Brooklyn’s Adrian Galvin (AKA Yoke Lore) is no stranger to Chicago, having played the city several times over the past couple of years. At Schubas alone, Yoke Lore has performed there supporting Overcoats and as headliner, and this past Saturday, he returned to headline a sold out show. The TNK show, which took place on the fourth night of the annual winter festival, had sold out weeks in advance, so I knew going into the show that the room would be packed with eager fans.
After Shortly had to unfortunately cancel their set, Deanna Devore stepped in to open up the show, alongside Chicago’s Ester and Nashvilles Sontalk. The crowd of dedicated fans showed up early and listened attentively to the first three acts, and in the final moments before Yoke Lore would hit the stage, the room buzzed with anxious excitement. Finally, the lights dimmed and Galvin and his bandmate made their way up onto the dark stage. As Galvin began to strum his banjo, the lights flickered on and Yoke Lore music videos and visuals were projected on the screen set up as a backdrop. The crowd sang along to the set openers “Fake You” and “Only You,” and Galvin’s signature dance moves accompanied his ethereal vocals and twangy banjo. When it came time in the set for Yoke Lore to perform the viral cover of “Truly Madly Deeply” by Savage Garden, an audience member shouted out that the track was their wedding song, and Galvin dedicated the performance to them. The highlight of the night came when it was time for Galvin to perform the popular single “Beige,” and the echoes of every single person in the room singing along bounced around the room.
Eventually, it was time for Yoke Lore to exit the stage, but the audience begged for an encore with cheers and applause. Galvin didn’t make them wait long before he returned for a couple more songs, including the unreleased “Tom Robbins.” Before playing the final song, Galvin explained that he’ll probably never record the tune, in order to keep it as a special part of his live shows forever. “When you record a song, there’s a piece of it that gets morphed,” he said. “I want this song to be just for us,” he continued and played the song while the backdrop showed a starry night scene.
Yoke Lore’s TNK performance added another layer with the visual projections, but at its core remained the beautiful authenticity that Galvin’s art and music has always showcased. Based on the success of this show, 2019 is gearing up to be a huge year for Yoke Lore, so don’t miss him when he comes to a city near you! Check out Yoke Lore’s 2019 tour dates here.
Photos of Deanna Devore, Ester, Sontalk and Yoke Lore at Schubas Tavern
Last year, Lindsey Jordan’s project Snail Mail played a sold out headline show at Schubas as part of Chicago’s annual TNK Festival, and this year, Jordan and her band returned to do the same. Only this time, they played to about five times as many people at The Metro.
From the moment the doors opened at the Wrigleyville venue, streams of fans took their place in the packed room for a great night of music, which kicked off at 9PM sharp with Chicago’s own Varsity. The indie pop-rock five piece delivered a short, but sweet set to warm everyone up for the rest of the night. Varsity kept their between-song banter to a minimum and smoothly transitioned from song to song in order to pack in as many of their tunes as possible into their set time. The crowd sang along to a lot of Varsity’s familiar favorites, like “So Sad, So Sad,” which got a lot of cheers when the opening chords rang out. Before closing out with one of their latest singles “The Dogs Only Listen to Him,” the band tested out a brand new song on the attentive audience.
Next, it was time for Lala Lala, the project of Chicago-based singer-songwriter Lillie West. The set kicked off with the single “Water Over Sex” from Lala Lala’s second album The Lamb, which was just released in September last year, but was easily one of my top played albums of 2018. Based on the amount of people singing and dancing along, it clearly wasn’t just me who had the album on repeat. Like the album itself, the live set showcases the dynamic production and soundscapes of the songs, ranging from the jarring, percussive intro of “I Get Cut” to the mellow and slow-building “Lala Song.” Although West’s live lineup of fellow Chicago musicians often changes with different tours based on schedules, her current band had great chemistry and seamlessly flowed with one another. West and the band closed out the set on a high note, performing West and WHY?’s collaboration “Siren 042,” which had just been released the week prior. The final song of the set featured Sen Morimoto on saxophone, who will also be joining Lala Lala on their nearly two month tour that kicked off last week.
Finally, with the crowd warmed up and anxious for Snail Mail to hit the stage, the lights dimmed and Jordan made her way onstage with her bandmates. The musicians were welcomed with an overwhelming wave of cheers and applause as they began an instrumental intro, which bled into the single “Heat Wave” from Snail Mail’s 2018 debut album Lush. The crowd immediately became a choir, echoing the lyrics back to Jordan, who gave her approval with a “sounds good” and a smile. While Snail Mail may only have one album out, the band spent 2018 touring relentlessly, and the graceful and humble nature displayed by Jordan on Thursday night was that of a seasoned, veteran performer.
