FRIDAY 

I caught Fat, Evil Children as the foremost band of this festival, playing the Right Field Stage at 12:15. I had done some research beforehand and really enjoyed their sound so this was a must see. Coming out of the LA, they have begun branching out of state with their latest release “Can’t Stop” on November 28^th, 2025. This six song EP holds a favorite of mine, “The Weight” which was released as a single a few weeks before the EP. Following up on the Right Field stage was Congress, The Band. Out of South Carolina, this was the farthest out west the 5 piece indie rock group had been. Named after Congress St in Charleston, and not the house of government, they will be hitting the road this March with fellow Innings Festival band Common People. You can find tickets here. 

While exploring the festival grounds I heard an all too familiar sound. Like a siren calling me to the sea, I heard the second track to Bruce Springsteen’s third album “Born to Run”. Springsteen is a magnet of sorts for me, and with nothing to break the attraction, I ended up at The Left Field Stage watching Jake Peavy jam out with his band to “Tenth Avenue Freeze-Out”. Peavy was playing for my Chicago White Sox during a very formative time in my life. Watching the All-Star game in 2012, I never imagined I would hear him play “Franklin’s Tower” or The Boss. This is part of what makes Innings Festival so special, this was the only place you could find a childhood hero rocking out.  

Staying at Right Field for the time being, Peach Pit was up next. I had the opportunity to talk with the band before their set and discuss all things from The Simpsons in Fortnite to Norm MacDonald. That interview will be up soon on 89.7 KRUI. After a great interview, they came on stage with an instrumental jam into their self-titled song. Released in 2018 on the Sweet FA EP, “Peach Pit” is a tune that has been a staple in my playlists for years. It is Peach Pit at their best, with sincere lyrics that don’t beat you over the head with their feelings but decide to open the door and let you in if you choose. A dozen songs later, Peach Pit closed with fan favorite “Tommy’s Party”, painting the picture of a friendship that’s lost its flame in light of time and others taking priority. A mourning of something lost disguised as a slow jam where guitarist Chris Vanderkooy skates across the G Major Scale. A sound ending to one of my favorite sets of the weekend. Afterwards lead singer Neil Smith joined the crowd for pictures and high fives. Peach Pit has a handful of festival slots coming up this year. 

A album release party to remember, Mumford and Sons took the stage at 9:00pm on the night of their sixth studio album drop “Prizefighter”. Playing five tracks off the record, Marcus Mumford sprinted through seventeen songs spanning the band’s illustrious career. With his army of musicians behind him, the emphasis on the new record was warmly welcomed as this blues and rock inspired LP was made to be played for these huge crowds like this. Their 2025 record “RUSHMERE” wasn’t forgotten either as the two tracks were heard amongst the shuffle of their set. Marcus paid a compliment to the previous band on The Home Plate Stage, The Goo Goo Dolls, preaching “You get The Goo Goo Dolls night one and you’re fucked the rest of the weekend”. I concur Marcus, it’s difficult to follow up “Iris”. Mumford and Sons have just announced their “Prizefighter World Tour” including a stop at Hinterland in Iowa on August 1^st.  

SATURDAY 

I was elated to have finally caught The Backfires. The combination of New York indie and Britpop is featured heavy in this groups work, including 2022’s single “Blindsided”. The Backfires were quick to make fans as the dancing began almost immediately as they stepped on stage. They only have one more gig on the books so far in New York as they record a new album. You can follow their process on their Instagram.  

Right Field continued to be a place I found myself as Deer Tick was setting up. Something familiar hit my ears as the guys began playing “Bad to the Bone” as their soundcheck. I asked Deer Tick about their long and storied history with covers, including a handful of songs by mutual favorites The Pogues. You can hear all about it in my interview with Deer Tick that will be on 89.7 KRUI soon. Their set included a new song, “Mary Singletary”, from their upcoming record that will be released in June. During their set I had a thought, maybe it was that baseball was already involved, but their songs hold a very classic summer sound that feels reminiscent of CCR, The Eagles, and Dylan. Deer Tick have a handful of gigs in March around their home in the Northeast and just announced they will be playing returning to the midwest to play Summerfest in Milwaukee on Friday, June 19^th. 

