Welcome to issue #16 of Chicago Crowd Surfer! This week’s issue has a ton of great photos from our own JCB. He caught Low Cut Connie out in Winnetka, Quiet Slang at Schubas, and KPL tagged along to Lincoln Hall for Polo & Pan. We also have LPL scoring the first interview ever with Totally Cashed and boy is it worth a look. Those guys were fresh off the boat from Babeland and they spilled all the beans! And as always we bring you all the new music worth listening to. We made a few additions to the Summer Fest Guide for this weekend, including the schedule for Logan Square Arts Fest! Check it out for all your planning needs!
Seeing live music gives us joy, and it is our mission, in these trying times, to spread some of that joy to you. We don’t just want to spread it, we want to share it; which is why we are a crowd-sourced publication. We want you to join us: to write about, and share pictures of, the shows you attend, the new albums you love, the bands you adore, and any other thing that has to do with seeing, performing, or experiencing music in Chicago. Please send any submissions to firstname.lastname@example.org. We are now up to eleven contributors and are always looking for more! We may not publish everything we get, and we reserve the right to edit, but will always try and seek the submitters’ approval. Our mission is to be a positive publication, so if you have negative things to say - please look for another forum in which to express that opinion. We aim to wade through the bullshit of this modern life to find what good is left. See you at the show Chicago.
Keep Seeing Live Music!
KPL & JCB
Polo & Pan / Jean Tonique
June 14th - A DUAL REVIEW
Polo & Pan / all photos by JCB
Sometimes JCB and KPL get lucky enough to be able to attend a show together, and this is how they tend to review those shows: They arrived to a rather empty Lincoln Hall, making them think this late Thursday show may not have sold very well (they were very wrong). They rolled up to the venue bar for a beer and, before they knew it, the show was starting:
KPL: Jean Tonique strolled onstage, calmly checked his laptop and keyboard, picked up his guitar, and began to play. Immediately I was transported to the French Mediterranean: the funky spareness of the jam would easily lend itself to a night on a veranda overlooking the water while a party took place indoors. The sparse crowd began dancing a bit, and he had me nodding my head to the beat while (live) keys jangled over the funky disco guitar loop in the background.
JCB: The guy made me feel like I was jamming to Seal in his peak. I was ready to take on the city, provided the correct beach drink was in my hand. Jokes (not really, that’s pretty much how I felt) aside, I was really impressed with the blending of ‘70s funk with some more modern takes on the genre. And the vocoder was perfectly executed, which is to say it was used sparingly.
KPL: Agreed, it could have gotten annoying, but he only used it on a couple tracks so it ended up working.
After the brief change over, during which the venue had filled to capacity, Polo & Pan entered each carrying beers, which Polo promptly spilt after setting his down at his feet. He politely asked to have someone come clean it up, and they began their set as the now packed crowd started to sway.
Elegant would be how I would describe the “electro” music that Polo & Pan (Paul Armand-Delille and Alexandre Grynszpan) compose. Well, as elegant as modern dance music can get these days. Gone are the deep bass bumps and drops. Instead, a more house oriented flavor comes to the forefront, with just enough Euro style to make it swing more than Chi House does.
JCB: They make music specifically designed for the act of dancing through lasers in order to steal a priceless artifact, and then retiring to a beach in the south of France with a glass of fine wine. It’s sophisticated EDM. We were watching artists create music, not just twiddle knobs.
KPL: Creating the majority--if not all--their tunes live gives them the great advantage of playing to the crowd, and it makes them so much better than button-pushing producers. The knowledge that these songs are being put together in front of you makes the performance that much more interesting. No offense to button pushing producers, that’s not an easy gig either, but there is something special to seeing two musicians working in harmony with one another producing great dance jams.
JCB: Totally agree with you. They were able to press buttons when needed, but even then - you could tell Polo & Pan were constantly working with, and around each other. They would briefly communicate, either verbally or with smiles and head nods, trade headphones to get an idea of the sound the other is focusing on, and dance with the crowd when the other really hit a stride.
KPL: The audience couldn’t get enough. You could tell that many were familiar with a majority of the tunes; cheering only a few notes in. They were having a blast up there lapping up every minute of stage time.
