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LIVE: Gordi Delivers an Ethereal Performance at Schubas Tavern

Basked in purple lights and smoke, Australian singer Gordi delivered a performance at Schubas Tavern that was ethereal, yet yielded a high degree of raw emotional power. Her deeply humanistic lyrics were sung with closed eyes and a wavered hand, creating an essence of authenticity that made it feel as if she hit a bullseye into the epicenter of one’s soul.

Photo Credit: Cameron Wittig

Photo Credit: Cameron Wittig

The result of this was pure captivation. The sizeable crowd stood facing the stage - with little to no chatter otherwise - for an overwhelming majority of the performance. In a sense it is almost more difficult to maintain attention than it is to harness it, but this manifested automatically and almost effortlessly from the moment Gordi began the set until she departed the stage. This is, perhaps, due to the intriguing cerebral element that her music contains. With the accompanying musical elements being skillful yet soft, the lyrics are made to be the artistic focal point. The beauty of this, however, is that it serves as a catalyst for connectivity. Listeners are left to think about the words being sung, crafting their own unique meaning  to the text in the process. This is one of the most noteworthy facets of Gordi’s music: it allows people to develop a potent relationship to it.

The emotional heaviness within Gordi’s songs was delightfully juxtaposed by the humorous anecdotes she told between songs. Whether it be a tale about past crowds or about barely making it onto a plane to Toronto, Gordi presented herself as a well-rounded creator. She wasn’t just a musician on a stage; she displayed her witty personality which allowed audience members to connect with her on a personal level as well as a musical one.

One of the anecdotes Gordi told between songs centered on her creative process when bringing the track “Heaven I Know” to fruition. She told the audience that she started working on the song during a long solo driving trip, when she was completely without instruments and unable to write. As a result, she would talk out the counts of the song to conjure up the pace and rhythm. These counts ultimately made it into the final recorded version of the track, but they are spoken so rhythmically subtly that one who does not know the authenticity of their sonic origins may miss their presence all together. However, since the audience was told this story prior to it being played, it was able to be appreciated that a facet of the song’s most primitive stages made it all the way to the final cut. The presence of the counts in the song were a welcome combination of all that is thoughtful and true, making the listening experience that much more personal and meaningful.

The music of Gordi is so alluring to the ear because it is riddled with workable opposites. It is dreamy with a dash of realism, delicate yet tenacious, and subtle yet containing the innate ability to cultivate power and impact. The artistic needs of the mind, ear, and soul are all met in equilibrium.


Keep up with all of Gordi's upcoming shows here. 

LIVE: Marika Hackman Brings Her Latest Album to Life with The Big Moon at Schubas Tavern

This past Friday night at Schubas Tavern, Marika Hackman and The Big Moon created an IRL experience of Hackman’s latest album I’m Not Your Man. Released on June 2nd, the sophomore album from Hackman marks a departure and transformation for the formerly folk artist. Boosting blunt lyrics, lighter melodies, and a lax, carefree recording style, I’m Not Your Man takes listeners through a 15-song journey, featuring The Big Moon as the backing band for the majority of them. Before The Big Moon pulled their second shift of the evening, backing Hackman at the Lakeview venue, they had performed their own 45 minute set, which carried the same carefree mood of friendship that comes across on their recordings. In addition to songs from their debut album Love in the 4th Dimension, the group also performed a cover of “Total Eclipse of the Heart.” Between songs, the band kept the crowd laughing with a bit of sarcasm and banter, but the standout moment of their set occurred during their song “Bonfire.” Front woman Juliette (Jules) Jackson left the stage and abandoned her guitar to sing the song in the crowd.

