Marked on folks calendars for the past six months, Luke Combs announced his “My Kinda Saturday Night Tour” in October spreading across North America and Europe over the span of 23 nights. These shows have been selling out quickly, becoming one of the hottest tickets of the year, and for good reason. The country star has showcased his iconic sound across the worlds biggest stages, introducing countless audiences to the genre. Coming off the heels of a busy year with headlining slots at Lollapalooza, Austin City Limits, Bonnaroo, and more, there’s never been a bigger time for Combs. Three weeks removed from his sixth record’s release, The Way I Am, this wave has been high for the singer/songwriter.

Appearing from the tunnels in the north end zone of Jack Trice Stadium came Luke and his band underneath the deluge of cheers as “Ain’t No Rest For the Wicked” played. Making a pit stop for a quick drink before his entrance to the stage, Luke and his Wild Cards all stepped up to their stations. Shaking the stadium from the start, Combs began with the song sharing the titular honors with the tour “My Kinda Saturday Night” as the crowd jumped to their feet. There was no slowing down in Ames, hitting qiuck with “Lovin’ on You” and “Hurricane” following it up. After, Combs dialed back the speed but not the hits, “She Got the Best of Me” brought all 60,000+ voices into one.

Coming in at #1 on Billboard’s Country Airplay chart this past week is “Sleepless in a Hotel Room.” Combs’ 20th song to reach that milestone proves he still has the secret recipe for a hit after a dozen years in the industry. “Sleepless in a Hotel Room” was one of ten songs performed from his latest record The Way I Am, holding over a third of what was played that evening. Tapping into other tunes from the record like “Back in the Saddle” and “Be By You,” these were some of the most entertaining numbers in the show. For the third night on the tour, the band made these weeks old songs sound like staples in the set.

Although there was a heavy dose on the new album, Combs didn’t forget what songs got him to stadiums. Sweetheart’s favorite jam “Better Together” was a catalyst for fans holding each other close and swaying as the temperature dipped into the 50’s. In the middle of the set, Combs and his band took to some barstools on stage as they sang some more heartfelt ballads. Speaking about the range of emotions it takes to write a song, these introspections were a welcomed addition to the set. Whether tapping into the love in his heart for his wife, or a sadness that sometimes feels paralyzing, this honest chapter in the night was a nice breath. “I Ain’t No Cowboy” and “Wish Upon A Whiskey” were absorbed into the crowd at Iowa State during this breakdown.

The lovey-dovey and sadness eventually scampered off and Luke was back to his rocking chart-toppers like “1,2 Many” and “When It Rains It Pours.” During the former, a Luke Combs tradition is following the lyrics of the song to a ‘T’ and shotgunning a beer. Joining the 2019 Country Artist of the Year was Iowa State Cyclones men’s basketball legend Georges Niang to blaring applause. The Indiana Pacers draftee of a decade ago was an eager participant and it was delightful to see him back on home turf. While there was no competition on loudest song throughout the night, closer “Beer Never Broke My Heart” would have taken the gold medal. A killer end to the main set, Combs had the audience in the palm of his hand.

The encore was a trio of arguably Combs biggest songs. Beginning with his cover of Tracy Chapman’s “Fast Car,” bringing the crowd back down to earth after that bombastic finale. Chapman’s tune was first covered by Combs in 2023 for his record Gettin’ Old. Tracy came out for her first live performance since 2015 to accompany the North Carolina native on stage at the 2024 Grammy’s, where Chapman has walked away victorious four prior times.

Luke Combs finished the extensive evening with “Where the Wild Things Are” and his song for Twisters, “Ain’t No Love in Oklahoma.” The finale was grand and included all the jostling a song about tornados in the home of the Cyclones should cause. Despite the threat of rain, all 5 performers put on a knockdown show at Jack Trice Stadium.

Dierks Bentley

This was very much a country concert. Every musician was country, everyone was dressed country, but if I had to put Dierks Bentley into a genre, it would be ‘Dude Rock’. The definition of ‘Dude Rock’ is very vague, but the main idea is that its just a dude who rocks. And let me tell you, Dierks rocks. Hitting 14 songs spanning his 23-year career, there was everything a super fan, casual fan, and soon-to-be fan could want in the set. Classics like “Drunk On a Plane” and “Free and Easy” got the crowd going by the fourth and final opener of the evening. There was a invigorating and joyful energy put into the air by Dierks and his band as their banter and bits kept the smiles coming in between songs. Dierks Bentley will be on the road this year for his “Off the Map Tour“.