Throughout the rest of the set, Jordan’s humility remained, paired with an effortless and natural stage presence that kept the sold-out crowd hypnotized. Whether it was to songs from the album, like “Let’s Find An Out” and “Deep Sea,” or earlier material like “Thinning” from Snail Mail’s 2016 EP Habit, the audience never stopped singing along. When it came time for Jordan to perform the lead single from the album, “Pristine,” she invited a couple of guests up onstage to lend a hand as backing vocalists. As the night began to wind down, Jordan closed out the set sans band to give a solo performance of “Anytime” and “Stick.”
If you missed out on tickets to the memorizing TNK show, see where you can catch Snail Mail next here.
Photos of Varsity, Lala Lala and Snail Mail at TNK night two
Last Friday night, Deeper topped off a stacked bill for their winter tour kick off show at Sleeping Village, which included Mia Joy, The Hecks, and Divino Niño. Just as the music was about to kick off, friends and fans of all of the bands flocked to the Avondale venue to catch the show, creating a line out the door that signified tonight’s show would be a good one.
As everyone in the venue’s packed bar eventually filed into the music room, Mia Joy had just taken the stage with her full band, who assisted her in bringing her atmospheric indie pop tracks to life. Mia Joy’s delicate and dreamy vocals enticed the full audience, providing a comforting oasis from the chaotic scene of the crowded bar we had all just passed through. This opening set was the perfect way to reset after a long week and get ready for a full night of music.
Next up The Hecks were set to take the stage, and before they even began, the show had officially reached capacity, giving Deeper a sold out send-off show. When The Hecks started playing, it felt as if we had all been transported back to the 80’s with their throwback sound that swirls together post-punk and new wave genres and nods to influences from the likes of Talking Heads and Sonic Youth. With their bright and punchy guitar melodies, The Hecks got the energy picked up and had people dancing along to every song. During their set, the band also played some new material, which still had their signature tone of nostalgia mixed with a refreshing and unique energy.
Next up, Divino Niño delivered a sweet set packed with their Latin-tinged dreamy, indie rock tunes. The entire band exuded a relaxed and breezy vibe that enchanted the room as they played through a bunch of new material. Lead vocalist and guitarist Camilo Medina informed the audience that these new songs will be included on the band’s new album coming out this summer, and that one of the new songs would be the first single released in just a couple of weeks. The best thing about Divino Niño’s 45 minute set was that each of their songs had its own distinct and diverse stamp on it, but still flowed seamlessly with the rest of the setlist.
Closing out the night, Deeper finally made their return, playing their first headline set in Chicago since their sold out, album release show at The Empty Bottle. The set began with the lights still dimmed as the band played songs like “Should Be” and “Pink Showers” from their self-titled debut album, which was released last May via Fire Talk Records. Like The Hecks, Deeper’s post punk sound has a sense of nostalgia about it, but they put a rejuvenating spin on it to make it their own. The band members poured their energy into their playing, and the crowd reciprocated the same level of energy as they danced along throughout the set. Deeper also continued the night’s trend of playing new music and tested out some new tunes, which were well received by everyone.
If you weren’t able to make it to the show Friday, you can catch Deeper on the rest of their tour dates with the Districts, at Lincoln Hall on Valentine’s Day, or at SXSW!
Photos of Mia Joy, The Hecks, Divino Niño and Deeper
Just before I stepped through the double doors at Schubas’ entrance, the alluring sound of laughter and good tunes hit me and plastered a smile on my face. I must have looked a little too excited based on the way the bouncer couldn’t help but grin and chuckle at me as I walked in. This didn’t come as any shock to me, as this is a typical occurrence when attending an ANCHR event. Some might envision their ideal birthday party to have a photo wall, a tiered cake, and champagne. ANCHR Magazine crept its way into my birthday party dreams and had a bill packed with rocking bands, plenty of PBR to go around, and funky party hats for all. After two years, ANCHR Magazine has become a cornerstone in the Chicago music scene and that wouldn’t at all be possible without the dedication from our readers and the community of friends in the city. It is an honor and a privilege to exist and contribute to said community. With that being said, a celebration to match the love and excitement that this past year has given to ANCHR was imperative to continuing this wave of prosperity and good times. Plus, who doesn't love a party celebrating music?