The same banter and laughter only amplified when Hackman joined The Big Moon, but the focus of the night remained on the effortless musicianship displayed between the friends. The songs from I’m Not Your Man translated beautifully in the live sense, seeing as most of the album had actually been tracked live, with a minimal use of overdubs. Hackman’s hourlong set focused on the new album, with a couple of older tunes like “Cinnamon” and “Ophelia” sprinkled in. The direct, honest lyrics of tracks like “My Lover Cindy” and “Violet” had the crowd captivated and wrapped around Hackman’s finger. Prior to performing the latter, Hackman introduced “Violet” as a sexy song, encouraging the crowd to kiss their dates (only with consent) if they were feeling it. “Gina’s World” also stood out during the 11-song set, with its hauntingly heavy guitar riffs and striking harmonies, which echoed beautifully throughout the venue. Just before the set wrapped up with the dreamy melody of “BlahBlahBlah,” Hackman and The Big Moon performed the lead single from I’m Not Your Man, “Boyfriend.” The playful tune teased the light-hearted reinvention of Hackman before the release of the album, and it definitely acted as a highlight of the live show.

Photos: The Big Moon and Marika Hackman at Schubas 8/11/17


Marika Hackman and The Big Moon wrap up their US Summer Tour this week. See the remaining dates here, and stay tuned for our interview with Marika Hackman, coming soon! 

Listen to I'm Not Your Man in full below. 

LIVE: Barns Courtney Rocks Schubas on One Leg During His Lollapalooza Aftershow

This past weekend, singer songwriter Barns Courtney put on one of the rowdy, energetic performances that he’s become infamous for...only this time, he did it on one leg, while the other remained locked in a cast. Earlier this Summer, while Courtney was putting on one of those aforementioned wild performances, he jumped off the stage at Milwaukee’s Summerfest, right onto a slab of concrete. Instead of cancelling his upcoming tour and festivals appearances to heal his broken foot, Courtney decided to power through, and during Lollapalooza weekend, the singer performed three times in Chicago. 


For his first performance, Courtney hit the stage at Schubas Tavern just past midnight, forgoing his crutches and hopping right up to his mic stand. From then on, it was full force for the next 60 minutes, while Courtney performed songs from his EP The Dull Drums, as well as some unreleased tracks from his upcoming album The Attractions Of Youth. Rather than stay stationary with his makeshift leg rest that was placed next to the mic stand, Courtney hobbled around the stage as he performed popular songs like “Glitter and Gold” and “Little Boy.”  The energy ironically amplified during one of the unreleased tracks called “Kicks,” even though one of Courtney’s legs was out of kicking commission. Between songs, Courtney also rattled of some of his infamously raunchy stage banter, telling fans about a wild plane ride with his lady. 

The rambunctious set came to an end with the crowd and Courtney giving it 1000 percent, the latter jumping offstage, cast and all, to dance with his fans. While the set may have come to an explosive ending around 1 AM, the night didn’t end there. Barns Courtney mustered all of his final strands of energy to bound offstage and collapse onto the sidewalk outside of the venue, where he hosted one of the most unconventional meet and greets we’ve seen. 

Chicago! If you missed out on Lolla and the sidewalk meet and greet, Barns Courtney will be back (hopefully with two fully functioning legs) on October 11th with The Kooks. Grab tickets to their show at The Vic Theatre here, and see all of his upcoming tour dates here 

Can't get enough Barns Courtney? Check out our interview with him from Hangout Festival here, and listen to his latest single "Golden Dandelions" below!

 

LIVE: Frenship at Park West 8.3.2017

LA duo James Sunderland and Brett Hite, AKA Frenship, and their live band hit the stage at Park West this past Thursday evening just after 11PM, as part of an official Lollapalooza aftershow with Tegan and Sara. Despite the late start of the show and the fact that some of the crowd had been watching music all day across Chicago's massive Grant Park, the room still buzzed with excited energy when the opening notes of Frenship's "Run Wild" rang out. The energy only amplified as the band performed some of their popular tunes like "Carpet" and "Knives," which featured Hite and Sunderland showing off some of their signature dance moves. As the set progressed, the duo worked the entire stage, quickly winning over the crowd at the intimate Lincoln Park venue. Towards the end of the set, the energy peaked when the keyboardist, Celeste, took center stage to sing Emily Warren's part of the band's viral song, "Capsize." The crowd sang along to its melodic and addictive track, remaining hooked as Frenship performed the final song of the evening, "1000 Nights." 