Ty Meyers

The youngest performer on the docket was Texas’ own Ty Meyers. At 18 years of age, there is a long and exciting road ahead of the “Thought It Was Love” singer. With a beat up stratocaster in hand, Meyers pulls on bluesy influence for the lead licks in his songs. His 2026 record Heavy on the Soul made up almost half of his setlist. Other notable plays included two covers, “Valerie” and Tyler Childers’ “Feathered Indians“. A busy year awaits Ty Meyers as he will continue a mix of opening sets and headlining dates across Europe and North America.

Jake Worthington

A little honky tonk never hurt anyone, and Jake Worthington is a prime example. Another Texas native was the second to hit the stage on Saturday, bringing his southern charm to Iowa. We heard four tracks from his 2025 record When I Write The Song including his closer “It Ain’t The Whiskey“. Worthington has already created an extensive collaboration list, including Miranda Lambert and Marty Stuart. This brief look into the the musicians young career was catchy. You can take a much deeper dive into Jake Worthington as his headlining “Intent to Tonk Tour” takes flight later this spring.

Thelma and James

The first band of the busy evening was faced with a slight rain delay, although that didn’t shake Thelma and James. Their hit “Happy Ever After You” spurred them into the spotlight as the two songwriters looked into their own careers on the stage much more seriously. The duo has one album out, Starting Over, released in 2025 and are just over a week removed from their latest single “Alternate Ending” dropping. A fun and sweet sound that welcomed folks as they filed into Jack Trice Stadium. Thelma and James will continue opening for Luke Combs on the rest of his North American dates throughout his “My Kinda Saturday Night Tour”.

Throughout all 5 artists, big and small, there was an energy pulsing in the stadium that was a joy to be apart of. I hope more artists will take advantage of the massive stadiums on college campuses, along with their passionate fan bases. Artists like Luke Combs, Zach Bryan, and Coldplay are paving the way for more collegiate stadium shows in a time when high capacity venues are selling out in minutes. Luke Combs will continue on his “My Kind of Saturday Night Tour” for the remainder of the spring. Jack Trice Stadium will host Post Malone in July.

The post Luke Combs: Live in Iowa appeared first on KRUI Radio.

It was the warmest day in two weeks, and people were enjoying it. Southbound from 3145 North Sheffield was a stream of hundreds of people. Whether the meteorologist was calling for rain, sleet, or worse, it wouldn’t have stopped this dedicated string of folks. Each one with at least one shared intent, to get as close to the stage as possible. The layered tiers inside quickly filled up as the crowd filed in, making split second decisions on which side of the sound booth they would go around. Within minutes, you could hardly move. Adorned with a red curtain and a circle of lights, the anticipation grew amongst the masses. 

On that stage would be Evan Honer and five of his best friends as they brought their It’s a Long Road Tour to The Vic Theatre in Chicago, Illinois. The Arizona born artist loaded up the sunshine from his southern state to a packed Vic in a vibrant format, blasting through 25 songs to his adoring fans. Honer is halfway through his 33-stop tour across North America in promotion of his latest record Everything I Wanted making his way from east to west. He gave love to new and old, playing nine songs off the latest venture and three from his debut LP West On I-10. A first-time listener would not be able to tell what tunes were new and old as fans belted every word from throughout the venue.  

Honer began his set the way he ended it, with a backflip. This might have been my first backflip on stage that I’ve seen, and for sure my second. That was a great prologue to the type of night Honer was about to give the crowd. Switching between a Martin acoustic and a cherry red Gibson ES-335, Honer took us along the journey of his catalogue whether sad and slow or animated and loud. These songs bleed honesty and experience, even in Honer’s young age. “Mr. Meyers”, the fourth track off Fighting For, tells the tale of watching a man lose himself in his own losses. Directly after in the setlist was the second song from the same record, “Brother”, discussing Honer’s difficult time understanding his own brother’s mental illness. A song that encapsulates the hands tied feeling of not being able to help someone you love.  These songs rip each chord out of your heart and try to plug it back in oh so delicately. An artist able to evoke such strong feelings from a crowd of 1,000+ is someone to not take for granted. 

