ANCHR's Artist of the Week: Indigo De Souza

Photo by Charlie Boss

I recently saw this week’s ANCHR Artist of the Week, Indigo De Souza, play a support set with Lucy Dacus at Thalia Hall. These days, it’s so easy to be distracted by literally everything, even when you’re at a concert, but Indigo just has this magnetic ability to her music and stage presence that grabbed and held my undivided attention throughout her performance.

Indigo De Souza grew up in a small town in the North Carolina mountains and has been playing guitar since she was nine. Since then, she’s relocated to Asheville, NC and put out several singles and two full-length records.

Indigo released her sophomore album, entitled Any Shape You Take, in August of 2021, which features singles like “Real Pain” and “Hold U.” The record really expands upon Indigo’s multifaceted creativity, with every track embracing a different tone and mood—it’s like a sonic (dare I say) shapeshifter of a project. Indigo talks about the broad scope of the album saying, “I wanted this album to give a feeling of shifting with and embracing change. These songs came from a turbulent time when I was coming to self-love through many existential crises and shifts in perspective.” As listeners can experience as they travel through Any Shape You Take, Indigo says she never embodies one particular genre and that “all of the music just comes from the universe that is my ever-shifting brain/heart/world.”

The shifting nature and adaptability in Indigo’s style feels especially fitting with all the change going on in the world today, and these songs make a perfect soundtrack for anyone going through their own evolutions. On top of her incredible songwriting, Indigo also produced Any Shape You Take, alongside Brad Cook, Alex Farrar and Adam McDaniel.

Indigo De Souza will be on the road all across the country this summer, and if you’re in Chicago like ANCHR, you have not one, but TWO chances to catch a show in July. First, she’ll be performing in support of My Morning Jacket at Northerly Island, and she’ll also be playing Pitchfork Music Festival. She her full tour schedule here, and tune into the “Hold U” music video below.

ANCHR's Artist of the Week: Sunflower Bean

Photo by Driely S

This week’s ANCHR Artist of the Week goes to Sunflower Bean— a trio from NYC consisting of vocalist and bassist Julia Cumming (she/her), guitarist and vocalist Nick Kivlen (he/him), and drummer Olive Faber (she/they).

Sunflower Bean is one of those bands that seem like they were born in the wrong era because they have such an authentic and effortlessly classic sound, but I guess someone’s got to keep rock and roll alive for the next generation! Earlier this month, the band released their third album, entitled Headful of Sugar, as a follow up to 2018’s Twentytwo in Blue. The new album name acts as a metaphor for the constant consumerism, exposure to news and attachment to devices that runs through society— and the band says the album is for those outsiders who are disillusioned with the modern world. “We wanted to write about the lived experience of late capitalism, how it feels everyday, the mundanity of not knowing where every construct is supposed to ultimately lead you,” Nick Kivlen says. “The message is in the title: this is about fast pleasures, the sugar of life, the joy that comes with letting go of everything you thought mattered.”

Sunflower Bean teased the new record with several singles that showcased their versatility— for example, “Roll The Dice” features an enticing, slow fade in that leads to fuzzed-out guitar riffs and layered echoes of Kivlen’s and Cumming’s vocals, while “I Don’t Have Control Sometimes” kicks off with peppy vocalizations from Cumming and a punchy pop drumbeat. Talking about the latter song, Cumming says, “I’ve always thought that my reckless side was both a gift and a curse, leading me to my best choices on stage but my worst choices in life. I don’t have control sometimes is the admission, acceptance, and almost celebration of the parts of yourself that are impulsive or maybe even insane.” While this song is the band’s admission and acceptance of relinquishing control, they claimed full creative control with the making of Headful of Sugar— Olive Faber took on the role of engineering for the first time, and the recording was mostly done at home. “We didn’t have to rely on anyone outside of the band and our producer, Jake Portrait, to get Headful of Sugar made,” Faber says. “Self-sufficiency helped us tell the story we wanted to tell.” 

To celebrate the new music, Sunflower Bean is currently on tour, including a stop in Chicago at The Bottom Lounge on Friday, May 20th. See all of their tour dates here, and watch the video for “I Don’t Have Control Sometimes” below.