Frenship will be on a headlining tour in select cities this fall--check out all of their upcoming shows here, and listen to their debut EP below. 

LIVE: Temples and Declan McKenna 8.2.2017

The British invaded Lincoln Hall on Wednesday, August 2nd for an evening of pure talent, charisma, and rock'n'roll. Kicking off the Wednesday night "after" show, which actually took place before this year's 4-day Lollapalooza, Declan McKenna and his band played in celebration of both his first Lolla performance and the release of his debut album What Do You Think About the Car? As McKenna played through crowd favorites like his debut single "Paracetamol" and his latest, "Humongous," he and his band jammed cohesively, feeding off one another's energy. His 45 minute set concluded with the high energy single "Brazil," with its impossible-to-get-out-of-your-head chorus. 

After a quick stage changeover, fellow Brits Temples took the stage to deliver a smooth and polished performance for the next 90 minutes. Combining a solid variety of songs from their debut LP Sun Structures and 2017's Volcano, the set flowed from start to finish with extensive jams and additions to songs that added layers to the live performance. The band's frontman James Edward Bagshaw sauntered around the small stage at the Lincoln Park venue, energy surging through not only Bagshaw and his bandmates, but the crowd and the band as well. A magnetic presence filled the concert hall as the crisp and perfected sound soared through the room during songs like "Certainty" and "Shelter Song." A lighting rig composted of chameleon, color-changing diamonds added another depth to the already enthralling performance from Temples. It's a rare feat when a band can develop such an engaging and evolved live show while still managing to sound flawless and in sync, but Temples made it look easy with their Wednesday night show. 

If you missed both Temples' shows at Lincoln Hall and Lollapalooza, check out their remaining tour dates here. 

LIVE: White Reaper at Mo Pop Festival

Not only is the music of White Reaper the ultimate nexus of charm and pure rock ‘n’ roll, but it is uniquely adrenalized as well. This is a trait that leaps from the record to the stage, as the band delivered an invigorating performance at this year’s Mo Pop Festival in Detroit, Michigan.

One of the most memorable aspects of White Reaper’s set was their banter between songs. They evaded the trap of appearing as musical robots who went through song after song without acknowledging the crowd by a wide margin, and instead revealed an innate ability to make the audience burst with laughter. Guitarist Hunter Thompson jokingly asked the audience if they were enjoying their sabbath, as the performance took place on a Sunday, and bassist Sam Wilkerson gave a shout out to his twin brother and White Reaper drummer Nick - who then promptly removed his shirt and pants before continuing with the rest of the set. White Reaper is effortlessly charismatic - something that will contribute to the band’s inevitable longevity just as much as their musical skill.

White Reaper at Mo Pop 2017

White Reaper at Mo Pop 2017

Perhaps one of the most enjoyable aspects of White Reaper’s live performances is simply watching keyboardist Ryan Hater. Taking full advantage of the fact that he does not have an instrument strapped to him, Hater jumps and thrashes - even making the occasional venture to the microphone to interact with the crowd. One of the most enjoyable aspects of watching live music is being able to witness the palpable cycle of energy that exists between a group of musicians creating art that they love, and a group of people who love their art. For White Reaper, Hater is a major catalyst for the radiation of this powerful electricity.

After reaching the conclusion of their set with the track “Judy French,” a single from their most recent album that drips with a delectable combination of goodness and grit, the previously quiet audience was in an uproar of applause and cheers. The audience had fallen White Reaper’s spell - an easy feat for a band that’s a refreshing combination of skill and stage presence.


White Reaper is hitting Chicago this week! They'll be at Lollapalooza Thursday, August 3rd at 12:45 on the Grant Park Stage. They'll also be opening a sold out show with Royal Blood at Lincoln Hall on Friday, August 4th!

