, "Swim Until You Can't See Land" as one he wrote after watching The Wackness. The band delivered spiteful rebound rocker "Nothing Like You" with frantically sprayed riffs shooting around the cathartic hook. The blood-pumping shimmy of "Head Rolls Off" and bitter waltz of "Good Arms Vs. Bad Arms" left the crowd too riled up to leave; though the stomping "Living In Colour" and thumping, organ-humming plea, "It takes more than f*cking someone to keep yourself warm", of "Keep Yourself Warm" would do nothing to settle them down. The soul-baring, dazzling songs come through too loud and clear live to send anyone home calm.

At one point, Hutchison took stock of the largest venue they have played in Chicago and commented, "This is still kind of big for us". They had better get used to it, because the crowds will only swell as more get wind of just how fantastic a live band they are. Frightened Rabbit is one of the most honest and exciting bands going, and should not be missed at all costs. Next stop here, on their ascent to indie rock royalty, is Lollapalooza. After that, who knows what size venues they will be filling, but we can assure you that their sound and live chops are more than ready for stadiums.

Skip The Youth
The Modern Leper
Old Old Fashioned
The Loneliness And The Scream
The Wrestle
The Twist
Swim Until You Can't See Land
FootShooter
My Backwards Walk
Nothing Like You
Head Rolls Off
Good Arms Vs. Bad Arms

Poke
Living In Colour
Keep Yourself Warm

Canasta - May 8th 2010

Chicago’s own, Canasta celebrated the release of their sophomore album, The Fakeout, The Tease And The Breather, with two shows at Schubas on Saturday night. With a horn section joining the sextet on stage for several of the songs, the last song of the set sums up the experience of the early show; the sexy, soulful groove of “Reading The Map Upside Down”. At the end of the funk-laced number, front man, Matt Priest’s awestruck expression and uttered “wow” matched the vibe of the crowd. He joked, “We may never play another show after tonight”, expressing just how hard it would be to top the version of the song with horns in tow. If you missed the Saturday night shows, you definitely missed out on a special experience.

The night kicked off with the first four tracks from the band’s excellent new release, which was a gutsy move given the slow-burning build-up of, seven-minute epic, “Becoming You” that opens the album. The gorgeous melody that seeps into your skin in the song came through great live, as did the excellent violin work of Elizabeth Lindau. The band’s ability to pull off the rich, layered sounds on stage made the horns that would show up later in the set feel like the cherry on top; a delicious garnish, but essential to their sonic charms. The gradual climb to eruption on the song led well into the party that broke out on stage for the triumphant “Mexico City”. The shout-a-long hook and fantastic violin solo ensure that it will quickly join “Slow Down Chicago” and “Microphone Song” as a fan favorite, providing them with an early ‘holy shit’ moment.

While bands can easily falter pulling off a note-for-note recreation of the album on-stage, by not giving fans anything unexpected, Canasta’s lush sounds and added oomph songs receive live keep everything feeling fresh and vibrant. When a band can hold a room’s attention for quieter songs they may have not yet heard, like velvety bliss of “I Don’t Know Where I Was Going With This”, you know they have the goods. Explaining that they would not repeat much of the older material in the late show, getting both the jazzy, religious-themed “Shadowcat” and upbeat duet “Sympathetic Vibrations” was a pleasant surprise. It was hard not to hope that the late show also got both of the other two fan favorites, though. The organ-led melody and anthem-ready hook of “Slow Down Chicago” make it feel like it should be the city’s official song, and you should be able to request a refund if you do not hear the addictively jittery “Microphone Song”.

“Magazine (Songwriter On A Train)” served as a reminder of why you were at the show to begin with, pulling together everything the band does so well. The dance of the piano and guitar, the occasional violin flutter, the ticking beat and the great hook made for a snapshot of a band in the zone. The dusty, spaghetti-western tone of “Appreciation”, complete with horns ablaze, was followed by Priest’s well-deserved props to the sound board operator, Fabrese, who he claimed was responsible for 80% of the excellent sound. Regardless of who was responsible, it was impossible not to be impressed by the dynamic range and versatility of the band’s sound. The clever lyrical split of father/mother vocals between Priest and Lindau worked great on the upbeat, custody battle inspired, “Chosing Sides”, and they were able to hold the room’s attention just as intently for the quiet bad-timing ballad “Shortcut”.

Their urgent retelling of “Major Tom (Coming Home)” felt all their own, though the straightforward cover of Blackstreet’s “No Diggity” was hard to resist. The deep funk bass groove and the inclusion of the Dr. Dre rap to kick it off were surprising treats. The band announced a handful of summer shows, and you would be insane not to seek them out at one of them. After you do, good luck resisting the temptation to cancel all other plans any other days they are playing.

Becoming You
Mexico City
Mountains Of Molehills
I Don’t Know Where I Was Going With This
Shadowcat
Sympathetic Vibrations
Magazine (Songwriter On A Train)
Appreciation
Shortcut
Slow Down Chicago
Choosing Sides
Major Tom (Coming Home)
Reading The Map Upside Down

Microphone Song
No Diggity

Kate Nash - May 3, 2010

UK-based singer-songwriter, Kate Nash might be lacking a bit of confidence on her recently released sophomore album, My Best Friend Is You, but she had no such issues on stage at Lincoln Hall on Monday night. Joined on stage by a four piece band to flush out the sounds, she jumped right in to the new material with the soaring "Paris" and commanding the crowd to dance before launching into, lead singe, "Do Wah Doo". The poppy, energetic start to the evening created a party-like atmosphere, with jealousy-fuelled old-school rocker set the crowd in motion a bit.

