Frank Mesina
7.29.26
There's a show I've been watching called Widow's Bay, set on a seaside island with a long history of storms and fog, genuinely creepy in between the jokes, and with the best supporting cast I've seen since my favorite comedy of all time, Arrested Development.
7.29.26
Smut at the Vic on Wednesday night, and the first time I've stood in front of them in a little over two years. Of every band I've shot, only one other artist has more frames than Smut in my catalog. The months between shows stacked up faster than I was keeping count, their touring and my own calendar never syncing up.
7.2.26
Staying local means you never really lose touch with a band, even after they break up. Members scatter into new projects, or just drift out of the scene for a while, but you still end up meeting them at bars or venues, watching other bands together. You keep showing up because the Chicago scene is worth staying close to.
7.2.26
No shows and no heroic stage capes for these secret identities tonight. Those are shelved for the time being. Ok, not too secret to begin with, but it was nice to shoot them without a set time before or after showtime, without that usual worry of taking up their time while loading gear in or out of a venue.
7.3.26
Second time this year photographing Future Nobodies at Bottom Lounge, and this show gave me what the last one didn't: real time and real light. My first outing with them ran rushed and dim, over before I'd gotten what I wanted. This time the room was lit for it, and the set ran long enough to actually work with.
6.20.26
For the Knee-Hi's last show I finally got to do two things I've always wanted to do with them: shoot outside during the day, and shoot film during the set. The day cooperated on both counts, overcast skies and no harsh shadows made for even lighting, and that same soft light turned out to be perfect for my first real film shoot. For part of the set anyway. I'd watched YouTube videos on how to use this vintage mechanical SLR from the '70s, and once it was actually in my hands it felt good, competent. It had decades of photos from it I'd never see. Wiser than I'll ever be, probably, but that didn't stop me. My distant experience shooting film years ago, paired with years of digital work since, gave me just enough confidence to bring it out mid-set.
9.6.25
Mickey was singing in a band the first time I shot her, and I described her as a femme fatale, noir and dangerously chic, carrying real confidence and presence with her. Sharp as a tack and able to command a room without trying.
7.12.25
Victoria has been an incredible creative collaborator throughout multiple Knee-Hi's shows, especially on their recent gig, where she took on the ambitious role of designing the entire stage aesthetic alongside her talented crew. The energy she brought, as always, was infectious, transforming the space with towering cardboard typography, bubbly champagne, the sweetest of cake frosting, and my personal favorite touch, a flurry of bubbles that set the perfect tone for an evening of DIY whimsy.
6.7.25
What a magical Saturday evening at Alice's birthday celebration. Walking into her living room, it was immediately clear this wasn't going to be an ordinary birthday party. The space was completely transformed, with cozy seating facing the stage, and intriguingly, a purple curtain closed off early arrivals like me, filling me with mysterious notions and anticipation.
5.3.25
Listen, I know two lionesses when I see 'em.
5.3.25
The first Knee-Hi's show of the year coincided with the release of "For You," the final track before their upcoming album drops. It's a slower, more reflective song where Devyn's vocals take a subtle, sultry turn, beautifully adorned, and as powerful as ever. Her voice seems to evolve with each performance, gaining clarity and carrying more emotion into both new material and longtime favorites.
4.12.25
Saturday night at Liar's Club, I finally photographed a band that's been on my mind for so long: Mystery Actions. They embody everything I've ever wanted in a live act. Their sound channels punk from the late '70s and early '80s, invoking the Avengers, Kleenex, and Chin-Chin. Obscure punk bands I wish I could've shot in their heyday.
1.31.25
"Still a Win in My Book," Says Photographer Who Lost Best of Chicago Vote but Won Best at Noticing Intergalactic Threats
1.31.25
Devyn didn't come to Earth to hide.
1.31.25
"Jaime Kitt Marikoski, a vocalist for The Jett Girls, has a distinctive voice that is dry, sardonic, and effortlessly cool. Her delivery is more spoken than traditionally sung, often teetering between deadpan storytelling and sing-speak phrasing. She has a conversational, almost detached tone that exuded a sense of irony and wit, making her vocals instantly recognizable. She'll also turn something up on the keytar and I'll lose all control of myself. It's a fair trade." - Tinfoil hat fan/critic #1.
1.31.25
When the Jett Girls returned from the skies, they crash-landed separately across Scandinavia's frozen peaks, vast prairies, and sprawling cities. Clad in whatever they could scavenge against the northern chill, they navigated to Chicago, drawn by fate or something more calculated. Their first true Earthly challenge? Milwaukee Ave!'s merciless parking. For Alice Strider, this was trivial. Pulling her ushanka low, she slipped into Cole's Bar.
1.31.25
At the end of last year, I decided to cut back on posts, tired of decreasing connection, creeping burnout, and IG's drawbacks. Taking a step back can rekindle the passion that drew me to photography initially. So why am I kicking off January with a huge five-part post?
9.7.24
Photographing The Knee-Hi's over and over taught me something, though it took years to fully click. Watching them evolve from a mischief of "wide-eyed rats" to a high-energy band bigger than any artist I've photographed is what finally got me there.
9.7.24
Victoria has lent a magical hand to a past shoot of mine as a secondary photographer, bringing a special energy to every photo she captured. Her personality and perpetual smile have an incredible way of putting her subjects at ease. It's not always easy to make people feel comfortable in front of the camera, something I still struggle with at times, but with Victoria, it's effortless. Her connection with people is palpable and reflected in her photos, capturing authentic moments that bring out the best in everyone.
9.5.24
Late post from last month's Plantasia at Garfield Park Conservatory. The event spotlighted an array of ambient artists I wasn't aware of, which doesn't mean much, since I'm not familiar with the genre in general. I was a tag-along guest to an event I'd soon realize to be thankful for.
7.14.24
Outtakes. We love 'em. Here's a few from the Jett Girls Cole's Bar show that could've headlined in another, distant world.
7.14.24
The Jett Girls' debut at Cole's Bar was an absolute riot, blending the raw, rock influence of the Knee-Hi's with a fresh twist of new wave synth punk, my absolute favorite genre. Devyn, Alice, and Kitt's performance recalled a vintage sci-fi aesthetic with gig clothing requiring heat resistant materials.
7.14.24
The Knee-Hi's kicked off the night with their signature mix of punk and rock, only to pull off an astonishing transformation as they reemerged as the Jett Girls, headlining in their own debut performance. Like watching a Victorian ghost story morph into a kitschy 60s sci-fi flick, filled with devilish charm.
7.6.24
Years ago, Sleigh Bells' explosive energy sparked my passion for concert photography. Today, The Knee-Hi's keep that fiery passion alive with their intimate connection to their music and unwavering artistry, inspiring me to capture moments that echo their timeless authenticity.