Can't get White Reaper? Revisit our interview with them here
 

PHOTOS: Public at Schubas 7.25.17

Public is one of the most personable bands out there right now. If you come to their show, they want to know your story...what brought you to their music. They also want you to leave with something new; a takeaway from their live performance that you can't find anywhere else. And during their hour long set on Tuesday night at Schubas Tavern, the trio delivered exactly what they set out to at the start of tour; a unique experience that put each member of the audience in a better mood and higher spirits than when they entered the concert hall. By the end of the night, even the most tame members of the crowd had found themselves out of their chairs and dancing in the crowd.

Although the dancing reached its peak during the final song of the night "4Her," songs like "Pretty Face" and "Make You Mine" also had the crowd moving. In our interview before the show, frontman John Vaughn described his vision of their developed live show this tour, and their set went above and beyond what he explained. Before the trio played "Make You Mine," towards the end of the set, Vaughn gave the crowd some insight to his inspiration behind the song. These introductions occurred before most of the songs, acting as another way to keep the crowd engaged. The majority of the songs also featured special arrangements or extended jams between the band members that you can't hear on the EPs Sweet Lemonade or Let's Remake It. Mixing things up even more, the set also featured a very well-received cover of "Toxic" by Britney Spears. 

If you're looking for a truly unique concert experience, make sure you go see Public on the remaining dates of their Sweet Lemonade Tour. You can see all of the tour dates here, and check out a photo gallery of their show below. 


While you wait patiently for our interview with Public, in which they reveal their most recent Google searches, each others' pet peeves, the secrets behind their show and more...listen to the Sweet Lemonade EP in full below!

SHAED Wrapped Chicago Around Their Finger with Their Infectiously Energetic Set

Although we’re smack dab in the middle of summer, there’s been no shortage of SHAED the past few months. Playing Mamby at the end of June before returning to support Sir Sly for their show at The Bottom Lounge, the DC trio composed of Chelsea Lee, and twin brothers Spencer and Max Ernst have already performed in Chicago twice this month. Fortunately, the band and the crowd don’t seem to mind, as lead vocalist Chelsea Lee exclaimed “I fucking love this city,” near the end of SHAED’s set on Wednesday night. Cheers and applause greeted Lee’s expression of appreciation for the midwestern city and the audience alike.

That same infectious energy and mutual love clung to band’s roughly 40 minute performance, which has become polished and perfected by touring with the likes of Bishop Briggs and Marian Hill. As the three performed in harmony, Lee’s powerful and smooth vocals rang out into the concert hall, a good portion of the crowd echoing the words back. The Ernst brothers and Lee also grooved to their own music, exuding a feeling of comfort not only between each other, but as performers. A particularly stand-out moment of the night occurred when SHAED played their latest single “Too Much.” During the song, Lee took a break from singing to go dance next to each of the brothers, and the crowd moved in unison to the funky beat, which is perfect for a summer night.

Unreleased material made up a good chunk of the set, as the trio is still working on their debut album, but that didn’t stop the crowd from knowing some of the words or getting into the songs with their bodies. At one point, the crowd started clapping along to the beat, and Lee’s face lit up with a mix of surprise and gratitude at the action of positive feedback from the audience. The band’s nifty lighting rig also added another layer to the live show, keeping the crowd engaged with that facet of the production, but ultimately what had the crowd wrapped around SHAED’s finger was the seamless blend of Lee’s vocals and the production work of the Ernst brothers. It’s early on in their career, but it’s clear that SHAED has found their groove and it will only grow stronger as this tour goes on.

SHAED at The Bottom Lounge 7.19.17

Stay tuned for our interview with the DC based trio, but for now make sure you catch them on tour with Sir Sly. You can see all of the tour dates on SHAED's Facebook page, and listen to "Too Much" below to get ready!