ANCHR's Artist of the Week: Hatchie

Photo by Lissyelle

This week’s ANCHR artist of the week goes to Australian singer-songwriter Harriette Pilbeam, better known by her stage name Hatchie. Hatchie’s whimsical sound is vast and expansive, particularly on her latest album Giving The World Away, which was just released last month via Secretly Canadian. The song “The Rhythm” for example has a hypnotic beat that’s reminiscent 90’s electro-pop— think tinges of Ace of Base or Fatboy Slim. Then there’s the single “Quicksand” which is more moody and atmospheric with a swelling chorus that gives nods to Mazzy Star, or the title track “Giving The World Away” that opens with distorted guitars and a funky drumbeat.

Hatchie describes the new album as being a deeper and unexplored territory for her. “There's more to me than just writing songs about being in love or being heartbroken—there's a bigger picture than that,” she says. “This album really just feels like the beginning to me, and scratching the surface – and even though it’s my third release as Hatchie, I feel like I’m rebooting from scratch.” The record features collaborations from musician Joe Agius, as well as percussion from James Barone, the drummer for Beach House.

Prior to Giving The World Away, Hatchie released 2018’s EP “Sugar & Spice” and the 2019 album called Keepsake, so there’s plenty of previous songs to tune into as well.

In the celebration of the new album, Hatchie kicks off tour this month and you can catch her show in Chicago on May 14th at Sleeping Village. Snag tickets here, and watch the video for the enchanting “The Rhythm” below.

ANCHR'S Artist of the Week: Horsegirl

Photo by Cheryl Dunn

Here at ANCHR, we love a good hometown act— and Horesegirl is one Chicago band you should definitely have on your radar. The trio is made up of Penelope Lowenstein (she/her), Nora Cheng (she/her), and Gigi Reece (they/them), and the members all started playing their own original music after playing in a Sonic Youth cover band.

We first got the chance to check out Horsegirl at Pitchfork Music Festival last year, when they only had a handful of singles released, but they still captivated the festival crowd with their blend of shoegaze, grunge and post-punk.

Since then, Horsegirl has signed to Matador records and made the announcement of their debut record, Versions of Modern Performance, which will be released June 3rd and include singles “Anti-glory” and “World of Pots and Pans.” Speaking about the latter single, the band says, “‘World of Pots and Pans’ is the first love song Horsegirl has ever written—or the closest thing to it. We wrote it in Penelope’s basement while preparing to leave for our first ever tour. The lyrics, inspired by the misinterpretation of a Television Personalities lyric, imagine a (possibly unrequited) romance unfolding through references to Tall Dwarfs, Belle & Sebastian, and The Pastels.” The trio worked together to craft the lyric video for the song in just a few hours, which attests to how collaborative the band remains in all aspects of the project.

The debut album was recorded in Chicago at Electrical Audio with producer John Agnello— you can pre-order a copy here, and make sure to come to the release show at Thalia Hall on Sunday, June 5th. Get your tickets here.

ANCHR'S Artist of the Week: The Regrettes

Photo by Lissyelle Laricchia

You know that iconic quote from 10 Things I Hate About You that describes Kat Stratford’s music taste as “angry girl music of the indie rock persuasion”? Well, originally I might think of Bikini Kill or Sleater-Kinney, but nowadays I can pick up tinges of that descriptor with moments of The Regrettes’ catalog. There’s a playful edginess to lead vocalist Lydia Night’s vocal inflections that blends perfectly with their catchy riffs. Take a listen to their popular track “Seashore” or “I Dare You” for a prime example.

The LA-based band consists of Night alongside Genessa Gariano, Brooke Dickson, Drew Thomsen, and they just released their third album Further Joy to follow up their 2017 debut Feel Your Feelings Fool! and their sophomore record How Do You Love? Night describes the title of the new album as a concept I think we can all relate to; that constant drive to obtain happiness against moving goalposts. “We’re obsessed with social media, which makes it easy to obsess over self-growth and unhealthy amounts of productivity. That phrase, ‘further joy,’ summarized what it meant to be on the hamster wheel of constantly chasing happiness, but in turn, that’s what makes you unhappy,” she says. The new songs explore the band’s desire to end that toxic cycle.