Nash sat at the keyboard, gleefully playing over the thumping beat of fan favorite "Mouthwash" before standing up to limp to the left side of the stage to strap on a guitar for "Kiss That Grrl". Nash proved an engaging, charismatic performer, talking frequently with the crowd between songs; somehow coming off equal parts charming and edgy. She responded to a fan inquiry as to the reason for her injured leg that she injured herself wrestling her grandma. The back and forth between the witty Nash and her fans was as much a highlight as anything that got played, with the most entertaining moment of the night coming courtesy of an intrepid young fan. Nash's sassy vocals, including her frantic spoken word conclusion to "Don't You Want To Share The Guilt", and the harder edge the band gave everything, most notably the explosively ragged "Take Me To A Higher Plane", was just as pleasant a surprise her personality.

She asked for quiet before "I Hate Seagulls", telling the already well-behaved fans, "don't do anything stupid", before explaining that a fan in New York called her a c*nt and yelled for her to stop playing, before showing up at a signing afterwards professing how much he loves her. Before the bliss of "Foundations", with most of the crowd singing along, Nash offered $20 to any fan that crowd-surfed from the back of the venue to the front, so she could high-five them, and then surf back. Midway through, new album standout, rat-a-tat love song "Later On", a fan, barely old enough to get in the eighteen and older show, made his way over fans' outstretched hands to the stage, to the delight of Nash. Not missing a beat on the keys, Nash invited him on-stage to dance (albeit awkwardly) behind her until the song's conclusion.

The song ended with the fan getting his high-five, but Nash surprised him by allowing him to sit at the keyboard and watch "Mansion Song" as she moved again to the side mic. Nash asked for the lights to be darkened for the song, potentially to mask the young fan's blushing face, as she launched into an f-bomb laced diatribe directed at female groupies looking for rockstar loving. The furious prog-pop tune worked great live because of how effectively Nash sold it, leading into the similarly post-punk leanings of "I Just Love You More". The two songs left you wondering what an all-out punk album would sound like from the British pop star. She called for the fan to return to the stage for the closing punk thrasher, "Model Behaviour".

The only disappointment in the set was the absence of "Pumpkin Soup" and the lack of an encore. The set ended with Nash hopping off-stage, using her 'hero' as human crutch. The house lights popped on to the sold-out crowd's amazement, leading to lots of groaning, confusion, shouting to coax her back out, and some 'encore' chants. The stage manager eventually came out to distribute the set lists to the fans, and indicating that she would be doing a meet-and-greet with fans at the merch booth. It is hard to feel short-changed after an hour and ten minute set where the artist hangs out afterwards to meet you. Kate Nash might write lovely pop tunes on album, but live she is all rockstar.

Paris
Do Wah Doo
Mouthwash
Kiss That Grrrl
Take Me To A Higher Plane
Don't You Want To Share The Guilt
I Hate Seagulls
I've Got A Secret
Foundations
Later On
Mansion Song
I Just Love You More
Model Behaviour

The Whigs - April 23, 2010

The Whigs dipped into local waters for opening acts. Old Fake took the stage first, with a hard-charging sound that perfectly balanced punk and blues that made them an ideal opener for the Athens trio. The trio's sound had a lot in common with The Whigs, if you stripped away the southern influences. Keep an eye for them on upcoming shows in the area, and get there early because they are definitely worth your attention. More established Chicago act, Empires followed with a solid opening set. Their sound was a bit hard to peg, for better or worse, pulling at the corners of classic rock, alternative, adult contemporary, and even metal at times. Their intriguing blend of influences was not enough to stop from wishing Old Fake and Empires were reversed on the set.

The Athens, Georgia rockers took the stage to the Braves’ “Tomahawk Chop”, with the crowd happily joining in on the arm-swinging action. The trio took on light-hearted, keyboard-laced “Nothing Is Easy” first, giving long-time fans something to swoon over before hitting the new material hard. The set was dominated by the band’s two most recent efforts, with the easier-going material from their debut feeling a bit out of place at this point compared to the grittier sounds that followed.

The loose, jangling riffs and thumping bass line of “I Am For Real” served well as a bridge to the edgier rock that would follow. The trio jumped back to Mission Control for the hard-charging “Hot Bed”, showing off the tight sound of the trio and, front man, Parker Gispert’s energetic performance as he strutted across the stage to the beat. This is a band much larger than the stage they were playing. The set dove head-first into a handful off their fantastic third album, In The Dark, only slowing down for the clunky psychedelic clutter of “Dying”. The Tim Deaux’s rolling bass line and the frantic beat of Julian Dorio showed the band to truly be a three-man show.
Gispert’s grizzled vocals on “So Lonely” colored the song wonderfully before they busted out the album’s lead single, “Kill Me Carolyn”. The fluttering rumble of “Black Lotus” closed the pack of new material well, with wiry guitar blaring through. Gispert praised the enthusiastic crowd at the end, calling Chicago “the liveliest big city – New York and LA are a bunch of stiffies”. It felt a bit ironic, given the city’s reputation for standing motionless, but the band’s raucous rockers and no-nonsense attitude brought out the best in the crowd. The rippling beat of “Like A Vibration” led off a string of fan-favorites, leading into the stomping rhythm of “Production City” and explosive, anthem-ready “Right Hand On My Heart”.

Gispert’s move the keyboard took some air out of the set for “Half The World Away”, but the move served the band well; giving Deaux, now on guitar, and Dorio a chance to rock out a bit, and providing the calm before the storm. Shout-a-long epic, “Naked” served as the highlight of the night, where the slow-burn mystery of the verses played great against the snarling, empowering hook. The swaggering “Already Young” closed the regular set, and the band returned to the stage again to the “Tomahawk Chop” for the encore. The easy-going “Say Hello” from their debut kicked things off slowly, but the trio finished strong with southern-tinged, conscious-conflicted “Someone’s Daughter” and thrashing “Need You Need You”. Having seen them previously at Lollapalooza, we confidently say that they have never sounded better, and are a must-see band at this point. Consider yourself lucky if they are coming through your town and there are tickets still available.

Phantogram - April 22, 2010

here is a reason we like to see a band twice before we like to crown them must-see. In the case of, electro-pop duo, Phantogram, seeing them a second time is essential to find out just how fresh the experience is each time out. With a video-screen display to give the set a more dynamic visual appearance, and a duo made up of a dj and a guitarist, you wonder just how unique the set can really be from one to the next. As the New York duo demonstrated Thursday night at Lincoln Hall, they keep things plenty fresh each outing.