JCB: While it may have been their first time in the states, Polo & Pan seemed completely at ease with the crowd, as Paul (Polo) danced with the crowd at the front of the stage while Alexandre (Pan) sipped a 312 and kept the beats rolling. A bit of fresh air for me was the lack of intricate lighting. I prefer my DJs to spend time crafting the right sound for the room, rather than lean on overloading our eyeballs.
KPL: It was the most relaxed EDM show I’ve ever attended, that is for sure. Everyone was grooving but no one went overboard, and as you said the lights never reached the seizure-causing peak that so many electronic artists often use. They probably could have gone all night, but midnight hit soon enough (which is Lincoln Hall’s curfew on weeknights) and they reluctantly left the stage waving and promising they would be back soon. Thanks to Polo & Pan for the great show, and Girlie Action for the list hook up. If these two visit again we highly suggest checking them out.
-JCB & KPL
Quiet Slang / Abi Reimold
Quiet Slang / all photos by JCB
Summer has arrived in Chicago. Saturday was so brutally hot, it was hard to justify going outside. Schubas Tavern, however, is one of my favorite venues in the city. It’s an intimate space which, despite the aggressive lighting, allows the audience into the world of whatever musician graces the tiny stage in the back of this unassuming Lakeview bar. It also happens to be an 8 minute walk from my house, which certainly helps. Quiet Slang is a side project/cover band of Beach Slang’s James Alex. Naming the side project Quiet Slang is a cheeky way to prepare audiences, as James plays songs from his own loud, distorted punk band composed only of pianos, strings and undistorted vocals. Hearing a punk rocker play his songs in a chamber pop manner in one of my favorite venues was enough to get me to venture out into a humid evening.
At first I didn’t know the girl walking on stage in an oversized t-shirt and backwards hat, looking a bit apprehensive about her own actions, was Abi Reimold - I just thought it was a lost Beach Slang fan. But once she started playing (by herself save for some effects pedals as company) I was hooked for the next half hour. Abi is a singer songwriter. But, she’s not the type to sit meekly on a stool, strumming away on an acoustic while she sings about her past. She’s from the Philly indie scene, and that means her dark lyrics are surrounded by guitar rock. On stage, she’s very much like Angel Olsen, in that her sweet voice can build to outbursts of intensity and restrict your attention from wandering elsewhere. At one point, she collapsed herself under the weight of a song’s dissonance, only able to sing wordlessly. The stark contrast of her performance, and her timid banter showed us that we weren’t just listening: We were living her life, if only for a moment. I recommend living it too the next time she comes back through.
Quick props to the stage design here. Schubas’ tiny back room is usually pretty sparse. Sometimes it can’t even fit the whole band comfortably. The stage here was adorned with fluffy clouds floating in the corner and completely covering the piano, candles, a metric ton of flowers, and a projector screen that looped videos of ballet dancers.
“We're Quiet Slang, and we're here to punch you in the heart.” Like their opener, James Alex and Charlie Lowe seemed a little apprehensive stepping onto the stage. It’s understandable, considering the reputation that Beach Slang has garnered over the past five years. It’s also been announced already that this is the first and last tour of the side project, so they want to do it justice. However, technical difficulties arose before they even got started. After some frustrated looks and grumbling, the crowd cheered for James to stay on stage, which led to some light hearted jokes of just how ‘quiet’ Quiet Slang is. So instead of a Beach Slang lite song to open, James strapped on a guitar and led a sing-a-long of Jawbreaker’s ‘Boxcar.’
After the minor hiccup, the set was up and running, and it was very reminiscent of the old VH1 show “Storytellers.” Equal time was spent on playing songs, and bantering with the crowd or each other. We were able to hear about James and Charlie’s attempts at purchasing gas station knick-knacks; an argument between two fans about who gets to rent their respective second bedrooms to the band; and a preview of 2019 Beach Slang’s live show, which will feature Ozzy’s Sabbath-era jacket frills.
Admittedly, lyrics do not grab my attention first. The way the words are sung certainly do, but the actual words are not my highest priority. I just feel like the way something is delivered can make all the difference - just ask Billy Corgan. So, when a punk rocker older than me wants to strip out the noise and earnestly sing “the night is alive, it’s loud and I’m drunk”, he better make me believe it isn’t a joke. Midway through “Young Hearts”, when he looks over to say “I love you so much” without pausing the song, I believed it. When he convinced Charlie to cut loose and introduce “Too Late to Die Young” like Ronnie James Dio would, she believed it. And I don’t think a single person walked out into the humid summer air thinking that this wasn’t something special and real.
