Black is the New AP Style: livereviews

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When half·alive first garnered attention with their “still.feel” music video, they essentially changed the game of how low budget videos turned into algorithm-changing content. They’ve been able to turn the messages of their songs into narratives through choreographed dance moves and subtle stage props, which they’ve also been able to bring to life during live performances.

The stage of their current world tour involves a high rise platform, a backdrop of circular LED lights and not a single set list in sight. It doesn’t take long to wonder how much of their choreography will come to life on stage because once the lights go down, the first person to make their way to the stage is not Josh Taylor, Brett Kramer or J Tyler Johnson. They walk out once of their two dancers make it to the corner of stage left and meet him there as the beginning of “ok ok?” starts. The stage remains dark except for the light held by their dancer, and while lights are usually distracting from the quality of music, this isn’t the case here.

Their two dancers make multiple appearances throughout the night, even to teach the audience some of their moves. They aren’t entirely in sync during their performances, but that’s the point. Part of their narrative is to feel the music individually and bring the lyrics to life through their own interpretation. Each dancer and band member has their own take on the song, and depending on who the audience is watching, those different interpretations speak to different people.

In addition to their dancers, lighting plays a major component of their storytelling performance. The backdrop of lights move both by the hands of the dancers and to encourage audience interaction during various sing-along opportunities. The night ends with glowing beach-style balls, the last one illuminated being held in the air by Taylor before making the stage dark once more.

As mentioned before, despite the busy stage, it merely amplifies the talent that radiates from the three band members. Their performance style does speak to their audience in a way that almost can’t be described, but the same is to be said of their physical performance. They are each talented in their own right and have found a style of songwriting that causes anyone to stop what they’re doing and pay attention.

half·alive has helped take the idea of a traditional performance and turn it into something that speaks louder and to a larger audience. As they continue the rest of their world tour, it’s no mistake that their catchy lyrics and out-of-the-box narratives speak to a diverse group of music lovers.

Photo courtesy of Kyle Dunleavy/Ravinia Festival

For the last two years, Kesha has used the word “rainbow” to describe everything that she is. It’s the name of her album; the thing that brought her out of the darkness, through the unspeakably hard times and into the person that she is today. It represents her personality, her outlook on life and her willingness to share her story. She’s spread her message through the Rainbow Tour, which made its last stop at Ravinia Festival on September 8, 2019.

With her message comes the same upbeat energy and glitter-infused wardrobe changes that Kesha is known for. A silver spaceship, similar to the one on her album cover, sits atop the stage and is the focal point of her entrances and exits.

Her wardrobe is nothing short of eccentric, from a black one-piece with bottoms that turn into a cape to multi-colored tinsel cardigans and fringed jumpsuits. She even encourages the audience to contribute their wardrobes to the stage during “Take It Off” which brings forth numerous bras, pairs of underwear and even a pair of tie dye shorts – the latter of which she gives back after the song. She tells the audience she’s been collecting bras from every night of the tour and has been stringing them together. It has to be over five miles long, she says.

She plays guitar for songs such as “Timber” and “Bastards” and has choreographed dances moves for “Woman” and “Tik Tok”. She dedicates “We R Who We R” to the LGBTQ+ community and uses time in between songs to talk about her stance on basic human rights. She forgets the first verse to “Your Love is My Drug” but it’s no matter, the crowd has her covered until she figures it out. She can never remember that verse, she says.

She brings the audience to tears during “Praying”, which is no small feat. This audience ranges from families picnicking on the lawn to preteen girls spread throughout the seats to drag queens gracing the front row. The show is over in just over an hour, and while there was no confetti or streamers littering the ground, there was still that sense of admiration amongst the concertgoers. They had just witnessed an actual phoenix that rose from the ashes, and they might never see something like that again.

Rainbow is an era of Kesha’s career that speaks to everyone and resonates in a way that she’s never experienced before. The live shows around that album have brought together groups of people that all have the same beliefs and dreams, and the last live show was no different.

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During the same timeframe in separate places of the world, two groups of young men embarked on different musical journeys that essentially brought them to the same place: the top of the charts. One of them produced multi-harmony surfer rock while the other led the British Invasion to the United States pop market. Their paths have crossed many times over the years, and for two nights at Ravinia Festival, The Beach Boys and Ringo Starr & His All-Starr Band were together once again.

Ravinia Festival, known as North America’s oldest music festival, is a 36-acre park that has been holding events since the early 1900s. It’s a blend between a night under the clear sky – complete with lawn-style seating or pavilion chairs – and the crisp sound of music that can make the largest stadium sound quiet. Both bands are no stranger to the festival and once again sold out both performances.

The Beach Boys took the stage first, performing over 40 of their greatest hits, covers, and tracks off of frontman Mike Love’s 12 Sides of Summer. Joining them on stage was special guest John Stamos, who has been touring with the band for almost 35 years. The 10-piece band included Bruce Johnston, Christian Love, Randy Leago, Tim Bonhomme, John Cowsill, Keith Hubacher, Brian Eichenberger and Scott Totten.