7.23.23
The Knee-Hi's, four wide-eyed stars adorned in stripes, concluded their northern tour back in Madison, where pantomimed stories were told, laws made, and songs leveled at crowds who failed to stay silent as Wisconsin's Capitol raged on.
7.21.23
First stop of The Knee-Hi's northern tour finds them in Madison, WI, where communing with the woods, devotees, and the celestial night becomes second nature.
4.24.26
Another opening act surprise Friday night in TV Buddha. As they set up for their set, a floor tom drum made it to the center of the stage, alongside a kit in the back, I had a feeling their percussive sound would land differently. When someone stepped out with a sax and took position at that tom, it was clear this wasn't going to be anything I've seen or heard before.
2.20.26
My fascination with female-led rock didn't begin with Blondie, though I often forget that. Debbie Harry was everywhere, and I loved her world. But earlier, an album my sister played changed how I expected music to sound.
2.20.26
The last time I photographed Jaime, I remember feeling like I hadn't known her long enough to offer any real perspective. I still can't, not fully. But what I said then still holds true. She's as talented, whimsical, and sharply witted as the last time I saw her, maybe even more so now that time and repetition has passed.
2.20.26
Not sure if I've ever seen Alice in a cowboy hat before, but if I did, would it be black or white?
2.20.26
A single, brief strum while a guitar tuned hinted at a Cure cover I knew so well. I felt a familiar rush of recognition and confusion, before the Knee-Hi's started up in full rendition. The Cure has always been up there with The Clash for me, two of those bands I hold with deep reverence. When the full song came, it felt entirely natural, with Alice taking the lead, giving it her familiar tone that fit the band and the room, a familiar melody and riff that carried the moment, while the room leaned in as if remembering something they'd always known.
6.20.26
Ash used to play in The Knee-Hi's. She was in the crowd with me today, not on stage, watching the band she helped build say goodbye from the other side of it. And somewhere in the middle of it all, in that soft way she has, she said something that's stuck with me since: this final show did what most ending bands don't.
9.14.25
There's some local lore that says the Liar's Club is haunted, thanks to an article Devyn shared with me. Maybe it is, though the only ghosts I ever saw there were the ones flickering through some technicolor haze. The lights poured over the Knee-Hi's like those in a haunted carnival fun house, warped and playful. No need for distorted mirrors (well, one mirror to highlight Jaime's duality) to summon the fun in that house; they conjured it straight from the stage. When the fog crept in, the room turned cinematic, ready for any Carpenter, Romero, or Argento film.
3.9.25
Minneapolis has always been one of Chicago's greatest neighbors when it comes to delivering some of the best music the Midwest has to offer. Every time I think I've got a handle on the city's scene, another band surfaces and proves there's still more to discover. She's Green is the latest to do just that, weaving dreamy shoegaze textures into something weightless and hypnotic.
6.20.26
Despite shooting shows regularly, there aren't many of the photographers around me that I actually get to meet. Victoria is the shiny exception. Part photographer, full-time artist. She's joined me on several shoots, with an ability to draw out the best in people that I'm always a little in awe of, and one of my favorite things to watch.
5.26.26
The Empty Bottle puts up a lot of flyers. Some blur together. Yours didn't. I found your album "Charmed" put it on, and it struck me differently than anything I was listening to at the time. Nostalgic and current. Vocals sweet and melodic on the surface but underneath them something kinetic and barely contained, chaos adorned in fuzzy garage tones that didn't know yet how loud it wanted to get. I didn't have a word for it then and I'm not sure I do now, but its impact was made.
5.24.26
I owe Pixel Grip a few shows.
4.24.26
Times New Viking.
4.15.26
I have no business speaking on dance. I've got two left feet, maybe even four if you ask pop and lockers who can do handstands. Still, after enough nights behind a camera, you start to notice how movement works against the frame or with it, and how much of what I rely on comes down to instincts. I return to them so often that they risk repetition, but hopefully guide me during a set toward something evocative that can hold interest after the sound fades. It doesn't always come together though, as light can fall short, moments pass too quickly, or you leave with a sense of what might've slipped by.
4.4.26
Laveda supporting The Belair Lip Bombs at The Empty Bottle.
4.5.26
I talk about punk and new wave a lot, but there's a third lane I don't bring up as often, mostly because I don't come across it much locally, though it shares the same level of impact the other two do: Dark wave. New wave's sibling has always been just as important to me, with that moodier, atmospheric, danceable draw carried out by synths, drum machines, and THAT bass, guitars shimmering through it all. It's a dream pop sound I tend to run after more than I can actually find.
4.4.26
I've been going through an approval slump recently. Heading towards the Saturday night show of The Belair Lip Bombs, I thought I'd reach out to them to see if this blip of a streak would end with them and was excited to hear them get back to me with an Australian thumbs up.
3.7.26
Photographing Acopia meant walking into Schubas already suspended in its own atmosphere, their stage saturated in red light and shadows, fog drifting slowly through the air until the whole space felt softened as if the edges of everything had been blurred. The setting was perfect for the artists as they appeared under the guise of something corporeal.
3.7.26
Trying to capture a whirlwind of a performer on stage can inherently be challenging, given the myriad of unpredictable atmospheric factors of a venue. Efforts to freeze movement are at times impossible without thee annoying flash, though stylistically on target if the photographer chooses to forgo it in favor of shades of intimation. What seems to be movement in the haze and darkness can be imperceptible in the murk or altogether absent. But what if you have an artist whose movement on stage surfaces through the dark through sheer force, forcing angles, contours, and slivers of highlights to be seen despite it?
2.12.26
Five months away from photography flew by. Partly unplanned (life) but mainly to recharge and the distance did just that. It made me miss shows. I missed standing in a venue and letting live music reset my love for my small window into it. I didn't expect Thursday night to pull me back, but knew it would when I read Lael Neale was finally visiting. Would've cleared my calendar for a year to capture this. I was ready.
9.19.25
I've been chasing Automatic through nebulae for years, and in September I finally caught them again.
8.29.25
Her physical performance is beautifully unhinged, a display of pure fearlessness that electrifies everyone she comes near. Selflessly bouncing across the stage with relentless energy, falling over speakers, weaving between band members, dropping into splits and launching into handstands with the fearless precision of her gymnastic past. She spirals around the stage like a downed live wire, any concern for a past injury or concussion close-call taking a back seat as she leaps straight off into the crowd at venues, landing hard on concrete floors and somehow navigating through the pit further without a care in this world.
8.28.25
Devyn is artistry in its purest form. She's one of the most talented artists I know and I will validate that annoyingly by saying that in my experience in a creative world, she reigns near the top. Her artistic range reverberates through everything she seems to touch, from music and songwriting to fashion design, and to me, in simply just moving through our world. I'm doing a disservice by just mentioning the obvious, but it's the nuances I've felt around her in the past, the effect she has on others, and her openness and welcoming nature that stand out most. Actually, one more example that's stuck with me recently. Devyn deftly commands the punk and glam ethos, but can just as easily invoke old-timey Hollywood charm.