The record came together after a year in isolation and shut down, when the band members finally got a break from their consistent touring schedule that kept them playing live music essentially nonstop. The band met up in January of 2021 for a writing retreat in Joshua Tree, where they outlined the album and crafted demos while hiking, stargazing, dancing and having deep conversations. After the retreat, they fleshed out the material over Zoom writing sessions and worked with Jacknife Lee and Tim Pagnotta. The break from touring and the time that the bandmates spent together on the retreat really allowed for The Regrettes to connect more and broaden their sonic horizons with the new tunes. The underlying theme on the record of being present and appreciating the moment is a sentiment that has resonated with so many people throughout the pandemic— which acted as a wake up call in a lot of ways. Night says she hopes listeners take this lesson away after listening to Further Joy; “We all deserve happiness and to be present, and we'll never get there if we feel so much shame and guilt for not being there already.”

If you truly want to live in the moment, make sure you catch The Regrettes when they come to Chicago to play The Metro on May 13th and/or when they return for Lollapalooza in the summer!

ANCHR's Artist of the Week: BANKS

Here at ANCHR, we’ve been fans of the Los Angeles- based singer songwriter BANKS since before the 2014 release of her debut album Goddess. Throughout her first three records and several other singles, BANKS has continuously proved her ability to explore new sonic territory, often adding a cheeky and edgy side to her vulnerable storytelling. BANKS’ lyrics are emotive and raw, while also being moody and powerful— she showcases her fierce prowess while being open about her flaws.

Last month, BANKS returned with the new single entitled “I Still Love You” from her fourth record, called SERPENTINA— which is out this Friday, April 8th. The new track dives further into the songwriter’s vast vulnerability that we’ve all come to know and love. Talking about the single, BANKS says she held onto the song for more than six years. “It felt like a secret I wanted to keep just for myself. But I finally feel not only ready but so excited to share this with the world. It’s about loving someone you don’t talk to anymore. Missing the little things about them. Even the things you thought you hate. I hope you feel like you are sitting next to me when you listen. And I hope it’s as special to those who hear it as it is to me,” she says.

BANKS also co-directed the music video for “I Still Love You” in addition to co-producing the new album, allowing her artistic expression to expand beyond her captivating lyrics and melodies. With SERPENTINA, BANKS also promises a more loose and freeing demeanor, stating that the album title was inspired by the feminization of the word “Serpentine.” “Snakes represent rebirth and the shedding of one's skin,” she says. “They just move on, and I think that's what life is about. Changing and transforming, with a little bit of danger, but also smooth and silky. It just felt like the perfect representation. This album feels regal to me, but also my most human ever. So I think it kind of touches both ends of the spectrum.”

You can pre-order SERPENTINA here, and see where you can catch BANKS performing live soon here—including a stop in Chicago for Lollapalooza.

ANCHR's Artist of the Week: SPIRIT OF THE BEEHIVE

Photo by Peggy Fioretti

This week’s ANCHR Artist of the week goes to Philadelphia’s SPIRIT OF THE BEEHIVE, an experimental rock band that has been making music since 2014 with an array of band members. The band adopted their name from a 1973 Spanish film with the same title. With their eclectic and expansive sound that continues to push boundaries and evolve, we recommend them if you’re a fan of Squid, black midi, and Post Animal.

Currently, the SPIRIT OF THE BEEHIVE lineup consists of Zack Schwartz, Rivka Ravede, and Corey Wichlin— who all wear multiple hats for the band, contributing everything from vocals, keys, guitar, bass and drums. Most recently, the band put out their fourth studio album entitled ENTERTAINMENT, DEATH in 2021, which was released via Saddle Creek, but the first of their records that was self-recorded and produced. Schwartz says the process of recording the fourth album was completely different than the rush of making their third album Hypnic Jerks. "We had to record that in seven days, because that was the studio time we had, whereas ENTERTAINMENT, DEATH was made over the course of three, four months,” he says. Being made during pandemic times also meant the band recorded some of the material remotely, and had the time to dive deeper into multifaceted sounds and production styles.

The band describes the song “THERE'S NOTHING YOU CAN'T DO” from ENTERTAINMENT, DEATH as being one showcases the growth they’ve undergone from their inception to current day. "This song draws on some of the sonic aesthetic of SPIRIT OF THE BEEHIVE's old records and aligns those sounds with the electronic instrumentation we've been exploring," Wichlin says.

When he first joined the group, Wichlin moved from Chicago to Philadelphia to join Ravede and Schwartz, so the band’s upcoming shows at Schubas on March 30th and 31st are partially a homecoming show. Hopefully you snagged your tickets for them already because they’re sold out, but keep an eye out for all upcoming events here.