Low Cut Connie
Winnetka Music Festival
Low Cut Connie / all photos by JCB
Low Cut Connie is not a band everyone has heard of, but they have been a consistent name in the rock n roll resurgence of the past decade. They’ve made a name by taking ’60s and ‘70s era rock and Jerry Lee Lewis piano antics, and merging them with modern lyrics that speak to a great deal of listeners. That wouldn’t mean much if the band didn’t translate live, but they’re potentially more well known for their raucous live performances in the dirty basement dives of America. That’s why I was more than happy to make the Metra trip north to the rich and quaint Chicago suburb of Winnetka.
The Winnetka Music Festival was hosting its second annual event on a summer Friday and Saturday, and it was actually a pretty nice event. Plenty of great beer and upscale food was to be had amongst people I had no business interacting with. As I made my way to the stage, I realized that this lovely crowd had no idea what they were in for. Everyone was meandering about, waiting for the expected soft country act to follow the last. As soon as 7pm hit, Adam Weiner and company strolled out, and used their amps to let the crowd know the conversations were over, and all attention must be moved to the south. Adam made quick work of the space I was hoping to enjoy up front, as he corralled young and old as close together as possible.
What happened next is an hour long blur of pure rock n roll. The music was raunchy (but “no cussing today for the kids”), and turned up as loud as possible. Adam was in twelve places at once: playing underneath Shondra (the band’s mascot piano); dancing on the stool; almost doing a handstand while still playing; strolling through the audience to give everyone a hug; and jumping on, over, and off the bench - singing throughout every move. The band rolled through songs new and old, obscure songs, and hits that some crowd members seemed to recognize, like “Boozophilia” or “Beverly.”
It was honestly great to see the reaction in the street. I expected the band to be too ‘dirty water’ music for Winnetka. I expected the music to be too loud. I expected a low turnout after the first song or two. I was wrong. The crowd couldn’t be carried away, and people from ages 6 to 66 were dancing and singing and smiling. Nice work, Winnetka. Now that I know you can book some killer acts, I expect big things in year 3.
The blues is alive and well
1936. That was the year Buddy Guy was born during the Great Depression, in Lettsworth, LA. (Which, according to the 2005 census, has a population of 202.) He is the last of his kind. A true master of the electric blues. “Chicago blues” as it is affectionately referred to in the outside world. Here we just call it “The Blues”. It was born from urban congestion through communities of the southern migration. In order to be heard, you needed to plug in, and proceed to wail--a budding tradition that Guy stepped into when he came to Chicago in 1957.
The venerable legend (hence his Chicago club named Legends) released his eighteenth solo studio album declaring himself at “The End of The Line” (a swinging tune towards the end of the record). He lays out that he is the last of his contemporaries: “The last man standing an empty stage / If life were a book I’d be the last page / Even though I got one foot in the grave / I won’t be quiet and I won’t behave.” This sentiment is evident throughout the hour long record. Songs about liquor and drinking: “Cognac” and “Whiskey for Sale”; tunes about love and cheating: “Guilty As Charged” and “Nine Below Zero”; and death and heaven: “Blue No More” and “Somebody Up There” fill this record with every behavior and thought (good and bad) you can have in life. You know, the blues. The exact thing he has spent a lifetime perfecting to utter beautiful simplicity.
There is nothing new to have here, because it isn’t needed. Even his guest spots are understated, with only Jeff Beck’s shredding on “Cognac” even coming close to overshadowing Buddy’s masterful fills. Keith Richards and Mick Jagger make contributions as well. Mick’s harmonica playing on “You Did the Crime” makes one a little eager to hear more of him blowing, especially after the blues record The Stones put out a couple years back.
If this is the last one--which we pray it isn’t--Mr. Guy will have gone out with a bang; his guitar strapped on, leaning into the mic; and pulling us all along to heaven, or be it hell. Who cares, when you’re having a grand time getting there?