8.29.25
In the short time I've known her, Jaime from the Jett Girls (also newly minted as a Knee-Hi) has captured the rights to some of my finest and unique photographs in recent memory. She embodies a fascinating duality: razor-sharp wit paired with playful whimsy, serious intensity balanced by high-hearted fun. There's an enigmatic quality about her, something indefinable that draws you in. What I imagine would feel like when you're on the verge of discovering a yet unknown element. A little dizzy anticipation at first, before documenting her in images. A Jm atomic number of 120 on the Periodic T. (Sorry)
8.25.25
Back in high school English class, I once dropped the word “phantasmagorical” into an essay, proud of the D&D flourish it gave the page. My teacher saw it differently. In red ink, she circled her comment, “Don't make up words!” punctuated with an exclamation that carried more authority than I could hope to ever argue with. I never dared to use it again, the word shelved for good, outside of occasional retellings of the moment like in this post.
8.26.25
Nothing beats live music on a Monday night, and Creeping Charlie turned what could have been a weary start of the week into something more luminous at the Empty Bottle last night.
7.13.25
Someone once told me that there's a lot of music out there, much of it bad. That's precisely why the Knee-Hi's were formed they said: to bring balance to the often harsh reality of today's music scene. Interestingly, I was the one who said that to my own agreeable self.
7.27.25
What began as a brief set at The Burlington became the defining highlight of my Sunday evening. Mr. Softheart delivered a short performance, but every minute resonated with the kind of experience that immediately brought me back to the new wave, post punk sounds that first captured my imagination years ago and is so unique these days.
7.26.25
When I photograph a band for the first time, I'm either excited or nervous. If im lucky im both. Excited to see how much im able to capture their energy, both over the top and nuance. Nervous that I wouldn't, or worse I can't. Photographing Alvilda was pure joy from start to finish. Fresh from France on their first American tour, this band brought such infectious energy that my usual pre-shoot nerves melted away completely. Their relaxed, fun-loving vibe had me shooting with more confidence and clarity than I've felt in ages.
7.9.25
Photographing Los Bitchos again after three years IS like catching up with international friends who happen to be some of the best musicians I've heard. The first time at the Empty Bottle, I knew something special was happening, but Lincoln Hall proved their extraordinary sound hadn't lost a singular technical note in three years that stretched into six. Or seven.
6.27.25
No matter how much I attempt to capture the essence of the Jett girls, photos, videos, and cheeky write-ups all fall short of conveying their true impact. Just like books or cinema, returning to their work repeatedly reveals new layers of their performance art and music that a single close encounter simply can't convey. Multiple experiences really are a must.
6.12.25
Being backstage carried all the expected intimacy and privilege you'd imagine, but what caught me off guard was how familiar it felt despite rarely shooting on stage. I've been pulled up once to shoot mid-show before, and it disoriented me in a great way, but I'd never planned to shoot from there. With Sleigh Bells, it required that tiny bit of boldness: asking them to see their show from a completely different vantage point. So, what's familiar about something I rarely do?
5.13.25
Calico Plaid at The Beat Kitchen.
5.13.25
When I shoot a band for the first time, there's all kinds of preconceptions. Always for the better, with hopes of having audio levels on point to do their music justice, lighting to minimize squints, a memorable stage presence to fill the “keep pile” of photos when collating a set. Slaughterhouse, from South Bay, played Beat Kitchen on Tuesday night with a show that left no room for hesitation or doubt for exceeding my hopes. Their sound is raw, fast, and immediate. Lean punk sharpened by something darker underneath that's drawing me closer to the harder edge coming out of Los Angeles.
3.8.25
The return of Gully Boys to Chicago was a neighbor storming in to see what's up, more than a tender homecoming. The last time I photographed them, they had an undeniable spark, a vibrant energy that made their grunge-pop shine. But this time, there was a gravity to their presence, a grit that made their music hit harder. They weren't just playing; they were controlling the stage with a confidence that felt fully realized.
3.8.25
There's something captivating about bands with two or more lead vocalists. For me, it's the fusion, the barely held together diametric divide between intensity and grace. Voices that stand apart but collide in a rrriot of sound. They trade lines with real force, shift from melody to chaos, then sync so perfectly back. It's raw, dynamic, power in multiplicity. Folks, It's Skating Polly.
3.8.25
It took longer than expected to get here. A handful of near misses, scheduling conflicts, and those frustratingly inevitable “life happens” moments had kept me from seeing Yada Yada before now. A band I'd heard about, listened to, meant to see. One that should've already been in my archives, yet somehow wasn't. But maybe that made the anticipation sweeter.
2.13.25
Something wonderfully different this time: Victoria, who's assisted me with photographing events in the past, truly outdid herself at the Babe Corner show we shot together. My secondary camera I used decided to betray me, failing to focus and save 98% of my shots. I didn't realize this until I got home. But Victoria more than made up for it, working the floor with ease the whole evening and capturing every keeper in the batch with her thoughtful compositions and eye.
10.25.24
From the moment Falcon Bitch, Gumball, and Ricky Moto step onstage, I've stumbled into a world I didn't know existed: a place both familiar and completely out of bounds. Falcon and Gumball move as twin muses, swapping lead vocals, trading guitar and drum duties with this unspoken harmony that keeps the whole show in a state of flux. Falcon and Gumball's voices often start out as delicate and tenuous lullabies, before their collective screams jolt anyone silly enough to doze. That switch is the most notable to me, two sides of one story woven together with each exchange.
10.21.24
I often search international bands that embody the rock, punk, synth, and alt sounds I love. While the musical parallels draw me in, it's the unique differences that make each band stick. Experiencing songs in a language I don't fully understand, yet feeling their emotional intent, is special and no band embodies this better than Hinds from Madrid. Even their English songs carry a charm that feels foreign and familiar, filled with warmth and stories waiting to be told.
10.5.24
Seeing Sunflower Bean again was surreal, especially because the gap between shows was the longest I've had with any band. I remember their roots in NYC, and seeing them now was reconnecting with part of my photography past.
10.5.24
Smut at the Empty Bottle always means stepping into something gray, amorphous and what I've always said about them: transportive. After so many shoots, I've come to expect the unexpected. Their setlist seems to be in constant flux, with familiar songs emerging in a completely different order, or a new track that materializes to remind me of the constant growth of smut. Led by Tay Roebuck, their performances ride waves of oscillating moods, from intense to serene in a heartbeat, and the energy on stage challenges the status quo. This unpredictability makes watching and photographing smut a fresh and fun experience with each watch, with never a repeat, proof of their growth.