ANCHR's Artist of the Week: poutyface

Photo by Javi Perez

When I think of the alt-pop singer songwriter poutyface, I think of an artist marching to the beat of their own drum. Hailing from Southern California, poutyface first began garnering new listeners and fans by creating songs on the app Voisey, when it was still in beta testing in 2019. Since then, poutyface has released a several singles— including “Fboys Anonymous” that starts off with a beat that sounds like a video game soundtrack and “NEVER FUCKIN KNOW” which features poutyface speaking in a storytelling cadence during the verses before launching into her singing in the chorus.

Every song she’s released has its own unique DNA, but like the artists she admires most, all of poutyface’s songs share a common thread of great lyrics. “I’m a massive believer in the importance of pen game,” she says. “All of my big­gest inspirations are incredible lyricists, Frank Ocean, Kendrick Lamar, Mereba, to name a few. I’m also a huge fan of Doja Cat… I think I’m attracted to music with a lot of soul, but honestly, I listen to every genre and pull inspiration from every angle. And my taste is constantly changing,” she adds.

Most recently, poutyface released her new single called “Cherry Picking,” which is reminiscent of pop punk music of the early aughts, and tells the story about the ups and downs of a toxic relationship. Poutyface talks about the single, saying, “‘Cherry Picking’ is about being used by someone for their own personal validation. I’ve had relationships and friendships where I gave way too much. This song feels like spinning out. It’s about losing your mind trying to keep someone around who isn’t concerned with anyone but themselves… the ones who pick off your energy whenever the fruit looks ripe enough to feed them.”

poutyface is currently on tour with YUNGBLUD, see where you can catch her upcoming shows here, and tune into “Cherry Picking” below.

ANCHR Artist of the Week: Seasaw

This week’s artist of the week goes to none-other than our pals: Seasaw. If you’re a long-time ANCHR reader, hopefully you’re already familiar with the dazzling duo of Meg Golz and Eve Wilczewski from Madison, Wisconsin—but if not, allow us to introduce you!

Golz and Wilczewski have been making music together as Seasaw for more than a decade now, releasing four albums and several singles. My favorite thing about Seasaw is the passion and intention they have behind every single piece of music they put out and every single performance they give. While it’s only the two of them onstage when they play their shows, Seasaw packs more of an artistic production element than most full bands do— from their coordinated outfits to their personalized gear and their mesmerizing harmonies, there’s so much to appreciate about a Seasaw show.

This past Valentine’s Day, the pair gave us some new music to appreciate (their first release since 2018’s Big Dogs), in the form of their single called “Pinky Promise.” The highly-anticipated track opens with some moody synths that are reminiscent of Angelo Badalamenti’s scores for David Lynch films before introducing a hypnotic percussive melody. The band describes the song as “a ballad about remembering to be kind to your mind and body. Written as a love letter to oneself, this track features lush synth soundscapes paired with gently sarcastic lyrics that ‘pinky promise’ everything is going to be alright.” “Pinky Promise” was recorded at home during pandemic isolation times, and it was mixed by Wisconsin native Beau Sorenson who has worked on albums by Death Cab For Cutie, Thao & The Get Down Stay Down, Superchunk, and more.

Keep an eye on Seasaw’s Instagram for all upcoming announcements, and tune into “Pinky Promise” below.

ANCHR's Artist of the Week: Ralph Pelleymounter

Photo by Flore Diamant

I first became acquainted with the songwriting of Ralph Pelleymounter through his band To Kill a King several years ago. The band’s music and Pelleymounter ’s voice instantly made an impression on me for a few reasons. First, Pelleymounter ‘s vocals have such a velvety richness and captivating depth to them—he’s one of those singers who listeners can immediately identify even if they don’t know the song because he has such a unique tone. To complement his voice, Pelleymounter has a songwriting knack for crafting lyrics that are both ruminative and descriptive, while remaining catchy and melodic.

While it’s been a few years since To Kill a King released music as a group, Pelleymounter has released a handful of singles and an album, 2019’s Dead Debutante’s Ball, as a solo artist. Following his debut record as a solo act, Pelleymounter filled his time during the pandemic performing online gigs, working on new material for himself, and even co-writing Bastille’s latest album Give Me The Future. Pelleymounter gave listeners their first taste of his new material just last week with the release of his single called “Steady Love.” The track begins with a harmonized embrace from Pelleymounter’s vocals blending with the backing vocals of Edith Violet from the band Fours, which is followed up by a guitar-driven melody that you can’t help but tap your foot along to. Pelleymounter describes the song as his reaction during the pandemic to “the 'will-they, won't-they' stories I was watching, and a thank you to those who showed me such kindness and love while everything was falling apart.”