The stars of the show, however, were the children. If it wasn’t Stamos bringing out his son to play drums with him, it was Love’s daughter performing “The Warmth of the Sun” or the younger kids using the sides of the stage for choreographed dance moves and singing alongside their family.

Ringo Starr and His All-Starr Band couldn’t be a more fitting name. Steve Lukather (Toto), Gregg Rolie (Santana, Journey), Gregg Bissonette (David Lee Roth), Hamish Stewart (Average White Band), Colin Hay (Men at Work) and Warren Ham (Kansas, Toto) perform beside the Beatle with songs from Starr’s solo works, The Beatles covers and covers from their previous bands.

Their backdrop was a magical array of bright colors and stars and the theme of the night was Starr’s mantra of peace and love. The crowd was loud and clear for songs like “Pick Up The Pieces” and “Yellow Submarine” and were stood in awe during the various harmonica, clarinet and saxophone solos. For many of them, seeing Starr behind his drum kit was a taste of nostalgia for both fans that experienced Beatlemania as it happened or learned of their legacy through those that did.

Seeing The Beach Boys and Ringo Starr & His All-Starr Band share a stage is a once-in-a-lifetime opportunity for music lovers of all forms. They’ve still got the same love for their songs that their fans do, and watching them come together to sing along as one is an indescribable moment.

Every August, Chicago’s Lollapalooza brings hundreds of bands to Grant Park for a four-day, music-packed weekend. In addition to the stages built inside the park, after-shows are performed at some of the city’s best venues. House of Blues hosted Catfish & The Bottlemen last year, and sitting in the balcony was lovelytheband’s lead vocalist, Mitchy Collins. At one point, he turned to the people he was with and asked, “Do you think we’ll headline here one day?”

Less than a year later, Collins and his bandmates, Jordan Greenwald and Sam Price, walked out onto the House of Blues stage for a sold-out performance on their Finding It Hard To Smile tour.

“I know it’s Wednesday, but let’s pretend it’s Friday night and we have no responsibilities tomorrow,” Collins said to the crowd that faithfully spent their night singing along to every song.

This crowd did more than just sing along. Their voices were boisterous throughout each song, including their cover of The Killers’ “Mr. Brightside”, yet peaceful when Collins spoke to them. Even from the balcony, the swaying of bodies, clapping and cheering was seen and heard.

The audience was unprecedented in that there was no set demographic. All walks of life stood in the crowd, with their friends or family or on their own. They all shared one common interest: love for a band that only put out their debut album less than a year ago. Of course part of that reasoning is their music; it’s addictive, it’s raw and it clearly resonates with an indistinct demographic. The other part of that reasoning is their message.

In between banter of deep dish pizza waiting for them backstage and a quick chorus of “Happy Birthday” for Price, Collins takes multiple opportunities to address situations that the world is currently struggling with. Musicians are told not to bring politics into their shows or music, he said, but “if we have a platform, we’re going to use it.”

They proudly share their support of LGBTQ+ rights, saying that Pride Month should be Pride Year.

“Love is never wrong,” Collins said. “You should be proud of who you are every moment you breathe on this Earth.”

They are equally proud to share their support for women, and stress that it is a woman’s choice to do what she wants with her body. By the end of Collins’ speeches and the majority of their set list, his voice is beginning to fade.

The crowd of a lovelytheband show is unlike most, and the message behind their show is one of love and positivity. Their music speaks to an diverse demographic, challenges boundaries and makes for an exceptional night.

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In the nearly 15 years since Aly & AJ released their first album, Into The Rush, fans have seen them evolve musically in a way that makes words such as “proud” seem unsuitable. 1,400 of those fans sold out their Chicago show on March 5 at the House of Blues.

In terms of seeing them evolve musically, they’ve gone from Disney movie soundtracks to 78violet to this latest era of artistic freedom. Their EP, Ten Years, was released in 2017 (a decade after their last album) and latest EP, Sanctuary, is out March 10. The songs from both EPs dominated the set list of their Sanctuary Tour and brought an element of excitement to their newest release.

A series of pulsating free-standing LED lights introduced the sisters and their band to the stage followed by AJ’s intoxicating opening line for “Church”: “I do bad things for the sake of good times”. Their glimmering dark blue power suits gave off the same mature vibe that is heard both in their newer songs and in their new takes on old songs. “Closure”, “Chemicals React”, “Like Whoa” and “Rush” were spread out through the set list, giving fans a wave of nostalgia in between their latest material.

In between songs, they spoke about their involvement with The Trevor Project, a leading national organization providing crisis intervention and suicide prevention services to lesbian, gay, bisexual, transgender, queer & questioning (LGBTQ) people under 25. Booths were set up in the venue to offer resources and information about their organization and the steps they’re taking to ban conversion therapy.