At the left field stage, former pitcher and current entertainer, Ryan Dempster, continued his wonderful “Off The Mound” talk show. With a live band and a great selection of guests, Dempster is a natural at playing host to current and former baseball personalities. He entered the stage and did a quick monologue, joking how the Dodgers were so injury prone last year, one of their pitchers had to hit. I caught a lot of strays as a White Sox fan while at The Left Field Stage, on stage and off. Dempster, a long-time north sider, did not shy away from his bias to Wrigley. An olive branch was extended as one of his guests played for both sides of town. Jeff Samardzija spent six and a half season with the Cubs, and just a lonely singular year with the White Sox, was eager to talk both sports and music. Growing up a Sox fan, it was a dream to dawn the black and white pinstripes in 2015 even though baseball was not his original path. Samardzija was a two time All-American tight end and caught over 2,500 yards in three seasons for the Notre Dame Fighting Irish. Sharing stories of being a two-sport athlete and how youth sports have changed was interesting coming from a former professional athlete and current parents. He then spoke about meeting his wife at a Pink Floyd concert, as she was an employee to Roger Waters. After some light stalking and a few emails, Samardzija secured a date and the rest is history. It felt like watching a conversation with two old friends as Dempster created a relaxed environment and Samardzija putting his feet up. This was all wrapped together with a bow on top as the house band sounded spectacular as well.

I often hear from my seniors that there are no rock stars anymore. The spark has left the industry, guitar music is dead, and everything is made with computers now. Although computers may be scary to some, the rest could not be farther from the truth. Whenever you are in doubt, go see Cage the Elephant play a gig. Frontman Matt Schultz is a larger-than-life performer, flipping the lid off any containment he might have had. Alongside his brother Brad Schultz, drummer Jarod Champion, bassist Daniel Tichenor, and a batch of the strongest live musicians out there, Cage the Elephant was emphatic in their 19 song set. Matt Schultz mentioned that he may forget a few of the words during their performance, as they are in the process of making a new record. Their latest venture came in the form of 2024’s Neon Pill which they have toured extensively. With a new record on the way, there is a scarcity of gigs lined up for the Bowling Green natives. You can find any updates from the band here. 

Los Angeles local Lord Huron played a dreamy set as the blue lighting put him in this twilight-Esque setting, delivering a story time that a listener dreams of. Under the stars of the West, Ben Schneider put out a mix of new and old, with three songs off 2025’s “The Cosmic Selector: Vol 1” and four songs from a decades prior album “Strange Trails”. Lord Huron will embark on a lengthy tour this summer, including a stop in Waukee on July 19th. 

Twenty-One Pilots delivered a set full of new surprises at Innings Festival. Three live debuts and two covers is what Tempe was treated too, a shocker to any long time Twenty-One Pilot’s fans. Covers have eluded many fans for years, so hearing Milky Chance’s hit “Stolen Dance” intwined with the live debut of “One Way” was a shock to many. Near the end of the set, the stage went black and a static appeared on screen. Through the tech mist, rock and roll hero Jack White appeared on screen, adorned in red, black and white, to say “I’m Jack White and I give Tyler and Josh permission to do this song”. The static dissipated, and the stage became cloaked in red as the iconic “Seven Nation Army” riff began. This arrangement of The White Stripes classic was first introduced in Cleveland at The Rock and Roll Hall of Fame Induction Ceremony. The third live appearance of this song was well worth the wait. This was a landmark set for the band, introducing “Center Mass” and “Drag Path” to a live audience, and preparing for a busy summer in Europe.  

SUNDAY 

Bowling For Soup took main stage on the final day of Innings Festival at 2:30. People were tired and the sun was beating down on the weekend snow birds, but the Texas natives brought the energy with their collection of hits and theme songs. This set included a cover of Stacy’s Mom by Fountain’s of Wayne, often mistaken as a Bowling For Soup song, this was originally by the New York rockers. Jaret Reddick and company played everything I wanted to hear as they begin another busy year in Australia, UK, and supporting Simple Plan once again this summer. I spoke with Reddick about their tour and future of the band, which you can find here. 

