ANCHR Magazine

Holding you down with the best new music

Live Recap: Father John Misty at Riverside Theater

On Monday October 3rd, Father John Misty made his grand return to Milwaukee for his first show there since June of 2019 (then at the BMO Harris Pavilion) and his first indoor show there since he played The Pabst back in September of 2018. Taking the stage of the Riverside Theater for the first time on a chilly early October night the seasonal winds of change not only brought Josh Tillman and his band back sounding better than ever, but also with a setlist filled with surprises and some rarely played gems among the 22-song set. Among these songs were six new “fake-jazz” (his words) tracks from his new album Chloë and the Next 20th Century, which he reminded us was music made during the pandemic and songs he never thought would be tour-able. Among these tracks were opener “Q4,” the breezy “Goodbye Mr. Blue,” the lush, old-Hollywood “Funny Girl” and the 20’s rag-time bop “Chloë.”

Throughout the evening many classic Father John Misty favorites were on display, from the crowd-pleasing “Hollywood Forever Cemetery Sings” and up-tempo “Total Entertainment Forever” to the soaring and feels-inducing “Chateau Lobby #4 (in C for Two Virgins).” Also on display was the distinctive stage presence Josh Tillman is known for as he bantered with the audience, at one point asking if anyone had recently lost a pet. After an audience member gave a brief remembrance of their departed, Tillman dead-panned, “well, I can empathize. I too recently lost a fictional cat…” in reference to the narrative of “Mr. Blue.”

As the band settled into the stage and with the audience fully along for the ride, the night started to take some surprising turns. Early on, for example, the infrequently played “The Night Josh Tillman Came to Our Apt.” made a welcome appearance. Then midway through the set, Tillman proclaimed, “this is going well, I think. Now let’s do something very misguided and reckless and derail the evening” as the band started to play somber rarity “The Memo” from 2017’s Pure Comedy to this reviewer’s pure delight. The surprises didn’t end there however as late in the set we got a half-title track “The Next 20th Century” (sparingly played so far on this leg of the tour) which brought a completely different flavor to the repertoire, which its verbose spoken-word verses over sparse instrumentation interrupted by a thunderous, wall-of-sound interlude set against a stark black-and-white stage. This stunner was then followed up with another: the magnificent, soaring and cathartic “In Twenty Years or So.”

This was one of those nights that serves to remind us why we love live music. From the buoyant presence of an immense talent on stage to the marvelous sound of a room like the Riverside Theatre to the unexpected appearances of deep-cuts and rarities, this is one of those shows that just HIT on every level, with artist and audience fully engaged and feeding off each other. Upon taking the stage again for his four-song encore, Tillman remarked, “after playing for weeks with a very well-tuned and tight set, we decided to change it up a bit tonight. We knew you could handle it.” The buzz and excitement in the lobby after the show confirmed it.

Check out photos of the evening below, and see where you can catch the tour next here.


PHOTO RECAP: Riot Fest 2022- Sunday

ANCHR spent the last weekend at Riot Fest checking out a mix of old favorites and new discoveries. Check out the Sunday photo gallery recap, featuring Chastity, Concrete Castles, Coolio, Ice Cube, Jimmy Eat World, Kid Sistr, Moon Kissed, Real Friends, Renforshort, Save Face, The Academy Is, Weathers, Yeah Yeah Yeahs, and Zola Jesus.

Be sure to also check out the recaps of Day 1 and Day 2.

PHOTO RECAP: Riot Fest 2022- Saturday

ANCHR spent the last weekend at Riot Fest checking out a mix of old favorites and new discoveries. Check out the Saturday photo gallery recap, featuring Bridge City Sinners, Bully, Cumgirl8, Gwar, Madball, Mannequin Pussy, No Trigger, Surfbort, Thick, War on Women, Yungblud, and Yellowcard.

Stay tuned for more coverage of the rest of the weekend.

PHOTO RECAP: Riot Fest 2022- Friday

PHOTOS: Lord Huron and First Aid Kit at Salt Shed

PHOTOS: Here and There Festival with Courtney Barnett, Alvvays, and The Beths

This week the Courtney Barnett-curated music festival, Here and There, stopped in Chicago with Alvvays and The Beths for an unforgettable night at the city’s newest venue, The Salt Shed. See photos of the evening below, and see where you can catch the tour next here.

PHOTOS: The Wild Hearts Tour at Salt Shed

Live Recap: Fleet Foxes and Uwade at Salt Shed

Fleet Foxes and Uwade performed to a huge crowd this past Wednesday night during the Salt Shed’s inaugural week.

The show was part of Salt Shed’s “Outside the Shed” series— a string of outdoor shows taking place around the venue while the indoor space continues to be revamped. The forecast had been calling for potential thunderstorms all evening, but the musical and weather gods blessed us with a clear forecast aside from a few sprinkles of rain here and there.

Uwade kicked off the evening with a solo support set, warming up the crowd with her stunning songwriting and friendly banter. Her show opened up with her song “Nostalgia,” which the singer shared was the first song she wrote. Uwade also introduced her next song “The Man Who Sees Tomorrow” by dedicating it to her father and sharing an anecdote about him and the creation of the song. Uwade also performed her newest single “Do You See The Light Around Me?,” which was released this year by Sylvan Esso’s record label Psychic Hotline.