With Aly behind the keyboard and AJ on guitar, their set was filled with an energy that radiated from their instruments and took over the crowd. When they weren’t playing, synchronized dance moves and sisterly interactions made for picture perfect moments. AJ even made her way out into the crowd to greet fans that were lucky enough to be up against the barricade.

The crowd also enjoyed their cover of Kacey Musgrave’s “Slow Burn” and Sanctuary single “Don’t Go Changing”. It’s a song that fans already knew the words to despite being released just a few weeks before the show. The title track off their next EP made its way to their encore along with their first top 20 single, “Potential Breakup Song”.

It may be a new era for Aly & AJ, but it’s clear from their live performance that their passion for music hasn’t dwindled. As their Sanctuary Tour continues through the U.S. and overseas, catching a glimpse of this new era is a must-see.

Cindy Stuart was only 6 years old when she laced up a pair of ice skates at a birthday party. Skating around at the party soon turned into lessons, and eventually led her to today: Choreographer of Disney on Ice.

When she was 17, Stuart left Los Angeles to join the Ice Follies and Holiday on Ice as a principal skater. That same year, the company was purchased by Irvin and Kenneth Feld. It became Walt Disney’s World on Ice, known today as simply Disney on Ice.

Stuart’s choreography has been showcased in 15 Disney on Ice productions, including the 2018-2019 run of Disney on Ice presents Mickey’s Search Party. The show brings guests closer to the magic than ever before by immersing the audience both on and off the ice.

The show embarks on a quest with Mickey, Minnie, Donald and Goofy as they follow Captain Hook’s treasure map for clues to free Tinkerbell after she’s been captured by pirates. Guests journey through the worlds of Beauty and the Beast, Toy Story, Moana, Disney Pixar’s Coco, Aladdin, The Little Mermaid and Frozen to fill the magic meter that will free Tinkerbell.

Mickey’s Search Party promised a show that brought guests closer to the magic and they went above and beyond expectations. From holding the treasure map to Pixar Ball bouncing through the audience, children got to see not only props but characters closer than ever before. Multiple characters began their scenes from the crowd, including Anna and Aladdin. It was a pleasant surprise to look up or turn around and see some of Disney’s classic characters fully engaged within the audience.

Another impressive aspect of the show is the aerial acts. Belle and the teacups glide through the air with multi-colored ribbons as Lumiere serenades with “Be Our Guest”. Andy’s green Army men flip above the toys and land sitting perfectly on a tall chair. Eric holds on to Ariel as they spiral over the ice during “Kiss the Girl”. The most impressive by far: brightly colored sugar skulls attached to sway poles, oscillating at 20 feet in the air.

As each clue on the treasure map – a rose, toy box, oar, guitar, genie lamp, seashell and snowflake – is found, another portion of the magic meter is filled until Tinkerbell is freed and brings out extra characters for the ultimate finale. Peter Pan, Snow White, Pooh, Tigger, Dopey and Rapunzel close out the show with the rest of the characters for one last song before coming to a beautiful ending.

Cindy Stuart has come full circle since she began professionally skating with Disney on Ice. With her latest choreographed show, Disney on Ice presents Mickey’s Search Party, she has been able to bring timeless classics to the ice and to entire arenas full of believers of magic.

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“Let’s get spooky, motherfuckers!” is the only way to describe the Joywave and Sir Sly show at House of Blues Chicago on Halloween.

Joywave and Sir Sly present: An Evening with Sir Sly and Joywave was in the midst of their fall tour when they stopped in Chicago on Halloween. There were less tricks and more treats, especially for those who haven’t seen either act live before.

Each playing an hour set, complete with on-stage antics and spooky puns, there wasn’t a moment where the crowd wasn’t captivated.

Joywave started the night after opening act Flora Cash, letting the curtains open to their dramatically posed stance and beginning with their summer single, “Blastoffff”. Their stage included light boards with phrases like “Applause”, “Talk”, “Intermission” and “Jump”, all of which were incorporated creatively throughout the set.

Lead vocalist Daniel Armbruster didn’t slow down for a second, unless the brief intermission counts. His stage presence was loud and his movements flowed with the beats of every song. When he wasn’t bouncing from one side of the stage to the next, he was interacting with the crowd. He would get as close to the end of the stage as his balance allowed, making sure that everyone near the barricade could practically feel the energy radiating off his body.

When Sir Sly took the stage, it was a haze of fog mixed with three men adorning head to toe black ensembles. As the smoke cleared during “Welcome the Pressure”, their latest and unreleased track, it was clear to see Landon Jacobs, Jason Suwito and Hayden Coplen were channeling their inner 90s goth for their costumes.

This was their biggest headlining show in Chicago to date, which Jacobs pointed out in between songs. In honor of that, they gave the audience the option to select how they wanted part of the setlist to go. “Choose your own adventure” as Jacobs called it, referring to the popular children’s book series where the reader gets to choose the plot’s outcome. Did they want his typical talking points of how the band started followed by a sad song, or did they want to continue with another song that better fits the Halloween vibes of the show?

