Come see one of your favorite Summer Camp bands and help a good cause too! At the SOLD OUT Umphrey’s McGee show on Saturday, February 22nd at The Riviera Theatre in Chicago, Summer Camp’s Make A Difference will be hosting a drive to benefit Deborah’s Place, an organization committed to breaking the cycle of homelessness for women in Chicago.
Through a continuum of housing options, comprehensive support services and opportunities for change provided by dedicated volunteers and staff, women succeed in achieving their goals of stable housing, sustainable income and greater self-determination with Deborah’s Place.
Bring cleaning supplies to the show and you will be entered to win a pair of tickets to Summer Camp Music Festival 2014 or the Umphrey’s Merch Package above!
The cleaning supplies that Deborah’s Place has requested include:
- Bleach and cleaning solution
- Sponges and scouring pads
- Dish soap
- Laundry detergent
- Paper towels
Some of your Summer Camp Field Day Captains and Refs will be there to take donations and sign you up to win prizes, so remember to bring cleaning supplies to the Umphrey’s show on February 22nd to support Deborah’s Place – you can Make A Difference!
All entries agree to our Official Sweepstakes Rules & Regulations.
I spent last Saturday night at the Cubby Bear, located just across the street from Wrigley Field. This notorious Chicago bar was comfortably filled for Dopapod and Spread to play a long night of improvised music. Now this particular show came highly recommended by some of my most respectable friends in the jam scene. Plus it was cheap, so why not?
Spread opened up, warming the Chicago crowd as they began filling up the Cubby Bear. This local Chicago act has a vast approach to their live performances and their music is constantly interchanging, yet thick with improv.
I couldn’t help notice how much potential exists within this group of young musicians. Bass heavy foundations grounded most of Spread’s jams until guitarist Dave Petrizzo locked into beast mode. You can’t deny this band’s compositions offer limitless potential especially with songs like, “Elbow Slap”. They contain progressions so diverse they’re just asking to be explored.
This was my first Spread show since summer and I was extremely impressed with how much this band has grown over the past few months. Their weekly residency at the Cubby Bear this past fall has undoubtedly resulted in a growth spurt. And that was just the opening act!
Hailing from the east coast, Dopapod recently embarked on a massive multi-state tour in the middle of some crazy winter weather. Little did they know, snow storms and below zero wind chills never holds back a Chicago crowd.
Even though Dopapod played Summer Camp before, this was the first time I’d seen a full concert. I must admit, experiencing their live show gave me a deeper appreciation for what improvisational music is all about.
Basically, Dopapod was all over the place, and I mean that in the best possible way. The skill level of this quartet is beyond impressive. In fact, keyboardist Eli Winderman was so flipping good, I often found myself distracted by his talent. He has a fantastic ear for what is happening on stage and the most impressive ability to read Dopapod’s jams.
Guitarist Rob Compa resembles the great Jimmy Page and the late Frank Zappa. Especially when he lowers his head and locks into a jam. You couldn’t even see his face hiding under his shoulder length hair, but the melody of notes coming from his guitar was intoxicating. Bassist Chuck Jones and drummer Neal Evans supplied the heavier elements to Dopapod’s sets. This band tossed up everything from a punk vibe to a funkadelic jam in the matter of seconds. Still, one thing stayed consistent throughout the show: it was heavy.
Dopapod’s songs offer the type of variety that has no limits and there is a freedom to this expansive approach. Their minimal reliance on lyrics and avant garde approach to improv enabled their jams to grow deep, infiltrating our souls.
Overall the music produced at the Cubby Bear that night was heavy, yet extremely organic. The beauty of improvised music is how everyone in the room is experiencing a fresh sound. While Spread will continue to establish residency in Chicago, Dopapod is on their way to Colorado, then they will be heading back to the Midwest. Tour stops include Urbana, Iowa City, Indy, and Cleveland.
You can also get your hands on a few of their studio albums through the magic of Spotify and iTunes. They’re good, I bet you’d dig them.
Keller Williams played two very different sets of music at the Park West in Chicago on Friday, January 17th. The first was a familiar, one man band version of the multifaceted performer, but for the second set Keller lead an extremely entertaining funk band that appropriately calls themselves More Than a Little.
The first set presented a comfortable side of Keller with a mix of newer originals along with some old favorites. “Doobie in my Pocket”, “Best Feeling”, and “Floating on Freshies” showcased Keller’s knack for layering sounds with multiple instruments and looping them all into one gumbo of goodness. But by the time Keller arrived at “Porta Potty”, he decided to simplify. There is something to be said for a man who can hold a room’s attention with just his lyrics and a guitar. The half filled room was enamored by his presence. Looking around, I could see jaws ajar as we watched this man do what he does best.