Sir Sly Return With a Raw Performance at Bottom Lounge

“We’ll play at least one more old one. But that’s actually all we’re going to play. I don’t know why I said at least... I’m using my words terribly right now,” Sir Sly’s frontman Landon Jacobs rambled onstage at The Bottom Lounge, right before the trio performed the viral single “Gold” from their first album You Haunt Me. Up until this moment, Jacobs had been using his words beautifully.

Rewinding the clock back to about an hour prior, the lights in the Chicago venue had dimmed and the three members of Sir Sly appeared onstage to ominous intro music, which gradually faded into “Astronaut,” a tune from their highly anticipated sophomore album Don’t You Worry, Honey. Painstakingly honest at times, the album offers an unfiltered and raw glimpse into some of Jacobs’ personal tribulations over the past few years. As you absorb the lyrics and listen to the struggles that are threaded throughout each melody, you’ll find yourself filling with empathy over Jacobs' descriptions of a young marriage falling apart and the pain of losing a parent to cancer. As the words seep in, you suddenly understand why this second album has been such a long time coming.

Before the LA-based trio performed “Altar” from the aforementioned album, Jacobs declared “this is easily the angriest I’ve been while writing lyrics,” and the live performance only amplified the bite behind the song’s chorus, where Jacobs sings “You do what you want/ Sleep with who you want /I can't stop you/ Even if I try, the whole time, you will lie.” The remainder of the set weaved in and out of newer and “old” tracks, which Jacobs points out sounds ridiculous to call any of their music “the old stuff,” as the Chicago tour date fell on the eve of his 27th birthday. Although he may be young, when the band performed “Change” about halfway through the set, it’s evident that Jacobs has gained wisdom beyond his years after experiencing some of his recent hardships. The live version of the song features an auto-tuned spoken word bridge by Jacobs. “I get to improvise that part each night, but the central theme remains the same,” he said, adding that he won’t change who he is for anyone else. And of course, he made the obligatory positive comments about deep dish pizza that touring bands usually mention onstage during the improvised part, which kept it lighthearted.

Continuing on the lighthearted path, Jacobs told the crowd to “smoke em if you got em” before he and his bandmates Jason Suwito and Hayden Coplen played the debut single “High” from Don’t You Worry, Honey. The Chicago crowd had been moving the entire time, but the anthemic single got them jumping higher and thrashing around more than any song prior. The high energy continued throughout the next new track, “&Run,” which also featured an extended jam that you’ll only hear during one of the band’s live performances. During this jam, it was clear that Jacobs, Suwito, and Coplen have matured and grown as both friends and musicians during their years of making music together.

Contrasting the infectiously high energy of the last three songs, the crowd went quiet as Jacobs took a step back to introduce the emotional song “Oh Mama.” Jacobs vulnerably described the heartfelt track as an ode to his mom, which alludes to childhood memories, like singing 80s songs with her. The song is also Jacobs tribute to his mother, who recently passed away from brain cancer. For the unknowing in the crowd, suddenly the meaning behind the band’s backdrop of a giant, light up brain clicked. “She gave me a love of language and taught me how to use my words clearly,” Jacobs said during his song dedication to his mom.  As he fondly recalled more memories of his mom, the crowd hung to every word. As Jacobs sings the final line “But oh, mama, one day I'm gonna sing, I'm gonna sing with you again,” his eyes cast upwards to the ceiling, as a final tribute to his mom for the evening.

At this point, Sir Sly’s set has come full circle, to Jacobs' introduction of “Gold,” but once the song came to an end, Jacobs made up for his “at least” blunder. The band performed “High” for a second time that night, closing the night on a high note (pun totally intended). The trio look genuinely humbled and gratified as the crowd let out bellowing cheers, but the praise was much deserved after the precision and passion that had been poured into Sir Sly’s performance. Easily one of the best performances I've seen all year, Sir Sly's set was an emotional rollercoaster, laced with dynamic arrangements and layers that make their show a must-see. 


Photos: Sir Sly at Bottom Lounge on 7/19/2017

To experience this electrifying show yourself, head to Sir Sly’s website to snag tickets to the remaining dates of the tour, and listen to Don’t You Worry, Honey below.