Right after Bowling For Soup, another trio was on fire, this time at the Right Field Stage. With an hour to play with, Eve 6 jumped throughout their famed discography. Rising to prominence in 1998 with their self-titled debut record, there was heavy representation from that outing with five songs played including “Inside Out”. Time traveling 26 years later, Eve 6 also played the song “Dream Fist” which shares the same name as the record it is on. Throughout the lively story of their career, they have continued to hold their own and produce catchy tunes. Eve 6 has three dates on the books so far for 2026, you can find tickets here. 

An unknown walking into this weekend was Switchfoot. These surfer dudes won me over with their swoopy hair and sprightly tunes. This is what festivals are all about, finding a new band and becoming a fan. The song that hooked me “Dark Horses“, and that was partially due to a touch of Led Zeppelin’s “Kashmir” being tossed in. The San Diego natives didn’t shy away from a cover as the very next tune was The Beastie Boys “Sabatoge” blaring from bassist Tim Foreman, brother of frontman Jon Foreman. Switchfoot will hit the road this summer, with Fuel and Lit joining for select dates.

The Right Field Stage was closing out with a bang. The combination of Big Boi and Public Enemy was tantalizing to the point of believing either could have been the headliner for that day. Big Boi, who is one half of Outkast, did not shy away from his past with 10 of his 17 songs being callbacks to his days with André 3000. Although omitting their biggest hit, “Hey Ya!”, the classics like “B.O.B.” and “Ms. Jackson” got the crowd moving. Big Boi will be supporting Kid Cudi this summer on his “Rebel Rangers Tour“.

One of the most iconic rap duos of all time, Chuck D. and Flavor Flav did not fail as my anticipation for this performance was far from small. I had missed Public Enemy in 2024 at Riot Fest, and it began to haunt me as in my Music and Social Change class, we watched a documentary starring Chuck D. Not only was the salt already in the wound as “Copyright Criminals” was assigned viewing, but to hear that the professor assigning it was the executive producer hurt even more. My professor, Kembrew McLeod, helped make this documentary out of nothing, embarking on a journey highlighting the often unfair world of sampling in hip-hop. Chuck D was prominent and even played a slot on The Tonight Show with Jimmy Fallon in celebration of the documentary. All of this to say, Public Enemy’s bar was raised very high. The lights grew dim and then exploded as two men in matching tracksuits walked out, one with a boombox in hand. Not far behind them were tow para-military dressed men, dawned in a yellow and gray camo. The venerable Flavor Flav then appeared in a sparkly white tracksuit before introducing the crowd to “my partner in crime, my partner in rhyme, my partner in time, Chuck D”. This set did not stop, unless Public Enemy wanted to make their political standings clear, which they were not shy about. Chuck D attempted to play it a little more subtle with his distaste for the current administration while his other half spoke with more blunt remarks. The duo was not timorous or apprehensive, continuing to take shots at the Presidents involvement in the Epstein Files or his decision to remove a bust of Dr. Martin Luther King Jr. out of the Oval Office. This was “a major disrespect” said Flavor Flav to the Arizona audience as he reminded them that The Grand Canyon State was the first to recognize Dr. Martin Luther King Jr’s birthday as a federal holiday. These statements did not come as a surprise to someone who has listened to Public Enemy’s songs, read any interviews and lyrics, or read the name of their group. Overall, an absolutely electric performance from the hip-hop veterans as I look forward to seeing them again sooner rather than later. The duo will be opening up for Guns N’ Roses for select dates on their North American Tour this summer.

To end the festival at Home Plate was Sublime and blink-182. February 22nd is a special day for Sublime, as it is Bradley Nowell’s birthday. The founding member of Sublime, and father to current singer Jakob, was just 28 at the time of his passing, with Jakob only 11 months old. As time continued to move, Jakob joined Sublime in 2023 to take over where his father left off. At Innings Festival, surrounded by two humungous inflatable “Lou Dog’s”, Jakob made sure his fathers legacy was not forgotten. A bombastic set celebrating the all too brief discography of the Long Beach band was a joy to hear in the warmth of the southwest. The set included a cover of “Scarlet Begonais” by The Grateful Dead, a cover that was originated by Bradley back in 1992. Sublime’s set felt like a celebration, and I was happy to be there for it. Sublime will be touring across Australia, Europe, and North America this year continuing the party. You can find tickets here.

