CHICD: Sugarpulp, LATE, and Lunar Hotel at Subterranean - 12/15

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 50 weeks into the year, and I have seen 195 shows.

Lunar Hotel donned their finest festive garb for this SubT show. Their energy was through the roof as they cranked out tunes that were straight out of a John Hughes film. It occurred to me that all they were missing was a synth. Then during “Worth a Favor” the guitarist, Sergio, let loose with a tone so synth-like at first I thought it was a track running under the music. Bass player, Ryan, had the standout performance of the night as he shimmied and convulsed to the music. He had the jump-around-crazies. Def a band worth seeing any night of the week.

Lunar Hotel, photo by Tina Mead

Late brought some thrash-tinged rock to the lineup. Their music was gritty, but there was an undercurrent of joy as they played. They had great chemistry and obviously love playing together. Drummer was all big snarling smile as he played. Singing along to the music. Guitarist moved and his hair flew. She gestured as she sang and the guitarist fed off her energy. When he sang the interplay of the two vocalists added contrast and intimacy. Especially on “Oscillation” when they slowed things down and the lyrics stood out sharply, “Watch me break down I do it all for you, You want it more than I want it for you.” That song, and most of the others they played will be on a forthcoming EP, III.

LATE, photo by Tina Mead

We ended the night with a set that was start to finish killer songs, Sugarpulp is a band knows how to craft body moving music with hints of thrash. It started with a drummer that keeps things bounce on the balls of your feet light, but also punches and sizzles. Patrick Foley provided a pulse on his bass that made him strut up and down the stage. As Deb Chesterman belted with power, she added synth undercurrents and danced. Her moves were expressive and almost violent, like the music was richochetting through her body, lifting her onto her toes and exploding through her fingertips. It was hard to take my eyes off Deb, but the shredding genius of guitarist Sam Allyn couldn’t be ignored. Then drummer showed his skill and flexibility with a jazz cadence during their closing song, “Whaddyagimme.” It also had a blues guitar feel, changes in tempo, and a circular cadence that made it feel epic. A stand out song like that is always a good way to end a set.