Keller’s one man band show always has an element of simplicity to it. He executes his unique style with such ease that it seems like there is little to no effort whatsoever put into his work. But don’t let his laid back vibe and shit eating grin fool you. This guy’s timing is more on point than a metronome and his ability to layer melodies, basslines, and vocals is unlike anyone else out there.
Williams peaked his first set with the ever entertaining story of how “Gate Crashers Suck” that segued into “Scarlet Begonias”. This classic Grateful Dead cover included a blazing vocal trumpet solo that somehow fit the song perfectly. The jam eventually started to tease “Fire on the Mountain” only to break into the circus performance that is “Freak Show”. Everyone in the room finally seemed ready to let loose as they joined along with Keller as he closed out the set by journeying back into “Fire on the Mountain”.
As I mentioned earlier, second set felt like a completely different show. When the lights turned low, Keller danced his way to the middle of the stage. He was predictably barefoot, yet looking sharper than ever in an exquisitely tailored grey suite. His back up band, More Than a Little, wore all black as followed him out onto the Park West’s sage.
Keller’s band that night consisted of Gerard Johnson on keyboards, EJ Shaw on bass, and Toby Fairchild holding down the drums. These three shiny headed hairless men probably had the best view in the house since they spent all night posted up behind vocalists Sugar Davis and Tonya Jackson. The unity from each member donning all black made Keller stand out like a preacher in front of a choir.
The music of the second set kicked off with a full band jam that set a precedent for the rest of the night. Williams’ backup singers called out to to their leader, “Hey Keller,” demanding his attention as he showed off his best dance moves “…shut the FUNK up!” Keller froze as if this caught him by surprise.
Needless to say, it was hysterically funny to watch Keller Williams mesh his laid-back, don’t-take-yourselves-too-seriously vibe with a sophisticated five piece ensemble. But right from the first song you could tell everyone was on the same page in Keller’s Book of Funk. This comical juxtaposition continued until the end of the show.
There is something about “Kidney in a Cooler” that regresses Keller fans to a younger state. Yet, to hear it performed by a funk band was wildly entertaining. I can’t imagine what was like for a soul/gospel singer Sugar Davis to learn this tune and then deliver it every night with such conviction. It almost makes want to buy this tall glass of chocolate milk a double decker, double wide trailer.
Part of the reason Keller was touring with More Than a Little was to support his recently released live album, Funk. The Talking Heads’ cover “Once in a Life Time” seemed much less beatnik than the album’s version. Its strong bassline forced me to move my hips, but by this time the Park West was packed, almost to the point where it was uncomfortable. Trying to roam around the venue was virtually impossible without making others inhospitable, so I decided to watch the rest of the show from the venue’s horseshoe balcony. From this vantage point I couldn’t help noticed a neglected disco ball that quietly spun above the center of the room, yet the show was hitting full force.
Sugar Davis and Tonya Jackson kicked off their high heeled shoes to get themselves on Keller’s level during “Sampsons Wine”. This mashup of two delicious songs had Keller calling the shots as they flowed from one song to the other. One of the strongest jams of the set was “I Told You I Was Freaky”. This Flight of the Conchords’ cover captured the weird side of Keller, an element that has never faltered over the years. More Than a Little somehow understands Keller’s freaky vibe and together the group worked their way into Keller’s “Let’s Jam”, just before they slammed into a heady version of Rick Jame’s “Mary Jane”.
The night finally came to a close with a one song encore. Fan favorite, “Freaker by the Speaker” almost felt like a moment the whole room was waiting for. The group’s reggae rendition of this tune helped raise everyone’s freak flag high just before they were pushed out into the cold Chicago night.
Overall, this show’s second set put the fun back in funk. More Than a Little is a perfect name for the energy this group adds to Keller’s already entertaining live shows.
A long Chicago winter had finally concluded and warm breezes teased us as we hurried through the streets of Lincoln Park that Friday night. Rico and I were on our way to see a funk band. We stopped for dinner on the way so we were running a little late. By the time we arrived at the venue, we were greeted by a sheet of paper taped to the front entrance that read: SHOW SOLD OUT.
This was unexpected. Yet the more we thought about it, the more we felt like armatures. We decided to split up in search of extra tickets. Rico headed east and I ventured west.