This Must Be The Place was at Innings Festival, handing out free doses of Naloxone at their stand and around the festival. An incredibly important collaboration to supply people with the tools to avoid overdoses. They have given away hundreds of thousands of doses throughout their time at festivals, and it was really cool to see Innings Festival embrace and uplift this organization.

blink-182 closed down the festival with their self proclaimed “only gig of the year” for which they “only practiced twice for”. The ladder comment was amended to “one and a half times because Tom (DeLonge) wanted to beat traffic” said bassist Mark Hoppus. The San Diego pop punk pillars breezed through their 19 song set that included two plays of Travis Barker’s only lead vocal appearance “FUCK FACE”. An abrasive name, yes. An abrasive song, also yes. Quick and to the point, like much of blink-182’s discography. This set was a greatest hits collection that featured four tunes a piece from “Enema of the State”, “Untitled”, “Take Off Your Pants and Jacket”, and their most recent outing “ONE MORE TIME”. The rest of the set was made of a scattering of tracks from other records like “California’s” “Bored to Death” and blink’s first hit “Damnit”. A personal highlight of a blink show is hearing what Mark will sing during the bridge of the “Dude Ranch” single, and we got a new one with “Take Me Out to the Ballgame” sung. I have heard “No Scrubs” by TLC, “Pink Pony Club” by Chappell Roan and a variety of others but this bridge was on theme. blink will go into hibernation for the time being as we await what is next for The Mark, Tom, and Travis Show.

Bands don’t shy away from the baseball theming, really embracing the uniqueness of this festival. Congress, The Band sporting matching customized baseball jerseys, and even last year The Killers opened their headlining set with “Centerfield” by John Fogerty. The wide selection of artists, and the distinctive feeling the wraps around Tempe Beach Park make it a yearly pilgrimage for many. Innings Festival is not only a kick off to Spring Training, but festival season, as the gears begin to spin for 2026. I for one, am very excited for whats to come. Extra Innings Festival will be held in the same location this coming weekend as it focuses on country music. This is just the beginning. Stay tuned to KRUI for my interviews with Peach Pit, Deer Tick, and Eve 6 and tune into Downey’s Hour Monday Nights 9:00-11:00PM for your latest festival news!

All photos courtesy of Innings Festival.

The post Innings Festival Recap appeared first on KRUI Radio.

Their songs are well-rounded, but with unexpected twists and turns – anything but one-note tracks. They have evolved from an angsty group of guys harshly shouting out bold proclamations to a polished, innovative band who holds true to their rock roots while collaborating with a fresh new sound that will soon be one for the ages.

Cage the Elephant (2009)

“Ain’t No Rest For the Wicked”

This was the first song I ever heard by Cage the Elephant, and I was instantly struck by the dynamic guitar track and clever lyrics. The song follows Shultz as he walks along the street on a normal day, eventually telling a fascinating story about the interactions he has with strangers, including a prostitute and a mugger.

Shultz sings these lyrics in a wise, knowing way, contrasted with his tone of voice that almost sounds like an everyday speaking voice rather than an impressive vocal. This gives the song all the more honesty and punch. The chorus describes the struggles of living in a world where you have to fend for your self, ending the song with its title lyric “there ain’t no rest for the wicked/until we close our eyes for good”.

“Back Against the Wall”

Smack in the middle of their debut album, “Back Against the Wall” is a perfect representation of everything the then-new band has to offer. With a harder rock influence than “Ain’t No Rest For the Wicked”, this song delves deeper into the edgy corner of Cage the Elephant’s repertoire with jarring lyrics and screechy notes that showcase Shultz’s pipes.

There is a killer instrumental break beginning at the three minute mark that will transport you into a sweaty crowd of shoulder-to-shoulder people, hair smacking your neck as exhilaration moves your body to the music.