9.25.24
Ami Elston of Itchy Kitty is a mythic figure, towering in presence, this real life Valkyrie, her head crowned with platinum flames that crackle white under the lights of any stage she struts on. She's a warrior of legend, drawn from the same northwestern forests where the chaotic good folk reign supreme. There's a sense of ancient power about her too, straight out of some forgotten saga, wielding a Flying V like a +2 battle axe of lore, with each thunderous chord stricken making the ground tremble in reverence.
9.7.24
I once had a chat with Andrew Bock and Devyn Crimson about the scarcity of bands today that truly collaborate on a deep level. It feels like the industry is missing the richness that comes from multiple artists contributing to a single creative endeavor, crafting songs that are meaningful, layered, and original.
9.7.24
Seeing Winona Driver at The Great Gathering last week felt like a long-awaited revelation. I'd seen hints of their existence, but nothing prepared me for their live presence, dangerously chic, veiled in noir. Led by Mickey and Danii Driver, the femme fatales channeled the best of Veruca Salt and Hole, blending 90s grunge punk into their own, mesmerizing sound.
9.7.24
I remember the night Stardog Seven beamed from the sky, touching down in rural Illinois, her presence a signal from distant stars, beckoned by Goekenland to join The Great Gathering. Her sound immediately enveloped the area, ambient, space-age rhythms that felt like the heartbeat of the universe. Ethereal yet danceable, the unworldly melodies seemed to stretch time, pulling the crowd into a cosmic fugue with each pulse echoing from a galaxy yet discovered.
9.7.24
At the Great Gathering Festival, Foggy Notion Physical Theatre, led by Laura Murillo Hart, turned the open air into a playground of comedy and joy. Their performance was a whirlwind of physical theater, improv, and interactive skits, each equally inventive and absurd in the best of ways. Laura's infectious energy had the audience joining in on the fun, with everyone becoming part of their whimsical antics.
9.7.24
Welcome to The Great Gathering, a festival within Goekenland where a dreamlike celebration of music, theatre, and nature merge in sublime harmony. Set against the backdrop of Goekenland's idyllic farmland, this haven of nature, lush greenery and a serene, welcoming lake, transformed an ordinary Saturday into a dreamscape where good will, the hardest of tunes, and merry-making antics reigned supreme.
8.3.24
The Last Dinner Party made a memorable impression last year in their Chicago debut. Before they took the stage in a smaller but comfortable venue, a radio personality predicted something special on stage, noting it might be the last chance to see them in such an intimate setting.
7.30.24
Snõõper is a band that's nearly impossible to pin down, and that's part of the fun. I've read they've been described using genres I've never even heard of, like egg rock and jazz punk. Even those esoteric labels don't quite capture the essence of the group, if I even knew what they meant! But that's a good thing. It gives the band an alien air, a mystery that draws you in. Their shows are basically art installations, with fans seeking the fantastic and an 8-foot alien insect mascot wandering the mosh pit filling that position. All the while, Blair Tramel seems to phase in and out of our world, bringing back musical gems elsewhere in real time. Snõõper's somewhat of an enigma, but also the best puzzle I've ever tried to piece together.
7.27.24
Guerrilla Toss is one the best party artists I've seen so far, with a crowd of devotees packing the Empty Bottle to it's brim and consuming me under their collective force, led by Kassie Carlson's celestial vocals and relentless energy, funneled through the group's psychedelic synths and never ending rhythms.
7.27.24
Been too long since seeing Spread Joy and their brand of sound harkening back to frenetic punk of the 70/80s, stirring in sharp, anxious, but sweet vocals and primed to provide support last weekend at the Empty Bottle for Guerrilla Toss.
7.25.24
Scowl terraformed the Huntington Bank Pavilion into a new island haven for hardcore punk enthusiasts, infusing pure adrenaline into the collective pulse of the crowd and leaving me happily with earplugs beyond recovery.
7.11.24
The groups I admire and photograph often differ in ways that highlight their unique musical talents and stage performances. Their varying genres, fan followings, and career lengths add to the excitement and distinctiveness of each show.
7.6.24
Shameful. I Photographed Bugsy Saturday night and was genuinely frustrated that I hadn't discovered them sooner. Truthfully I had, through a recommendation, but never went. Absolute madness on my part. Minneapolis consistently produces top-tier artists, and Bugsy is no exception. Their performance was a whirlwind of energy and emotion, and I was thrilled to capture every expressive moment. The city's vibrant music scene truly shone through in their electrifying show at Schubas.
7.1.24
Touring from the Bay Area, Present pulled in fresh, dream pop grunge to the Cobra Lounge in support of Softcult's return to Chicago.
6.29.24
Phoenix and Mercedes Arn-Horn of Canada's Softcult descended from the great white north to deliver a captivating set of shoegaze-grunge in support of their recent EP, 'Heaven'.
6.29.24
Touring from the Bay Area, Present pulled in fresh, dream pop grunge to the Cobra Lounge in support of Softcult's return to Chicago.
6.22.24
Defying the sizzle of daylight, Messer Chups heralded in the night, its shadowed embrace, and the welcomed screams of the living.
6.22.24
In a world craving a genuine rock 'n' roll revival, The Rumours shine white-hot. These artists embody new-fashioned rock 'n' roll, blending the rebellious spirit, swagger, and charisma of the silver age with a modern, refreshingly ragged twist and immediacy towards an unrestrained now.
5.30.24
Horsegirl's sound is reminiscent of Jesus & the Mary Chain or Echo & the Bunnymen, with Nora Cheng and Penelope Lowenstein providing lo-fi harmonies both thoughtful and mysterious, enhanced by their fuzzy gain, and beats of anticipation perfect for sitting back to or dancing with abandon courtesy of Gigi Reece's percussive rhythms.
5.18.24
Fazerdaze was the first international artist I wanted to photograph, a long shot in my head, an understatement as far a notion as the New Zealand she hails from, eighteen hours to Chicago according to someone in the doe-eyed crowd of Schubas.
4.13.24
For me, Minneapolis' underground music scene is an untapped well of some of the best music in here these middlin' western parts. Vial was an immediate highlight for me when I discovered them several years ago. A transportive, friendly neighborhood punk band that astonishes at every performance by their ability to generate the sheer sound, presence, and stage dynamism that clobbers you despite only consisting of three members. Not the first time I've posted this befuddling ability of theirs, but always worth repeating.
4.12.24
Minneapolis' Creeping Charlie made a meaningful return to Chicago to celebrate their latest track, 'Rabbit,' much to the appreciation of a dedicated crowd Friday night at Fallen Log's gathering. The artist's expanding catalog, which includes tracks like 'Lean Ito It, 'Capricorn' and the newly released 'Rabbit,' provides a thoughtfully dual experience.