For the first time in my life I found myself outside a sold out concert without a ticket. Awkwardly holding my finger in the air, I approached every passerby with three little words, “Got any extras?”
Most folks shook their heads no and some even wished me luck. One lady in a fur coat stared me down like I was crazy, obviously unaware of the sold out concert taking place just up the street. With each rejection the idea of giving up grew a little larger in the back of my mind.
Surprisingly, there wasn’t a single scalper trying to rip off unprepared concert goers like myself. I definitely had enough cash to cover the cost of the ticket and then some. I am not sure how much Rico was willing to part with, but I knew he was better at making those types of back alley deals than I was.
My focus turned to the yellow cabs dropping people off in front of the venue. They seemed like a good bet, but time marched on and I was still ticketless. Eventually the number of cabs delivering potential extra ticket holders started to dwindle and I was began entertaining new plans for my Friday night.
I met back up with Rico to discuss the possibility of giving up. I knew the opening act had already begun to play based on the lack of activity in the venue’s lobby, which we could see through the clear glass doors that were guarded by security. Rico insisted we give it one last try before we drank away our ticket money at the closest bar.
So, once again, we split up.
This time around I chose to linger around the venue. Eventually, I lost sight of Rico and decided to head around the corner to where the band’s tour bus was parked. I debated gathering up the courage to knock on the door with the odd chance of connecting with someone who could pull some strings. Surely they would have some sympathy for a cute girl in a short skirt. But before I got a chance to pimp myself out, I noticed a middle-aged couple hastily crossing the street towards the venue.
The woman’s long brown hair bounced in the wind while her escort’s shiny bald head reflected the streetlights above. They didn’t seem like your typical concert goers. In fact, they looked like money. Her leather cowboy boots were the real deal and his pinky ring screamed bling.
I approached them with a warm smile, “Any chance you guys have extra tickets? The show is sold out.”
They stopped immediately. The woman’s eyes got big as she soaked me in, “Actually, I think we each have a plus one on the guest list, don’t we?” She looked up at the man intently.
I beamed. “I have a friend that needs a ticket too. He’s just around the corner. And we have cash,” I was starting to get ahead of myself as hope grew inside my chest, “How much for the pair?”
“Oh, no no no darlin’,” She shook her head, “We could never take money for something we ain’t payin’ for!”
The man half smiled at me as he put his hand behind the woman’s back, motioning her towards the front entrance.
I practically ran to find Rico. “I got us tickets… for FREE!” the excitement exploded out of me. I had never received a free ticket to a concert before in my life, especially in this fashion. Back in the day I used to sneak into shows and festivals, but this was different. I was practically high off my good fortune.
We found the couple as they were checking in at the box office. Rico and I were still in awe as they each handed us a small blue raffle ticket. We thanked them profusely as the four of us walked through the doors and entered an already heated venue.
“Now you two have fun,” the woman flashed her million dollar smile and gave us a wink. The couple hurried into the show, leaving us alone in an almost empty lobby.
Still in shock, I turned to Rico, “I can’t believe that just happened!”
Brendan Bayliss and Jake Cinninger of Umphrey’s McGee will be showcasing some of their favorite holiday songs, along with some rare covers, and a handful of Umphrey’s originals on December 7th when they host their Annual Acoustic Holiday Show at the Park West in Chicago. This benefit will raise funds for The People’s Music School, the only music school in Chicago to offer free quality music education to children up until they graduate high school.
This exclusive event usually contains a handful of rarities and covers along with special guest sit-ins to help add to the magic of the night. Brendan and Jake have even welcomed the children’s choir on stage in the past to help boost the holiday atmosphere. “My favorite memory is doing “Happy Xmas” with a children’s choir.” Brendan Bayliss shared with me, ”I’ve wanted to play that song since I was old enough to remember it.”
And ultimately, this show is for the kids. The money raised at this year’s holiday show will be used to enroll kids in the People’s Music School. ”Our goal is to raise as much as we can in order to put as many kids in the school as possible,” explained event coordinator, Barry Brown. “The demand for enrollment always exceeds the funding available. So the more we raise and donate, the more kids there are that can get into the school.” In the past, Umphrey’s has helped raise enough funds to put at least 20 kids though the school’s music education program from the time they enroll until they graduate high school.
This will be the 11th year this annual charity event will taken place. Doors of the Park West will open early so attendees can participate in UM Holiday Garage Sale, where exclusive Umphrey’s merchandise will be available at steep discounts with part of the proceeds going to The People’s Music School. There will also be a raffle with prizes that include everything from restaurant gift cards to Summer Camp Music Festival tickets!