Thank You Happy Birthday (2011)

“Shake Me Down”

This is my all-time favorite Cage the Elephant song, and for good reason. It combines every characteristic that makes Cage the Elephant the spectacular band that they are – stimulating lyrics, head-banging good instrumentals and contemplative moments. The song begins softly with nothing but a stripped down guitar solo and Shultz’s piercing voice, subtly fading off into yearning “oooo”s. But the mood remains tender for only a few moments before a thundering drum beat enters the track.

The rest of the song plays off of this stop-and-go energy, shifting from delicate sentiment to forceful vigor. At 2:07, Shultz erupts into a full-on frenzy, shouting at the top of his lungs but remaining in control of the story the lyrics tell. This explosion of sound is broken abruptly with a musing moment, repeating the lyrics “even on a cloudy day”. Ending the way it began, “Shake Me Down” leaves us with a few crooning “oooo”s, placing us in a state of pensive awe.

Melophobia (2013)

“Come a Little Closer”

As the lead single on their third album, “Come a Little Closer” topped the Billboard Alternative Chart in 2013, marking the band’s fourth number-one hit. The song begins with a groovy beat that makes me want to tip my head back, eyes closed, swaying along to the music. Shultz’s voice takes on a more mysterious persona in this track, seducing us powerless listeners, drawing us in with his sultry tone.

Once we are cast under his spell, Shultz hits us with a gutsy chorus, pulsing with palpable energy and trippy guitar riffs. Adding to the unpredictability of the song, the music cuts to an eerie trance at the 2:40 mark, setting us in an abstract state, then morphing into a chant of the title lyric “come a little closer then you’ll see” with intense instrumentals blasting in the background.

“Take It or Leave It”

My foot taps uncontrollably the moment I press play on this rhythmic tune. It’s vibe reflects the striking album cover of Melophobia: mesmerizing and bewildering in the best way. Trippy beats trill through the entire song, but are most prevalent in the verses where Shultz tries to make sense of the mind of the person he wishes to be with.

He wrestles with leaving them while being afraid of losing what he loves. Around the three minute mark, Shultz begs in an imploring whisper, “baby please/oh baby please” before growing stronger in his demand, shrieking “stay with me/or cut me free/it’s killing me”. He concludes the song confidently deciding “take it or leave it”, ending with the title lyric again, in classic Cage the Elephant fashion.

“Cigarette Daydreams”

Playing through my speakers as I drive down an endless, no-turns road, rain pelting my windshield, staring out of the foggy windows placidly, “Cigarette Daydreams” hits every heartstring with each note played. It sings a much more emotional, nostalgic tune than most Cage the Elephant songs, reminiscing on days as seventeen-year-olds, desperately stumbling to figure out this messy life.

Beautiful piano accompaniment chirps throughout the verses along with a stripped down acoustic guitar, creating a raw mood that strikes a chord deep inside any listener. The best way I can describe this song is that it is beautifully melancholy and hopeful simultaneously.

Tell Me I’m Pretty (2015)

“Too Late to Say Goodbye”

Beginning with a dark and dramatic growl, “Too Late to Say Goodbye” captures the listener instantly, drawing them into this deliciously mysterious dance. Sultry energy floats throughout the entire song while Shultz confesses that he is completely in love with someone who he knows to be dangerous.

This tug-of-war with one’s self, fighting the urge to be with somebody obviously wrong for you, yet allowing your head to spin in mesmerization and attraction towards them is easy to imagine. We feel his pain as he takes up arms against this battle, yet we secretly hope that he gives in, because where there are sparks, there is fire.

“Trouble”

This track begins sweetly, twinkling with notes that sound almost like a nursery rhyme. Soon after, we are hit with many “oooo”s, adding to the relaxing, lighthearted vibe. This continues throughout the song, only interrupted by quick, harsh beats on the drum in-between lyrics.

Despite the song’s soft tone, the lyrics themselves are a bit heavier than a nursery rhyme. Shultz declares his life a chaotic mess – anything but pleasant and easy. He pleads with an invisible love to pull him through the depths of trouble that surround him, ending with an even heftier final plea, “God don’t let me lose my mind”.

“Cold Cold Cold”

This song is simple and superb. It begins with a rolling instrumental that reminds me of music from an older time, somewhat Beatles-esque. A shaking maraca sounds throughout the entirety of the song, adding to the carefree vibe. The chorus has a steady pulse to it that drives the audience forward, making us eager to hear more with a grin growing across our face as time goes on. Only Shultz’s voice adds a level of urgency, his raspy yells and charismatic tone echoing throughout the song, stealing the show once again.

