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Live Recap: Ryley Walker, OHMME, and Ben LaMar Gay Brought Improv and Collaborations to the Empty Bottle
On Friday, December 28th, Ryley Walker, OHMME, and Ben LaMar Gay brought a sold out crowd to The Empty Bottle for a night of improvisation, collaboration, and celebrating live music.
The bill of Chicago natives kicked off with Ben LaMar Gay, whose set was definitely the most freeform and jazzy of the evening. The composer and cornetist took the stage right around 10PM bringing along a full band that included a tuba player. Throughout his 45 minute set, the audience got to experience elements of hip hop, avant-garde, and soul that focused more on the instrumentals and melodies over lyrics. Instead of a traditional set where you recognize the transition from song to song, Ben LaMar Gay’s set played out more like a theatrical play, where it moved from scene to scene or segment to segment. As an audience member, you could hear the improvisation happening, but the band worked so well together through the winding transitions that sometimes you doubted that any of it was free-form playing.
OHMME, the duo of Sima Cunningham and Macie Stewart, took the stage next, bringing the audience back to a more traditional place of arranged songs, but their show still had some surprise guests and songs. The set began with the song “Water” from OHMME’s debut full length Parts, which was released earlier this year. With its bold, distorted guitar and layered harmonies, the explosive opening song showcased why OHMME is one of the best live acts around and just how well Cunningham and Stewart work together. After the pair performed the title track from their album, they welcomed a friend onstage to play the drums and jingle bells, in place of their usual drummer Matt Carroll, for a rare performance of a Christmas cover song: “Jing-a-Ling Jing-a-Ling” by The Andrews Sisters. “In Chicago we do special things like that,” Cunningham told the packed room after the Christmas cover. During the performance of their single “Icon,” the pair were once again joined by a special guest to fill in on the drums, which celebrated the collaborative nature of the Chicago music scene.
Just after midnight, Ryley Walker and his band took the stage to close out the special evening with a performance that once again celebrated free-form and improvisation by blending elements of jazz and folk music. The show on Friday marked the end of Walker’s most recent tour in support of his album Deafman Glance and his own version of The Lillywhite Sessions by The Dave Matthews Band, both of which he released this year via Dead Oceans. The unique set began with a trumpet player center stage for the first few songs, which the crowd loved (at one point, an audience member yelled “More horn!”). Despite it being a late night, the venue remained completely packed as Walker and his band jammed out, delivering extended arrangements and feeding off one another’s energy. For the majority of the set, the songs blended into one another, smoothly transitioning very much like Ben LaMar Gay’s set had done. Walker would occasionally check in to see how the audience was doing, but surprisingly, he didn’t make any banter between songs. Based on his hilarious Twitter feed, I had been expecting some between-song jokes, but the focus of the set remained solely on the intricate musicianship displayed by Walker’s live band. While the set heavily featured songs from Walker’s 2018 projects, he did throw in some older tracks, like “The Roundabout” from 2016’s Golden Sings That Have Been Sung.
Overall, Friday night’s show highlighted what a wide array of talent the Chicago music scene has to offer at the moment, and captured the magic of friends playing live music together. If you missed out on a ticket to the sold out evening, check out our photo gallery below for a glimpse of what you missed.
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Live Recap: All Time Low's Holiday Weekend Kick Off at House of Blues
All Time Low returned to downtown Chicago’s House of Blues on Friday, December 21st to kick off the holiday weekend.
Fans of all ages flocked to The House of Blues on Friday night, bustling with excitement as they filled the decadent theater from wall to wall. After an opening set from Los Angeles band The Wrecks, the sold out crowd animatedly chatted during the stage changeover. Finally, after the 30 minute stretch, the house lights dimmed and the sound of “We Will Rock You” by Queen surrounded the audience, who clapped, stomped, and sang along while they waited for the four members of All Time Low to hit the stage. Seeing as the show took place a few short days before Christmas, the Queen song transitioned into “All I Want For Christmas Is You” by Mariah Carey, teasing the crowd one more time before the band finally burst onto the stage.
Once the band members had taken their place on the dim stage, the show began with a flash of bright lights and the opening notes of “Stella” from 2009’s Nothing Personal rang out into the crowd. From the get go, lead singer Alex Gaskarth refused to remain stationary for too long, often leaving his designated spot at the center of the stage to wander closer to the edge of the stage and give attention to every corner of the room. The fans in the crowd matched the band’s lively spirit, loudly singing along and jumping to every single song, no matter if it was from the early era of the 2000’s or one of their latest singles like “Everything is Fine,” which they played second. Along with the jumping and dancing that made House of Blues’ floor bounce and shake, fans immediately began crowd surfing and they stayed up for the entire show— with some fans crowd surfing even during the band’s slower songs.