There are no Chicago dates on the current US tour in support of the record, but we are sure he’ll play here again soon.
everything is love
s.C. enterprises, roc nation
Like Lemonade and 4:44 before them, Jay-Z and Beyonce dropped this one over the weekend without any announcement. No fanfare, no video, just 9 tracks of gold-dripping hip hop and R&B. They have run a full cycle in this third record of the trilogy; exploring every corner of their relationship and their place in the world as arguably the two most prominent African Americans of a generation. However, as the masters of their craft found themselves separately reflecting on these subjects through the previous albums, the combination of their voices--lyrically and sonically--propels this record into the stratosphere.
The two have made brief guest appearances in each others’ music before, but this is the first time they have made an entire album together, and the result is rather awe-inspiring. The concept of a musical couple who explore their relationship within their songs is not a new one, but here The Carters delve so deep into their love and troubles that it makes them human: something both are well beyond apart, they achieve together with grace.
Not only do they speak candidly of their relationship, but turn to the outside world and the injustice they see around them. In “BLACK EFFECT” Beyonce takes a verse declaring at the start “Put your hands up / Fuck a false arrest” and Jay-Z answers back in his last verse with the same. As the album comes to a close with the two trading lines in “LOVEHAPPY”, it feels like a conversation set to a beat. Not an argument, but a coalescing of this whole ordeal and project. With both of them coming to the conclusion that “the love is deeper than the pain.”
*-A video for “APESHIT” did drop a day or two later. You can check it out here.
The two are coming to Soldier Field on August 11th and there are still many tickets available. They start at $45.50, and this record is so good we might just shell out the bucks.
please don't be dead
Blues, Funk, Rock and Roll, and R&B have always traveled in the same circles sonically; and many artists have combined them to great effect. Xavier Dphrepaulezz, having been heavily influenced by these musicians, has come up with his own stage persona that wraps all these genres into a single musical experience that is Fantastic Negrito.
Rising out of Oakland several years ago after winning NPR’s Tiny Desk Concert in 2015, he resurrected a career that almost ended in an accident that left him in a coma for weeks and damaged his hands. This funky jaunt into Dphrepaulezz’s brain is his second album under this moniker, and is high on the list for best of the year. He is incendiary musically and lyrically declaring on stand out, “Transgender Biscuits”, “All the people with love in your heart / get unified / get organized / unity / change.” On “Never Give Up” he sings of America going through a meat grinder, but urges that we can never give up. These are great songs of protest under the veil of blues and funk. “Take that bullshit and turn it into good shit,” goes the chorus of “Bullshit Anthem.”
The only small complaint I have is the distortion that is used on his voice in some tracks doesn’t seem necessary. I understand why, it sounds gritty and cool, but he has such a great set of pipes that it seems a shame to cover them with an effect.
Regardless, this is a fantastic sophomore effort from a performer I can’t wait to see live.
He just played Chicago Blues Fest a couple weeks ago, and we heard he was amazing! We were not able to attend, and that bummed us out. But this album helped bring us around.
34 n. river
This is a stunning debut from three highschool friends who reconnected when one was visiting from California. They wrote and recorded an album in three weeks, and the band Oliver Hazard was born. Simple, straightforward lyrics with an acoustic guitar base and harmonies that melt your troubles away make this folky stomp band shine. Hailing from Waterville, Ohio (a small canal town south of Lake Erie) their short and sweet songs detail a life lived among the small town residents; telling stories of the couple who owns the Chinese restaurant next door in “Henry & Pearl,” or in “Jealous Man” where they detail a goodbye between two brothers. It is honest, heartfelt music that transports me back to the small town in Kansas where I spent many years. It is a combination of nostalgia, heartache, and joy that resides deep inside each of us when we think of home. We just need musicians like the ones in Oliver Hazard to help nudge it to the surface.
No dates outside of Ohio yet for the rest of the year. Hopefully that changes when people start to embrace this album.
oil of every pearl's un-insides
It begins with what sounds like a R&B pop song, but soon ramps into a soaring coda that declares “It’s Okay to Cry”. The next track screams to life with rasping bass pumps, and squealing electronics that sound like a damaged machine. Whispering lyrics while the song reals behind her, it becomes apparent that this is not a “normal” pop artist. This is SOPHIE, an LA by way of Scotland, producer, performer and DJ who has produced work with Charlie XCX, Vince Staples, MØ, and (personal favorites) Let’s Eat Grandma to name a few. She has released a smattering of singles over the years, but who could have known what she had up her sleeve for this debut record. Is this the future of pop music? Is this too avant-garde for the public? Where can she go from here? Some of this album sounds like if you took a Bjork album, sped it up, and listened to it on acid. Yet it is so interesting that once you start, you’ll have to see it through to the other side.
