My goal is to see one show per week. Yes, I might be that annoying friend that just has to tell you about the thing you missed, but I’m also catching every great show in the city of Chicago–with plenty more ahead of me. Welcome to the Chicago Concert Dispatch.
At the time of this show, it is 45 weeks into the year, and I have seen 188 shows.
Bloodshot Records is a label that brings all things indie, folk, alt-country, punk and good to the national stage via Chicago. After 25 years they threw a killer party at Workshop 4200 with the help of Smashed Plastic, who pressed their anniversary compilation album.
Wild Earp and the Free for Alls
Good old rowdy country rock ‘n’ rollers Wild Earp and the Free for Alls got the two-steppers moving with a full 8-piece band. The sound was big and dramatic, especially Kiley B. Moore’s vocals. She had perfect control of tone, moulding her voice to singing lead or back-up. Now that I’ve heard her let loose, I cannot get that soaring operatic effect out of my head. Our other MVP was Robert Daniels in the background of the stage, but he added that essential twang to the music. Wild Earp himself was the perfect frontman, with a voice that cannot be denied and a smile that blinded. His band set the tone for a killer night of music when they kicked “last honky tonk” into high gear. That double speed was surprising, near frantic for the dancers, and all fun.
The Dyes
The Dyes music had a powerful strut that took over the stage with ease. Her voice cut through the deep pulsing music, but had a snarling soul. Their stage energy was intense but balanced like a ying and a yang. If you prefer your musicians cool under pressure, look to bass player? She had that kind of look that could cut. If you want showmanship and joy, drummer was beyond ecstatic. As a whole, they had the lo-fi rock sound down pat. The growl she had during “Voodoo Voodoo” was so rough I shivered. I was partial to the torch song When they brought up Andy for the last two songs they added another layer to the music, a bit more country, a bit more jamming. It was a departure, but it was a fun way to round out their set. Especially for their Bloodshot track, “Liza Jane.”
Big Sadie
Big Sadie brought the tone down a notch with some really beautiful single mic bluegrass. The party in full chatty swing, which made it a tough room for their acoustic instruments, but the people that wanted to hear those beautiful harmonies simply pressed in, getting friendly with their neighbors in the name of music. The musicians had to press in, too. Dancing around each other for the best placement to the mic. Such an intimate way to play, with the arm of your bandmates instrument nearly pressed against you. It was obvious they would rather get hit in the face than have their instruments collide.I was struck by “Good Woman.” Elise Bergman sang a litany of things to improve upon to become a good woman. Even if we know we can always be better, it can be a toxic feeling, too. What does it even mean to be “good” anyway? A song worthy of emotional unpacking. Equal to that existential weight was the uplifting nature of when they stepped up the pace and got into a jamming groove. It was clear they were having a lot of fun and it was a joyful thing to witness.
David Quinn
David Quinn kicked the party back up with a rocking set. The crowd got close to feel the good vibes they were putting off. The music was so irresistible, seven couples twirled and two-stepped on scraps of empty floor to the side and behind the band.Quinn led this group with an obvious appreciation for his musicians, every moment away from the mic was spent turning to them for an extra surge of stomping rocking thrashing energy. Andy Holcomb rocked his bass up to the sky. Even the pedal steel player, Jeff Lyman (a typically sedate member of a band) was feeling the music. Their default energy was hard rockin’ but one of my favorite songs of the set was a slow tune, “Horses.” The music was so sad that it brought tears to my eyes before they even got to the lyric. The music was full of country tropes: drinking, buffalo, and boots. “Let me die with my boots on.” Can’t get more country than that.
ROOKIE
Anticipation was high for ROOKIE to blow the top off Workshop 4200. They are one of Chicago’s favorite live bands because it’s impossible not to smile while watching them play. This performance was no exception. They were just having so much fun. Whether it wass the music or their bandmates, I could not tell, but they all shared smiles as they played. ROOKIE played a tight set that included a number of unrecorded tracks.
I have to call out “Hold On Tight.” It rocked from the delicious power chord opening to the shimmy it put in Max Loebman’s shoulders. Joe Bordenaro had dramatic flourishes on the drum kit. Bass player Kevin Decker swung his body and his hair followed. Justin Bell grinned as he pounded the keys. Chris Kulwin found pleasure in rounding out the music, whether it was a delicious solo, getting in the groove of the rhythm, or giving us that cowbell. But wait–where was the cowbell?? Don’t forget it next time, guys! Even without the cowbell, I walked away feeling happier and groovier.
Happy 25th Bloodshot! We’re lucky you call Chicago home and look forward to the next 25 years of kick-ass music.
Bloodshot Records Official | Facebook | Bandcamp | Instagram
Wild Earp and the Free for Alls Official | Facebook | Bandcamp | Instagram
The Dyes Official | Facebook | Bandcamp | Instagram
Big Sadie Official | Facebook | Bandcamp | Instagram
David Quinn Official | Facebook | Instagram
ROOKIE Facebook | Bandcamp | Instagram</a
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