Tickets are currently on sale for the Annual Acoustic Holiday Show here and this event is guaranteed to sell out. They are currently accepting donations and raffle prizes so if you would like to contribute a prize or gift certificates, please email Barry Brown at UMcharityshow@gmail.com.
After all, it’s for the kids!
The Talking Heads‘ Stop Making Sense was a hugely successful concert film that redefined the live music experience in the 1980′s. While the movie was released almost 30 years ago, the show leaves an impression that will always feel contemporary. I remember watching the film over and over when I was a teenager, trying to figure out why I loved it so much. It wasn’t until I started writing this article that I finally saw Stop Making Sense as a piece of interactive artwork meant to feel more like a theatrical performance than a concert.
The film is structured like a story or a play with specific props and reactive characters. While the script of Stop Making Sense is made up of Talking Heads songs, the film’s purpose was not to showcase their music, but to incorporate it into what was happening on stage. More than almost any other band, The Talking Heads understood the visual element to their music.
Enter This Must Be The Band.
Formed in 2007, this young group of musicians only plays Talking Heads music. While they mostly stick to all request shows, in 2010 they finally decided to tackle Stop Making Sense. The goal of the performance is to replicate the concert movie note for note, scene for scene. While they try to limit the differences between their recreation and the film, a precise replication will never be achieved, nor should it.
On November 9th, for the fourth year in a row, TMBTB recreated Stop Making Sense in their home town of Chicago. The concert begins with Charlie Otto walking out onto an empty stage looking like a sales man, only he carries a boombox in his hand instead of a briefcase. In a convincing manner, informs us he has a tape he wants to play.
Otto then sells his pitch with the song, “Psycho Killer”.
This is the first time we are introduced to our main character’s neurosis. David Byrne, the original front man of the Talking Heads, is extremely hard to capture and over the years Otto has learned to nail this persona. At certain points in the song he seems to have no control over his body and a nervous energy forms as he awkwardly twitches across the stage. As an observer, you can’t help but connect with whatever it is that is so strange about him.
The scene evolves over the course of the next six songs. Equipment gets wheeled out, the crew sets the stage piece by piece, and the cast takes their places. Building the scene as the show progresses gradually increases the energy emitting from the stage. It is quite a process before the whole band is finally all there for the powerhouse hit ”Burning Down the House”. This evolution of the scene and deliberate emphasis on execution is much more obvious in real life when compared to the film. The fact that the stage production seems simple is very intentional and it showcases the avant garde elements of the show.
While watching this all unfold, I found myself extremely sensitive to what was happening on stage. Facial expressions, the way the band moves, and the way they interact with each other were more impressionable in the live setting than on film. Vocalists Kasey Foster and Trawny Newsome danced in sync with each other and with the rest of the band throughout the show. While this also takes place in the movie, watching the synchronicity in real life pulled together all the members on stage into a unit. By the time TMBTB slammed into “Life During Wartime”, the whole band and most of the audience was running in place. And, just like that, everyone in the room became invested in this performance.
Throughout Stop Making Sense, our main character neurotically controls how the show unfolds like the ringmaster of a circus. The show then feels like it’s losing control when he exits the stage for the Tom Tom Club’s ”Genius of Love”. A spotlight creates a larger than life shadow on the stage’s backdrop when he finally reenters the scene for the set’s next tune; “Girlfriend is Better”. As he emerges to the front of the stage, we notice his morphed silhouette is actually the result of a costume change into an oversize suit. This iconic large suit makes his head appear small and exaggerates his presence on stage.
Part of the reason TMBTB’s Stop Making Sense recreation is so successful is because it captures the art of the situation, the complexity of human interaction and a sensitivity to what is happening on stage. These things can not be duplicated from one performance to the next and they are very difficult to capture on film because camera angles and edits cut out a lot of these elements. When the show is recreated, tiny details of how each scene was put together stand out loud and clear.
While This Must Be The Band pays close attention to all these details, it is impossible to recreate the energy of a performance, no matter how many variables are controlled. This is not a bad thing, in fact, this is what makes Stop Making Sense a memorable performance worth experiencing over and over again.
Stop Making Sense Photos
Eliot Lipp has been on the top of my list of producers to always catch live ever since seeing him for the first time last year opening for Conspirator in Buffalo. It’s always an awesome feeling seeing someone for the first time and leaving jaw dropped. Since then I have seen him countless times, and each show has been its own unique experience. Eliot’s style is unlike any other, which makes him truly one of a kind.