Halloween vibes triumphed, naturally.

They closed out the show with not one but two performances of “High”, refusing to let the energy from the first performance dwindle, and crowd favorite, “&Run”.

Joywave and Sir Sly are two bands that have created fan bases based on their interstellar live performances, and this show was no exception. For the 364 days that they don’t grace a stage in devil onesies or black lipstick, Chicago got a real treat with a one-of-a-kind show. No tricks necessary.

Everyone knows the story of J.K. Rowling and her journey from poverty to Harry Potter. In the course of 10 years, she released seven novels and has since seen her ideas come to life in films, amusement parks, Broadway plays, additional novels and so much more. These tales of magic and mystery have captured audiences around the world and continue to make an impact on multiple generations. From trivia nights at bars to movie marathons in theaters, Harry Potter-themed events bring people together in a way that sparks real-life magic – and Wizardfest is no exception.

“Wizardfest started as an idea in 2016 where we thought about transforming venues into castles with decorations, light shows, themed cocktails and incorporating all things magic into a dance party,” founder John Damiano said in a press release. “We all love the Harry Potter universe and incorporating that aspect was so much fun. Before we knew it we had sold out parties across the country. There is something for everyone… whether you like to dance, you’re into magic, or just love Harry Potter.”

When Wizardfest made its way to Chicago on September 29, the location of Joe’s Bar was the perfect fit for a magical hideaway. Walking past the bar and through the doors into the venue was like their very own entrance into Diagon Alley, minus the tapping of certain bricks. Inside held decorations of house crests, homemade dementors and character cardboard cutouts. Three drink specials – Butterbeer, Fire Whiskey and Polyjuice Potion – were on tap alongside tables set up for Quidditch Pong tournaments.

DJ Just Lance provided the sound for the evening, from dance hits to the instrumentals of the movie soundtracks. Local guitarist of the band Sleep On It, Jake Marquis, also joined the party with a guest DJ set.

The standout decoration of the night gave off a Mirror of Erised vibe thanks to Charmed Moments. Their full-length mirror photo booth complete with themed props was the perfect touch to have as a keepsake from the night.

Wizards and witches of all shapes and sizes arrived in their best costumes, including Hagrid, Bellatrix Lestrange, Moaning Myrtle and Madame Maxime. It truly was a remarkable sight to see the impact that these novels made on all races, genders and sexual preferences. Everyone in the room had a common interest, and that alone created a uniquely accepted environment.

Wizardfest may have just started out as an idea to honor the Harry Potter world and all who love it, but seeing the event come to fruition was an entirely different feeling. The impact of seven novels is almost beyond understanding, but is the reason behind many magical moments.

Photo courtesy of Disney on Ice

When Walt Disney Pictures released an animated feature film in 2013 that was inspired by the Hans Christian Andersen fairy tale “The Snow Queen”, its reception was beyond anyone’s wildest imagination. Five years later, the popularity of Frozen is as strong as ever and as beautifully choreographed as ever with the latest Disney on Ice production.

The theme behind Frozen is similar as other Disney classics – the power of true love. What makes this film unique is the power representing sisters Anna and Elsa’s love instead of a stereotypical love between a princess and a prince. When sharing this story live on ice, the dynamic between the two royal sisters is captured in a new and compelling way.

“In our many years of producing Disney on Ice shows, Feld Entertainment has been waiting for a film like this,” producer Nicole Feld said in a press release. “While it may seem obvious that Frozen is well suited for the ice, this Disney on Ice production will touch audiences emotionally through innovative show elements and world-class ice skating.”

Frozen directors Chris Buck and Jennifer Lee add, “Seeing audiences around the world embrace Frozen has been the experience of a lifetime. And to now have the chance to consult with the talented team at Feld Entertainment and watch their creation come to life on ice, is thrilling.”

Disney on Ice presents Frozen has everything you love about the film, from Elsa’s ice castle and snow monster to sing-along favorites “Let It Go”, “Do You Want to Build A Snowman?” and “Fixer Upper”. The set design is completely immersive, capturing the smallest elements of Arendelle and bringing them to life. The audience experiences scenes from Elsa’s coronation, Anna and Hans’ emotional scene near the fireplace, Kristoff’s interactions with Sven and so much more in a series of extensive choreography, set design, lighting design and costuming.

In addition to everyone’s Frozen favorites, the beginning and end of the show brings out characters from Toy Story, Finding Nemo, The Lion King and beloved princesses Ariel, Cinderella, Snow White and Rapunzel. Mickey, Minnie, Donald and Goofy sport their best winter outfits as they play host for the evening, preparing the crowd for a night of animation brought to life.

Disney on Ice continues to bring magic and wonder across the country, and their production of Frozen is no exception. The Academy Award® winning, number one animated feature film of all time is just as mesmerizing on ice as it is on screen, and is a must-see for all who enjoy the happiest place on earth and all that encompasses it.

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There are many different requirements to be considered a veteran of touring, and this year’s Gen-X Summer Tour is no exception.