Cage the Elephant’s music possesses the indescribable ability to move people. It has a unique quality that I cannot quite put my finger on, but it fills my chest every time I hear one of their songs. I surrender to its power, knowing that the instant I turn on Cage the Elephant, I am lost in a completely different world, even if it’s just for three minutes.

The Alt-Rock Chick highlights Alternative Rock music by selecting a band/artist and listing their best songs from any number of their albums, and features playlists that reflect certain themes.

The post The Alt-Rock Chick: Cage the Elephant appeared first on KRUI Radio.

A couple weekends ago I got to see one of my favorite bands of all time, Cage The Elephant, in Council Bluffs at a really cool outdoor venue attached to the Harrah’s Casino called Stir Cove. This was my second time getting to seeing them live and just like the first concert of theirs I went to, the band put on an INCREDIBLE show. Like I’m still in awe at how much of their literal blood, sweat, and tears they give to perform, and I even got to touch their guitarist, Brad Shultz, when he was crowd surfing. So yeah, the concert was pretty neat. However, unlike the first concert of theirs I went to, the crowd fucking sucked.

I just touched Brad Schultz omg

— Alison Schwebach (@alisonschwebach) July 16, 2016

(I was so excited I spelled his last name wrong)

Now I’ve been to quite a few concerts in my 21 years, all in different genres and varying degrees of closeness to the stage, but I have never been in a crowd of so many rude and obnoxious drunk high schoolers. And that’s not just me saying that in a “oh, all high schoolers are trash babies” way because of the two other people I went with one is a recent high school grad and the other is going to be a senior this coming year. It may have just been the pocket of the crowd we got stuck in that had all these terrible excuses for humans, but never have I ever been so seething with rage before and during a concert before. 

I’m only 21 but I feel too old for this crowd right now…why are there so many 14 year olds at this concert

— Alison Schwebach (@alisonschwebach) July 16, 2016

So I figured for this month’s How-to Guide, I’d use what I gathered with my time at this otherwise amazing concert and give you a real in-depth guide to how you too can be a terrible person at a concert. Or, like, don’t.

1. GET REALLY FUCKING DRUNK
Like get so drunk that you’re running into other people and yelling at the top of your lungs when there’s not even music playing. If you really want to seal the deal, like one of the girls behind us, make sure you’re so drunk that you’re passing out on stranger’s shoulders and then end up puking before the openers even go on. It’s super classy.

So class, that even if you aren’t drunk make sure you act like you’re drunk because, like, boys find it really cute when you’re drunk. Hee hee. And when the concert is more than halfway through don’t forget to start yelling to your friends “I THINK I’M SOBERING UP” just as a reminder to everyone that at one point you were also very drunk.

2. SHOVE EVERYONE FOR FUN
Especially when there is no music playing, just start shoving people. The more people you can shove with one push, the better. And when they yell at you to stop snottily say “It’s a concert, you’re going to get pushed, get over yourself.” Because, you know, even when there’s no reason for shoving it’s still a good time to shove people. Duh, n00b.

Had to fight a few drunk teenagers and even a couple grown men, but thank you @cagetheelephant for another incredible concert. I even got to touch Brad. I’ll be happy forever.

A photo posted by Alison Schwebach (@alison_nicoleee) on Jul 15, 2016 at 9:41pm PDT

3. TAKE SELFIES THE ENTIRE TIME
You know what all the great concert goers say, “I’m only here to take a picture with a cute boy at a concert.” (Actual quote from a girl next to us.) Who cares about the band amiright?! While you’re taking selfies you can also simultaneously shove people while you and your friends try to get the best pose. Double win!

4. AGRESSIVELY SHOVE YOUR WAY TO THE FRONT EVEN WHEN THERE ISN’T ROOM
Throw some elbows, get violent, and you can make it to the front! Even if there’s literally no space left you can make space if you really believe in yourself and throw all awareness for other people to the wind. Who cares if you’re being a dick and injuring other concert goers! Also don’t forget to get pissed at people for getting pissed at you for being a dick, that part is very important.