3.9.24
Photographing concerts usually involves capturing acts I'm already familiar with, as they often populate my playlists. I anticipate their performance, hoping they'll play my favorite tracks. However, Otoboke Beaver entered my radar solely through their reputation and algorithmic recommendations, diverging from my usual musical preferences. Intrigued by their electric online presence, I was drawn to photograph them despite never having heard their music beforehand. Their show at Thalia Hall exceeded all expectations, surprising me (but kinda not) with unexpected twists and a lol moment I've never experienced at a show.
3.1.24
Despite capturing smut in double digits over the years, I've never had the pleasure to meet the artists. Always fun and strange (in the bestest of ways) to meetup in person, especially for a quick post-show shoot of folks I swear I've known for years 🤝
2.14.24
They're the type of artists I hold my breath for when their tour is announced. They're the type of group that literally are too far to see as often as I'd like. They're the type of band that don't always make it to these Midwesty prairies, better yet on Valentine's Day.
12.13.23
The last show of the year is always a mixed bag. It punctuates twelve months of experiencing some of the best shows I've ever seen, from incredible artists both familiar and new. While grateful for these experiences, figuratively patting myself on the back for a day's 'hard work' is a bit tougher with literally a bout of tendinitis in the 'ol shootin' arm.
11.10.23
Brooklyn's Razor Braids ability to transition between velvety, high-energy tracks as in "She" sung by Hollye Bynum and introspective, soul-stirring melodies such as "Megachurch" by Jillian Karande kept me on a wonderful edge of not knowing what to experience next. Janine Peacock's jangly and feedback-rich riffs drove levels of technical creativity to consistent heights while Sid Nichols' percussive beats kept the evening's cadence in marching form.
11.9.23
London's The Last Dinner Party transported the Bottom Lounge to a bygone era with an alluring performance and at times momentarily spiritual, transcending the modern setting of the venue into some kind of wonderful.
10.23.23
Waiting for an artist to take the stage while in the pit still gives me chills and a case of the nervous sweats. Especially early on when I didn't know what I was doing and couldn't remember what the YouTube photographer told me to do. I'm a bit more sure of my camera settings these days alleviating the sweats (mostly), tysm, but when you know the artist about to come on can drop 100% of the jaws in attendance, 100% of the time, the chills persist along with a strong susceptibility to being starstruck. Many must've fallen victim to this Monday night, utterly defenseless against Amy Taylor's fiery entry through the atmosphere.
10.23.23
Perfect heralds for Amyl & the Sniffers, Austin's Die Spitz roars into the Salt Shed, with their rock raw and their collective edge serrated.
10.20.23
A stage performance fit for stadiums was barely contained within the pulsating walls of the Empty Bottle Friday night.
10.8.23
Very late Scowl post. 🥵
8.27.23
…
8.10.23
I love hearing anyone's 'Back from the 2020 dead' story, old and tired as they may be. Specifically what they first did when it was appropriate to do so, what they wanted most, what they missed. My story's simple. Come August 2021, I wanted to catch an artist I've missed years in the making, punctuating the new norm with a moment I wouldn't forget, something with enough emotional substance to mark the time, light up the dark corners of my world, and lead me to where I am today.
8.2.23
Montreal's Emmanuelle Proulx of Men I Trust casting les charmes du charisme for all within Thalia's sold out Hall.
7.20.23
Busan's Say Sue Me performs at The Empty Bottle.
7.15.23
Steven Ansell and Laura-Mary Carter of Blood Red Shoes blowing the covers of all within the Hideout by force of anthemic harmonies, concussive beats, and ominously melodic riffs, driving the right kinds of moth to the neighborhood's hidden flame.
7.9.23
Vial serves up punk-infused chemistry Sunday night to the delight of the Beat Kitchen and highlighting my breezy, summery stroll through Roscoe Village.
6.25.23
Settling in after a show to curate, edit, and overall process images from a performance is a favorite thing of mine to do outside of attending the show itself. Most photographer workflows have commonalities but where our respective approaches curiously and rightfully differ I think, is what music is listened to while editing. Expectations to edit while listening to the music of the artist just photographed naturally surfaces as a first step to post production nirvana. The recall of events by re-connecting vignettes from a show to a melody, riff or lyric is euphoric to me. There's nothing else like this age old pairing of senses between two mediums that breathe new interpretations, recollection, and life to a show long past their final encore.
6.24.23
Settling in after a show to curate, edit, and overall process images from a performance is a favorite thing of mine to do outside of attending the show itself. Most photographer workflows have commonalities but where our respective approaches curiously and rightfully differ I think, is what music is listened to while editing. Expectations to edit while listening to the music of the artist just photographed naturally surfaces as a first step to post production nirvana. The recall of events by re-connecting vignettes from a show to a melody, riff or lyric is euphoric to me. There's nothing else like this age old pairing of senses between two mediums that breathe new interpretations, recollection, and life to a show long past their final encore.
6.24.23
Scarlet Demore channeling one of Chicago's hottest days into a combustible performance of their own at Logan Square Arts Festival.
5.27.23
Calico Plaid at Schubas supporting Cut Your Losses and delivering maybe my favorite cover of the B-52's “Give Me Back My Man”.
5.27.23
Calico Plaid at Schubas supporting Cut Your Losses and delivering maybe my favorite cover of the B-52's “Give Me Back My Man”.
5.27.23
Sacred May marching into Schubas Saturday night, their brand of metallic core fully forged and at the ready.
5.27.23
It's no wonder local venues are booking Scarlet Demore any chance they get within just the recent past and not too distant future. Saturday night found the artists this time, once again at Schubas Tavern. The word is out there, and the venues and punk paraders are responding in kind with heartfelt revelry.
5.4.23
Prism Bitch flew in from Albuquerque lead by the hardest rocking flight attendants I've ever seen in Lauren Poole and Lilah Rose, with captains Chris Walsh and Teresa Cruces keeping the flight plan in focus. They offer the best in-flight entertainment and will have you lamenting the next time you board a flight without 'em.
5.4.23
I've never seen a show like Itchy Kitty's kinetic, sensory-overloaded Chicago debut Thursday night at Thalia Hall. Mid set, I pulled my earplugs off.
4.20.23
There are some fantastic Minneapolis groups channeling some of the best grunge, punk, and metal from the 90s and shaping it into something new. There's a wealth of rabbit holes I'll be going into to see more bands like Gully Boys. For now, they've nudged me towards a sound that, to me feels new and empowering.
4.20.23
When walking up to the Beat Kitchen, I ran across a parade of punks of the friendliest kind entering the venue, all smiles and electrically charged up with the anticipation of a mosh and seeking out a single outlet to relinquish it all to. I asked one of the punks which artist she came to see in the triple bill. Easy. For her, that outlet was to see Scarlet Demore.