The duo were an energetic, engaging success at Schubas a few months back, but they seem to have evolved even further as a live act since then. A larger screen and new videos to accompany the songs were fantastic, but the biggest changes were in regards to the sound. The duo, Sarah Barthel and Josh Carter, incorporated looping vocals into the songs, allowing them to remix their songs on the fly. It gave the mysterious thump and flickering guitar of "Running From The Cops" a more playful twist. Between the aquatic imagery and thick on-stage fog, the tranquil, Roxy Music-esque "You Are The Ocean" was a definite highlight of the set, showcasing both Carter's unique charm as a vocalist and the duo's great harmonies as Barthel twisted and danced to the beat.

Barthel sang "This Is The Future", heavy on her looping, sampled vocals, over a twitchy beat and thick bass line. The new track feels like it could use a little work, especially to iron out the cluttered prog-rock feeling moments that feel out of place. Barthel seemed a little more involved in the vocals of the bass-heavy "Turn It Off", making it feel more like a duet than the Carter-led version on the album. The set ended with the hauntingly sexy "When I'm Small", with Barthel belting out vocals with a brasher, more passionate edge that displayed just how great her voice is, and left you wishing she used that side of her voice a little more often. They actually got a decent amount of the sold-out crowd dancing for the club-ready jam; a massive accomplishment in Chicago. Phantogram's willingness to tinker with their already infectious songs makes them a band not to miss.

The party unfortunately stopped when The Antlers hit the stage. The Brooklyn-based trio opened with the slow burning falsetto of "Kettering". It showed off the pipes of front-man Peter Silberman, and the gradual climb to the song's eventual fiery explosion was great. The dramatically sparse verses and overwhelming, epic flush of sound of the chorus on "Sylvia" again showed off Silberman's fantastic vocal range. If it were only the near theatrical vocals or their knack for stretching out the last moments of a song for several minutes each, they may have been more effective. Instead, it made everything feel heavy and overly self-important; which is quite the opposite of the feeling you get from them on album. The intense drama of every song made The Antlers a bit of an exhausting downer following on the heels of the energetic duo that opened. In the end, it felt like the sets should have been flipped. Half an hour of the somber, dramatic rock from The Antlers is plenty, but you can always go for more Phantogram.

Rogue Wave - Saturday, April 17th

Things have not been easy for Oakland's Rogue Wave over the last couple of years, but you would not have known it from their energetic performance at the first of two sold-out shows at, new Chicago hot-spot, Lincoln Hall. Zach Rogue may have spent a good portion of last year paralyzed and in pain from to slipped discs, but the brighter outlook found on the latest album came through just as well live.

The band dove into the set with half-a-dozen tracks off their latest release, Permalight. Opener, "Stars And Stripes" felt like it was all vocals and beat, with the two guitars barely audible. Things got a little better with the thumping rhythm and flickering disco ball of the danceable "Good Morning", but the energetic, synth-fuelled party track was still largely lacking guitar to balance out the sound. A quick switch of guitars on "Per Anger" for Rogue helped add a little oomph missing from the first couple of songs. It helped that Rogue's voice began to warm up some, to reveal the same compelling frayed tenor found on the albums.

The acoustic-based "Sleepwalker" and "Solitary Gun" served as definite highlights out of the batch of new material, but even they seemed to lack the same spark found on the album versions. It was clear at the show just how much care went into fine tuning the songs in the studio, which failed to translate in a live setting. The crowd roared enthusiastically when Rogue asked if they wanted to hear some older material, and a few moments into fan-favorite "Publish My Love" revealed why. The older material has a much heavier, more guitar-driven thrust to them. It would serve the new songs well if the band roughed them up a bit live, similar to the more aggressive turn they gave "Permalight" at the end of the encore.

Without exception, the older material trumped the new songs on-stage; despite how great the new material plays on album. Nothing off Permalight came close to matching the feel-good rock-stomp of "Harmonium" or the drum-happy euphoria of "Lake Michigan". It felt a bit like the band has a little work to do with the new material live, but the songs, and the band, are certainly good enough for them to tweak them into crowd-pleasers quickly.

Stars And Stripes
Good Morning
Per Anger
Sleepwalker
Solitary Gun
I'll Never Leave You
Publish My Love
Every Moment
Bird On A Wire
Eyes
Lake Michigan
Harmonium

Kicking The Heart Out
Permalight

As Tall As Lions and Bad Veins - February 6, 2010

It is becoming too rare a feat to find tours with openers and are worthy of your attention. The one-two punch of this spring's As Tall As Lions tour is such a line-up.

Cincinnati's Bad Veins warmed the crowd with a powerhouse half-hour set. The two-man-and-a-reel-to-reel band kicked off their set with the sparse rat-a-tat beat marching in the hazy, horn-laced "Found". The reel-to-reel, affectionately known as Irene, handled the portions of the wonderfully crafted songs , front man, Benjamin Davis and, drummer, Sebastien Schultz could not recreate on their own. With Schultz emphatically tumbling his way through the beats and Davis belting out the vocals and dividing his time between the guitar and keys, 'Irene' colored in the horns and strings. The lethargic, sloshed vocals of "Gold And Warm" contrasted the frantic beat. It was a risk that made the fantastic love song sound fresh and dramatic.

The duo continued down the set list, matching the order of the album, with the passionate "Crosseyed" before breaking order into "Afraid", where they provided enough energy and personality for a band double their size. Davis used the phone attached to 'Irene' to add a layer of distortion to his vocals on "Falling Tide", where the rumbling bass and killer beat turned it into the danciest of their set. The only slight issue with the duo is that Irene leaves them no room to do anything outside of the planned setlist. Thankfully, they are good enough performers on stage to make it feel fresh every time out, but it would be nice to suddenly hear them blast out something new that they are working on. Until they shed Irene, or expand the band a bit to a three or four member experience, that is unlikely to happen. As lush and gorgeous as the songs sound, they are good enough to stand on their own in a live setting without the orchestral bits. Regardless, by the end of the too-short set, it was clear they had converted more than a few fans asking 'Who is this?' at the start.