Throughout the night, the unbeatable sense of chemistry and the enthusiastic performance from the four band members kept the mood high, but between songs, the band kept the audience laughing and smiling with their humorous stage banter; with Gaskarth and guitarist Jack Barakat often firing quips back and forth or cracking jokes with audience members. Gaskarth also kept the tone of the night light-hearted by granting passes for normal security faux pas— when introducing the song “Something’s Gotta Give,” he encouraged the crowd to channel their music festival habits, saying, “I understand in this here establishment, we can’t get on shoulders, but I’m gonna need you to get on some shoulders for this.” Fans took a break from crowd surfing for this song to climb on their friends’ shoulders and sway. Things slowed down slightly for “Therapy,” which followed, but the audience’s sing a long still echoed loudly, and some fans put their phone lights or lighters in the air to keep the crowd participation levels up.
Later on in the night, an interaction between Gaskarth and a long-time fan summed up a good portion of the room’s history with the band; When a crowd surfer got pulled over the barricade right at the end of a song, she got lucky enough to catch the singer’s ear and he asked security to let her stop and introduce herself with the microphone. “I looked down and she’s just like HEY I’M CHRISTIE! I WAS 13 WHEN I FIRST SAW YOU,” Gaskarth said, filling in everyone in the balcony and the back of the venue who may have missed the beginning of the interaction. While the crowd on Friday night definitely contained teenagers and some older generations, the majority of the audience members, like Christie, were now in their 20’s and had been listening to All Time Low for more than 10 years— since they were teenagers. And luckily for the fans who have been with All Time Low for years, the setlist for the Chicago show contained a good mix of their discography, filling everyone with nostalgia during the early-day throwbacks. Further catering to the nostalgia, All Time Low ended Friday’s encore with “Jasey Rae” from their 2006 debut album and “Dear Maria, Count Me In” from their 2008 album So Wrong, It's Right. Regardless of how long you’d been listening to the band or how many years you’ve been going to their concerts, there was no denying the feel-good mood of the room and the sense of happiness everyone felt as they left the show that night.
If you missed out on the sold out show, check out photos from All Time Low’s set below.
GIVEAWAY: Unturned, Silver Age, Mt. Pocono & Commonweather at SubT 1/13/19
On January 13th next year, Out Of Context Productions presents Minneapolis’s Unturned and Michigan’s Silver Age at Subterranean’s Downstairs room. Joining them on the lineup is Chicago’s Mt. Pocono and Commonweather.
You can grab tickets here to ensure you catch the show, or take your chances and enter to win a pair of tickets here. Lastly, get ready for the show by listening to Out Of Context’s playlist featuring all four bands below.
PHOTOS: Post Animal with Divino Niño and Paul Cherry at Metro 12.15.18
2018 has been an incredible year for Chicago’s Post Animal; From releasing their official debut album on Polyvinyl Records to playing festivals like Bonnaroo and Lollapalooza, they’ve had no shortage of Special Moments this year. On Saturday, December 15th, Post Animal played their final show of the year with the help of Paul Cherry and Divino Niño, celebrating the supportive community in the Chicago music scene. If you weren’t among the packed crowd at the Wrigleyville venue this weekend, check out photos from the show below.
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PHOTOS: Gang of Youths with Gretta Ray at Metro 12.14.18
Metro was bursting with energy last Friday night. The Australian five-piece, Gang of Youths, brought their indie-rock tunes and poetic intensity to Chicago and we loved every second of it.
PHOTOS: Justus Proffit and Jay Som with Discus at Schubas Tavern 12.13.18
Last Thursday night, Justus Proffit and Jay Som joined forces one last time before the holidays to bring their collaborative tunes to Schubas. The duet was backed by a full five-piece band that helped deliver good vibes and easy going, all-encompassing sounds.
Listen to the duo’s collaborative EP in full below.
PHOTOS: HAERTS and Vlad Holiday at Schubas 12.10.18
On Monday night, HAERTS wrapped up the first leg of their current tour, playing Schubas Tavern with Vlad Holiday. Check out photos from the show below.
Listen to HAERTS’ latest album New Compassion in full below.
Live Recap: Benefit Show for Our Music, My Body at Sleeping Village 11.27.18
Photos by Maggie McInerney
Whenever I find myself at a music festival or a bar where bands are playing, I will have my friend by my side one moment…and the next moment a man will have wedged his way in between the two of us. The combination of an eye roll, slight shove, and “um excuse me” will typically result in the reuniting of my friend and I. Giggling but scared and holding onto each other’s arms a little tighter than before, this scenario is all too familiar. These uncomfortable interactions may vary in extremity from one scenario to the next; It can range from a guy dancing too close, to verbal harassment, or even groping, and so on and so forth. It is unfortunate but true when I write that this behavior is almost a given at concerts; expected each and every time in some capacity. Music is a communal experience; a space for friends to come together; to share and bask in the straight up magic of a live event, and for that magic to truly exist, the said space needs to be a safe space. A space where women don’t have to worry about harassment at the bar or on the dance floor. A space where I can dance under a disco ball with my girlfriends and not feel the stinging pain of the male gaze moving it’s way up and down my body; examining my every move. This harassment extends far past my own experience and has tainted or even completely soiled some music fans’ love of experiencing their favorite tunes live.