4.19.23
New venue, fantastic new 'do, and a new tune that'll haunt me until officially released.
4.13.23
I've missed attending a Vial show the last few times they've visited Chicago, so I overcompensated by being the fourth person in line before the doors opened at Subterranean. Good and early. Taking no chances.
4.13.23
Creeping Charlie wound it's way from Minneapolis, taking immediate hold of the lucky show goers within the warm and intimate confines of the Subterranean.
3.24.23
Razor Braids. Unforgettable band name, logo design, Buddy Holly cover, and a growing catalog of music that will hook you and dismiss any form of release.
3.14.23
Blushing is another great find thanks to the seemingly endless talent The Empty Bottle surfaces for the lucky locals in town. Riding in from Austin, Blushing kept the late lights on at the Bottle Tuesday night, with their brand of shoegaze, shining bright with guitar fuzz rigor and psychedelically haunting vocals by Christina Carmona.
3.5.23
I remember seeing smut at Schubas for the first time in '21 and thinking how nice it would be if they could perform at that venue monthly. Great sound, intimate fans, and the lighting. Good lord, the lighting is fantastic.
2.25.23
Headlining Empty Bottle's winter fest, Music Frozen Dancing, Louisiana's Special Interest brings their blistering brand of industrial glam punk to the venue's nippy corner of Western and Cortez, giving locals a respite from the winter doldrums and a reason to dance their frozen booties off. Lead by Alli Logout on vocals, Special Interest kept onlookers toasty with a danceable, seismic set highlighted by my current favorite, Cherry Blue Intention.
2.25.23
Bonus Snõõper exposition dump! Saturday was a night of firsts.
1.15.23
With a pitch perfect performance at Reckless Records, smut cozily ignites the new year as they promote their latest album, How the Light Felt.
10.8.22
The first time I shot Wolf Alice was in Indianapolis after a 2hr+ drive, rejected venue entry, and a lesson in Indiana's two time zones. I drove home and thought they sounded great and was sure they looked just as good, with what I think was a white shirt on stage.
10.14.22
Alvvays' second Chicago visit within a year finds them at The Riviera Theatre promoting their newest album release Blue Rev.
8.16.22
Courtney Barnett's return to Chicago finds her headlining The Here and There Festival at The Salt Shed.
7.29.22
Reputation preceding them, Wet Leg arrives from the Isle of Wight, rightfully taking their place on stage as white-hot fan favorites and cementing their station as indie icons into the furthest, frenzied reaches of the Empty Bottle. Easily a personal milestone to see them finally perform. 📸
12.13.22
For the final shoot of the year, Slow Pulp provided the appropriate closure of a year that had a shaky start for artists globally, with continued cancellations by many, but ending it with a strong and redemptive return to Lincoln Hall after a 361-day wait. Before the show, with everything the end of year brings, and a booster shot to boot, I felt physically and mentally bankrupt.
11.16.22
I was fortunate to capture smut's first show as Chicago locals in 2021 (originally hailing from Cincinnati) and it was my first post lockdown shoot. At a crucial time, they provided a healing sigh of relief that heralded the return of shows across town and provided a stretch of personal growth for me behind the camera and for every other time I've seen them since.
11.3.22
The Paranoyds performing at Schubas and thankfully not understanding what a traditional wormwood-based digestif is in the form of Malort.
10.23.22
Automatic caught a respite from Chicago's inevitable drop in temps Sunday night. Narrowly missing an upcoming cold spell in the city, (their last visit in February performing at the Bottle's neighborhood-favorite, outdoor winter dance party) Automatic arrived to 70 degree temps that easily rose the moment they materialized inside and on stage.
10.28.22
New-to-me, great local find courtesy of the Empty Bottle: Clickbait opens for Automatic Sunday night. Noting the cymbals + punk combo as something worth looking into.
10.14.22
Emily Massey of local favorites Slow Pulp return to Chicago for a chilly night at The Riviera Theatre. It was the first of many more shows to shoot our shared neighborhood.
10.8.22
The Regrettes returned to Chicago's historic Thalia Hall for a show sponsored by Dr. Martens Saturday night. Led by Lydia Night's energy and unbridled charisma, it took little time for those present to sync up with her gravitational pull, allowing her to take them willingly wherever she wished for an evening.
9.28.22
The opportunity to shoot a favorite artist multiple times is the best part of concert photography. Of course, it's the music or stage performance that draws in fans for repeat visits. From a photographer's perspective, it's like hopping into a time machine, affording a chance to course correct technical mistakes I may have made from their past shows and more importantly if I'm lucky, capture the artists in new and distinctive ways.
8.16.22
Alvvays was the first band I shot with “permission,” thanks to the graciousness of Thalia Hall as a house photographer in 2017. I had only a single, paltry photoshoot to show them, yet for some unknown reason I'm still indebted to, they agreed to let me do it. It remains one of my favorite shoots for so many reasons. It's a time and memory I wish I could relive, to see Alvvays for the first time again and again. On Tuesday night, it somehow felt that way.
8.16.22
New Zealand's The Beths make their way to The Salt Shed.
8.5.22
Origin story: I shoot concerts because of Sleigh Bells. Every photo I've taken of an artist, every venue, and every post-show edit and upload I make is due to discovering their debut album Treats.
7.29.22
Another new local favorite, Modern Nun opens for Wet Leg at the Bottle Friday night.
7.28.22
After years away, Madrid's Hinds were finally back in Chicago, closing out the night with an aftershow at the Empty Bottle. It turned into one of the hottest, sweatiest shows I've ever seen, which is saying something after all the nights I've spent melting there.
6.22.22
Los Bitchos' blend of danceable instrumentals, inspired surf-rock, and unlimited charm set the evening's mood at the Empty Bottle, riffing on their brand of Cumbia, a Colombian genre of music and dance (happily now aware of) that perfectly pairs with all things happy and pizza. While waiting to photograph Los Bitchos, I dined on some of my favorite pizza next door.
5.30.22
A sound and aesthetic I've missed for too long, Glove's two-night stint in the city satiates a post punk, new wave longing, punctuating a holiday weekend in synthesized style.
5.14.22
Late post from last weekend's Amyl & the Sniffers show at Logan Square Auditorium, setting off local seismographs, car alarms and the rabid, unrelenting crowd of the pit.
5.3.22
Late post showcases Kate Clover at the Beat Kitchen, leaving a resonating impact a week later, and securing my place in line for the next show.
4.26.22
Smut ramping up for their Summer tour with a Springy Sunday Schubas show.
4.17.22
Showcasing an other worldly sound of noise, punk, psychedelia, jazz, and other genres I've yet identified (I may be picking up some wonderful calliope-inspired notes in the keys) Philadelphia's Empath arrived at the Empty Bottle Sunday night dispelling any hardlines drawn between such genres, their songs made cohesive by bombastic and incredibly proficient percussive beats, playfully complex synths, with the seemingly disparate dots connected by Catherine Elicson's pervasive riffs, and powerfully melodic vocals. Huge fan!