As Tall As Lions seemed to squander the energy provided by Bad Veins' lead-in, with a forty-minute set change that dragged on and finally taking the stage after a minute of Oukast's funky "Spottieottiedogaliscious". The muddled sound of "In Case Of Rapture" left you wondering what all that time tuning instruments and running through sound checks was for. The poor sound mix buried Dan Nigro's vocals beneath a clumsily tangled web of guitars and percussion, turning what should have been one of the most enthralling songs of the night into a cluttered mess. Thankfully, Nigro's move to keyboard for "Go Easy" found a better mic and allowed the soundboard operator to fix the balance, allowing his amazing vocals to shine. The band's use of an extra percussionist on tour paid off, turning the song into a more beat-driven affair that almost sounded like the Latin remix.

Nigro's to-the-rafters vocals on "Circles" showed that you really need to try to bury his voice, as the band continued the string of energetic rockers. There is a dreamy element to much of As Tall As Lions' material on album, but they are definitely a rock band live. Pulling material exclusively from their two most recent full-lengths, the set list was a fantastic showcase of what an excellent live band they are. Even awkward album tracks like the staggering piano-led "We's Been Waitin'" sounded great live. If you went in unsure about You Can't Take It With You, you came out of it with a new appreciation for it. Sounding like a Timbaland collaboration on-disc, "The Narrows" was one of the stand outs of the set; culminating in a killer drum-off between, drummer, Cliff Sarcona and, touring percussionist, 'Scotty'.

Nigro introduced "Song For Luna" claiming, "This is about singing to a girl, who is also the moon", adding, "It's so deep, I don't even understand it". Meaning aside, the fan favorite was one of many dazzling songs off their lush self-titled effort. The spangled guitar and great vocals of "Ghost Of York" proved Nigro's voice the kind you need to hear to believe. Bassist, Julio Tavarez's falsetto showed that Nigro is not the only one in the band with talented pipes, delivering a 'post-sex cigarette' version of the jazzy ballad "Duermete". The band capped off the regular hour-long set with a solid three-song encore, starting with the trippy, Tavarez-sung "You Can't Take It With You". Long before the end of, soaring love song, "Milk And Honey" it was clear As Tall As Lions are a must-see live band. Do not miss your chance when this line-up rolls through your town.

In Case Of Rapture
Go Easy
Circles
Song For Luna
A Soft Hum
The Narrows
Duermete
Stab City
Where Do I Stand
Ghost Of York
We's Been Waitin'

You Can't Take It With You
Maybe I'm Just Tired
Milk And Honey

Manchester Orchestra and The Features - March 23, 2010

It takes one hell of a confident, or just brave, band to have the likes of The Features open for you. The Tennessee quartet has the kind of raucous, fiery sound that fits in perfectly with Manchester Orchestra's passionate brand of anthemic rock. The band opened the set just like their brilliant sophomore album, with the brief organ-grinder oddity "Whatever Gets You By" before erupting into the chugging, energetic riffs of "The Drawing Board". The hard-charging rocker exploded off the stage with sandpapered soulful vocals and cymbals crashing all around. The emotional, belted-out hook of "The Temporary Blues" played well against the subdued verses for the chest-pumping anthem. Party-starter, "Lions" proved the biggest shout-a-long of the set, as you could see more and more of the typically motionless Chicago crowd begin to move along to the beat.

The more defined southern feel of, new song, "Big Mamma" fit in great with the rest of the set, leaving you longing for the upcoming third album. Metro is the mid-sized venue in the city with a boatload of history behind it, but the band held their own on the stage. Their experience opening for Kings Of Leon in Europe has prepared them well for the larger stages they deserve. With hints of feel-good punk, swaggering blues, and even a bit of rockabilly, The Features all but made concert-goers forget they were really there for Manchester Orchestra. The fierce foursome were only on-stage for half-an-hour, leaving you with the thought, 'holy sh*t, when are they coming back?' Encores are a no-no for opening bands, but it would have been hard to blame The Features had they played one. They earned it.


Atlanta's Manchester Orchestra took the stage just fifteen short minutes later, quickly ratcheting up the intensity with the menacing metal-laced "Pride". It took no time for front man Andy Hull to put his searing tenor to good use firing up the crowd. The quietly shimmering backing "100 Dollars" served as a nice contrast to the gritted-teeth vocals, leading into the eruption of "In My Teeth" and frenzied, faster-paced take on "Shake It Out"; sending much of the crowd into fist-pumping delirium. The shaggy take on "Everything To Nothing" proved a nice change of pace mid-set, as the band tore into their version of a power ballad. Hull announced the impending summer release of their third album before unleashing the grubby southern stomp and wild laughing hook of "I Don't Know Anymore", said to be on the new album.

Stormy rocker "I Can Barely Breathe" showcased Hull's raw intensity, which drives the songs every bit as much as the thrusting music. Unfortunately, the haunting, extended jam take on "Where Have You Been?" marked one of only two songs played off their debut. The the early curfew shackled to Metro prevented more than an hour and fifteen minute set, though concert-goers would have gladly stayed for twice that time to hear more. It left fan-favorites like "Wolves At Night" and "The Neighborhood Is Bleeding" with no room on a setlist chock-full of heavier rockers from the latest album. With no time left for an encore, the stripped-down, pensive "I Can Feel A Hot One" served as an anti-climatic closer. Still, it is hard to argue that the sold-out crowd did not get their money's worth out of the smoldering set.

