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Our Live Life 2.10: October Live Music in Chicago, DC and LA

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BenFrost1 Our Live Life 2.10: October Live Music in Chicago, DC and LA

Ben Frost at Constellation, Chicago (Photo: Matt Meschede)

BY STAFF & CONTRIBUTORS

We’re back on Our Live Life, FP’s ongoing monthly live music series in which we cover shows in Chicago, New York, DC, Los Angeles, Minneapolis, Columbus, Austin, Rhode Island, Alaska and just about anywhere else. Today includes a great month of shows through October in DC, Chicago and LA. Yes, this all happened last month. We’re always looking for more contributors, so please feel free to contact us with submissions.


Perfume Genius @ Lincoln Hall, Chicago — 10/1/14

Perfume Genius’ Too Bright is one of the best albums of the year because it showcases frontman Mike Hadreas as exactly that: the leader of a band, one who has a commanding stage presence. Walking out to the lurking guitar riffs of “My Body”, Hadreas alternated between beautiful subtle vocal delivery and effects-laden noise and shrieking–and he never let up. But not only were the new tracks great live. It was great to hear Hadreas sing early tracks like “Lookout, Lookout” without reverb and piano muffling his voice, and during his performance of career standout “Hood”, Hadreas showcased his dextrous piano playing. Overall, balancing older pop songs and experimental tracks from his new record combined for a showman’s show (the track in Perfume Genius’ catalogue that best combines traditional pop structures with instrumental experimentation–Too Bright‘s “Queen”–garnered the most positive reaction from the audience). “I’ve never thought about how performing takes an element of exaggeration,” Hadreas told me back in August. “It’s not phony. But I have to exaggerate and let loose a little more.” The exaggeration was genuine. —Jordan Mainzer


joy buttons dc malcolm x Our Live Life 2.10: October Live Music in Chicago, DC and LA

Joy Buttons (Photo: Peter Lillis)

Joy Buttons @ Martin Luther King Jr. Public Library, DC — 10/2/14

Despite the abundant evidence of DC’s unpunk status, there are many still in town that insist upon it’s punkness—an attribute at odds with Forbes’ assertion that our Nation’s Epcot Center is also the “Coolest City in America.” Members of the newly established DC Punk Archive don’t share Forbes’ capitalism or my cynicism, but rather a drive to honor the past as well as present a future. Their coming out party, at the historic and humongous MLK Library in Chinatown, was a rightful reinterpretation of DC’s DIY culture of yesteryear, this time fronted by rising DC post-hardcore five-piece Joy Buttons. The band’s acrobatics, noise-assault and bleak stage banter was in stark contrast with the loving vibe of the show-goers and throwers, just as Dischord intended. The band’s latest release, Other EP, is the new DC’s best defense against the encroaching tide of “coolness.” Oh Forbes Up Yours! —Peter Lillis


Barrence Whitfield & The Savages @ Mayne Stage, Chicago — 10/3/14

While I didn’t witness any “Savage moments“, watching Barrence Whitfield rock one of Bloodshot Records’ 20th anniversary concerts was a thrill. Playing throwback tracks like “The Corner Man”, “Blackjack”, and “I’m Sad About It”, all from last year’s great Dig Thy Savage Soul, Whitfield cried and screamed his way through a raucous, party-worthy set. —JM


Steve Gunn @ Schuba’s, Chicago — 10/7/14

Steve Gunn is a lot like Andrew Bird. On record, the two musicians make beautiful, peaceful, sleepy music. Live, they’re soulful, inventive, and energetic. Such a difference between recording and performance revealed itself during Gunn’s headlining set at Schuba’s the day his great new record Way Out Weather came out. In fact, this night was the first that virtually everybody involved in the recording of Way Out Weather–including opener Mary Lattimore–was there to play. Gunn and his tight band played almost all of both Way Out Weather and last year’s Time Off, two records that are great on their own merits but, together, make for an incredible instrumental accomplishment and a true tribute to artists from John Fahey to William Tyler. One bro in the crowd turned to his friend and called Gunn’s band “one of those secret jam bands.” Hearing the adventurous, yet expertly-played extended bridges of “Water Wheel” and “Milly’s Garden”, its hard to argue with him. —JM