I was elated to see friends from all across the Chicago music scene there to celebrate ANCHR. As we all cheered and made our way towards the stage, OHMME’s DJ set had the arduous task of setting the scene for the evening. Don’t fret, they were more than capable and filled the room with bops that had everyone moving before the bands even began. Schubas completely sold out music hall coupled with the dance worthy tracks filled the room with what I like to call a cozy concert temperature. (Let’s just say my denim jacket didn’t stay on for long and we all got nice and comfortable with each other for a night filled to the brim with live music.)
As the lights dimmed and the first act, Ruins, came onstage you could feel that pre-concert electricity buzzing throughout the room, through the floor, and right up into your toes; tapping with anticipation. Adam Schubert of Ruins began a solo performance that would match the energy of all the other bands playing. Schubert’s vocal and guitar skills engulfed the room in a magical musical sheen the same way a full band would. His melodious tunes had Schubas entire hall swaying to and fro as he sang. Cheers to Ruins for starting the night off with groovy tunes that would set the momentum for the rest of the evening.
As the next band, Cold Beaches, took the stage, I was completely hypnotized by some badass style before the music even began. The diversity that existed onstage between all the band members resulted in the most captivating hodgepodge group of musicians I have ever seen. From Adidas sneakers to glitter loafers, I was already invested in Cold Beaches even before any note was played. Cold Beaches possesses an infectious, inherent energy in their records but also in the performance of their music. I can’t play a lick of base or drums, but I wish I did just to be able to share the stage with Cold Beaches, maybe even take a little seat and continue to shred with lead singer and guitarist Sophia Nadia. When the lights came up on their set too early, Cold Beaches members waved their hands in the air calling out, “Wait, we aren’t done yet! There is more!” If there was a catchphrase for the evening, this would be it. Cold Beaches unintentionally set a major mood for another year of ANCHR Magazine. From their most recent releases to a birthday serenade, Cold Beaches swaddled ANCHR in some groovy birthday love.
V.V. Lightbody was next and to say she graced us with her presence is an understatement. I felt like a magical mermaid was serenading me and luring me into her lair, and I think I can vouch for all of Schubas when I say, I would have followed her voice anywhere. Before playing, V.V. Lightbody made it clear that live music was happening and conversation should not. “That’s what a bar is for,” she addressed the crowd. This might have been one of my favorite moments of the evening. Nothing hurts my heart more than when a band plays my favorite song that I am excited to see performed live, but it keeps getting interrupted by the group of people next to me near screaming about the tacos they had for dinner. V.V. Lightbody requested and the audience listened, and they obliged. If I ever had to create a chill cocktail lounge playlist, it would be jam packed with some V.V. Lightbody. With collaborative efforts from other Chicago musicians, including Macie Stewart and Sima Cunningham of OHMME, the hall was filled with enchanting siren tunes, and some major flute action. Yes, there were flutes. (And yes... It was awesome.)
Slow Pulp closed out this birthday party with songs that are still running through my mind. Sometimes when a band comes on stage and gets all set up, I get this feeling in my stomach like, “Yea…they’re gonna be good.” This feeling goes double for Slow Pulp…the band just completely owned the stage. There was this ease about their stage presence that completely supported their dreamy, psychedelic music style and drew me in even closer. Despite the fact that they only moved to Chicago recently, Slow Pulp looked completely at home on the Schubas stage that night. They had a sense of familiarity that seeped its way into the audience and is pretty rare to come by. Every audience member in attendance no matter how different their taste in music from the next person was, could enjoy Slow Pulp. In Schubas’ sold out music room, the show felt intimate. Lead singer Emily Massey has vocals that are smooth like butter, and her silky vocals paired with some attitude made it nearly impossible to not sway along to her melodies. Their lively tracks from Spotify became even more animated on stage, making for a truly mesmerizing performance.
Just like that, ANCHR's second birthday party came to a close. Thank you to all the bands and audience members in attendance! Without this unwavering support, ANCHR would be adrift; lost at sea somewhere. We may ground you with tunes, but your support is the ultimate foothold for success and prosperity. As I made my way out of Schubas on Friday night, the bouncer chuckled at me again. I don’t think he realized my giddiness could be heightened, but after this birthday throw-down, how could you not? Cheers to another year for ANCHR and cheers to all of you.
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.