Pride
100 Dollars
In My Teeth
Shake It Out
Everything To Nothing
I Don't Know Anymore*
I Can Barely Breathe
My Friend Marcus
The River
Where Have You Been?
I've Got Friends
I Can Feel A Hot One

Company Of Thieves - March 18, 2010

Those long wait times between sets are always frustrating as a fan, especially when you can see the instruments all ready to go, like wrapped presents under the Christmas tree, with the band just waiting it out until the posted start time. It is refreshing to see a band so excited to jump on stage and play that they rip into the set list ten minutes early. Such was the case with Chicago's Company Of Thieves on Thursday night.

The extra time allowed them to take an extra new track or two out for a test drive. The half-a-dozen new tracks the quintet managed to squeeze in fit wonderfully within their eclectic songbook. From the energetic opener, "Pig", to the bosa nova flavored epic closer, "Like A Storm", allowing the band to show their explosive chops, it was clear the band is spreading their wings even further for the sophomore album. The smoky jazz of "Gorgeous/Grotesque" had front woman Genevieve Schatz singing through gritted teeth before the song unwrapped itself into a thick, bluesy solo for guitarist Marc Walloch and more of the belted-out vocals that makes Schatz such a force on stage. The best of the new material was easily the "Won't Go Quiet", with a breezier acoustic backing shining the spotlight directly on Schatz's amazing vocal skills. The song is good enough to serve as the lead single from the new album, which they have been hard at work writing material for over the last six months.

The band did a great job hitting as many fan favorites as possible with the rest of the setlist, though it is hard to hit everyone's favorites from an album as consistently brilliant as their debut without playing everything. An oddity on the album, the uneasy "Old Letters" is a live gem without the orchestral backing. Schatz introduced the hard-hitting "Pressure" as a song written when they were sacrificing everything for the band and playing open mic nights. It leaves you wondering what other mind-blowing talents are playing open mics. "The Fire Song" combined a thundering celebration of music with some of the most emotional vocals of the night. Set staple, "Oscar Wilde" came with a 'thank you' to XRT for their support. The band had a blast playing their biggest hit, clearly still as in love with the song's shimmering riffs and anthemic hook as fans are. At one point, the show was listed on Lincoln Hall's page as a 'special acoustic performance'. That changed weeks ago, but the sparse "Even In The Dark", with only Walloch on acoustic guitar to back the vocals, made you almost wish it had remained acoustic.

Company Of Thieves is one of those magical bands that, regardless of what time the set ends, you are left completely awake, in awe, and in need of more. The end of the regular set left fans chanting "Four more songs!", rather than the usual refrain of, "One more song!" The band tore through the bouncy pop of "Under The Umbrella" for the too-brief encore, before unleashing Walloch's guitar prowess on the fiery instrumental coda. The announcement that they will be at Lollapalooza is a bittersweet one, as you are left knowing their infectious rock will land on more ears, but also knowing the unfortunate 'no Chicago shows three months before or after' rule will keep the band out of local venues for a bit. At least that should give them time to record the much-needed follow-up to Ordinary Riches.


Pig
In Passing
Karen
Old Letters
Pressure
Queen Of Hearts
Gorgeous/Grotesque
The Fire Song
Nothing's In The Flowers
Oscar Wilde
Even In The Dark
Won't Go Quiet
Like A Storm

Under The Umbrella

We Were Promised Jetpacks - March 11, 2010

Shows like Thursday's We Were Promised Jetpacks appearance at Lincoln Hall are why we do what we do here, and was another in a great streak of reasons we always recommend showing up to shows early.

Brooklyn's Bear Hands opened the night with a solid set of indie rock that reminded us a bit of a psychedelic-tinged Vampire Weekend at parts. The passionate, aching vocals and heavy, distinct rhythms really made it clear why they are lined up for upcoming tours with Passion Pit and As Tall As Lions. Make sure to head to shows early where these guys are involved. Newly crowned next-big-thing, The Lonely Forest delivered the kind of performance that will only add to the swelling excitement around the summer release of their Chris Walla produced album, Arrows. Full of exceedingly catchy hooks and shaggy guitars, they are a bit like a poppier version of early Death Cab For Cutie. It is easy to hear why Walla chose this band to launch his new record label. "Is There An End" stood out in a set of gooey gems, sounding like a polished garage band taking on the brit-pop classics of John Hughes films.

Though the venue was packed from the start for the great three-band lineup, it was clear, as good as the first two bands were, the masses were there for Scotland's We Were Promised Jetpacks. The foursome took the stage to the haunting sound of the operator numbers from "A Half Built House" before fluttering through the instrumental introduction to "Keep Warm". The slow build up from atmospheric beauty to the jagged, jittery riffs of the song kicked the set off wonderfully. The tightly wound bliss of "Quiet Little Voices" came next, sounding as if it could snap and fall apart at any moment as front man Adam Thompson's stand-and-deliver method of belting out the cathartic lyrics rained over the crowd. It is a testament to the band that they have the confidence to play what could easily serve as the fist-pounding set-closer as the second track of the night; a move which could spell disaster for a lesser band.

We Were Promised Jetpacks are not exactly short on shout-a-long material. Lovestruck "Moving Clocks Run Slow" got a boost with edgier, determined vocals from Thompson to match the frantically spewing riffs. The band took the opportunity to play a couple of new tracks from their just-released The Last Place You'll Look EP. The EP itself is a more restrained take on the band's sound, but they ramped them up a bit to fit in better with the aggressive tone of the set. "A Far Cry" retained its sleepy open, but quickly gave way to rocky waves of riffs and rolling beats. The slow lead in of the operator numbers anxiously mocked the start of the topical "It's Thunder And It's Lightning"; with concert-goers braving a fierce spring storm on the way to the show. As soon as the pounding beat kicked up for the explosive song, the crowd erupted to sing-a-long.

The band wisely chose the ballsier version of "This Is My House, This Is My Home", rather than the softer take featured on the EP, before the wildly thrashing "Ships With Holes Will Sink". They are not likely to surprise you live, but when songs have as much raw emotion as "Ships", there is no need to mess with a good thing. The only small complaint of the night was the lack of an encore after the hour-long set. Thompson joked that they were 'silly', but when you earn it the way they did, there is nothing 'silly' about it. Thomspson commented at one point that they had played to about twenty fans at Empty Bottle last time through, and thanked everyone for coming back and 'bringing friends'. Based on the hard-charging set Thursday night, it is not hard to imagine the band playing to even larger, sold-out venues in the near future.