Pitchfork Fest Day 3 Highlights

Another year at Union Park has come and gone, with many standout moments in between Friday afternoon and Sunday night. By the time Sunday rolled around, the crowd at Pitchfork had definitely dwindled down (three days of nonstop music can really get to you), but the performances were still topnotch. If you missed the festival and didn't opt to have Pitchfork couch party with the live streams, here's what you missed at the final day of Pitchfork!

Kilo Kish Got Theatrical

The LA based multi-talented Kilo Kish opened up the festival on Sunday, getting a little theatrical on The Green Stage. As Kish took the stage, it almost felt more like a Broadway musical was about to begin, rather than a festival performance. Kish's work as a visual artist definitely bled through into her performance as a musician. The multi-faceted and dynamic performance also featured dancing from Kish and she remained emotive while singing, which made for a perfectly well-rounded start to Sunday at Pitchfork.

One of the many expressive faces made by Kilo Kish

One of the many expressive faces made by Kilo Kish

Danny Pudi Watched NE-HI

Chicago's own NE-HI had quite the draw at The Green Stage despite their early slot at 2:30PM on the last day of the festival. Among the thrones of locals coming out to support their own, actor and comedian Danny Pudi, who is best known for his role on Community, was spotted watching NE-HI's set. Regardless of their audience, NE-HI gave the same energetic performance they always do, with guitarist Michael Wells doing his signature high jumps and lead singer and guitarist Jason Balla throwing himself around the stage as he strummed his guitar. If you missed NE-HI at Pitchfork, catch them in the fall with fellow Chicagoans Whitney. 

Jason Balla of NE-HI

Jason Balla of NE-HI

Vic Mensa and Towkio Crashed Joey Purp's Set

Things got rowdy by 4PM on Sunday when Joey Purp took the stage with the support of his DJ Knox Fortune, Peter CottonTale of The Social Experiment, and a whole lot of bass. The crowd at The Blue Stage immediately went wild, reciting the Chicago based rapper's words back to him. During Purp's set, fellow Chicago rappers Vic Mensa and Towkio made a surprise appearance. Purp's set highlighted the collaborative nature of the Chicago music scene. 

Joey Purp rapping to a packed crowd 

Joey Purp rapping to a packed crowd 

Pinegrove Practically Hosted a Singalong

Some music festivals draw people in for the fashion or the non-music activities, but at Pitchfork most of the folks are there simply to enjoy their favorite bands. While devoted music fans staked out to see their favorite artists all weekend, none seemed more dedicated than those that watched the New Jersey natives of Pinegrove perform on Sunday evening. From the instant that lead singer Evan Stephens Hall sang the first note, the audience became a backing choir, loudly singing along to every word in songs like "Old Friends" and "Then Again." Hall fed the energy right back the enthusiastic crowd, giving a passionate performance. 

Evan Stephens Hall mirroring the energy of the crowd 

Evan Stephens Hall mirroring the energy of the crowd 

Jamila Woods Got Moved To The Main Stage

Another Chicago artist at Pitchfork this year, Jamila Woods got a much deserved stage bump on Sunday evening when her set got moved from The Blue Stage to The Green Stage. Unfortunately, The Avalanches had to cancel at the last minute due to a family emergency, so the poet and singer songwriter filled in for their slot on the main stage. Many fans had camped out all day to see Solange, and they got treated to an elegant and well-rounded performance featuring Wood's silky vocals and her boisterous backup singers. The Chicago music scene is alive and well thanks to talented songwriters like Woods, and we can't wait to see what else 2017 has in store for her.

Jamila Woods singing in the sunshine 

Jamila Woods singing in the sunshine 


The festival may be over, but our coverage isn't! Stay tuned for a full photo gallery of the entire weekend, coming tomorrow, and check out our social media for some sneak peeks at photos. Also make sure to checkout our highlights from the first and second day.