Buckcherry, P.O.D., Lit and Alien Ant Farm all hail from various places in California – Anaheim, San Diego, Fullerton and Riverside, respectively – and formed their present-day bands in the early 90s. They’ve seen success, failure, lineup changes, record labels, tour buses, radio play… they’ve created a rewarding career for themselves and more than two decades of memories for their fans.

“Generation X is known as being the generation of slackers, cynical and disaffected, but they’re also the MTV Generation, and they demand excellence in their music,” the official press release said. “As the traditional industry has deconstructed, fame increasingly narrowed to a small minority of bands, this generation of fans have continued to support and eagerly anticipate the raw, unfiltered experience of their rock Gods. Now, as a new rock music culture emerges, one defined by fans and artists rather than labels and MTV, Loudwire's Gen-X Summer with Buckcherry, P.O.D., Lit and Alien Ant Farm is set to remind us that rock never died.”

The Gen-X Summer Tour made a stop in Naperville, IL and made a point to show the suburbs that Chicago isn’t the only place that can rock. First on the stage was Alien Ant Farm, whose rise to fame included a cover of Michael Jackson’s “Smooth Criminal”. 17 years since the song’s release and lead vocalist Dryden Mitchell still sounds exactly the same, in the best way possible. Their performance started out small and grew immensely by the time that recognizable guitar riff blared through the speakers.

It’s no surprise to Lit fans that their stage presence is as vibrant as ever. Their musical evolution has changed quite a bit since “My Own Worst Enemy” was released in 1999 – their latest album, These Are The Days, was their country music debut. From the constant smiles on each member’s face to the crowd’s sing-along chants throughout each song, this is a band that still brings their all to each and every show.

P.O.D. is a force to be reckoned with in terms of performance. The minute they stormed the stage with “Boom”, it was nonstop entertainment from beginning to end. Frontman Sonny Sandoval spoke of new music being released later this year and the crowd’s response couldn’t have been more positive. Their performance experience does not go unnoticed, and neither does their passion for music.

By the time Buckcherry took the stage, the crowd was more than ready for their set. Their high energy did not slow down and their polished sound rang from song to song. Like the bands before them, their stage presence was mesmerizing and the amount of talent from each member radiated far beyond their spot on stage.

Generation X’s taste in music was both loud and varying in genre. Their love for these bands has stuck with them far beyond the 90s and continues to support the kind of music that just can’t be replicated. The Gen-X Summer Tour is everything fans loved about the 90s and everything that Buckcherry, P.O.D., Lit and Alien Ant Farm still stand by today.

The thing about The Darkness is once they walk onto a stage, all bets are off.

Every expectation of how a concert is meant to run becomes the polar opposite for the British rock band, who not only commands the stage in their own unique form but transforms the crowd into long-lost friends. Their show at Park West in Chicago was no exception.

What started as a dark stage with quiet instrumentals gradually became louder and brighter until Justin Hawkins, Dan Hawkins, Frankie Poullain and Rufus Tiger Taylor made their way out in almost a religious fashion - complete with animal print jumpsuits, mustard yellow two-pieces and untamed hairstyles.

They dove right into “Open Fire” from their fourth studio album, Last of Our Kind, but it wasn’t until their second song, “Love is Only a Feeling”, that the audience became responsive. The setlist reflected much of their debut studio album, Permission to Land, which was first released in the US in August 2003.

Songs like “Black Shuck” and “Get Your Hands Off My Woman” had a chorus of audience members singing or clapping along while the glamorous lead singer was balancing on his head and belting out high notes like it was no big deal.

The stage presence of Justin Hawkins included, but was not limited to, offering part of the stage as a coat check, attempting to hit the disco ball with his guitar picks and borrowing various items of clothing from audience members to wear throughout the set. The lack of barrier between the crowd and the stage gave him the opportunity to banter at a closer level and even bring audience members on stage to dance alongside him.

His quick wit did not go unnoticed, from calling out his own mistake during a note change and attempting to get the audience to hit his high notes to addressing crowd chants.

“We don’t do requests, unless it’s ‘Darkness, blow my fucking mind!’”

Songs from their latest release, Pinewood Smile, also made it to the setlist. “All The Pretty Girls”, “Buccaneers of Hispaniola”, “Solid Gold”, “Southern Trains” and “Japanese Prisoner of Love” were sprinkled between newer and older favorites. They share the same love for the glam-rock era as their older albums with an evolved sound that comes from over a decade of practice.

At the end of the night, only one word was used by Hawkins to describe the night - wunderbar, which is German for wonderful. They not only closed out with cult classic “I Believe in a Thing Called Love” but an extra performance of “Love on the Rocks with No Ice”. It was a night of loud, in-your-face, real-deal rock and roll.

In the timespan of a week, British singer/songwriter Bruno Major made his television debut on The Late Late Show with James Corden, announced a spring U.K. arena tour with Sam Smith and played a string of sold-out shows across the U.S. – including Chicago.