To celebrate his new music, Pelleymounter has announced a show at The Social venue in London on April 6th. Tune into the new track below, and if you’re in London, snag tickets to the show here.

ANCHR's Artist of the Week: Los Bitchos

Party rock is in the house tonight! No, I'm not referencing the 2011 hit from LMFAO— I'm talking about the dance-inducing music that Los Bitchos is serving us with. (Pause to allow all the Hispanic readers to giggle for a minute at their name). When I first heard their music, before looking to see who it was, I was like "Oh dang, did Mdou Moctar put out some new stuff?" Once I saw who they were, I was happily surprised to see four white girls on my Spotify considering the sound of their music and their name.

Photo by Tom Mitchell

Los Bitchos are Nic Crawshaw on drums from England, Josefine Jonsson on bass from Sweden, Serra Petale on guitar from Australia, and Agustina Ruiz on keytar from Uruguay. The band formed in 2017 and call London, England their home base, but with all four members coming from different sides of the globe, their cultural diversity provides different flavors throughout their album: Let the Festivities Begin! If this is your first time hearing about Los Bitchos, their album title is actually also a theme. From track one you will be moving and grooving. It's almost as if they are daring listeners to not move along with the music. I get South American vibes, Middle Eastern vibes, and Mexican cumbia vibes. A lovely and unique hallmark of Los Bitchos is their music is all instrumental, aside from some cheering and audible jubilance. When most music fans hear that a band is all instrumental, it's not uncommon to think that they will end up being "jammy", but unless their live shows prove otherwise, I don't really see that from them considering not one of their songs is over four minutes. I see them as more Khruangbin than I do Umphrey's McGee. If any of you guys liked that really fun song from The Donkeys, “Lower the Heavens,” then you will definitely like Let the Festivities Begin!

Los Bitchos are going on a quick UK tour before visiting The States for the first time when they perform in Austin at the SXSW music festival. A full European tour will follow with three US dates sprinkled in the middle. Personally, I am stoked that one of their stops will be here in Chicago at the Empty Bottle. If any ANCHR readers are traveling down to SXSW in a few weeks, be sure to catch one of their sets. Cheer Up Charlies is always a good time.

For the rest of us not heading down to the fest this year, put June 22 on your calendar and buy a ticket to see Los Bitchos. Not much sounds better to me right now than a beautiful summer night heading to The Bottle to throw back a couple Old Style's while listening to some very fun live music from a great band. Check out Los Bitchos if you enjoy Khruangbin or even Selena.

ANCHR's Artist of the Week: Connie Constance

Photo by SOPHIE JONES

Here at ANCHR, we’re open to any and all roads that lead to new music discovery. This week’s Artist of the Week comes by way of a Peloton class, where she kind of fell into my lap— I was doing a chair pose in a yoga class when the instructor played the track “English Rose” by Connie Constance.

Connie Constance is a British singer-songwriter, and just as her Spotify Bio says, she doesn’t remain cornered into any one genre. For example, the track “British Rose” opens with a warm piano melody and plays out like a ballad. On the contrary, her most-streamed single “Monty Python” features a grooving and steady bass line over a punchy drumbeat that makes you want to dance around your room. My personal favorite “Electric Girl” has that same swelling, upbeat mood that makes me instantly bob my head and tap my foot along to the distorted guitar riffs.

Connie Constance’s artistic streak initially began by studying ballet and musical theater before she eventually started crafting her own tunes. She released her first singles back in 2015 and has released a steady drip on singles ahead of her 2019 debut album entitled English Rose. Most recently, Constance released an EP entitled “Prim & Propa” in 2021, which contains my favorite track “Electric Girl” alongside a handful of others. Constance released this new EP on her own record label called Jump the Fence.

Connie Constance will be supporting the Nova Twins during their upcoming tour. Follow along on Instagram for other touring and music announcements from her.

