This past Thursday night, The Wombats closed out the first day of Lollapalooza 2018 with a sold out aftershow at Lincoln Hall
As the clock struck midnight, hoards of music fans had piled into Lincoln Hall to celebrate the end of the first day of Lollapalooza with The Wombats. Although they had just performed out in Tinley Park with The Pixies last month and at Lollapalooza earlier that day, the last time The Wombats had performed as a headliner in Chicago was more that two years ago, when they played The Metro in support of their album Glitterbug. Despite the late start time of the aftershow, old and new fans of the band buzzed with anticipation during the moments leading up The Wombats’ entrance to the small stage, everyone anxious to hear some of their old favorites as well as the freshest material from this year’s Beautiful People Will Ruin Your Life.
The set began with the new; The group opened with “Cheetah Tongue,” the first track off their fourth studio album, but from there on, the setlist took twists and turns through The Wombats’ extensive catalog of material. Following “Give Me a Try” from Glitterbug, the band threw it back to 2011 and 2007 with “1996” and “Kill The Director.” While The Wombats did a great job at compiling a setlist of songs that highlighted each of their album eras, one of the best experiences of the show was looking around and seeing fans scream the lyrics along with lead singer Matthew Murphy and dance throughout the night with unwavering gusto, during every single song. Murphy and bandmates Dan Haggis and Tord Øverland have continuously mastered creating music that blends clever and sharp narratives with danceable melodies and grooving bass lines, allowing for fans to connect with the lyrics while dancing it out.
Live, the trio translates their records to life with a keen stage presence and unmatched chemistry, which stems from their years and years of playing music together. Despite their grueling tour and travel schedule as of late and the fact that they had played Lollapalooza earlier that afternoon, The Wombats never skimped on the energy during their show at Lincoln Hall; Øverland still delivered his signature kicks and jumps as he played bass and Murphy often paraded around the stage with his guitar. The entire room was already beaming from ear to ear as the set came to a close, but the band still had one more surprise up their sleeves. During iconic tune “Let’s Dance To Joy Division,” three people dressed up head-to-toe in wombat suits rushed the crowd and stage to close out the night, and everyone (even the wombats) clapped along to the athemic bridge of the song.
Following the humorous guest appearance, The Wombats (the band) returned for an encore, bringing along the costumed wombats again. The three song encore consisted of one of their recent singles, “Turn,” “Tokyo-Vampires & Wolves” from their earlier days, and “Greek Tragedy” from their third album, once again equally representing all of their eras. No matter what year your favorite song from The Wombats comes from though, there’s no denying their music and their live show has a timeless quality to it; it will always be a challenge to find anyone having a bad time at a Wombats show.
Check out photos from the show below, and see where you can catch The Wombats next here.
Considering he grew up playing music in prisons and at biker rallies with his parents, you could say singer songwriter Matt Maeson has quite the interesting backstory…But ultimately, it’s his dynamic vocals, piercing lyrics, and knack for storytelling that hooks listeners and fosters the growing buzz surrounding his music. With millions of streams racking up on Spotify and appearances booked at major festivals around the country, the momentum surrounding Maeson just keeps building, and he hasn’t even released a debut full length yet.
The music Maeson has released so far remains sonically multifaceted, with each song on his two EPs having a distinct sound of their own. Most of his songs tend to cover serious subject matters, but to juxtapose the heaviness that comes with some of his music, Maeson keeps the mood lighthearted on his social media, often cracking jokes on his Twitter. (Go follow him if you’re not already, trust me.) That same personality transfers over to his live show, so if you’re heading to Lolla this year, make sure you catch Matt Maeson on Friday, 8/3 at noon…but first get to know him a bit better. I recently caught up with him after his set at Bonnaroo last month, talking his favorite festival moments, his love of Chicago food, Johnny Cash selfies and more.
So I know you grew up with a musical family, but when do you remember wanting to start making music on your own?