The Edwards by Maggie McInerney
With that said, I was ecstatic when I learned that ANCHR would be hosting a benefit concert for Our Music, My Body at Sleeping Village, which took place last week on November 27th. If you don’t already know, Our Music, My Body is a non-profit organization that sets out to create and promote “fun and consensual music experiences for all,” as a collaboration between Resilience (formerly RVA) and Between Friends. Sexual harassment in the music scene is ever so present and can get to the point that attending a concert or music festival is dangerous specifically for, but not limited to women, males in the LGBTQ+ community, and music fans who identify as transgender. Walking into Sleeping Village for this event, I was overcome with hugs and greetings from friends all across the music scene. The sense of community at this event pulsed throughout the venue, and I was thrilled to see so many people out supporting such an important cause. This incredible welcoming energy extended to all points of Sleeping Village—from the dance floor, to behind the bar, and to the musicians on stage. I didn’t feel the need to fold my arms and hide myself in the back corner in order to enjoy some tunes; for the first time in a long time I enjoyed some music without feeling the need to physically close myself off from those around me in order to remain safe.
This evening of music started with The Edwards. Their sound made me wish it was summer again with my windows rolled down on the highway, a best bud on either side of me. They would be on the same playlist with some of my favorite Mac DeMarco tracks; with their perfectly smooth and warm tones. Their jams induced a nice groovy sway and head bop; I found myself rolling with the sound rather than fighting against it. After the show I had the pleasure of speaking with Chris Murphy, a member of The Edwards. What Chris said about the band perfectly paralleled the event itself: Music based on collaborating; celebrating what each musician has to bring to the table. With three guitars and a trumpet on stage, their sound dived deep into exploring how these very different musicians come together to create a unique and cohesive sound. Be on the lookout for more live performances from The Edwards coming your way in February.
The Edwards By Maggie McInerney
Thee Casual Hex by Maggie Mcinerney
Following The Edwards was Thee Casual Hex accompanied by face paint, some psychedelic realness, and some pretty amazing polka dot garments. The disco ball in Sleeping Village came alive the moment this group stepped onstage. Similar to The Edwards, a diverse group of musicians that meshed perfectly to create a 60’s inspired jamming set. When I spoke to guitarist/vocalist/band member Alice Kraynak after the show, the 60’s glamor the band exuded was made even more apparent. Whether it was Alice’s fur coat, face paint, or polka dot dress I am still unsure, but she emanated the mod style and influence that are clearly at the base of Thee Casual Hex’s sound. The band’s sound perfectly encapsulates psychedelic vibes from the 60’s while still paying tribute to modern psych bands; Remembering the past while celebrating the future. Alice made clear that Thee Casual Hex is so excited to continue making and playing music; be on the lookout for some live shows after the New Year. It’ll be a far out time.
Before the final set of the night, the collaborative project of songwriter and producer Andrew Humphrey, Sun Cop, took the stage and remained just as collaborative onstage as off the stage. Pooky’s Duncan Lee took on double duty and played with Sun Cop, while the evening’s DJ Cadien Lake James also made an appearance to sing a tune with Andrew and the band.
Sun Cop by Maggie McInerney
Closing out the evening was the electric Pooky. I have seen the boys of Pooky play a few times now and they never fail to put a smile on my face; red and sweaty from dancing. Their clear bond and enjoyment for the music makes me want to be onstage next to them. With a wide range of tunes, this band can make you want to jump around one second and have you slowly head bopping the next. With a sound that roars, Pooky’s vocals paired with some major shredding will have you immediately searching where they are playing next by the end of their set. A dynamic and truly entertaining group that never fails to amaze, Pooky is a band to keep your eye on in 2019. You can also catch them one last time in 2018; at The SubT on December 20th with Engine Summer, Rainbow James and Rabbit Folk.
Pooky by Maggie McInerney
All in all, the artists in the Chicago music scene set the stage for how to create a consensual music environment, and each band that performed at this show was a huge reason said space existed. These bands are making it clear that community is at the root of all their work; Respect for the music, respect for other musicians, and most importantly respect for their audiences. I am excited to know that bands such as these work, create, and share music with these ideals at the forefront. May all Chicago bands follow in their footsteps to create live music spaces that are fun, communal, and most importantly: safe!
If you couldn’t make it to the show, but would still like to show your support for Our Music, My Body, you can snag some of their merch here, or donate to either of their parent organizations.
Last but not least, head over to Beyond The Music’s site to vote for your favorite edit by the three featured photographers who covered the showcase: Emma Zanger, Colt Liles, and Maggie McInerney.
Live Recap: Empress Of at House of Vans 11.30.18
Last Friday, House of Vans filled its space with enough warmth and color to last us through most of these gray winter Chicago days. Jen Stark’s projections filled the entire venue with psychedelic geometrics that extended even to the stage area. Injury Reserve bathed in the projections and got the dance party started, followed by Empress Of’s electropop tunes. The night was vibrant, the music and art were so empowering that winter was a long forgotten thing.
Photos from House of Vans on 11/30/18