To say he’s started his 2018 off with a bang is an understatement.

The sold-out crowd at Schuba’s Tavern was both mesmerized and engaged the entirety of Major’s performance. They were dead silent as each song began, they called out words of encouragement as he bantered with them and they made sure to document every moment of his set. The room felt as if this night was everything they’d been waiting for and Bruno delivered beyond expectations.

As he walked on stage with his bandmates, lights of blue, red and white shone on each instrument and brought out the best features of each. It created an intimate setting, full of opportune moments for Major to make the crowd another crucial aspect of each song.

While on guitar for most of the night, Major switches to piano for a few songs, including “Places We Won’t Walk”. He introduced the song as one that was originally a classic break-up song, but took on a whole new meaning after someone close to him died a week before he was scheduled to perform it live. He said that was his favorite part of songwriting – a song can take form based on a certain situation and transform into much more than it was meant to be.

Major’s stage presence is talkative and, most importantly, comfortable. Hearing him address the crowd was like having a conversation with an old friend. When he wasn’t sharing the inspiration behind certain songs, he was making jokes about his guitar not being a fan of Chicago or how his encore was going to be slightly pathetic as there wasn’t a backstage area for him to run off to immediately after playing “Easily”. Knowing how to address an audience is a learning process in its own, and Major immediately clicked with his.

His debut album, A Song for Every Moon, stemmed from a year-long challenge of releasing a song a month. From “First Thing You See”, one of the first songs he ever wrote, to “Cold Blood”, a completely different yet compatible vibe from the rest of the tracks, Major took this challenge as an extreme procrastinator and turned it into one of his biggest accomplishments to date.

Bruno Major is having a hell of a year, and it’s barely March. As he finishes taking the U.S. by storm and wowing Sam Smith fans all over the U.K., he’s creating a devoted fanbase that will make sure his success continues to roll in.

Photo courtesy of Ariel Kassulke

With a dream-catcher hanging off the centered microphone stand, a drum kit strategically placed at the front of the stage and a logo with a hand reaching out hung from behind, DREAMERS recent Chicago show was not your typical performance.

The Los Angeles-based rock band, formed in 2014, have played anywhere from hole-in-the-wall bars to massive summer festivals and arenas, but it is a happy in-between that they find themselves in to start their 2018.

Playing alongside New Politics for the Lost in Translation tour, DREAMERS brought their ‘A’ game to Chicago with songs from their debut LP, This Album Does Not Exist, and songs from their upcoming release, to be announced.

Most cases for opening acts involve a sense of having to prove themselves as they amp up the crowd before the headliner – which was not the case for this show. The audience was equally delighted to see the trio step out onto the stage and begin the opening notes of “Wolves (You Got Me)”.

The band came out to a pre-recording of Alan Watts, British philosopher, who spoke of the dream of life: simply meaning that life is what those make of it. One could dream for a night and only dream of fulfilling wishes, or one could let go of control of dreams and push boundaries until the dream mirrors the present.

"You would dream the dream of living the life that you are actually living today."

Guitarist Nick Wold, bassist Marc Nelson and drummer Jacob Wick all contributed vocals throughout the night, adding harmonies to Wold’s main vocals and giving each song an effortless approach. It’s a sound that will transport you to different genres that make up their influences, including Weezer and The Cranberries.

Their set list also included "Last Love Song", "Bleed Through", "Karma" and "Painkiller" as well as their cover of "Zombie" and popular singles "Drugs" and "Sweet Disaster".

Chicago has great meaning to them, as the city is one of the first that played them on the radio and Lollapalooza was one of their first major music festivals. This Chicago performance was no exception to their thunderous live shows. It was a performance that glowed not just in fluorescent lighting but in musical and lyrical talent.

While DREAMERS gears up for their second full-length album, Chicago will be gearing up for their return.

In a world full of superheroes, sometimes it’s hard to recognize the heroes that don’t have shields or hammers. Heroes come in all shapes and sizes, and can be heroic in places as small as their village or as big as an entire island. With Disney on Ice’s latest show, Dare to Dream, they showcase new and old heroes.

Director Patty Vincent and choreographer Cindy Stuart have brought many Disney stories to the ice, including Disney on Ice presents Disney/Pixar’s Finding Nemo, Disney on Ice presents Follow Your Heart and Disney on Ice presents Let’s Celebrate!. Their backgrounds in ice skating and working with this very production have given them the ability to showcase their talents on and off the ice.

The female presence is prevalent in more ways than one at Disney on Ice. From Vincent and Stuart to the show’s female host to each princess, the concept of heroes – female heroes – is just the message that this generation of children needs.

Belle of Beauty and the Beast starts off the show, in an array of dancing silverware and pyrotechnics that ends in a surprising song and dress paying homage to the 2017 film. She not only saves her father from imprisonment, but saves the beast from a lifetime of punishment and shows her village that love is stronger than hate.