Todd Snider @ SPACE, Evanston — 10/8/14

When singer-songwriter Todd Snider walked past contributing illustrator Kelsey Donahue on this Wednesday night, she remarked that he smelled like weed. Within minutes of going on stage, Snider admitted he was stoned. His set up was a lamp, banjo, and guitars. He sounded like Randy Newman. He was bluesy. He was an ironic protest singer–a hippie for the social media age. He wasn’t wearing any shoes. You wouldn’t guess that Snider was so immersed in the jam band scene considering how self-aware he was. But you could guess his jam band ties from the amazing way Snider matched the tone of his guitar to the tone of his voice, and even to the thematic tone of his lyrics. He may have been stoned, but he was sure thoughtful. —JM


brnda clarendon Our Live Life 2.10: October Live Music in Chicago, DC and LA

BRNDA (Photo: Peter Lillis)

BRNDA @ Courthouse Art & Beer Fest, Arlington, VA — 10/12/14

BRNDA is the Manic Pixie Dream Girl of indie rock. Live, the DC-based four-piece breathe life into the singular BRNDA, a graceful if peculiar mythological mid-20s woman whose unique outlook on life and affirming sense of humor makes this author reconsider his depression, enjoy life in the moment and continue his exploration of the infinite abyss. While I’m generally averse to all things quirky, I’m infatuated with BRNDA’s barn-burning single “Apple King” and all its idiosyncrasies (i.e. competing rhythms, schizophrenic modes, apple-on-apple romance, faint DJ scratching, etc.). I’ve got high hopes for their upcoming sophomore LP, currently in development. I at least expect it to be better than the Kickstarter-supported Zach Braff production, Wish I Was Here. —PL


Against Me! & Cory Branan @ Aragon, Chicago — 10/16/14

At this point in their career, I don’t think I’ll ever see Against Me! in a small venue. At the Aragon Ballroom, I couldn’t really hear lead singer Laura Jane Grace, even though her enthusiasm was infectious. But the band itself was anthemic and heavy, riffing through “Osama Bin Laden as the Crucified Christ”, providing stadium-level sheen to “I Was a Teenage Anarchist”, and providing a thrilling climax with Transgender Dysphoria Blues closer “Black Me Out”. Grace and company ended the night with a moving version of “True Trans Soul Rebel”, which Grace dedicated to celebrating gender diversity before waving goodbye to the crowd with her daughter in her arms. It’s not saying much, but it was probably the nicest moment the Aragon Brawl-room has ever seen.

Opening the night was singer-songwriter Cory Branan, who had just played a set at Schuba’s two months after the release of his new record The No-Hit Wonder. At the Aragon, Branan played solo and all acoustic. The venue was entirely inappropriate, as his voice echoed and drowned out itself, and I’m not sure the venue knew he was playing, given that there was music backstage playing during Branan’s set. Still, Branan is a great songwriter, and standouts are standouts, from Mutt‘s “The Corner” to The No-Hit Wonder‘s “Missing You Fierce”. Branan is also a charming enough guy to know that his popularity pales in comparison to that of Against Me! and headliner The Gaslight Anthem. “I’m gonna play one more, then get a good seat,” he said, before pounding out another tale of three chords and the truth and leaving the stage. —JM


King Tuff & Cassie Ramone @ Subterranean, Chicago — 10/16/14

Two killer garage kids in one night. I could hardly stand it. Opening first with Cassie Ramone (or well, The Lemons opened, but I came late and got in minutes before Ramone took the stage), who had the audience sit on the ground to listen in a way that reminded me of preschool in the most adorable fashion, the night started off on a note that “hey folks, fuck pretensions, we’re here for fun and for the music.” If you’ve never seen Ramone live, I cannot recommend it enough. For whatever reason, recordings can never capture the delicacy and charm of her voice; listening to her guitar without seeing her fingers glide over the strings never does it justice. Small break, and then Tuffy kicked off the rest of the party smashing through songs at an alarming rate, only stopping to make some truly down to earth comments and jokes. Way to go, kids. Way to go. —Kati Heng


Royal Canoe & Rubblebucket @ El REy, LA — 10/16/14

Royal Canoe puts on a flawless blend of acoustic and electronic sounds; think Arcade Fire meets Animal Collective. Performing songs mostly from Today We’re Believer, RC furthered the argument that this is a group on the cusp waiting for their break. Their LP features sounds and textures layered so eloquently, it’s hard to believe they can pull it off live. And yet they do.