3.13.22
Wombo's ethereal Sunday nightcap at The Sleeping Village.
3.4.22
Despite losing their tour van in Canada just the night before, Illuminati Hotties managed to get to Chicago Friday night, performing an uncanny set with fans asking no questions and gettin' no lies.
3.4.22
Fenne Lily powers-up her song writing prowess with a double side of wit and charm at Lincoln Hall.
3.4.22
Mia Berrin of Pom Pom Squad reveals an origin story in between cheers and woots from Lincoln Hall's rapt faithful.
2.25.22
The Marías selling out the Vic Theatre for a second night, promoting their new album Cinema, led by María Zardoya's soulful spirit, breathy vocals, and inescapable charisma.
2.25.22
Ogi opens for The Marías at The Vic.
2.20.22
Headlining a five artist lineup, smut lives up to expectations Sunday night at the Sleeping Village.
12.6.21
Reframing the Monday blues with beabadoobee at the Metro.
11.26.21
Armed with fully realized artistry, transcendent vocals and vision, Caroline Polachek's long-awaited return to Chicago easily captured the hearts and minds of all lucky enough to be at Thalia Hall Friday night. She hasn't mastered the gift of flight yet, but stay tuned.
11.26.21
Armed with fully realized artistry, transcendent vocals and vision, Caroline Polachek's long-awaited return to Chicago easily captured the hearts and minds of all lucky enough to be at Thalia Hall Friday night. She hasn't mastered the gift of flight yet, but stay tuned.
11.26.21
Armed with fully realized artistry, transcendent vocals and vision, Caroline Polachek's long-awaited return to Chicago easily captured the hearts and minds of all lucky enough to be at Thalia Hall Friday night. She hasn't mastered the gift of flight yet, but stay tuned.
11.19.21
Selling out the Hideout for the first time since the world went dark, Habibi provides groove and glitter to ignite the new danceable normal. P2.
11.19.21
Selling out the Hideout for the first time since the world went dark, Habibi provides groove and glitter to ignite the new danceable normal. This personal fan favorite requires double-duty posts. P2.
11.3.21
Nice to have favorite artists who happen to be locals. smut ;( at the Golden Dagger.
10.21.21
Peering into the wonderful, wild world of Wombo.
10.21.21
Peering into the wonderful, wild world of Wombo.
10.11.21
In listening to Public Practice's "Compromised" I was drawn to their punk, new wave, and disco influence, with direct and inevitable comparisons between the group and iconic acts such as Blondie, the B-52's, and Talking Heads. I can't imagine a better mixture of performers to draw inspiration from, capturing an eclectic era in music when stage presence and theatrical artistry were integral to a group's appeal. In other words, Public Practice is a pure JOY to watch, as much as their infectious booty-shakin' music is to dance to.
10.11.21
Invoking elements of post-punk, subjectively reminiscent of 80s new wave darlings such as Altered Images, Nina Hagen and Missing Persons.
9.11.21
Hop Along making the Metro their home, post Pitchfork performance.
9.11.21
A fixture in Chicago's indie-pop rock scene, Varsity's return to the stage, opening for Hop Along, seemed like many acts in 2021: initially trading reticent smiles with each other, after an unprecedented, global touring hiatus, only to swiftly carry the Metro faithful, led by Stephanie Smith's infectious vocals, into familiar ground, performing "So Sad, So Sad", recent releases from 2020's "Fine Forever", as well as a personal favorite, "A Friend Named Paul".
8.28.21
Headlining at the Empty Bottle Saturday night, Alicia Bognanno's Bully opened her set with "Like Fire" and "Where to Start" from her solo 2020 Sugaregg release, ensuring the best way to end my pandemic-laden absence behind a lens. With more acts returning to the small stage, there hasn't been a shortage of shows to shoot, but Bully, within the friendlier confines of the Empty Bottle, was my first curative choice to address my personal well-being and imminent farewell to summer.
8.28.21
A few years ago, I discovered smut, a noise-pop quintet from Cincinnati via recommendations awarded to me by listening to Bully playlists on Spotify. Criminally, there wasn't an immediate amount of information I found on the group at the time, but retroactively found my way to the group's 2017 release of "End of Sam-Soon", and this was enough for me to have it on repeat for months to come. With 2020's "Power Fantasy", and the group's relocation to Chicago, I was able to enjoy live renditions of "Power Fantasy" and "Fan Age" at The Empty Bottle as they opened up for Bully, to close my circle of their discovery.
1.15.20
Caroline Polachek making hearts grow fonder in long-awaited Chicago return.
1.15.20
2020 opens with Desert Liminal, who also opened up the distortion pedals and a 4 string.
10.11.19
The Regrettes at The Metro on 10.11.19.
6.15.19
An Australian favorite of mine, San Cisco brightens up a rainy day in Chicago.
5.25.19
The Jungle Giant's understated ferocity hits loud and clear on a memorable night at Schubas.
11.28.18
Hey now, it's The Regrettes!
11.1.18
Inner workings of Exploded View at the Empty Bottle.
10.27.18
Boston's Lake Street Dive bringing their stylishly soulful sound to the Riviera.
9.15.18
Poliça, led by Channy Leaneagh, closing strong at the Fulton Market Harvest Festival Saturday night.
6.12.18
Suzanne Santo's voice, violin and six string makes Wednesday night at Schubas the best night of the week.
4.16
With a continual wave of incredible indie acts hailing from Brooklyn, NY, Chairlift manages to stand out due to front-woman Caroline Polachek's delicate yet inventive vocal range, love of 80s synth-pop, and a playful stage presence, delightfully bordering on performance art. Promoting the duo's recent release of "Moth" at Chicago's legendary Double Door, new tracks "Ch-Ching" and "Polymorphing" felt right at home along iconic Apple ad favorite, "Bruises", and additional gems "I Belong in Your Arms" and "Amanaemonesia".
11.3.17
Before Alvvays, I'd only photographed two shows without knowing there was ever a security check to get through. I just walked in with a camera. Nobody blinked.
9.6.25
The second annual Great Gathering bloomed once more at Goekenland, where artists emerged each evening to share their varied talents under stars hidden by light from a full moon's watch. On Saturday's opening ceremony beside the land's familiar lake, tents dotted the shore, ready for the weekend to unfurl as a two-day reverie. Events drifted through the days: a foraging nature walk, a wild kitchen workshop where earth became sustenance, poetry readings that hung in the air, puppet shows and comedic performances, all crowned by musical acts that carried through every day and tied it all together.