The crowd attentively basked in the beauty of Uwade’s original music, and fortunately her set wasn’t the only time we saw her that evening— she returned to the stage at the start of Fleet Foxe’s set to perform “Wading In Waist-Hight Water” with the band. The track from 2020’s Shore features the collaboration between the singer and Fleet Foxes, so it was incredible to hear the song brought to life as the opening tune of their show.

Fleet Foxes’ set took place as the sun began to set, casting a hazy glow on the city’s skyline while the band provided the perfect soundtrack. Fleet Foxes’ frontman Robin Pecknold took the opportunity to share his appreciation for the evening several times throughout the night, but in the very beginning of the show, he told the audience how great it was to be at the venue for the opening week and called out that the weather cooperating.

Pecknold also engaged the crowd in banter between songs, asking “did everyone get a free popsicle?” in reference to the giveaway from Salt Shed, in partnership with Pretty Cool Ice Cream. While the set weaved through fan favorites like “Can I Believe You,” “White Winter Hymnal,” and “Third of May / Ōdaigahara,” Fleet Foxes also incorporated a few covers into the mix, including “Phoenix” by Big Red Machine and “The Kiss” by Judee Sill. Before playing the latter, Pecknold performed the song “If You Need To, Keep Time on Me” on acoustic guitar, accompanied only by Casey Westcott on piano while the rest of the band took a breather. The quieter moment provided juxtaposition against the full band that played for most of the show and included everything from trumpets, trombones and tambourines alongside the more traditional guitar, bass and piano.

The Chicago audience sadly missed out on the performance of Rage Against The Machine’s “Killing in the Name,” which a fan in the front had requested after seeing them cover it earlier this tour. Pecknold joked with the audience that they couldn’t perform the song because Christian [Wargo]’s mom was in attendance that night.

The evening wrapped up with an encore that once again featured the vocals of Uwade, providing a full circle moment to a wonderful night.

See photos of the show below, and see where you can catch Fleet Foxes on tour next here.

PHOTOS: MUNA and Meet Me at the Altar at Thalia Hall

Last week, MUNA performed to a sold out Thalia Hall for a Lollapalooza after show, also featuring Meet Me at the Altar. See the photo recap of the evening below, and see where you can catch MUNA next here.

Live Recap: The Wombats and Last Dinosaurs at House of Blues

Lollapalooza week kicked off with some pre-fest after shows, including The Wombats and Last Dinosaurs on Tuesday, July 26th at the House of Blues.

Last Dinosaurs is an Australian rock band, consisting of Sean Caskey, Lachlan Caskey, Michael Sloane, and Dan Koyama. The band warmed up the crowd for The Wombats, joking that it was fitting because “The Wombats are near and dear as an Australian animal.” Throughout their set, I noticed many fans throughout the venue singing along to songs like “Zoom,” “Apollo,” and “Italo Disco,” which the band introduced by saying “If you have any Italian descent, this one goes out to you.” Last Dinosaurs has a new album coming out November 4th called From Mexico With Love, which you can preorder here.

Next up, The Wombats took the stage to a very packed venue of fans ready to dance and sing along to their entire set. The trio consisting of Matthew “Murph” Murphy, Tord Øverland Knudsen, and Dan Haggis had toured earlier this year in support of their fifth studio album Fix Yourself, Not the World, so it was fitting that their show kicked off with two newer songs from that record— “Flip Me Upside Down” and “This Car Drives All by Itself.” From the get-go, Murph and Knudsen unleashed their infectious energy, bouncing around the stage as they played. Before transitioning to a throwback track “Moving To New York,” Murph told the crowd that he “wished this song was about Chicago,” but nevertheless, the Chicagoans still went wild for the song, making the House of Blues floor literally shake from all their jumping.

The set continued to weave through The Wombats’ expansive catalog, including a few songs from 2015’s Glitterbug. As a preface for “Pink Lemonade,” Murph said “I sing a lot about fruits… lemons… this song is the first one about a lemon tonight. The pink lemon.” The other lemony song is of course “Lemon to a Knife Fight,” which comes from 2018’s Beautiful People Will Ruin Your Life. The band’s good humor came through several other times during the show— about half way through, they broke out into an impromptu muzak tangent, which got a loud reaction to the crowd. “That’s very kind of you, you did not need to applaud for that,” the band replied.

The evening truly felt like a much-needed escape from everything going on in the outside world, and Murph further facilitated that release by asking the crowd to raise their hands and give him an “end of the world scream” before the performance of “Tokyo (Vampires and Wolves)” from The Modern Glitch.

The Wombats played their hit “Greek Tragedy” as their “pretend last song” before returning for a 3-song encore that pulled from songs old and new. During the official last song “Turn,” even people in the way back of the venue were dancing with massive smiles on their face. I’ve said it before and I’ll say it again— it’s literally impossible to be sad at a Wombats show.

See photos of the evening below, and see where you can catch The Wombats on the road next here.