Rubblebucket’s classic R&B backline grooved in synchronized sways with their trumpet and trombone horn section, while the performers wore their Talking Heads and Ziggy Startdust influences on their sleeves, er, face paint. They keep a strong drive over these older influences with lead singer Annakalmia Traver bouncing around the stage with top notch pop diva moves. This dynamic bunch can pull out a slow burner, followed by a 50s dance groove, and an up to date New York freak-show. With Rubblebucket, you just never know what’s going to come next. —Otto Stuparitz


OBN IIIs, Meatbodies & Hunters @ Empty Bottle, Chicago — 10/17/14

From the opening moments of what would be my first concert since moving to Chicago, I realized that this show was going to take its toll. Opening act Hunters and their brand of Yeah Yeah Yeahs-influenced art punk blared so loudly that I had to move from my comfortable seat on the side stairwell over to the back of the bar to prevent the impending collapse of my ear drums. The onslaught continued throughout the rest of the acts, OBN III’s putting on an able set of garage rock with characteristically blistering guitar solos. But the real highlight of the evening was the psych-metal guitar heroics of Meatbodies, who sound like if Iron Maiden and Black Sabbath went back in time and did a lot of acid with Revolver-era Beatles. The crowd found the show every bit as catchy and energizing as I did, rewarding the band with shots of Malort on stage. After gleefully throwing their drinks back, the bands’ faces instantly transformed into that “babies eating things they don’t like” face that everyone makes after their first shot of that most acrid liqueur. Malort. Punishing and intoxicating. You know, like live music at rock clubs whose speakers are too loud. —Tim Myers


Sondre Lerche @ Lincoln Hall, Chicago — 10/18/14

It’s been over four years since I’ve seen the Norwegian guitarist and crooner perform. His new album Please is one my favorites of the year, and could be the best he’s ever made. Lincoln Hall is the perfect setting for the intricately detailed and nuanced music of Lerche. The last time I saw him, he was completely solo, but this time he was backed by bassist Chris Holm, drummer David Heilman, and three singers from the opening band TEEN (who I missed out on). The dynamic set saw the full band with and without the backup singers, as well as a couple solo songs, including “My Hands Are Shaking” and “Modern Nature” cueing crowd sing-a-longs; albeit a bit cheesy, I wasn’t hating it. The set started off with three tracks from Please before Lerche peppered in a few older tracks into the set, which he referred to as “confused pubescent ditt[ies]“. The crowd at the show was super respectful, a shocker considering some of my past experiences at the venue on a Saturday night. The only disappointment in the night was a severe lack my personal favorite album, and his most critically acclaimed, of Two Way Monologue, save for the title track. But hearing the majority of Please backed strong musicianship and awkward stage banter was enough to make up for the omission. —Andrew Hertzberg


Sinkane @ The Echo, LA — 10/21/14

I sadly walked in just as opener Helado Negro finished, with three glittery people dressed in upside silver pompoms beside him slowly swaying to the end of the track. I’ll have to catch Negro on his next tour. Sinkane slowly assembled themselves on stage with a thumping bass, pedal steel, two guitars, keys, drums, saxophone, and trumpet. The show started with some slow grooves and rhythmic punctuations from the horns. The crowd stirred but weren’t grooving. Lead singer and riving force of the group, Ahmed Gallab saw his music making a dent but not causing the dance party he anticipated. He called for more bass, and it went way up. Soon songs like “How We Be,” “New Name,” and “Hold Tight” had the crowd dancing and the whole thing became the party we all wanted. —OS


Open Mike Eagle & Serengeti @ Empty Bottle, Chicago — 10/21/14

This double billing must feel like a very big deal to a very small segment of the population. The monsters of indie-emo rap. The Travelling Wilburys of rappers with existential malaise. Two rappers with differing but complementary personalities, linked by the fact that neither seems particularly interested in rhymes about drug dealing or self-aggrandizement.