5. TALK ABOUT HOW MUCH YOU FEEL YOU’RE AT ~*~COACHELLA~*~
Since the concert is outside and you might have breathed in a bit of secondhand weed, that obviously means you’re basically at Coachella. OBVIOUSLY.

So there you have it, the very best way to make sure everyone around you at a concert hates you. And despite my bad experience with the crowd at this particular concert, I’d still recommend to anyone to go to a Cage The Elephant concert if you get a chance, you won’t regret it! You can check out their future tour dates here (x)

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The post The Walking Contradiction’s How-to Guide: Being a Terrible Concert Goer appeared first on KRUI Radio.

Cage The Elephant is back with their fourth LP since their breakout hit “Ain’t No Rest For The Wicked” debuted in 2008, and it does not disappoint. The Bowling Green, Kentucky natives teamed up with The Black Keys’ Dan Auerbach as producer to create Tell Me I’m Pretty, an album that seems to point towards a more refined sound for the band.

While their first two albums Cage The Elephant and Thank You, Happy Birthday sounded sonically very cohesive and showed the band coming out swinging with their characteristically sharp lyrics and a charged, sometimes angsty sound, as seen in “In One Ear,” their third album Melophobia (literally meaning “a fear of music”) felt like more of a transition album that brought softer songs like “Cigarettes Daydreams” and “Hypocrite” into play, along with a change in tone for the band that mixed the old with tinges of something new. Tell Me I’m Pretty seems to be the next evolutionary phase for Cage The Elephant that really demonstrates their growth over the past seven years and is evidence of them settling into their matured sound. There’s a lot more “ooooohhhs” and a little less “aaahhhhhhhs,” if that makes sense.

Whereas their previous albums were bold and a little brash, Tell Me I’m Pretty is polished and refined without sanding away the band’s uniqueness, showing that mature doesn’t have to mean boring. Shall we have a listen?

“Cry Baby”

I like this song, I do; I just don’t know how I feel about it being the opener for the album. While the song does set the mood for the matured sound of the album with a groovy seventies vibe, it doesn’t have that spark I immediately associate with Cage The Elephant. The lyrics are intriguing and the instrumentals hook you in, but the chorus falls a little flat. Overall, this song is very listenable just a little forgettable as the first song.

“Mess Around”

This song was a solid choice for the first single: extremely catchy and upbeat with the quintessential Cage The Elephant spark that was missing from “Cry Baby.” The Black Keys’ influence shows through a bit strong, but the song is exciting enough that it’s just a minor detail. The band recently performed this on The Late Late Show with James Corden and it looked like a hell of a good time.

“Sweetie Little Jean”

This track is a little less vibrant than “Mess Around,” and has a very dreamy quality to it. However there’s a bit of angry piano to offset the softer vocals and keeps you on your toes. I feel like this would be a great song for a scene in a movie where everything seems to be going wrong for the protagonist and they can’t seem to catch a break, especially when Matt Shultz sings “Has melancholy taken you for good?/ You know I would save you if I could.”

“Too Late To Say Goodbye”

Definitely the eeriest, most psychedelic song off the album “Too Late To Say Goodbye” is captivating and something way different than what Cage The Elephant has ever done. It’s syrupy and seductive and completely bewitching to listen to. The lyrics are like a spell being cast and the even, thumping of the bass takes the track to an otherworldly level. Definitely a must listen.

“Cold Cold Cold”

This is probably my favorite song off the album and may possibly join the rankings as being one of my top favorite Cage The Elephant songs of all time. Yeah, it’s that good. The opening of the song instantly grabs you and is highly refreshing, like being doused in what you might say is ‘cold cold cold’ water. (Get it? Please don’t hate me for that.) The lyrics “Doctor look into my eyes/ I’ve been breathing but there’s no sign of life” are an unapologetic plea for help and are backed up by exciting experimental percussion. The seventies feel of this album is perfected on this electric track, and I’m just going to say Cage The Elephant knocked it out of the park with this one.