Eliot’s smooth style has had venues across the world dancing their hearts our for over 8 years, and he’s bringing his unique beats to Chicago at the Aragon Ballroom opening for Pretty Lights on November 9th!
If you have never heard of Eliot Lipp, you are missing out! Check out this live clip:
I had the awesome opportunity to catch up with Eliot Lipp. Check out what he had to say!
Kyle – How did you start out producing?
Eliot - I gathered some hand-me-down gear from other producers, a sampler, a keyboard, drum machine etc…I pretty much taught myself how to make simple beats and then just kept progressing.
Kyle – I noticed you do a lot of stuff with your midi keyboard .. Do you improv at your shows?
Eliot - Yeah some songs have moments where I solo on the synth. I definitely don’t plan my sets out ahead of time, I like to play off the crowd’s energy so improv is important.
Kyle – You’re supporting Pretty Lights at the Aragon Theater in Chicago. What do you like best about playing larger venues?
Eliot - You get treated better at the bigger venues, sometimes it’s bad though because I’ll get spoiled after being on tour with PL or a bigger artist and then I go back to playing small clubs again and I’m like “where’s my spring water & organic kombucha”.
Kyle – How do you construct your set opening for someone such as Pretty Lights verse headlining your own show?
Eliot - I rehearse about 50 or so songs before I go out on tour so I have a large arsenal in the cue. Once I get on stage I start to decide what songs to begin with based on the vibe in the room and depending on the crowd’s response I’ll move the set in different directions.
Kyle – When did you sign with Pretty Lights music?
Eliot - A year & a half ago before Shark Wolf Rabbit Snake came out.
Kyle – You have a very unique sound. What are some of your biggest influences in your music?
Eliot – RJD2, The Alchemist, Mux Mool, Richie Hawtin, Daft Punk, Just Blaze, Jay Dilla, Flosstradamus, Kanye, Aphex Twin etc… I’ve been listening to lots of classical music this year too though, my favorite album lately is “The Four Seasons Recomposed by Max Richter”
Kyle – What is your favorite piece of equipment you use live?
Eliot - My Korg MS-20. It was the first analog synth I ever bought and it’s got an amazing tone.
Kyle – Do you often collaborate with other artists?
Eliot - Yes, I made a track with Wick-It last year, and me and Michal Menert made Gettin’ Money. And I have collabs with Mux Mool, Supervision and more coming up on my next album.
Kyle – You have been playing with a live band. What is your favorite part about that?
Eliot - Collaborating live, creating something completely unique at every show, improvising.
Kyle – How did the live band act come about?
Eliot - I met my drummer Cru Jones when he was playing in Michna’s live band a few years ago, and Nick Bockrath my guitarist has been on a bunch of bills with me in the past. I think stylistically the three of us really create a solid sonic palate.
Kyle – What is one of your all time favorite cities to play?
Eliot - Austin is probably #1, but I also love Minneapolis, Tacoma, San Francisco & Brooklyn.
Kyle – What are some activities you enjoy outside of the music world?
Eliot - I like Painting, and hiking, and eating.
Kyle – What’s your favorite food?
Eliot – Avacado!
Kyle – If you could play anywhere in the world, where would it be?
Eliot - It’d be fun to close down the golden gate bridge for a night and have a show there. Or maybe deep in the Olympic mountains, in the rainforest on a day that it doesn’t rain.
Kyle – Where do you see electronic music in 20 years?
Eliot – I think tablets, computers and midi controllers will be more fully realized as musical instruments. The “human” element in live compositions and performances will be much more advanced. I think what is now considered EDM will continue to evolve and fragment into new genres. The way we listen to music will evolve and we will become more accustomed the subtleties of sound texture. I think complex melodies will return to popular music and harmonies will replace the cheap sensation of giant sweeps and bass drops, songs will be guided more by their musicallity. Music is the universal language of raw human emotion, it’s how we understand each other culturally. Once a certain rhythm or melody has cultural relevance it can represent a new era & a new generation.
Kyle – What was your first gig like? Were you nervous?
Eliot - I was so nervous, it was in this warehouse on Chicago’s south side. I got physically sick because I was so freaked out.
Kyle – What’s your biggest advice for aspiring musicians?
Eliot - Be original, don’t lose your imagination.