Keep Warm
Quiet Little Voices
Moving Clocks Run Slow
With The Benefit Of Hindsight
A Far Cry
It's Thunder And It's Lightning
Roll Up Your Sleeves
This Is My House, This Is My Home
Ships With Holes Will Sink
Short Bursts

Portugal. The Man - February 27th, 2010

Opening bands are supposed to warm up the crowd in anticipation of the main act, but too often it feels like sonic appetizers were picked by a blindfolded ape throwing darts at a wall. It is rare that a three-band lineup flows as well as The Dig, Port O'Brien, and Portugal. The Man did on Friday night at Lincoln Hall.

Unheralded, though not for long, New York quartet, The Dig was first up with a powerful half-hour set that sufficiently lathered up the sold-out crowd. As is the case with most opening bands lacking an official release, they took the stage with the majority of the crowd in the bar area rather than inside the concert hall. The heavy thump of the beat and fluttering guitars quickly charmed anyone within earshot, steadily filling the venue as the set went on. With a unique sound that feels a bit like, fellow NY indie, White Rabbits mixed with a hint of Sam Roberts' glistening classic rock, The Dig will not remain unknowns for long. Keep an eye out for their debut, Electric Toys, set for release April 27th.

Port O'Brien's acoustic folk might seem a strange fit for bill, and following a strong set from The Dig they had something to prove. As Nate correctly predicted on our podcast a few weeks back, Port O'Brien cranked up the rock aspect of their sound to fit more in line with Portugal. The Man; with truly stunning results. The wonderfully sloppy harmonies were all but gone, save the final song of the set, as were the twangy soundscape of mostly acoustic guitar and banjo-fuelled songs. Part of the change may have been forced by the absence of Cambria Goodwin, unable to head out for this tour. Instead, the quartet ratcheted up the electric guitars and rocked out for a sound more akin to hard-charging Tom Petty. The more aggressive sound brought out the best in the band, with a more focussed set than we had previously seen them deliver playing in front of Sea Wolf. Without Goodwin's waifish vocals on-stage, front man Van Pierszalowski sounded more powerful on songs like the sturdier "My Will Is Good". The killer set from the suddenly-polished band ended with crowd-participation of "I Woke Up Today", where the band taught the swelling crowd the wordless hook before handing out pots and pans from an on-stage box for added percussion.

Alaska's Portugal. The Man hit the stage and unleashed a whole show's worth of gritty, blues-drenched guitar within just the first song, "And I". Stadium-ready rocker, "People Say" had front man John Baldwin Gourley belting out the soulful song with hat pulled low beneath a hoodie drawn tight. The seeming lack of on-stage confidence had no effect on the performance, with Gourley's uniquely high-pitched vocals delivering the goods as he bopped to the beat, nimbly working the guitar. There were a handful of delicious, grittier goodies from the soon-to-be-released American Ghetto, but the stars of the night were from, last year's brilliant blend of soul and classic rock, Satanic Satanist. Stomping psychedelic rocker "The Home", the sweet hooked "Do You", and the blues-enriched pop of "Guns And Dogs" shined as examples of why the band continues to play larger venues each time they return to Chicago. The blistering hour and twenty minute set proved Portugal. The Man to be the kind of band you quit your job and follow on tour.

Phantogram - February 17th, 2010

As evidenced by the night's opening act, Junk Culture, electronic music can be a serious bore in a live setting. While it is easy to see how Junk Culture ended up on the same bill as Phantogram, the two acts showed the two extremes of the genre Wednesday night. To be fair, Junk Culture was without a drummer, who recently got married, that may have flushed out the songs a bit. As delivered, it was a dj only set played in front of a projector screen showing off artfully looped images from the fifties and sixties; some of which worked better than others. Though there was clearly something there in the songs to enjoy, the excessively repetitious songs and general malaise involved with watching a dj at a rock bar were a bit much to take.

In setup, Phantogram's set was not much different. Sarah Barthel worked the dj gear and Josh Carter played guitar as a slick city night traffic scene played out on the projector screen for "As Far As I Can See". The blend of glossy horns, Barthel's soul-tinged vocals, and flickering guitar made fit wonderfully with the visuals. The two charmed the crowd, continuing the chilled start with Barthel gently cooing "Let Me Go", as the dynamic of dj and guitarist on stage really came together well. She proved to be a solid singer on "Mouthful Of Diamonds", where the guitar came alive a bit more, leaving you wishing it was a bit more noticeable on album.

Carter took over vocals for a bit, beginning with "Running From The Cops"; fuelled by a grubby bass line. The strangely compelling harmonies of the gently swaying "You Are The Ocean" and jittery, looping "Turn It Off" worked extremely well live. The set ended with the chilling vocals of Barthel on sexed-up "When I'm Small", with a heavy bass thump and clanging guitar flickering in the distance. The planned two-song encore, the only negative with the video production being a lack of spontaneity, concluded the hour-long set with atmospheric ballad "All Dried Up" and the sparse, guitar-led "Voices".

We have been warning you for weeks not to miss the show, and their vibrant live set and energetic stage presence proved us right. The nearly-packed venue all but ensures they will not be confined to the city's smaller stages for long. Phantogram would, and should, destroy a side stage at Lollapalooza this summer. The duo is a shining example of electronic rock done right.

As Far As I Can See
Let Me Go
Mouthful Of Diamonds
Running From The Cops
You Are The Ocean
This Is The Future*
Turn It Off
When I'm Small

All Dried Up
Voices

Editors - February 15th, 2010

When you hear a drunken fan obnoxiously shout out for their favorite song, you have to wonder whether they realize that there is typically a preplanned set list duct-taped at each band members' feet. A well thought-out set list can propel a make a decent live band sound even better, and a poorly constructed one can derail an otherwise fantastic band. Sadly, the latter was the case for UK's Editors on Monday night at The Vic.