As Ann Powers of NPR put it: “My daughter said ‘Mom, this record is reorganizing my brain.’ “
She currently only has four dates on her tour schedule and unfortunately none of them are here.
a release we missed
Watch this 15 min audio visual album right now. It’s outrageously good. Fifteen songs in fifteen minutes, each with its own vignette. It’s rather incredible. It has been out for almost a month so we are way late to the party but it’s worth the look. You won’t regret it.
Unfortunately, she doesn’t have any Chicago dates anytime soon.
WHAT WE'RE JAMMING TO THIS WEEK
little changes (acoustic)
Played electric this tune was good, but with just Frank and a guitar, it transforms into a beautiful ballad about the issues with city life and relationships. And how if we just dedicate our lives to making little changes maybe we can fix the big problems.
Turner is in town at the Aragon this Saturday the 23rd with The Menzingers and The Homeless Gospel Choir. Tickets are still available, and only $35!
that's a lifestyle
Poetic as always: “Who will stop wasting the lives of the brave, based on a lie? Who will stop wasting the forest and seas? We know what will survive. Who will stop wasting the time? Who will stop putting quarters upon our eyes? Who will not place himself higher than we, for a Senator’s prize?” We couldn’t have said it better.
They just played Thalia Hall on May 22nd and we couldn’t make it. We hope the people who saw this great band in flux enjoyed themselves.
it might get dark
It’s been a couple years since these rockers put out their last album and this rollicking jam is the second single off forthcoming album Performance, which is due out August 24th.
White Denim is hitting up The House of Blues on September 12th. for only $20.
death cab for cutie
When every other band seems to be looking around them and questioning their place, maybe perennial wanderers Death Cab For Cutie have found theirs. This little indie gem is the first single off new album Thank You for Today, due out August 17th. We’ve heard a couple more tracks and it all seems to shape into the most positive DCFC album in a long time. Maybe ever. Thanks for the inspiration Mr. Gibbard.
Ben Gibbard and company are hitting The Auditorium Theatre October 7th and are $52.
three dots and a dash
This string quartet made up of powerhouse players is instrumental bluegrass at it’s best. Fiddle riding high above a jumble of banjo, mandolin and guitar makes this a standout track this week. Gorgeous in its simplicity, yet complicated in execution.
They are performing at The Symphony Center with Madison Cunningham in support on September 7th. Tix are still available and going for $35 - $90.
OTHER NOTABLE JAMS FROM THIS WEEK
Cigarettes After Sex - Crush
Lets Eat Grandma - Ava
Amy Shark - Don’t Turn Around
THIS WEEK'S RECOMMENDED NEW RELEASES
petal / magic gone / run for cover
“The truth is just a piece of coal. Just as cold.” sings Kiley Lotz on “Tightrope” the second track of this killer sophomore effort from her solo project Petal. It’s such a simple observation which is what makes it so chilling. This is indie rock at it’s best. She asks all the questions we want answered in life and sometimes the truth is “Just as cold.”
Petal is playing Beat Kitchen this Sunday, June 24th at 7PM and tix are going for $15.
chromeo / head over heels / atlantic
Sex, sex, and more sex has always been Chromeo’s bag, and it’s incredibly successful. So why change the formula? Dancing is required as they lay out tune after tune of funky, dirty, love making electro funk. They make us want to make a “Bad Decision”!
They’ll be jamming up Summerfest in Milwaukee on Sunday July 1st!
skin & bones / shadowboxing / old horse
An L.A. Americana duo that has grown their sound on this latest album. Adding more instruments and some orchestral arrangements lends a bigger sonic landscape than their debut, but the tunes are still grounded by Taylor Borsuk’s guitar and Peter Blackwelder’s violin. Borsuk’s voice roots it all in the earth and what is grown becomes gorgeous and alive.