If you are even on the fence about checking out the show on November 9th, or any Eliot Lipp show for that matter; do yourself a favor and go. You will not regret it! Check out other dates on Eliot Lipp’s current tour:
10/25 – The Tabernacle – Atlanta, GA
10/26 – New Earth Music Hall – Athens, GA
11/1 – Emo’s – Austin, TX
11/2 – Suwannee Hulaween – Live Oaks, FL
11/7 – Mojo’s – Columbia, MO
11/8 – 2720 Cheokee – St Louis, MO
11/9 – The Aragon Ballroom – Chicago, IL
11/29 – 1015 Folsom – San Fransisco, CA
12/4 – Shaka’s – Virginia Beach, VA
12/5 – The Camel – Richmond, VA
12/7 – The Park Bar – Detroit, MI
12/12 – Samana Lounge – Vail, CO
12/13 – Three20south – Breckenridge, CO
12/14 – Cervantes’ Other Side – Denver, CO
12/26 – Whiskey Jacques – Ketchum, ID
This is the story told by a girl who survived the Chicago Phish shows that took place in July of 2013.
I awoke Sunday morning feeling defeated. I sent a nasty text message to Sparkle Ass about her being a flake and it helped me feel a little better, but I couldn’t deny that this weekend was starting to kick my ass. Although my crash pad was convenient, I looked forward to sleeping in my comfy apartment in the middle of nowhere special.
This wasn’t fun anymore.
This weekend Phish will be taking over Chicago for a three night run at Northerly Island. With Saturday already sold out, Kuroda sporting a new light rig, and a completely revamped venue, this is bound to be a throwdown! But the party doesn’t stop there! Quite a few Summer Camp favorites are playing late night shows all around Chicago this weekend. Here’s a little heads up on some don’t-miss late nights for those of you heading to Phish….
Friday night the funk machine better known as Dumpstaphunk will be playing the House of Blues in Chicago. Their newest album, Dirty Word (available for pre-order), is about to drop at the end of the month, so this late night is guaranteed to get DIRTY!!! ”We are touring in support of the new Album, so people will definitely hear new material,” says drummer Nikki Glaspie. Not to mention that the HOB is one of the few venues in the Midwest to have a spring floor, which means you have no choice but to get down the minute the music starts and getting down is exactly what NOLA’s Dumpstaphunk is known for.
Chicago holds a special place in Dumpsta history. It was at the Mid back in 2011 that drummer, Nikki Glaspie, played her first show as an official member of Dumpstaphunk. In two short years she has brought the band to a whole other level. This late night will be a funky dance party through and through. What a great way to kick off the weekend!
If you are not familiar, Gamehenge was the setting of a musical masterpiece Trey Anastasio developed in college for his senior year project way back in 1987. It is basically the story of a man on a journey to get the goods. I won’t give away too much, but lets just say this album was the platform on which Phish was constructed. So in the same fashion that Phish grew into the beast it is today, Spread throws down some heavy improvisation in every song they play. They are guaranteed to split open the Hard Rock Cafe and we might even get a ”Wiiiillllllsoooon” tease thrown in the mix.
Finally, Summer Camp’s favorite late night act is doing what they do best by providing a Talking Heads dance party until the wee hours of the morning. This Must Be The Band will be playing Martyrs 7/20 and 7/21. Their first set on both Saturday and Sunday will be all request, where the loudest person in the crowd gets to choose what gets played next (so long as it’s Talking Heads music). The second set each night will be Speaking in Tongues, note by note. How neat is that?!
Needless to say, Summertime Chi is in full swing, SCampers! This weekend is going to be the type where the party just doesn’t stop…. So get out there and get your groove on!
Can you believe it’s almost here?! Getting ready for next weekend, let’s chat about a band you must see…
Maps & Atlases is based out of Chicago, and I had the opportunity to catch them this New Year’s Eve at Schubas in Lakeview. It was a blast. They even covered Tears for Fears’ “Everybody Wants to Rule the World”, and the place went nuts.
While being admittedly terrible at classifying music, I’d put them at folksy rock with a retro-vibe (seems legit, right?). Their latest album Beware and Be Grateful is a fantastic trip through soulful tunes mixed with upbeat dance grooves. Start with the song “Fever” and watch this beautiful video:
Maps & Atlases play Friday @ 7:00pm on the Campfire Stage. See you there!
Partial Setlist from 12/31/12 @ Schubas (It was News Years. For obvious reasons, I forgot to keep track after about 11pm : )
Old and Gray
- Remote & Dark Years
- Solid Ground
- Everybody Wants to Rule the World