Three albums in, Editors have amassed an amazing collection of songs to pull from. To their credit, they did a great job of delivering most of the fan favorites (except the noticeably absent "All Sparks") and pulling the best off their killer new album. The issue stemmed from the band's struggle with balancing the older guitar-driven sound of their first two albums against the icy synth-fuelled vibe of their latest. They kicked off the set in a ballsy manner, with the chilling, atmospheric ballad "In This Light And On This Evening"; with, front man, Tom Smith's commanding vocals reverberating around the venue. Smith got up from his seat at the piano to strap on a guitar for the song's explosive, grumpy-guitared closure. So far, so good.

The band then went backwards through their catalog for two favorites, with the bass cranked up for a thundering backbone to "Lights". Energetic and powerful, the band tore through "An End Has A Start"; showing off the band's second album as a great bridge between the angular guitar of their debut and the new wave vibe of the latest. Still, the thumping beat and cold synth of "You Don't Know Love" felt like a letdown in the wake of the invigorating riffs of the two that it followed. It felt like the energy they had just built up evaporated quickly with the more hollow sound. Editors may have been better served to lead off with three or four new cuts all in a string, before jumping back to the guitar-led sound of earlier songs. Make no mistake, the band delivered great versions of the new tracks, but the sonic space between the new and old material was a bit too jarring the way the set list played out.

A handful of the new tracks really shined, including the wonderful ballad "The Boxer"; where the fluttering guitar and deep bass groove were more noticeable than on album, and Smith's bellowing baritone delivered chills. The odd creaking beat of "Eat Raw Meat = Blood Drool" and Smith's eerie delivery made it a standout. The soaring "Escape The Nest" showed off the band's tight sound on-stage, and some of the evening's best guitar work. The night's best moment came in the encore, with the stomping insanity of "Papillon", with Smith's powerhouse vocals delivering the goods while the band feverishly nailed the poppy goodness. Unfortunately, the low point also came on a new track, "Bricks And Mortar". A standout on album, the song sounded empty and muddled live; and the strangely screeching sample used to give it a 'remix' sound was horribly out of place.

In the end, it felt a bit strange that the material off their best album sounded so out of place at times in the hour and a half set. Editors are a fantastic live band that seems to be struggling with how to mesh the distinctly different sound of In This Light And On This Evening. Hopefully they can shake the uneven vibe the setlist gives off, because when they are on they are among the most enthralling live experiences you will have.

Set List
In This Light And On This Evening
Lights
An End Has A Start
You Don't Know Love
Bullets
The Boxer
The Big Exit
Blood
Eat Raw Meat = Blood Drool
The Racing Rats
Escape The Nest
Like Treasure
Bones
Smokers Outside The Hospital Doors
Bricks And Mortar

Walk The Fleet Road
Munich
Papillon
Fingers In The Factories

AM Taxi - February 6, 2010

We may not set out to focus on Chicago bands, but cannot help but do so when two of the three bands on a killer lineup happen to be local rising stars. Saturday night at Lincoln Hall confirmed the flourishing music scene in Chicago is not about to fade again when acts like AM Taxi and Company Of Thieves eventually set out for their well deserved headlining tours spanning the globe.



Saturday night was to be another step along the way to greatness for AM Taxi, and it certainly was, but was also prime example of why we always recommend showing up early to concerts. Chicago quartet, Big Science has a sound that is pure post-punk one moment and soaring new wave the next. Their explosive, bass-heavy grooves were the kind you would imagine The Police would have produced if they had started recording in the mid-eighties; having grown up on a steady diet of early Talking Heads. Their jittery rock reminded us of a harder-edged Dogs Die In Hot Cars. Not having heard a single riff going in, the tight half-hour set was the kind that makes you leaving in search of all the music you can find from the band. The songs, like the eerie jangle of “My Career As A Ghost”, are probably a little better than their stage presence at this point, but they are definitely a band worth keeping an eye on as they get more comfortable in the spotlight sure to follow them.

The lone Chicago outsiders on the bill were Nashville’s Royal Bangs. The first song of the set was a new one, which held tight to their ability to fuse art rock with poppy soul. The two-drummer setup of the band worked well to create a powerful thrust for the jangly guitars and flickering synth to ride. At times the angst-ridden, itchy sound felt like TV On The Radio’s take on the soundtrack-happy, mid-eighties Kenny Loggins, but as on album, the band can be a bit hit or miss live. Still, even in the moments where it felt they went a bit too askew with the smashed synth-provided beats and cluttered webs of sound, you could not help but feel there is a great band that has not yet found their footing. The notable lack of Let It Beep’s poppiest offerings, “War Bells” and “Waking Up Weird”, was disappointing, but the empowering “Poison Control” did well enough in their stead.

Started as the side project of Lucky Boys Confusion members Adam Krier and Jason Schultejann, AM Taxi comes with a built-in audience thanks to their other band’s stretch of success in the city. Thankfully, they did not rest on their laurels, building a tight songbook full of anthem-ready rockers that make the band a strong bet to become the new-and-improved version of Fall Out Boy for anyone looking for a new pop-punk obsession. Opening with a bang, "Maps And Medicine" proved that the band is already armed with sing-a-longs aplenty. The dub-kissed guitars of "Charissa" and "Shake, Rattle And Stall", the latter with a little "Ain't Too Proud To Beg" thrown in for good measure, showed that the band retains some of the reggae influences of LBC, without drowning the songs in it. Their tight sound and danceable brand of rock on tracks like "Fed Up" proves their worthiness of their recent addition to Warped Tour, and all but ensures they will come back from the touring festival with loads of new devotees who will soon know the words as well as the feverish crowd Saturday night.