ANCHR's Artist of the Week: Annie DiRusso

This week’s Artist of the Week goes to Annie DiRusso, a singer-songwriter based between NYC and Nashville. I had my first chance to hear DiRusso’s earnest and upbeat music live in action recently, when she and her band opened for the sold out SAMIA show at Thalia Hall. The devoted SAMIA fans were just as eager and enthusiastic to soak in all of DiRusso’s vulnerable musings—many of the audience members joined in to sing along to songs like “20” and “Judgment From The World’s Greatest Band.” DiRusso’s knack for enveloping intricate stories in catchy hooks speaks for itself, but her live stage presence was that much more powerful. She and her band radiated feel-good energy and showcased their positive intentions during their Thalia Hall set, allowing for us all to seek some escape from reality that evening.

DiRusso has released several singles to date, including a fun rendition of the classic “I Think We’re Alone Now” and her most recent “Coming Soon.” To make sure you’re in the know on all new music from her, follow DiRusso on Tik Tok, where she has a growing platform that begin when she posted a clip of her singing “20.” You can also catch her out on the road this Spring— check out the upcoming tour dates here. 

ANCHR Artist of the Week: Black Country, New Road

Editor’s note: Please note that the below was written prior to Black Country, New Road’s announcement on Monday, January 31st, 2022 that singer Isaac Wood will be stepping away from the group. In light of Isaac’s departure, the band will be canceling all upcoming tour dates, but they will continue to make music together. Keep an eye on the band’s Instagram for all updates, and send your well wishes to Isaac!

Photo by Ninja Tune

This week, ANCHR’s heading back across the pond for our Artist of the Week: Black Country, New Road. Formed in London in 2018, the experimental rock group consists of Isaac Wood, Tyler Hyde, Lewis Evans, Georgia Ellery, May Kershaw, Charlie Wayne, and Luke Mark— straying away from the traditional band line up. Black Country, New Road adds color and depth to their songs by having Evans on Saxophone and Ellery on violin.

The band’s debut record, aptly called For the first time, only consists of six tracks, but Black Country, New Road strays away from tradition again by having songs like “Athen’s France” that spans over six minutes and “Sunglasses” that lasts just shy of ten minutes. Throughout the record, listeners experience cinematic swells, frantic peaks and hypnotic valleys. In some cases, a singular track feels like it contains multiple chapters or different episodes of a TV season. With Black Country, New Road, you never know what they will pull out of their pocket next.

Keeping up with their spirt of experimentation and improvisation, Black Country, New Road has collaborated with another ANCHR favorite, Black Midi, to form the super group dubbed Black Midi, New Road.

If you like what you hear and can’t get enough of the group’s first album, Black Country, New Road recently released their new single “Snow Globes” off their upcoming sophomore record Ants From Up There— dropping this Friday, February 4th. Make sure you pre-order the record here.

ANCHR's Artist of the Week: The Wombats

Photo by Tom Oxley

The Wombats have been around for just shy of twenty years, so it’s more than likely you’ve heard one of their many ear worms along the way (especially with their recent resurgence on Tik Tok). The trio composed of Matthew “Murph” Murphy, Tord Øverland Knudsen, Dan Haggis formed in Liverpool, England back in 2003 and have crafted bops like “Let’s Dance to Joy Division,” “Greek Tragedy,” and “Turn” throughout their first four albums—just to name a few. On January 14th, The Wombats released their fifth studio album called Fix Yourself, Not The World, and it’s full of songs that are just as catchy and addictive as their previous releases.

With the pandemic, The Wombats had to figure out a way to adjust to the current times while recording the new record. The trio recorded the songs remotely over the past year, each from their homes across the globe— with Murph in LA, Tord in Oslo, and Dan in London. Talking about the process, the band says they discussed each day’s plan via Zoom, then recorded separately, sending individual files to producers Jacknife Lee, Gabe Simon, Paul Meaney, and Mark Crew. Murph describes the process as “pure madness” but as a long-time fan of the band, the end result has been incredible to listen to. It stays loyal to The Wombats’ true colors and core, but it also encompasses an impressive evolution.

To celebrate the new music, The Wombats are hitting the road, including a show here in Chicago on February 3rd. See all of their tour dates here, and grab tickets to the Chicago show here. 

ANCHR's Artist of the Week: Geese

Photo by Daniel Topete

We've got some new and exciting rock coming out of NYC everyone! Lucky for us, they’re migrating west for the winter and playing three shows in Pittsburgh, Michigan, and Chicago before heading out on a European tour.