“Trouble”

As the second single off the album, “Trouble” definitely did not concede to the Black Keys influence like could be heard in “Mess Around.” This track is dreamy, beautiful perfection like a merry-go-round under a star filled sky and is entirely Cage The Elephant. You can hear me gush more in depth about “Trouble” in this Track of The Week post, but what you need to know about this track can be summarized with: sleigh bells, aching lyrics, and shimmering instrumentals. What more could you need?

“How Are You True”

After killer hits like “Cold Cold Cold” and “Trouble,” this song doesn’t catch as easily. It’s definitely one of the slowest songs off the album. On its own I’m sure “How Are You True” would be fine, it’s very soft and sweet, but the energy is a bit too far of a fall after the preceding songs if you are listening to the album consecutively.

“That’s Right”

This track brings the tempo back up again and is far catchier than “How Are You True.” The song seems to be a goofy, fun little interlude for the album with its quirky instrumentals and lyrics saying “I know tomorrow we may have regrets/ But as for right now where’s the party at? / We’ll stay up all night wait for the sun to shine.”

“Punchin’ Bag”

This song has the initial bite of “Cold Cold Cold” and the punch of a dark underlining story of a badass chick taking control of a domestic abuse situation. The chorus is one big warning to any man who wants to disrespect her saying, “Heaven help ya, I’m telling the truth/ Heaven help ya, she’s coming for you/ Heaven help ya, the girl likes to fight/ Afraid of nothing and she carries a knife.” The lyrics also turn pointedly towards the man, imploring “What kind of man are you?/ Instead of kisses you gave bruises/ No more time for cheap excuses/ If I were you I’d be leaving, best to leave while you’re still breathing.” If you ever had to kill a man Kill Bill style, this song would be a perfect one to do it to.

“Portuguese Knife Fight”

Closing out on the knife carrying theme, “Portuguese Knife Fight” is the final song of the album and ends it on a taunting, groovy note. Not as psychedelic as “Too Late To Say Goodbye,” but this in-your-face, guitar heavy track still leaves a trippy aftertaste because Cage The Elephant aren’t one to go down without a fight.

Check out Tell Me I’m Pretty for yourself below and keep an eye on Cage The Elephant’s site for upcoming tour announcement.

For other updates and band shennanigans, you can follow CTE on Twitter, Tumblr, and Instagram!

The post Album Review: “Tell Me I’m Pretty” by Cage The Elephant appeared first on KRUI Radio.

Coming at you for this week’s Track of the Week is “Trouble” by Cage The Elephant! As the second single off of the Bowling Green, Kentucky natives’ newest album, “Trouble” is a perfect easy-listening, lazy afternoon tune. The track is smack-dab in the middle of the band’s fourth album, Tell Me I’m Pretty, produced by The Black Key’s Dan Auerbach.

Full of soft harmonies and Matt Shultz’s classic “oooohs,” “Trouble” is able to put fans’ minds to rest after the first single from Tell Me I’m Pretty, “Mess Around,” was a little, should we say, too Black Keys-ish? Not to say “Mess Around” wasn’t an interesting change of style for the band, but “Trouble” shines with the unique Cage The Elephant sound that’s all their own.

Reminiscent of previous tracks like “Shake Me Down” and “Hypocrite,” “Trouble” encapsulates dreamy guitars and soft percussion (if you listen closely, you can even hear sleigh bells) into a song that ebbs and flows with Cage The Elephant’s poetic lyrics that manage to say so much while saying so little. Shultz finishes out the song by softly singing “Got so much to lose/ Got so much to prove/ God don’t let me lose my mind,” really hitting the track home.

Listening to “Trouble” feels a bit like riding a merry-go-round, slow and steady enough for you to close your eyes, but builds just enough suspense to make you want to hold on tight. Only Cage The Elephant could capture sheer inner-turmoil in such a soothing way.

Check out “Trouble” below, and if you dig it, Tell Me I’m Pretty is out now for your listening pleasure. Also keep an eye out for our upcoming review of the album!

New album means new tour so make sure to hit up the band’s page for tour updates, as well as follow them on Twitter, Tumblr, and Instagram for various other band shenanigans.

The post Track of the Week: “Trouble” by Cage The Elephant appeared first on KRUI Radio.