I was, like you said, raised in a very musical family, so from the time I was able to consciously receive music, I loved it. I started on drums when I was really young. I was like 3 or 4 and my uncle passed away and he left me a drum set. I just drummed away until I was 13 or 14 and then I picked up a guitar around 15, and that’s when I started writing songs. My dad would teach me chords. So 15, around that age was when I started writing, and I started performing live when I was 17. The rest is history.
When you started performing live, is there anyone you looked up to, or whose stage presence you admired?
That’s tough cause there’s different aspects. Vocals, Britney Howard from Alabama Shakes is insanely talented. Jeff Buckley is one of my all time favorite artists. Then Manchester Orchestra is a huge one for me.
Oh were you around yesterday when they played?
No I wasn’t I missed it! I missed them at Bottle Rock when they played the day after.
Oh no! One day you’ll get to see them! Anyone else who inspires you?
I love Johnny Cash. I love the way he performs… and I played in a lot of prisons growing up.
I caught your set earlier and before you played “Cringe” you said “This is the one everyone has been waiting for.” How does that feel since releasing that song to have such a viral response to it? What has been a highlight?
It’s sick! “Cringe” is my most streamed song so I know every show that’s what everyone wants to hear. I’d say that the really dope thing was I played this show at The Hawthorne in Portland, Oregon. That was the first show that I ever heard people singing the lyrics with me, and that was to “Cringe.”
Then you just mentioned you played Bottle Rock, you’re playing ‘Roo now, then playing Forecastle and Lolla too. What is your favorite festival moment and your worst festival experience that you’ve ever had?
I’d say my favorite festival moment would probably be the time I played this festival in Houston called In Bloom. It’s a smaller one, but it was my first festival. My girlfriend was there, I just played solo acoustic. And people were singing along. It was just the first big crowd at a festival I saw and played in front of. The least favorite was I went to this festival called Beach Goth in Orange County. It’s cool and the line up was amazing…it had three of my favorite artists; King Krule, James Blake, and Bon Iver were all headlining. The stages were so close together and it was so packed that if you were trying to see King Krule you were hearing like TLC play. And then if you were trying to see Bon Iver you heard this, and there was just so many people that I was like I don’t want to see any of my favorite artists like this. I’d rather wait to catch them in smaller shows.
What made you come up with the idea to release stripped versions of songs like “The Hearse” and “Cringe”?
[It was] mainly cause this is my first tour doing a full band thing. So everything before that was just acoustic. So that’s what people who have seen me live have grown to love. That’s when I think the songwriting really shines, when there’s not all this big production behind it, but it’s just this simple thing where people can really focus on the melody and lyrics. We put a couple out and people loved it.
My mom loves the stripped version of “Cringe!”
Yeah that song is streaming extremely well! It’s streaming better than the regular one.
What about new music? Are you working on that on the road at all or just focusing on touring these songs?
I mean, both. I don’t really try and force myself to write too often because I think that’s when the writing feels like it’s a job or something. It gets a little less sincere when you’re trying to force something out. Typically what happens is I’ll go on tour, I’ll get so drained and so exhausted, and then I’ll get home and write an amazing song. We’re definitely writing for the album right now.
So you’re coming to play Lolla, and I’m based in Chicago–
Yeah I love Chicago!
So what are you looking forward to about Lolla and coming to Chicago in general? Are you sticking around at all?
I will be because I’m doing a Lolla set and then I’m doing an after show, and then I’m doing another show…I think it’s just acoustic. So I’m doing the acoustic show and then I’m opening up for Gang of Youths, they’re awesome and I’ve done a couple shows with them! Then I do the actual Lolla set, so I think I’ll be there for three or four days.
Did you check out the rest of the line up at all?
The line up is insane. So good. I’m pumped. There’s definitely people I want to see, but I’ll know in about a month and a half from now.
Anything else you’re looking forward to doing in the city while you’re there?
I love Chicago. I would 100 percent live there if it didn’t get so cold. It’s brutal. I’ve been there in the winter and it’s so brutal. But Nando’s, I love Nando’s and it’s one of the only states that has them. Au Cheval, the burger spot. It’s insane. I love food. I still haven’t been yet, but my buddy works at the restaurant called Alinea. It’s insanely expensive. I just love Chicago, I love the people there.