We expect them to tour in support of this great record soon. So far there are no tour dates slated.
jay rock / redemption / top dawg
The often overlooked first Top Dawg Ent. artist has dropped an angry, very serious, and compelling album. It seems he has found his later career voice, and that may be the most important thing an MC can gain once they hit their 30’s.
Jay Rock is not currently touring.
marissa anderson / cloud corner / thrill jockey
Just the phrase instrumental guitar may already have you yawning, but this Portland based musician produces such wonderful pieces it would be a shame not to mention her new album. If you are at all into lovely haunting guitar tunes put this one on in a hurry. We promise, it is so beautiful you’ll stay awake through these ten tracks for sure.
Ms. Anderson is stopping by The Constellation June 27th and it’s only $15 so you have no excuse not to go and be transported.
MORE NOTABLE RELEASES
betty Who / betty, pt. 1 / betty who, awal
This Australian amazonian pop queen is back with a five song EP that takes her talents to new heights with 80’s inspired pop gems.
She is playing Electric Forest this weekend in Rothbury, MI but she is at the Turner Hall Ballroom in Milwaukee tonight: Thursday June 21st! Tix are still available for $24.50. Road trip anyone?
Welles / Red trees and white trashes / 300
Fuzzy guitar paired with irreverent lyrics makes this 23 year olds debut stand out. This Arkansas native has found a home in Nashville, which is perfect if you ask us.
Welles is playing Schubas this Tuesday, June 26th with locals (our favs) Pylons opening!
victory / the broken instrument / roc nation
The legend goes that Jay-Z found her singing in Central Park with her brothers and sisters. But Victory Boyd transcends that story on her debut album. It is a golden mixture of soul and folk that left us breathless.
No Chicago dates yet for this soon to be household name. We are praying for one and will let you know if she gives us a stop.
melody's echo chamber / bon voyage / fat possum
Psyche pop isn’t usually a genre that takes itself too seriously but French musician Melody Prochet has taken it in the opposite direction and lent her new album a contemplative air that works incredibly well. We weren’t surprised to hear that Dungen guitarist Reine Fiske had contributed and probably influenced her in ways only they can comprehend.
There are no current dates on her tour slate. She hasn’t played in Chicago since 2012 so we hope she comes back soon.
rolling blackouts coastal fever / hope downs / sub pop
Another Australian act that impresses! This rock quartet produces great tunes that get our juices flowing. Yeah you can be dirty about that if you want . . . just remember you went there.
These boys are rolling through Lincoln Hall on September 8th and tix are going for $15.
Nas / Nasir / mass appeal, def jam
Ok, so it seems Kanye (who produced the album) kept the record from debuting on Friday because he wasn’t done. It dropped quietly on Saturday a full day after the listening party had to be canceled. More drama to outweigh the music. It doesn’t matter what you put out there if the end product is overshadowed by the drama. There are some good tracks here but overall it is just lost in the shadow that is Kanye, and the recent allegations of abuse that have come against Nas by former partner Kelis make this a hard listen. Sorry Nas. Just the way it is.
He has many dates this summer, headlining and opening for the likes of Ms. Lauryn Hill. However, none of those dates brings him to Chicago
r+r=now / collagically speaking / Capitol
Standing for Reflect + Respond = Now, this jazz collective built by pianist Robert Glasper from young musicians at the top of their game is far from the first jazz supergroup. But it is the most important one in this moment. Definitely the best new jazz album this year, by far.
No US tour dates for this collective in the near future.
Mike Shinoda / Post traumatic / warner bros.
Not every artist would channel the death of a loved one into an album that is just as much a therapy session as it is a record; but Mike Shinoda is not an ordinary artist. The Linkin Park co-vocalist speaks candidly on how he is handling since Chester Bennington’s death last year. To tell the truth, we dig it more than Linkin Park and hope this isn’t just a one off. Maybe this is the start of prominent solo career.
Shinoda isn’t making a stop in Chicago on his tour but with the album out now it may be possible he shows up in the second wave of Riot Fest acts.
Grandson / a modern tragedy vol. 1 / Atlantic
The debut EP from this american ex -pat (he lives in Toronto) is full of caustic and effecting imagery. The closest comparison would be if Rage Against the Machine had come along when electronic music was king (as it is now).
