Rock ’n’ roll used to be a force for social change—and if the employees of megabucks retailer Guitar Center have their way, it will be again, goddammit. The workers unionized two years ago, and now find themselves fighting for a fair contract—meaning one that provides a living wage and affordable benefits. They stress how much they love their jobs, but lament that “we often have trouble making ends meet, thanks to low wages and fluctuating hours. We are asked to do many non-selling tasks which hurt our commissions. Sales workers do not receive sick days, health benefits are expensive and part timers are not even offered health benefits.” Read the rest of this entry »
Nonprofit arts programming collective Homeroom returns with its Songwriter Showcase after a couple of months off. If singer-songwriter open mics tend to be the kind of thing that normally repels you, I urge you to give Homeroom’s take on such an event a try. There’s a lot more diversity than the usual “lone-singer-with-a-guitar” setup, a diversity of styles and genres and an opportunity to hear the artists talk about their songwriting and creative processes. Read the rest of this entry »
Wire / Photo: Marylene Mey
Whether or not you believe Wire to be a seminal punk and post-punk band, you have to admire its insistence on evolution—from its minimalist beginnings in 1976 through its various genre-defying iterations. Which brings us to the new format for the band’s ongoing DRILL festivals: small, curated events built on artistic kinship across divergent musical styles, influences and generations. This version of the festival (with different supporting/collaborating artists) hit London earlier this year, and we have the privilege of being the only other host city on the agenda. Read the rest of this entry »
Rachel Bonacquisti is just a slip of a girl, but she belongs to that mighty tradition of tiny women—Edith Piaf, Dinah Washington, Janis Joplin—who open their mouths and stop the earth grinding on its axis. She’s the vocalist for Burnside & Hooker, who celebrate the release of their new CD, “All the Way to the Devil,” this month at Double Door. The album ranges pretty far afield, pulling in influences from just about every goddamn genre you can name, with the possible exceptions of polka and J-pop; what binds them together is Bonacquisti’s dominating presence. It takes a certain kind of woman to put across lyrics like, “Stop making me the bad guy / Stop making me the fool / Stop saying that I tie you down and lock you up / And then send me back to your room,” and Bonacquisti is absolutely that woman. Read the rest of this entry »
By Robert Rodi
Haley Fohr is very young—just twenty-five—but she sounds like some ancient oracle. Her rich, resonant female baritone has a lower range that rumbles ominously, like plate tectonics, and an upper that’s so dizzyingly perched, it can induce vertigo. On pure vocal fireworks alone, the new album by her brainchild, Circuit des Yeux, is a galvanizing listen; but it’s got much more than that going for it. Less a collection of songs than a trek across her sonic headspace, “In Plain Speech” is a remarkable document of a budding composer’s development. And lest that come off as condescending, let me just add that she’s already leagues ahead of many singer-songwriters twice her age. Read the rest of this entry »
William and Jim Reid
For thirty years (with the exception of a nearly nine-year hiatus because of a brothers’ spat), The Jesus and Mary Chain have produced an extremely beautiful and powerful mess. It’s hard to hot-tub back to 1985, when dance music was defined by Wham! and classic rock by Foreigner; but that’s when the Jesus and Mary Chain showed up, with a punk ethos, black leather jackets and sunglasses. On top of the image, brothers Jim and William Reid from East Kilbride, Scotland, came fully equipped with a new sound they’d developed—a haystack of feedback, Velvet Underground haze and Phil Spectoresque wall-of-noise, shrouding a pulsing beat and shiny melodies. It’s the sound that launched a thousand shoegaze bands. Read the rest of this entry »
Cameron McGill, Angela Mullenhour
By Keidra Chaney
It’s hard to believe we’re already four months into 2015. It’s particularly unbelievable that—at least to me—it’s so far been a pretty uneventful year for indie music, local or otherwise. Of course the weather’s been in a pretty soul-killing state until very recently, which has made going out for live music a bit more of a chore, but there’s also been something of a demo drought in my neck of the woods. There’s plenty of time to catch up, and Chicago tends to be at its best in spring and summer, so it’s my hope that the next few months will make up for a rather barren winter of music news and events.