Anastasia and Drizella helps change scenes as the Fairy Godmother (along with the audience) Bibbidi-Bobbidi-Boo’s Cinderella’s pumpkin into a glimmering carriage. The music is subtle as the royal ball takes place and when the glass slipper finally finds its match, it’s Cinderella’s belief in a wish her heart made that gives her a happily ever after.

Although Flynn Rider thinks he’s the hero for saving Rapunzel from her tower, it’s her dream of seeing the lanterns – as well as the dreams of a few other ruffians – that at last brings her to the light. Her independence and fearless determination to get what she wants is her strongest trait and most powerful weapon.

Queen Elsa might have lost her way in terms of being herself, but her sister Anna is determined to prove that their love can thaw the most frozen of hearts. Embracing their dreams, as unlikely as they seem, is what makes the impossible possible.

The island of Motunui holds Moana, daughter of Tui and chosen one to return the heart to Te Fiti. Her perseverance through every obstacle gave her more and more strength to complete the task of returning the heart and showing kindness to the world.

Having the ability to harness superhuman strength or levitate isn’t what the definition of a hero typically is. Heroes are strong, but not always physically; heroes are powerful, but not through their fists or iron suits; heroes are tall, short, big, small, men and women. Disney on Ice’s Dare to Dream displays some of their most powerful heroes and shares the most beautiful life lessons.

For the last 34 years, a king has ruled over the land that is Medieval Times. This time around, a woman holds the reins.

When Medieval Times Dinner & Tournament was founded in 1977 in Spain and brought to the United States in 1983, the 65 million guests that have since seen the show have never seen a queen as the sole ruler of the land. Queen Doña Maria Isabella is a firm but kind ruler who is well-respected throughout the kingdom that her father once ruled. After inheriting the throne, the queen quickly asserts herself as a strong leader and dominates the show both on her throne and on horseback.

For the first new show since 2012, Medieval Times went above and beyond what generated from audience feedback to introduce a show that is unique and primarily focuses on a female ruler. The show that everyone has come to love – jousting knights, swordplay, horsemanship and a four-course feast – is still present, alongside brand new additions. Beyond the script change, more than 700 costumes were created for each of the nine castles located in the US and Canada. The costumes for the performers and horses were custom-designed and hand-made, as were the 200 new suits of armor, shields and helmets.

Alongside state-of-the-art lighting and newly choreographed fight scenes and equestrian displays, new music was composed by Dr. Daniel May. He is a composer and jazz pianist who scored films such as Everest and has worked with the likes of Sting and The Moody Blues. The score is synchronized with every movement of the show as in a live-action film.

The night can begin early for some, with time to explore the dungeon, stock up on souvenirs and even meet the Queen herself at a knighting ceremony. When led into the main hall, the colors of each table section represent each of the six knights – red, blue, green, yellow, black and white, red and yellow – and each audience member receives a crown and flag in their knight’s color.

During the two-hour show, a four-course feast for a king is served – from tomato soup and garlic bread to roasted potato, corn on the cob and the infamous “baby dragon meat”. Have no fear, while silverware was not yet invented, doggy bags were.

Medieval Times’ latest show leaves you in various mental states; either joy or sorrow depending on if your knight was the ultimate champion, absolutely stuffed from four courses of heavenly food, elation from finally seeing a queen as ruler, and most likely a sore throat from cheering and/or booing. It’s a show worth seeing, no matter your age.

Avengers: Infinity War is the blockbuster that every Marvel fanatic is waiting for. From Iron Man to Star-Lord to Doctor Strange, the joint forces meant to defeat Thanos are bound to break box office records in more ways than one. Although the film isn’t set to release until May 2018, Infinity War enthusiasts can see their favorite superheroes combine forces in the next best thing: Marvel Universe Live!

Marvel Universe Live! Age of Heroes will be travelling 16,680 miles during their 2017-2018 tour as they share the story of The Wand of Watoomb and the fight against villains such as Nebula and Loki to keep the wand from evil. The story begins with Doctor Strange, an expert surgeon who suffered serious nerve damage and turns to the mystic arts to make up for his disability. He has been alerted by Sorcerer Supreme of the Wand of Watoomb and the danger it possesses if Thor’s villainous brother gets his hands on it. By calling on the Guardians of the Galaxy and the Avengers, he’s hoping that they can get to the Wand before Loki does.

The cast is nothing short of heroes and villains. From favorites such as Groot and Spider-Man to Lizard and Green Goblin, their stories and their worlds interweave throughout the show. The storyline captures the characters that have been seen both on the big screen and in smaller, animated form. It captures the banter of the Guardians – “My knuckles are not on my head, they’re on my two mighty fists!” – down to the ultimate Hulk Smash.

The dedication of each crew member shows in every piece of the set. The sets change from the Federal Reserve Bank of New York to Avengers Tower to Savage Island and many places in between, using 23 different projectors and 336 light fixtures – 184 of them which move. The props and set elements of the show were built to be usable and practical, resembling a parkour gym. It takes approximately two days to set up the show, from trap doors to hanging speakers to Loki’s throne.