Would Zach Del La Rocha have been a one man band if he had the tech grandson has now? We’ll never know...
grandson is playing Mamby on the Beach this weekend! Check out our Summer Fest Guide for more info!
and they are opening for Nothing but Thieves at the Metro on September 13th.
NOTES & ANNOUNCEMENTS
This weekend is the official start of summer, and to ring it in Mamby On The Beach is happening down at Oak Street Beach. We’re hitting up Saturday for Common, Spoon, Grizzly Bear, Tune-Yards, Towkio, grandson, and Cupcakke! Tickets are still available and are currently $104 for Saturday and $94 for Sunday or $124 for both days. VIP tix are also available for a bit of a markup.
Logan Square Arts Fest is this weekend as well and it has a killer lineup! Priests, !!! (chk chk chk), No Age, Odd Couple, SSION, and Flint Eastwood are all great acts and you should go. Really you should. It’s freaking FREE!
Stay tuned for our July Summer Fest Guide coming next week!
See you at the show Chicago!
Yeah yeah yeah, we are still constructing the new calendar. We know. It’s been a month. But Summer is here damn it! We’ll get it ready sometime soon… till then here is our recommended shows of the week.
Thursday June 21st:
River Whyless / Jalen N’Gonda
Lincoln Hall 8PM $15
Xavier Rudd / Xiuhtezcatl
Metro 8PM $32 day of
The Aces / The New Respects
Pritzker Pavilion in Millennium Park 6:30PM FREE
The New Pornographers / Brett Newski
Thalia Hall 7PM doors $36 - 60
Friday June 22nd:
Night Riots / courtship. / Silent Rival
Subterranean 7PM $15 All Ages
Frank Turner and The Sleeping Souls / Lucero / The Menzingers / The Homeless Gospel Choir
Aragon Ballroom 6PM $35
Erin Rae / Good Buddy
Schuba’s 10PM $10
Ruido Fest (see our Summer Fest Guide up top for more info)
Saturday June 23rd:
Logan Square Arts Fest (see our Summer Fest Guide up top for more info)
Mamby On The Beach (see our Summer Fest Guide up top for more info)
Sunday June 24th:
Petal / Camp Cope / Oceanater
Beat Kitchen 7PM Sold Out
Logan Square Arts Fest
Mamby On The Beach
Monday June 25th:
White Bronco / Dull / No Windows / Rent Party
The Burlington 8PM
Tuesday June 26th:
Welles / Pylons
Schuba’s 8PM $12
Thalia Hall 8PM doors $18 - $35
BAMBARA / Ganser / Reverent
Empty Bottle 8:30PM doors $8 ($10 day of)
Wednesday June 27th:
Tracyanne & Danny / Lomelda
Lincoln Hall 8PM $20
Old Crow Medicine Show / Joshua Hedley
Thalia Hall 7PM doors $35 - 80
Been inspired by a recent musical experience? Excited about an upcoming show? shoot us an email to GET STARTED.
Being a contributor has never been easier. All you have to do is enjoy music, have a good time and tell others about it. We are a community sourced web mag, that means our experts are music lovers in your community. Yes, you are an expert music lover. (We know because you are reading this site) Our goal here is to encourage people to see live music, and have a good time doing it. Get clever with how you would like to contribute, but here are some ideas:
- See a show and write about what made it great for you (and snap a couple pics)
- Tell people about CCS
- Listen to a new album and write a review
- Share the weekly issue post
- Buy us a ticket to see a show - we will try to cover the show if you can’t go!
- Post to our social media sites about news in the local music scene
- Help us make a connection to acquire:
- Press passes
- Photo passes
- Promo materials (buttons, stickers, gear, flyers…)
With any contribution, we request email submissions by the following Wednesday morning (ex. If you see a Friday show, submit 4 days later; ex. Listen to a new album on Tuesday, submit the next day). Please let us know that you want to contribute so we can get you into that week’s issue. You can totally submit a review later than Wednesday, and we may include it. Not to put the pressure on, but we are a weekly mag so we like to keep content current.
P.S. If you want a little extra confidence, we really do want to hear from you and expand our community. I am not a trained writer, and personally think my reviews need a good deal of improvement. I keep writing to get better, and people are still reading it!