That’s not to say that there’s not some good live music to check out in the next few weeks. I mentioned the Gapers Block-sponsored “Stars Align” series several columns ago; it features two musicians from different local bands collaborating for a one-night-only live performance. This month’s show, on April 16, promises to be a special one, because instead of performing covers or each other’s tunes, singer-songwriters Cameron McGill and Angela Mullenhour (of the band Coins) will perform newly co-written original songs at GMan Tavern (3740 North Clark). The show’s free, as usual for the series, and starts at 7:30pm. Read the rest of this entry »
By Robert Rodi
It’s hard to imagine it now, but a mere fifty years ago there were very few singer-songwriters beyond the folk milieu. Bob Dylan was still a relatively new phenomenon, and he not only owned the genre, he pretty much was the genre. These days, of course, you can’t swing a dead cat without thwacking half a dozen guitar-slinging bards (while Dylan, go figure, is covering Sinatra). On any given night, in clubs and pubs across America, countless brave-hearted balladeers climb atop stools and compete for the attention of the congenitally inattentive. And people say stand-up comedy is rough; try breaking through the noise of a bar in full clamor when you’re warbling about your last big breakup.
But, here’s the thing: a lot of these troubadours are pretty freaking fine. And in Chicago, I’m happy to report, we’ve got more than our fair share of them. A pair of recent releases prove my point: they’re both melodically original and lyrically ingenious, yet each one is a standout original.
Little Dave Merriman has long been a fixture on the scene, chiefly as a guitarist and vocalist for The Arrivals. “Odd Bird” is his first solo album—and when I say solo, I’m being almost entirely literal. He not only wrote all the tunes, he plays nearly every instrument as well. And these aren’t breathy, spare arrangements either; they’re full-throttle rock-band material—the better to support Merriman’s raggedly bravura, another-whiskey-will-kill-me-but-so-what vocals. Read the rest of this entry »
By Keidra Chaney
It’s an interesting time of year for live music in Chicago; it’s right before the spring and summer concert season, so many of us are preoccupied with summer-festival-lineup announcements or buying tickets for recently announced shows taking place in the upcoming months. At the same time, it’s smack dab in the middle of the worst part of winter, so many of us are suffering from major cabin fever and eager to leave the house for anything remotely interesting. Chicago’s musicians and venues often approach this time of year in novel and creative ways.
The 2015 Dunn Dunn Fest returns to Chicago February 19-21. In an indie-rock-heavy festival scene, Dunn Dunn Fest has traditionally stood out from the crowd by focusing more on American, folk and roots acts. Six venues will host this year’s event, including The Hideout (1354 West Wabansia), Subterranean (2011 West North) and Beat Kitchen (2100 West Belmont). While Dunn Dunn Fest started in 2013 as an intimate festival focused primarily on Americana, a closer look at the lineup this year reveals a much larger and more diverse list of forty-plus bands that don’t fall so neatly into that category. On February 19, Toronto alt-rock band July Talk plays Subterranean (8pm, $10) and on February 20 sunny indie-poppers Save the Clocktower play the Hideout ($10, 10pm). For more information on the full lineup, venues, times and ticket prices go to the Harmonica Dunn website. Read the rest of this entry »
By Robert Rodi
In the last twenty-five years, women in music have made tremendous strides, building bodies of work that showcase the kind of empowerment, control and sexual bravado that would’ve been unimaginable just a few decades earlier. But for all their power and strength, they rarely manage to project intellect—the quality of being aware of themselves in context; of understanding not just who they are, but what they mean.
Thankfully, we’re beginning to see some cracks in that particular glass ceiling. And one Chicago-native, female-fronted alt-rock band is most definitely doing its part. Honey & the 45s’ new EP, “Mad,” features seven songs that all turn standard love-and-longing narratives on their heads—starting with the title cut, which is a razor-sharp dissection of a woman’s attraction-repulsion complex, in the form of a long screed directed at the guy in the equation. “I hate that you know me, you know me so well,” sings front woman Kristina Cottone, “I hate that you caught me before I fell.” With lyrics like that, you know you’re in fairly literary hands. Read the rest of this entry »