Highlights of the show include electric aerial stunts from Spider-Man and Wasp, fearless motorcycle stunts from Captain America and Black Widow, the array of stilts used for characters such as Groot and Lizard’s unforgettable acrobatic entrance.

Marvel Universe Live! Age of Heroes will finish their 2017-2018 North American tour dates before embarking on an international tour in 2019. With the two-part Infinity War films set to release around the same time, the show is sure to capture audiences around the world.

The thing about the Connect the Dots Tour is that it sparks the cliché statement of “it’s nothing like you’ve seen before”. However, it can’t be stressed enough how unique this tour is.

Whether it’s Misterwives’ use of vibrant lighting and instrumentals or Vinyl Theatre’s near decade-long friendship shining through each song, each set is not only unique in its own right – it’s a true form of entertainment.

But let’s talk about Smallpools.

Although each band member hails from a different state – Mike Kamerman from New Jersey, Sean Scanlon from New York and Beau Kuther from Oregon – their journey together, along with former member Joe Intile, began in Los Angeles. Their debut single, “Dreaming”, was released in 2013 and quickly reached number 23 on the Billboard Alternative Songs chart. From there, they released their first full-length titled LOVETAP! and played alongside artists such as Walk the Moon and Twenty One Pilots.

Their latest album, The Science of Letting Go, was released a month before the tour began and presents major growth in the lyricism since their last release. They mix some of these songs with their previous ones to create a set list that perfectly combines the two. From the start of “Killer Whales” to the end of “Dreaming”, Smallpools adds their own element of fun to their show that makes them the perfect addition to the Connect the Dots Tour.

Each act gets creative with their lighting, which may sound like one of the more unimportant aspects of the show, but really ties everything together – and Smallpools’ set was no exception. When you’re not mesmerized by the flashes of brightness, you’re most likely having a difficult time deciding where your eyes should remain focused on. Are you watching Sean command the stage with just a microphone or a keyboard? Did you see the smile on Mike’s face as the beginning of “Passenger Side” came through the speakers? Should you keep your eyes on Beau as he crashes each cymbal louder than the next?

Blink and you just might miss Dr. Blum of Misterwives make a guest appearance or Mike and Sean play the largest xylophone you’ve ever seen. These guys have tricks up their sleeves, and they make sure it’s a trick you won’t soon forget.

The Connect the Dots Tour is drawing to a close, yet this is just the beginning of The Science of Letting Go. Smallpools is nothing like you’ve seen before, and Smallpools is somebody you’ll want to see over and over again.

“This is your place. We are going to create a safe environment that you deserve.”

Ten years ago, Frank Carter was part of a band called Gallows, an English hardcore punk band that made its way into major American festivals such as South By Southwest and Vans Warped Tour. His latest project, Frank Carter and The Rattlesnakes, recently embarked on a 15-date summer US tour with a stop at Cobra Lounge in Chicago. The tour was to promote their newest record, Modern Ruin.

If it was unclear how noteworthy the show was going to be, the first five minutes alone were enough to prove any spectator wrong. The moment Carter stepped out onto the stage, his smile was so bright that the still-lingering sun over the Chicago skyline was put to shame. The look on his face was incredibly genuine; as if he hadn’t expected a single person to be standing in that room.

The audience did more than stand. The audience held Carter up as he bounded into the crowd and did a one-arm handstand. The audience started a mosh pit that ran from the front of the stage to the front of the venue. The audience held up and supported women as they alone crowd surfed from the stage.

Throughout their set, a central theme made its way into conversation between songs. It started near the beginning, when a moment in between songs was dedicated to the topic of women feeling unsafe in the confides of music venues. Carter talked about the enjoyment that men typically have as a concert-goer – the ability to stand in a crowd with a clear view of the stage and without the objectifying manner in which someone speaks to them. While the majority of the male concert-goers are watching the show and participating in circle pits and stage dives, women are left off to the side; much too afraid of the repercussions that a woman might face if joining in.

Far too many times, stage diving as a woman ends with inappropriate touching or lack of support in making their way across a crowd. But that night, Carter made a point to tell everyone in the audience that women deserve the right to enjoy a show as much as men. “Most importantly, they are your equal,” he said.

Now that Frank is a husband and a father, he looks at every woman with the same thought process: ‘That is someone’s mother, someone’s daughter.’ He doesn’t want his wife or his daughter to experience a world where women are not viewed the same as men. It’s a concept he didn’t even think about as a member of Gallows, but with this project he knows he wants to spread a message of more than just good music. “I wish I had this perspective 10 years ago,” he said.

For one night at Cobra Lounge, female fans climbed onto the small stage and looked out into the crowd. They knew a group of hands would catch them the minute their feet left the stage and wouldn’t leave until their feet were safely planted back on the ground. Off to the side, Frank Carter and the Rattlesnakes performed. And for that night, everyone was equal.

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