Up first, Serengeti put on a set that spanned his prolific and eccentric career, branching into the synthed-out sad-man beats of Family & Friends, the more blustery backpack rap of the Kenny Dennis LP and even the electro-dance friendly work of his Sufjan Stevens-paired side project Sisyphus. Serengeti is at his best when thoughtful and nostalgic, the Raging Bull-esque “The Whip” in particular spurring chills in its retelling of the redemption of a UFC fighter.

Where Serengeti sounds at his best while contemplative and conversational, Open Mike Eagle’s voice is most effective while cynical and engaged. The self-deprecation and Millenial vulnerability of this year’s excellent Dark Comedy were only heightened by his energetic live set, Mike ably rapping and engaging the crowd while chopping and splicing his beats on a personal MPC. The message taps into a universal social-network-induced dread, a realization I came to while watching the middle aged woman next to me nodding approvingly during “Very Much Money (Ice King Dream)”. It’s the siren call of a generation of young adults compensated through unpaid internships and exposure. And it hits you hard live. —TM


tUnE-yArDs @ The Vic, Chicago — 10/22/14

I showed up to the Vic thinking the tUnE-yArDs crew would have to work really really hard to top the set they played at Pitchfork this summer. Of course, Merrill Garbus and the rest of her freaky singers, percussionists and strings players were up to the challenge. The great part about headlining a show rather than having a 45-minute outdoor set is simple: a longer set, a better acoustics and a more focused audience totally allow Garbus to take her time, showing us the step by step process of her song making. Sure, for the first part of the show she had a full crew, but after kicking it off fast, Garbus worked alone with her guitarist/synth player, live-layering percussion pieces on top of each other, verbally reminding us that “all good things take time.”  Maybe the coolest part of the night, though, was between the main set and the encore, the whole crowd signaled tUnE-yArDs to come back out by shouting the “wee-ooh, wee-ooh, wee-oh!” police-siren sounds from the beginning of her song “Gangsta.” So much more fun than the basic applause. —KH


La Hell Gang @ ???, Chicago —10/24/14

A Friday night at Cole’s in Logan Square after a boisterous and drunken Thin Lizzy cover band finishes playing ‘The Boys Are Back in Town’ for a second time and I’m looking for more. Nearby at the DIY house venue, a three piece from Chile is setting up. La Hell Gang played to a crowded room, abusing the wah pedal, and looking like the misfits that knew about the first Stooges record before you did. The repetition and psych-meditations reminded me of a bit of fellow Chilean rockers Follakzoid, though a bit more aggressive, with less emphasis on the krautrock. La Hell Gang’s latest album Thru Me Again was released on Mexican Summer back in July. They’ve initially flew under my radar, but I’m glad I caught up. They’re still touring the West Coast; highly recommended. —AH


Rosanne Cash @ North Shore Center for the Performing Arts, Skokie, IL — 10/25

Seeing Johnny Cash’s equally-talented daughter is legendary enough. Hearing her explain the stories behind her stories is a treat. Way back in January, Rosanne Cash released The River & The Thread, an album of tales of a woman finding herself in her Southern past. Playing acoustic guitar with her husband John Leventhal, Cash sang about sunken lands, rivers, and Memphis (she admitted the most striking thing about the album at first listen–”Memphis shows up a lot in these songs.”). Her songs are self-referential, but not repetitive. Her covers and sense of musical history is pristine. And even her less popular albums like 2006′s severely underrated Black Cadillac have highlights (in fact, “Dreams Are Not My Home” was a highlight of the night). But the most important night is if, throughout the night, Cash kept suggesting the question, “Who does your past belong to?” her smooth, jazzy, effortless vocal delivery was perfect for stories that didn’t necessarily provide answers, but more wonders for consideration. —JM


Ben Frost @ Constellation, Chicago — 10/31

While seeing the deep, dark industrial noise of Ben Frost on Halloween seemed like the perfect fit, the fact that 1) he wasn’t on stage, but in the crowd and was therefore impossible to see 2) he didn’t take advantage of Constellation founder and jazz drummer Mike Reed’s attendance by having him play, and 3) the power/sound went out multiple times during the amazing “Venter” rendered the night a slight disappointment. —JM


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