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 4 weeks into the year, and I have seen 12 shows.
In the depths of winter, it is only natural to go into a pseudo-hibernation mode. It’s so cozy on the couch under layers of blankets and a re-watch of Game of Thrones on the tv. But when you date a music writer you get dragged out to shows. And when two music writers date, you end up collaborating even when you didn’t mean to. What follows was written by me, Tina Mead, and the ever-colorful wordsmith, Aaron Pylinski. He loved this show too much to not contribute his thoughts, and they were too goddamn good for me to not use. Enjoy.
The Lipschitz is a lo-fi two piece that chops at a speed that leaves no room for error. Both Racheal Boswell and Daniel Lynch echo laden vocals and syncopated rhythmic force. The trade offs were seamless throughout their set. For as simple as it was there’s no doubt these southern kids from Savannah can hold their own in the Windy City. Boswell is one of the fastest drummers I’ve seen, keeping the symbols shimmering and the cowbell knocking on our skulls in that way only a cowbell can. The way she danced around the kit was just as melodic as it was rhythmic. Too delish. “Superstore” showed what you could do as a two piece if you had the wherewithal to perform music that has enough punch to wake the dead.
Horror pop psycho vibes rolled off the stage as Material Girls quickly melded into a groove held together by pounding bass lines and airy percussion. The band was united by the rockstar energy oozing out of their pores. Demanding and seducing simultaneously. This was heightened by the revolving vocalists, changing every couple of songs. As a necessity, whomever was playing bass, drums, and congas also changed. Each vocalist brought their own flavor to the performance. Ben Presley threw himself around the stage with abandon. John Restivo Jr. had swagger that could bowl you over. Sax player, Tyler Jundt, poured out his soul with an anthemic anti-being-fucked-with at work song, “Professional”. Meghan Dowlen seen for most of the show straddling the monitor and shredding the ever living fuck out of some funky assed bass lines, went from funk to French punk when she took the mic. If variety is the spice of life then Material Girls is cayenne because they are hot AF.
Pledge Drive is an amalgamation of glam glitz and cultish post-punk aggression. Their femme/queer vibes kept up a steady chugging thru tunes, old and new. “I Googled Your Boyfriend” had guitar, bass, and sax in stereo. Wicked nasty fucking anthem, followed by such a killer groove, “Space Jam.” I felt that lyric, “Take me with you,” echo through my being. Both are on the new album, Second Impressions, dropping in March. Def makes it a release to be anticipated. The horn was fully integrated into their sound in a way that few bands utilize. Kelsey Henke stood on her guitar amp, a stoic towering monument to their music. Vocalist Kelli Maestro channeled the music through her voice and whole being. As they rolled through their set it was undeniable that this Chicago sextet has a delicious combo of horns, keys, guitar, and radness.
All you suckers that stayed in on a Sunday night, you missed out. Be brazen, brave the elements and see what a cold dark Chicago night really has to offer.
The Lipschitz Facebook | Bandcamp | Instagram
Material Girls Official | Bandcamp | Instagram
Pledge Drive Facebook | Bandcamp | Instagram
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