The band took time to acknowledge the blossoming local music scene, with a great performance with singer-songwriter Kevin Andrew Prchal on "Reason To Believe", with just Prchal, Krier, a pair of guitars, and a harmonica. They brought out, Company Of Thieves front woman, Genevieve Schatz for a fantastic duet called "Maydays and Rosaries"; recorded for the album when the two bands happened to cross paths in Texas. The excellent pairing only fuelled desire for the band's debut. The main set closed with, the first single from the June debut, "The Mistake". The night proved that as good as the song is, it is far from the best AM Taxi has to offer. The band returned to the stage for an encore, at the request of Lincoln Hall management, and made the best of the opportunity with a blistering, fresh retelling of Rolling Stones' "Paint It Black". It takes a special band to take such a frequently covered classic and do something unique and worthwhile with it, and AM Taxi nailed it with guitars ablaze.

Krier said the band was excited to finally play the newly opened Lincoln Hall, but if the crowded Saturday night show was any indication, the mid-sized venue will not be able to hold their fan base much longer. Get in while the getting's good.





Edit: Thanks to AM Taxi for clearing up the confusion on the song title of duet with Genevieve!

The Cribs - January 13, 2010

The opening night of 2010's Tomorrow Never Knows series, split between the newly opened Lincoln Hall and Schubas, was a strong one. The shows are intended to highlight up and coming talent, but The Cribs already have all the help they need. There is some irony in the biggest draw in a night of upcoming bands in a new club being a well-established icon.

Portland's The Dead Trees kicked the evening off with a solid half-hour set of folk-tinged rock that a times verged on a twangy take on Foo Fighters, and occasionally felt like a less psychedelic Vietnam. Call them what you want, the set was unfortunately short and has us salivating for their Chicago return. Thankfully, the band returned to the stage to serve as Adam Green's backing band; stealing the spotlight from the clown prince of punk-lounge. Green's set began as the kind of tiresome, obnoxiousness that would normally send you packing for the bar. The wild, attention-starved dancing and deep crooner vocals smacked of Tom Green and Jim Morrison's drunken child attempting to play a lounge singer. In the midst of the fifties-inspired rock backing, it was awkward and annoying. Then, somewhere around the middle of "Nat King Cole", Stockholm Syndrome set in and his on-stage antics started to seem amusing. The former Moldy Peaches member is the rock equivalent of a b-movie, in all the right ways. How can you not sit back and enjoy his, ode to Ms. Simpson, "Jessica", or his attempts to sing and crowd surf simultaneously? Despite wanting to leave when it started, Green ended up convincing us that his set is not to be missed for the sheer insanity of it all.

The Cribs hit the stage right around eleven for their hour and fifteen minute set, jumping into the new Marr-led soundscape quickly with the spangly riffs of "We Were Aborted". Johnny Marr's classic wide-legged power stance served as a glorious reminder of where he comes from, while fitting right in with the band on stage. Any trepidation as to what may happen with the older material was set at ease on "I'm A Realist", where Marr laid back and colored in the spaces of an already great song. Fan favorite, "Men's Needs" got a bit more of a touch-up, with the wildly flailing guitar of Marr adding a new dimension. The brothers Jarman were no more upstaged by Marr live than they are on Ignore The Ignorant, holding their own in the presence of greatness. The band's more mature sound is even more apparent live, with the dazzling "We Share The Same Skies" delivering well-deserved chills. Old anthems like "Our Bovine Public" fit in well with new shout-a-longs like "Hari Kari", where snarled vocals played well against the slamming beat and desperate riffs. Spoken word rocker, "Be Safe" used the venue's video screen to display the video of Sonic Youth's Lee Ranaldo delivering the spoken portion as the band jammed over it for one of the highlights of the set.

If the tour is coming through your town, you would be insane not to jump on the chance to see the band in its current form. Regardless of how long Marr is with the band, it is clear The Cribs are better for the experience. They were already a damn good band, but are now a great one.

Set List
We Were Aborted
Hey Scenesters!
I'm A Realist
Emasculate Me
Last Year's Snow
Cheat On Me
We Share The Same Skies
Direction
Hari Kari
Save your Secrets
Our Bovine Public
Another Number
Ignore The Ignorant
Be Safe
Mirror Kissers
Men's Needs
City Of Bugs

Company Of Thieves - One Hour And Fifty Minutes Of Awesome

We are not quite ready to 'launch' the site yet, but could not help but post something about the amazing show, local Chicago favorite, Company Of Thieves put on Saturday night at Logan Square Auditorium.  Officially just a trio, the band was joined on stage by string and horn sections, a second percussionist, a keyboard player, and even two backup singers; the latter for an out-of-left-field sixties-inspired Philly soul song that left you wondering if there was anything the band could not pull off.  In addition to playing everything from their killer debut album, Ordinary Riches, they tossed in half a dozen new tracks and a jazzy cover of "Act Naturally", proving the band a natural to record a Bond theme song.

The six new tracks showed off the same diversity that makes their first album work so well, with even the cut they played for the first time as a full band sounding ready to record.  With "Oscar Wilde" just now finding an audience on the radio, it is unlikely to get a new album this year, but front woman Genevive Schatz confirmed the upcoming re-release of their early EP to give long-time fans something to chew on in the meantime.  The best news to come out of the show was that it was all being captured for an upcoming DVD release.  Having seen the band twice this year, the first an opening appearance at Double Door in March, they are more than ready for 'prime time', and are the best band to come out of Chicago in a very long time.  They were a must-see band at the time, but their time on the road has turned them into something even better.  Schatz is the first lady of indie rock, politely waiting for the rest of the world to notice her knock-you-on-your-ass voice.  When the songs allow, guitarist MarcWalloch shows himself to be a damn good axe man.  Songs explode off the stage with an infectious joy and enthusiasm.  It only takes a song or two live before you start scheduling your life around when they come to town.  We made the mistake of coming late and only catching the tail end of Annuals.  We do not recommend that you make the same error - the three songs we heard cemented them at the top of the list of bands to catch up on immediately. 

Our mission, should you choose to read the site or listen to our upcoming podcast, is to make sure you are kept abreast of great upcoming indie rock concerts in Chicago, so you do not miss out.