Geese is a 5-piece group composed of teenage friends Max Bassin, Dominic DiGesu, Gus Green, Foster Hudson, and Cameron Winter. A career in Rock & Roll was not originally the aspiration of the band. Being 18 and 19 years old, the group figured they’d have some fun making music in the downtime Covid-19 provided and then head off to college once they graduated high school. Plans for college, however, have since been put on pause once Geese's music began to take flight.

Right as the pandemic began to swoop across the country in Spring 2020, Geese uploaded some of their self produced songs on to Spotify, to which lead to them getting management and eventually a label. Fast forward to Halloween weekend 2021 and they now have given us a great album to enjoy. They haven't played many live shows or gone on tour yet, but they do have a music festival under their belt in the 2021 presentation of Atlanta's Shaky Knees Music Festival. They even made their late night debut when they performed on Colbert. In May, they will be on tour opening for indie rock heroes Spoon on the West Coast leg of their tour, but ANCHR readers don't need to wait that long to catch them. They will be performing at Chicago's Tomorrow Never Knows Festival headlining a show at Lincoln Hall that also sports two other ANCHR favorites: Native Sun and Gustaf. I personally am excited to check them out. Their song “Low Era” is a certified bop. Come through so you can say you saw Geese's first Chicago show— get tickets here!

ANCHR’s Artist of the Week: Pearl Charles

Photo by Dana Trippe

I had my first experience with Pearl Charles seeing her open up for Liz Cooper at Lincoln Hall last Fall. Throughout Pearl’s set, it felt like we’d all gone back in time to the 60’s and 70’s, as she and her band embody those decades in the modern era— from their music to their style.

Pearl Charles’ solo career as a singer-songwriter came to be after nearly a lifetime of playing music in one form or another, and that deep history and fondness for playing music certainly comes across in the multifaceted and nuanced tones in her music. Pearl first started playing music at age five, and spent time performing in groups like The Driftwood Singers and The Blank Tapes, each time wearing a different hat, playing everything from guitar to autoharp to drums.

As she evolved into a songwriter, Pearl Charles’ sound now infuses a melting pot of influences, including Oldies rock, twangy Western, and dreamy Disco vibes. Pearl’s second album Magic Mirror dropped just about a year to the date in January 2021, and it captures such a timeless, magnificent journey throughout its ten tracks. One of my favorites from the record is the single called “What I Need.” Talking about the track, Pearl has said, “Have you ever stuck with something long after it was time to let go? ’What I Need’ explores this choice in terms of a breakup, though it could really be applied to any situation that is no longer serving you. It’s the age-old story of wanting to stay in a comfortable relationship but knowing that you have to move on for personal growth, and the fear and uncertainty that being alone will bring, even though it’s for the best.” It’s a sentiment I personally know all too well, and I’m sure it rings true with many of ANCHR readers!

Tune into “What I Need” below and be sure to follow Pearl Charles on Instagram for all her latest updates.

ANCHR's Artist of the Week: Bachelor

Photo by Tonje Thilesen

Occasionally, the universe brings together two musical artists that are too compatible to not work together. David Bowie/Freddie Mercury, Robert Plant/Allison Krauss, and Nelly/Kelly Rowland are a few that immediately come to mind. I'm not saying this AOTW is Bowie and Mercury by any means, but in today's modern world, Bachelor is sharing a talent with all us indie lovers out there and bringing happiness through song. Bachelor was started by Melina Duterte and Ellen Kempner of Jay Som and Palehound.

Duterte and Kempner met while on tour with each other back in 2017, recorded a song in 2018, and put an album together in early 2020 right before shit hit the fan. Their friendship and chemistry made it inevitable that they would work together on a bitchin’ album. Once their single “Anything At All” was released earlier this year, I was hooked. Their album Doomin' Sun is an easy and quick 33 minute listen that covers a number of topics including self doubt, longing, and climate change amongst many other themes. Albeit quick, the dual vocals incite aural pleasure and the thoughtful lyrics provoke self-reflection. I enjoy the whole album but the other track that stands out to me is “Sick of Spiraling.” It gives me Big Thief vibes if any of you guys are into that.