Also your Twitter can be really hilarious, and I saw the other day you posted about people DM-ing you selfies. So if anyone in the world were to DM you a selfie, who would you want to slide into those DMs? We can even do dead or alive.
I would say Johnny Cash. Cause not only would that be amazing to receive a selfie, it would also be hilarious just to see a selfie of Johnny Cash.
Yeah, those don’t exist. Then last thing, do you have any unknown facts or something that you’ve always wanted to talk about that no one has brought up yet in an interview?
That’s a hard one! I skate…nobody ever asks me about that! If you look at my Instagram or something everyone I follow is pro skaters. I never get starstruck and the only people I get starstruck by are pro skaters. Which is funny cause they’re usually the chillest dudes.
When did you get into skating?
When I was super young, around 7. I’m not like great. I was better when I was 16, but I still love it. Love the culture.
Anything else you’re looking forward to or any last closing comments?
Looking forward to getting this album done. We don’t know when it’s gonna come out. It’ll either be late this year or early next year. Then we’re gonna do a fall tour that I’m pumped about. We’re still figuring it out if it will be a headlining or support tour.
Chicago, if you’re not going to Lolla this year, you can still catch Maeson at his aftershow–snag those tickets here.
Over the past few years, Night Riots has toured relentlessly; from supporting the likes of The Maine and Andrew McMahon to their own headline runs, it seems like the five piece is constantly up on stage, engaging crowds in cities across the country. Night Riots’ discography showcases a wide range of different musical styles, but their contagiously catchy melodies remain consistent, as does lead singer Travis Hawley’s signature vocals, which have drawn frequent comparisons to The Cure’s Robert Smith. Hawley’s timeless vocals translate even more powerfully when he’s up on the stage, charismatically commanding the room’s attention with his magnetic stage presence and bond with the entire band. While their recorded music has this quality that makes it instantly like-able, Night Riots’ live show only amplifies that quality, making their concerts a must see.
If you still haven’t found your way to one of their gigs, make sure you change that this month as they tour nationwide with Silent Rival and courtship. The tour swings through Chicago on Friday, June 22nd, but before they hit the Subterranean stage, get to know them as they discuss their ideal companion in an elevator outage, their favorite Ewoks, how they stay entertained on the road and more.
You’ve been on tour with courtship and Silent Rival since the start of the month. What’s your favorite part of touring with each of these bands?
It’s been awesome to be with bands that are good people. It’s not always the case that you get along with everyone you tour with but both bands are awesome and really talented.
Speaking of tour, you’ll be in Chicago again on June 22nd, and you’ve played in Chicago several times in the past. What are some of your favorite things to do here?
We try to make a point to stop by the Chicago Music Exchange. That place is amazing…has so many guitars and synths and just rad music gear. Also always gotta hit up a Pequod’s Pizza for that deep dish.
How would you describe your live show on this tour in 3 words?
Energetic, theatrical and transportive.
Your song “Breaking Free” was recently featured in the show 13 Reasons Why...If you could pick any other TV show to have your music on, what show would you pick and why?
I’d want to go back in time and get a song on Star Trek TNG. Maybe even have us be like a holodeck band or something.
You’ve had a couple new singles out this year, which are both great! What other plans for new releases do you have this year?
We’ve kinda been releasing unconventionally. We aren’t necessarily releasing songs as legit singles. We just want to get new music out there…maybe we will compile it into an album this year.
What are some of your favorite songs or albums from this year so far?
J. Cole’s new album KOD is rad. Vacationer is putting out an album we are stoked for. The new Kid Cudi/Kanye West album that just dropped is pretty tight too.
I saw your tweet the other day about the Gunslinger Series by Stephen King. What are some other books you’ve been into recently?
The Dark Tower series has been one of the best series I’ve read in a long time. The scope and storytelling in it is remarkable. I think almost the whole band has read it at this point. I just read The Stranger by Camus. I felt weird for a week.