9.6.25
I've photographed many folks, but there's something about Ashley Goeken that defied every technical rule I'd learned.
9.6.25
On day two of The Great Gathering, I took a break during a Sunday show to take inventory, cataloging all the bands and moments I'd captured so far. I'd hoped to photograph Chris Goeken the night before, but those plans had sailed away, so I sent a message to see if she was still around. Lucky for me, she hadn't left yet.
9.19.25
Synth-punk. Is there a better fusion? Fold in some dark wave and you've got something that makes me...work?
9.6.25
The afternoon sun hung golden over The Great Gathering as Julia Morrison stepped into the light, acoustic guitar slung over her shoulder. She arrived as an invitation, beckoning the early arrivals closer to the pavilion's edge. Her fingers found the strings, and with the first chord, the evening began its slow inevitable bloom.
9.7.25
Back in the day it was easier to keep track of photos: only B&Ws, then color, then my site, then blogs, IG, FB, X, color palettes, portraits, and sometimes an illustration that has no business being part of this narrative. Throw in some autumnal (favorite new word even if it's already a ghost of itself) creations and it's easy to lose track of all the uploads that no longer follow the rules or schedules I've set for myself and am now quickly questioning.
9.6.25
Over the past year, The Knee-Hi's have undergone a beautiful evolution, finding new dimensions in their sound and song writing. What keeps pulling me back to them though, what started it all for me, hasn't changed. It's the glam-punk, DIY pageantry that runs through everything they do, unlike any other artists I've photographed. Their energy never wanes or feels watered down. It arrives fresh every single time, and when they punctuated the musical acts segment of the evening at the Great Gathering, they brought down the farm.
9.26.24
Clickbait, led by Sandra Yau, is another standout in Chicago's vibrant music scene. Their sound, a bold mix of punk with 80s-inspired art rock and new wave, sets them apart from the usual. The B-52's come to mind, but Clickbait is carving their own path with a unique, colorful energy that's hard to match. Sandra's wild, outlandish stage presence kept me glued to the performance, always wondering what her next move would be. Between taking corded phone calls, playing with multiple percussion bells and whistles, and flashing the almighty cymbals, she rooted me to my spot, even making me pause my shutter to take in her one-of-a-kind approach.
5.18.23
Still waters run deep, but so do those torn apart by rogue waves, summoned by a single siren's song, one capable of capsizing even the mightiest ships.
5.18.23
Just gonna say it. Most of my favorite photos concert or otherwise, are fashioned by the Knee-Hi's. 'Fashioned'? I think so. For these four, diverse fashionista-transcending muses provide a meticulous aesthetic that artfully glams up the best of make-up, safety-pin charms, custom patches, DIY typography stenciled, stitched or screen printed with an elegant hand, and a palpable passion for all things visual, making any photo of them vie at the top of every pit photographer's 'best of' list.
4.28.23
I wait for some groups to return to touring because of the varying experiences they offer with each visit. I wait to witness the creative direction sculpted since their last show, whether for the debut of a new song, only briefly hinted at online, to their transforming aesthetic or mercurial onstage performances. I wait because if luck's on my side, I get to chat about all of this with them after the show. So, when the wait is over and the coolest cats begin a tour near you, I wait, happily in line.
3.23.23
I remember reading about the Cincinnati music scene some time ago and thought I need to lug my camera there one day. Leggy has been on my list to shoot ever since, and I was hyped to capture them in such an intimate setting as Cole's Bar.
3.23.23
Strobobean opens at Cole's Bar turning a sleepy Thursday night into an impromptu four day weekend. Catch guitarist and vocalist katyabaro do double duty on bass for leggyband for a godly pairing.
2.25.23
Saturday was a night of firsts. There's something special about seeing a band live you've followed for years.
8.27.22
Messer Chups concluded their American tour Saturday night in Chicago with their vintage horror and sci-fi themed surf rock, easily making it a favorite genre of mine. Treat yourself and give them a look and listen. Eyeing their galleries while listening to their music is so recommended and hypnotically satisfying.
8.9.22
Couldn't ask for a more kind and remarkably gracious group of artists for my first meet at Empty Bottle's green room. Shared drinks, backstage insights, and a glimpse of what's next for the endlessly charming Knee-Hi's. Thanks so much again for the invite 🙏.
6.17.22
Caught Olivia Block back at Constellation on 6.17.22 for one of my first shows back after COVID-19 shut everything down.
5.3.22
When The Knee-Hi's start playing arenas...
4.26.22
Fresh from Coachella, Madrid's Cariño brings their brand of infectious, international pop to Schubas Sunday night.
3.19.22
Formed in 2019, The Knee-Hi's show no signs of slowing down as up-and-coming artists. Their impact on the city's music scene has been uniquely immediate. They've arrived, power pop rock in hand, original yet transportive lyrically, with a refreshing taste for vintage aesthetic, and a stage presence that punches and charms in all directions.
1.22.22
With all the show cancellations descending this month, The Knee-Hi's album release party saves January by warming the hearts and boots of the Empty Bottle. Bonus: They're Chicago natives.
9.25.21
Schuba's Tavern hosted smut's second local sighting in under a month, which given their newfound Chicagoan status, is pleasantly no surprise. Schuba's is a perfect venue for smut, with crisp acoustics, close quarters, and lighting that pairs with their shoegaze sound and brings out an approachability to their stage presence.
10.22.19
The Japanese House, in the house that J. Dusek built.
8.19.19
Courtney Barnett bids farewell to North America with a summertime Chicago show.
8.19.19
Impossibly, Sunflower Bean turns it up even hotter at the Petrillo Music Shell.
5.10.18
New York's Sunflower Bean brought their sound to Lincoln Hall on 5.10.18. Their black-and-white Vogue Spotlight performance of Easier Said at SXSW is what got me wanting to shoot them, and I tried to emulate that look in my own photos, at least to a degree.
8.17.18
Brooklyn based noise-pop duo Sleigh Bells returned to the Metro making up for a show that was cancelled in January due to vocalist Alexis Krauss' bout with the flu. The seven month wait didn't deter Chicago fans to sell out the show, enjoying the duo's trademark sound of Miller's hardcore-punk-inspired guitars and Krauss' melodic vocals, exemplified by her sweet melodies found in "Rill Rill" to iconic indie anthems "Infinity Guitars" and "Riot Rhythm".
6.29.18
Best Coast rolled through Tour de Fat on 6.29.18, one of the hottest days of the Chicago summer so far, with temperatures pushing into the mid-90s.
5.11.18
Dream Wife brought their show to Lincoln Hall on 5.11.18. I first found them through their KEXP session at Iceland Airwaves on YouTube, another great find.
3.23.18
Alvvays brought their dream-pop sound to the Metro on 3.23.18.
3.30.18
The mighty Wolf Alice at the Metro on 3.30.18.
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