I was excited and ready to go to Bachelor's show at Empty Bottle but they ended up canceling the whole tour. Seeing them at the Bottle seemed like the most perfect spot to catch them. I was sad to get the cancellation email but I'm sure there was good reason and I hope whatever caused them to pull out of the tour gets resolved. I look forward to being at their future show whether it be during festival season or their own headlining performance. Hopefully the Doomin' Sun doesn't get us first ;)

ANCHR’s Artist of the Week: Wet Leg

Photo by Hollie Fernando

I first heard of Wet Leg very recently when I got an excited text from a friend telling me to listen to their single “Chaise Longue” (thanks, Bonnie). The song begins with a steady drumbeat and pulsing bassline that drives into cheeky and playful lyrics, including a callback to the iconic line in Mean Girls “is your muffin buttered?” With a mix of head-bobbing melodies and slightly absurd lyrics, Wet Leg has a quirky magnetism that easily (and quickly) attracts positive attention.

The aforementioned song only debuted earlier this year in June of 2021, so Wet Leg’s journey is still in the beginning stages. The band came together quite simply when musicians and songwriters Rhian Teasdale and Hester Chambers rode a Ferris wheel together in their home place of Isle of Wight and decided to start a band. The pair say that they are inspired by artists like The Ronettes, Jane Birkin, Ty Segall and Björk— and in the handful of their released songs, you can certainly pick up nods to those influences.

While it’s been a whirlwind for Wet Leg so far, the best is still yet to come with the recent announcement of their debut, self-titled album and a slew of upcoming tour dates, including their live premiere in the United States. You can pre-order the album ahead of it’s April 8th release date here, and see where they’ll be playing next here. If you’re in Chicago, make sure to join us at their Thalia Hall gig on March 4, 2022.

ANCHR’s Artist of the Week: Mdou Moctar

Here at ANCHR, we don't really dive too deep into rock music from the Sahara, but when the music hits, you just gotta take your licks and do what you can to spread the musical gospel for all to enjoy. I, Michael Perez, feel that I am the man for the job and all you readers should feel very lucky to have me. That being said, I present to you: Mahamadou Souleymane, professionally known as Mdou Moctar. Mdou is a self taught virtuoso guitar master from Agadez, Niger who specializes in the Taureg style of music called assouf, aka Desert Blues. Coming from a religious household, his family was averse to rock music because of the flaunted lifestyle of partying, chicks, and booze that's exhibited, but Mdou realized his calling after attending a concert and proceeded to make his own guitar out of wood and strings he took from bicycle breaks. Thankfully for us, his makeshift guitar helped him become the musical artists he is today.

Photo credit: WH Moustapha

Mdou Moctar has recently found success in the states after releasing his triumphant album Afrique Victime. The album is sung in Tamasheq, which I do not speak, but from reading past reviews, song themes range from love to politics with women's rights and even religious radical terrorism being some of the topics. Whether you speak Tamasheq, or are just a general music lover, this album slaps. Afrique Victime is anthemic, melodic, dancey, and filled with beautiful guitar riffs. The song that sticks out most to the American ear is the title track “Afrique Victime.” Give it a listen and if that song doesn't cause you to either tap your foot, sway your shoulders, bop your head, or just plain dance, slide in my DMs and let me know. I'm interested in knowing who all of ANCHR’s readers are insane.

Mdou's band is rounded out by Ahmoudou Madassane on rhythm guitar, Souleymane Ibrahim on drums, and Michael "Mikey" Coltun on bass. Along with being the bands bassist, Coltun also produced and engineered Afrique Victime throughout the bands touring in 2019. Based in Brooklyn, Coltun travels 20 hours by air and 28 hours by bus to reach Agadez so the band can practice and record. Fairly safe to say Coltun does not have commitment issues. When I saw Mdou Moctar perform at Lincoln Hall in September, I arrived minutes before their set since I was coming straight from Riot Fest, and the house was packed. I slithered my way to the center back of the floor, right in front of the sound stage, and it was as good of a spot I could ask for to see and feel the Mdou Moctar performance. Being in my thirties, I would usually not be all that excited to have to continue standing at another show across town after walking and standing all day at a music festival, but my lack of enthusiasm was swiftly purged after the first song. They had the crowd swaying and dancing right off the bat and even had some of their friends accompany them on stage to dance for a number of songs.

Afrique Victime is very much worth a listen and an Mdou Moctar concert is definitely worth the ticket price. Your next chance to see Mdou Moctar is in March when they open for Parquet Courts at the Riv. If my spidey sense is as good as I think it is, I wouldn't be surprised if they make it back to Chi-city during festival season as well.