Even though it seems like you’re constantly on tour and consistently working on new material, you guys are still really great with engaging fans on social media. What are some tips you have for managing your time with crazy tour schedules and how do you make sure to prioritize fan interaction?
At the end of the day the only reason we can continue what we do is because of the fans. So I think it’s important to remember that. You need to be true to yourself and make art that is real but you also need to remember why you do it. It’s fun and another way to be creative and think of new interesting ways to engage, entertain and help transport people out of their everyday lives… at least for a minute. Sticking to a schedule and consistency is key.
If you were stuck in an elevator with someone for a few hours, who would you want to be stuck with and why? (It could be anyone in the world.)
Probably Shaq because 1) He’d probably cradle you like a baby and calm you down 2) He could just rip the doors off and save you and 3) If it all goes to shit and you’re stuck, you could live off eating his body for like 6 months.
What’s one thing you’ve never been asked in an interview, but you’ve always wanted to talk about?
Who my five favorite Ewoks are. Not in particular order they are: Chief Chirpa, Paploo, Teebo, Wicket, and Logray.
If you’ve ever attended SXSW, you know that it’s not like any ol’ regular music festival with set stages and scheduled performance times; There’s super official secret shows with big name artists, last minute pop up shows, unofficial showcases by new artists in the most random places around town, and multiple sets by the same artists in a single day. This past March, I finally attended my first ever SXSW and quickly learned just how unconventional this festival can be when I found myself interviewing Charlie Steen of the British punk band Shame at 1 AM after my friend had just cut his hair (as well as his bandmates’ hair) into a mullet.
Easily one of the buzziest bands at the festival, Shame has been soaring high since the January release of their debut album Songs of Praise, which has in fact been receiving endless praise from listeners around the world. This summer, Shame will return to The States to play a handful of dates, including a show at Chicago’s Empty Bottle as well as the annual West Fest street fest. Before they return to Chicago in July, get to know the band better by checking out these six facts I learned while chatting with Steen earlier this year.
THEY RECORDED IN THE LEGENDARY ROCKFIELD STUDIOS
With the amount of buzz they’ve garnered and the sheer amount of gigs and festivals Shame has played, you might be surprised to find out that the members of Shame are only 20 and 21 years old. Before they started touring heavily, the band worked on writing their debut album for a few years, starting at the ages of 16 and 17. “We were still in school, and we recorded the album when we were 20,” Steen says.
Talking about the process behind writing the album, Steen continues, “Lyrically, it was about personal sort of things you experience in that time as well social observations. Musically, it was influenced by what we were exposed to in that period. All the different bands we discovered through just being that age and being into music.” Once they had written the album, the band took a trip to the iconic Rockfield Studios in Wales to record the tracks. “It was kind of like rehab,” Steen says about the middle-of-nowhere location of the studio, where they resided for ten days. “We’re quite bad at distractions. So, we were on a farm, and this place is like a historic studio. Oasis, Black Sabbath, Motörhead, Led Zeppelin, all these people recorded there. Not many people go there now…Because everyone seems to just record with their laptop or a studio in London,” he says, pausing to describe the scene. “You have like a farm, and then you have a house up top. That’s where we stayed, we each had our own room. Then you walk past the stables and stuff like that and there’s a recording studio. I was up at the house, and I did all of my vocals in my bedroom with a bed sheet over me, onto an Apple Mac. The rest of the band, they did everything to a click [in the studio].”
Prior to their work at Rockfield Studios, Steen recalls working their way through several different producers in order to finally get the right fit with Dan Foat and Nathan Boddy. “I’m not a musician, so I don’t want to put my foot in a shoe that won’t fit, but before that, we’d worked with eight different producers. They all had done the same method of ‘you’re a live band, let’s try to make you sound like some punk band from the 80’s where you record it live.’ That wasn’t how it worked best. Dan and Nathan are from an electronic background, techno producers…They did it a completely unique and different way. Like Charlie, our drummer, he recorded his drum kit individually, each song. They saw it in the same way that fits our music, where the bass and the drums are the pulse and that was very important,” Steen says. “We then realized through trial and error that the best way to approach it for us, was to try to create something completely different to our live sound. So they’re two different things. Sometimes people say it sounds like it does live, but to us it’s a great difference than how it sounds on the record. It’s a lot more concise,” he continues.
THEY ADMIT THEIR MUSIC IS DERIVATIVE, BUT THEY STILL ENJOY IT
One of the most compelling features of Shame’s music is the incredibly raw, honest quality of their songwriting. Reflecting on their style of writing, Steen says, “With the type of music we’re doing…we’re a guitar punk band in 2018. We’re very aware it’s very derivative. There’s no way we could ever deny that. I think with us–I’ve said this before, with bands and artists we might be compared to, and those that might have heavily influenced us, we’ll never have been able to experience it. That’s amazing for us. When we get to see bands like Goat Girl and Sorry and stuff, it’s amazing that we can experience it. For us, it does feel new and refreshing.” Ultimately, they were never trying to be someone else when they started writing, and they’re still just trying to stick to their own vision. “At the end of the day, we never did this with dreams of like having 5-star hotels. It wasn’t ever manufactured. It was all just part of the process. We are just very passionate about music and we know that it’s been done before, but we enjoy doing it. I think the main thing is we don’t write music for anyone other than ourselves. At the end of the day, this is entertainment and we really enjoy it. We’re having a laugh,” Steen adds.
In addition to being authentic, Shame strives to keep their sound and vision multifaceted. “I think one of the preconceptions of a punk guitar band is aggression. Which you know could be lost in translation from energy or passion, or humor at times. That’s something we want to separate. Of course there are issues we’re angry about, but we don’t want to be a band that just conveys one emotion. That’s not human. We want to be able to express humor and melancholy,” Steen says. As they keep pushing to diversify their sound, they also keep pushing themselves to grow and adapt. “We’re very self aware. When we did that album we were teenage boys…that was when we wrote that album. We know now that a lot has changed in our personal lives, which also reflects in the general absurdity of being in a band. It’s just a weird life to live. You feel very temporary. At all times. We basically just want to adapt and evolve. We don’t wanna write the same songs we did before,” he says, adding that their constantly changing environment deeply affects them as a band and as people.
THEIR REHEARSAL SPACE LED THEM TO DISCOVER MUSIC IN A NEW LIGHT
In addition to recording in a legendary music space, Shame also first formed in the rehearsal space of the legendary Queen’s Head in Brixton, which is where the likes of Fat White Family rehearsed as well.
Steen attributes their early rehearsal space to some of their current habits as music fans, saying, “When we started in the Queen’s Head…This is one of the differences; Before, we’d grown up going to venues like Brixton Academy, really large venues like that and seeing bands who had already established themselves in a position of accomplishment. When we went to go to the Queen’s Head, personally I was able to discover bands who were playing a lot more intimate settings. Not known world wide. The realization that great music exists with an accessibility to a more intimate setting is a sort of relief.”
“These were bands who, you say what you want them about personalities, but they were characters. It wasn’t just some pop culture. When you grow up and you’ve only ever seen the bands who perform on a platform of success, you can sometimes overlook the reality of a lot of situations. Of course everyone grew up listening to The Ruts and Stiff Little Fingers. So we knew about these bands, but to get to know them. You realize they’re people. And I think their intentions to do whatever the fuck they wanted…they’d gone past the point of remorse. Which was the best thing about it,” Steen continues.
THEIR STAGE PRESENCE IS JUST AN AMPLIFIED VERSION OF THEMSELVES
The same sense of authenticity that Shame’s music has transfers over into their live shows; at SXSW, Steen often told their audiences to loosen up and smile, saying “this is entertainment.” Steen says he never feels intimidated to get up onstage and deliver such a transparent show. “When I was younger, and I say younger as in like a year ago, I definitely had idolized a lot of people. Then I found that to be quite damaging because you gain this obsession and sort of like–” Steen pauses and snaps his fingers, trying to think of the best way to phrase it. “It’s unattainable identity. At that period, when we play, it’s definitely to an extent a persona. It’s who I am, but amplified,” he continues.
Essentially, their stage presence will continue to remain an extension of themselves. Steen muses further on the concept of immense stage personalities, saying, “When I would look up to all these people like Iggy Pop or Lou Reed or whatever like, it was always…if you’re constantly comparing yourself, that’s what I found damaging. I think like I was saying, I don’t believe anything can be separated from context. At this age as well, you’re in the middle of this identity crisis, so you want to absorb all of these different personalities and be these people you obsess over. Then it got to the point where I’d just rather be myself. I was just this chubby, shy stoner as a teenager. When we used to play, that was the whole point: If you’ve been insulted so much your whole life, what have you got to lose?”
TOURING HAS TAUGHT THEM THEIR LIMITS
Shame just finished another UK and European tour after returning from a North American run, which saw them playing upwards of five shows in a day at this year’s SXSW, but believe it or not their recent touring schedule is nothing compared to the previous year. “Last year we did like 140 gigs and 57 festivals in 3 months, like whilst recording an album and doing 5 tours. By the end I got a bit broken mentally,” Steen says. “It’s hereditary but I suffer from anxiety so now I can only speak for myself…On the road, I don’t drink as much and don’t do drugs as much as we used to. Every night used to be a party. I sound like an old man,” he laughs. “I feel like an old man. So that’s how I kind of deal with it.”
Their intense past experiences ended up acting as a learning experience, where Steen personally discovered where his breaking point is. “The period of what I went through in December, where we ended up having to cancel this tour in Germany, I learned a lot more about myself than I have in my entire life. So I know when is too much. I know when I need a good night’s sleep. Like I need a good night’s sleep now, but it’s a celebration. I know what I need to do. I guess I sort of learned the value of responsibility a bit more. As a person, and this is a little bit hypocritical of me to say after saying that, but I can’t do moderation. I can’t do it at all. So I know that if I have one drink, I won’t drink until I fall asleep. And I can’t do one line. I’ll do it until it runs out. I can’t do that. If I’m not doing that, I can’t do anything. So it’s either one or the other, but that’s me as a person,” he says.
While Steen may have personally learned to rein in his limits, he also realizes as a band they have to compromise sometimes. “We’ve known each other since we were kids. Sean has been my best mate since we were 8. We understand each other very well. I don’t particularly like playing a lot of shows, for my own personal reasons. If the rest of the band wants to do it, you have to find a middle ground. After what happened we’re looking through a sharper lens about how many gigs we do. So like this festival season we slashed loads of festivals cause it’s not worth flying from Poland to play to 40 people in Kent to fly back to the Ukraine the next day.”
As far as the biggest lesson that Steen has learned about the band through the years, besides learning his limits, he says, “You kind of lose a lot–this might sound very dramatic, but you kind of lose a lot of human rights. And by that, I don’t mean like I’m shackled in chains in a 4×4 room. I mean, in terms of you kind of lose the things that make you feel human. Eating a meal with your mum and dad or like going for a drink with your friends. You lose people you love, your friends and family. It sort of disappears. Familiarity becomes an abstract ideology. I still don’t think I know a lot about myself. I think as people we know each other so well, we [the band] went beyond friendship about 2 years ago. It’s almost like a cult. I guess, I don’t know, you have to deal with everything you deal within a normal life, like breaking up with someone, moving out of home… you have to do that through the band. The biggest amount of privacy I get is when I go to the toilet. Fact. For 6 and a half weeks. So I think you lose privacy. But you know I’m saying all this and we fucking enjoy it and we love it. Whatever we have to lose at this particular moment in time, personally, I feel is because we want to do this. I want to do this. We want to do this to the best of our ability.”
THEY’LL ALWAYS USE THEIR PLATFORM IN A POSITIVE WAY
Through their music, social media, and even past interviews, the members of Shame have made it clear that they’ll never shy away from standing up for what’s right. At one of their shows at SXSW, Steen jumped off stage mid-show to tell off an audience member who had gotten aggressive with some of the other crowd members. Touching on their habit to speak out, Steen says, “As a person, and a white man, we don’t want to…I don’t want to be the spokesperson for any problem or any inequalities with girls, or race, or religion. But as a human being, I don’t understand how you could not want to support all these people and fight against any inequality. I think we all feel it’s disgusting for anyone who has any sort of platform to not [use it].”
Steen also reflects on the tendency of the press to label them as a political band, but says they never saw it like that; they just realize it’s something that directly effects them. “At the end of the day, it’s the biggest bullshit that a person could say ‘I’m not political.’ Everyone has politics, it’s just whether or not they choose to share them. How could you not talk about it? I don’t know, it doesn’t really make sense to me. There are a lot of great bands who will speak on these issues, and I think particularly in the current climate, in the music industry, and every industry, but this is the one we’re most absorbed in because this is our life.” He continues, shouting out people like Princess Nokia who speak out on all these issues, adding, “As a guy, like who is constantly surrounded by the music industry all the time, it is without a doubt and without question, majority middle class, white men. That’s how it’s been for probably just under 100 years. With the birth of pop culture, all of these unforgivable acts of discrimination were erupted that weren’t extinguished. They shouldn’t have been there in the first place, but they should have been addressed and destroyed when it came out.”
Lastly, Steen asks that everyone remains respectful of others when they come to shows, especially one of their gigs. “At a guitar gig, like a mosh pit, it’s mainly like male aggression taken out. We don’t fucking want that at our shows. Like it’s a safe environment. I’ve never won a fight, I’ve only ever been beaten up. Honestly. We’re not the jocks, we’re not the cool kids, we’re the people who just want to enjoy ourselves and we want everyone else to enjoy themselves as well. It’s not fucking hard, it’s not a lot to ask. If you’re an asshole, don’t come to our show.”
Cut Worms and King Tuff kicked off Memorial Day weekend with an incredible show at Lincoln Hall.
The dynamic show began right at 9PM, with singer-songwriter and multi-instrumentalist Sasami performing solo on a dimly lit stage. As she sang through her stripped back, personal narratives, Sasami told hilarious anecdotes between songs, warming the early crowd up for the rest of the show. Sasami would return later in the night to play in King Tuff’s band, but first the Brooklyn based project of Max Clarke, Cut Worms, took the stage for a homecoming of sorts, as Clarke had previously lived in Chicago for several years. After a successful debut EP, Clarke released his debut full length album Hollow Ground earlier this month, and his 45 minute set consisted of the majority of the album. Clarke and his band members had the crowd eagerly soaking up the twang soaked mix of alt-country and indie rock tunes, which pull in just a pinch of psychedelic and folk rock influences. Clarke’s refreshing spin on timeless roots had the audience dancing along to his more upbeat songs like “Don’t Want To Say Good-bye,” but he also kept the set versatile by slowing things down to perform a song sans band towards the end of the show.
Eventually everyone had trickled into the concert hall, the stage had been set, and King Tuff and his band graced the stage for the final act of the night. The setlist started with the hypnotizing title and opening track of King Tuff’s latest album, The Other, which just came out in April. With the crowd hooked after that slightly slower tempo track, the energy ramped right back up with trippier “Raindrop Blue,” laden with shredding guitar riffs. King Tuff and his band added an edge of flare to their show with flashy outfits, but they kept the focus on their musicianship by not adding in any intricate stage production. The carefully plotted setlist weaved in some older favorites between songs from the new record, like “Unusual World” from the 2012 self-titled record and “Freak Me When I’m Dead” from 2008’s Was Dead record. King Tuff kept the setlist completely refreshed by even throwing in a brand new track. “They’re all new, but this one is even newer,” King Tuff said before playing “Portrait of God.” No matter what era of King Tuff discography any of the songs came from though, each tune had the crowd grooving and moving along, which nods to the versatile and universal quality of these albums and songs.
If you missed out on the show, check out our photo gallery of the evening below.
Grab your copy of The Other via the online store here, or come into the shop to snag it!