He couldn’t let sadness linger in the air for too long, so Honer made the great call to bring man’s best friend on stage. Ushered on to thunderous applause was his dog, Leroy, accompanied by an all-to-brief cover of “Bad, Bad Leroy Brown” by the legend Jim Croce. A quick dance with a bulldog lightened the mood as the band began a sprint to the end, hitting classics “Foolin’ Ourselves” and “Too Far Gone” from his first record. Sandwiched between those two was the first seed to Honer’s fame, his cover of Tyler Childers’ “Jersey Giant”. Honer’s maiden release from 2022 was an elusive track by Childers’ that does not have video of a performance from the author until 2025. With some synchronized choreography, a capo on the first fret, and a breakdown in the bridge, Honer the nearly impossible by making a cover sound like his own.  

Jersey Giant was not the only cover of the night, as the well-earned encore contained the 9x platinum single “Sugar We’re Going Down” by Chicago pillars Fall Out Boy. When I think of Evan Honer my mind does not immediately jump to From Under The Cork Tree but this faithful rendition shows his bands versatility and the dynamic voice he carries. His closer, “IDK Shit About Cars” left the crowd wanting even more as the house lights flared up. Clocking in at almost 2 hours, Honer’s set was well worth the price of admission and gives understanding as to why there are so many repeat customers at his gigs. 

The crowd was treated to Chicago native Michal Leah to begin the evening. Leah released her debut album Universe this past October with a deluxe edition, including three more tracks, in December. Alongside just her guitarist, she led the crowd through a showcase of her new discography, giving the audience a first listen to songs soon to be added to their playlists. She later reunited with The Vic, joining Honer for a rendition of “Waiting Ain’t Easy”. The combination of their voices felt like a fresh set of sheets as it wrapped around the whole theatre. In the audience was her father as well, who gifted the singer-songwriter flowers near the finale of her set. Leah provided a soothing, intimate, and strong performance to her hometown. You can follow Leah for updates here. 

The tour name implies the truth, there are many more nights of the It’s A Long Road Tour left for Evan Honer. Looking beyond this tour seems silly, but what lies ahead is exciting. This summer Honer will be hitting the road with the poet of his first release, Tyler Childers, on Childers’ Snipe Hunt Tour. This busy season is also sprinkled with headline dates and opening slots for Darius Rucker and The Head And The Heart at Red Rocks. As an independent artist, Honer has established himself and his record company, Cloverdale Records, as important pieces of the modern industry. You can follow Evan Honer for updates and find tickets for his upcoming shows here.  

The post Evan Honer’s Long Road Comes to Chicago appeared first on KRUI Radio.

Logan Melia: All right, well, you’re hitting the road with The Milk Carton Kids, do you remember the first time you all talked together? Maybe when this tour was starting to get planned out? 

Sierra Hull: Well, we’ve been planning this tour for many months now, but I’ve known these guys for the better part of 10 years or more. But we’ve mostly just gotten to hang out at festivals or cross paths at various events with friends, stuff like that. We’ve never really got to do any serious music making together so I’m excited for this. We’re all kind of hopping on a bus together and just hitting the road for like two weeks and. I’ve been such a fan of theirs. They’re just like amazing singer-songwriters and musicians and I just think it’s going to be so much fun to get to kind of kick back and hear them play every night. It’s one thing to go out and sort of do your own tour, but it’s another thing when you can go do a tour with friends and be inspired every night by other people as well. 

Logan: You have been so active touring this new record of yours, “A Tip Toe High Wire”, but do you remember the very first tour you ever did? 

Sierra: I’ve been playing shows ever since I was a kid. I started playing mandolin when I was eight years old and playing around locally and kind of starting to do like summertime festivals where I would travel and do things here and there, but it was pretty much right after I got out of high school. I mean, as soon as I could sort of really hit the road, I started going out and actually touring more seriously. When I sort of got old enough, I could kind of go without a parent. My parents always worked full-time jobs, so there’s only so much I could do as a youngster. But yeah, I feel like I’ve been kind of touring on and off for many years now. 

Logan: You mentioned growing up and always playing. And you grew up in Byrdestown, Tennessee, a real small town there. And I’ve heard legend of the Dixie Cafe being a lovely place to catch some bluegrass music. Can you attest to that statement? 

Sierra: Oh yeah, the Dixie Cafe. You know, they didn’t do it when I was a kid growing up, it wasn’t a thing yet. So I didn’t like grow up playing there or anything like that. But when I got into my sort of teenage years, probably around the time I was actually like moving away, started hearing, oh, this is a regular thing and there’s jam sessions. And then it was like, oh, well, there’s people playing on stage every week and local musicians. So it just does my heart so good to know that there’s a music scene in my hometown. Because I used to have to go over to the next town, Jamestown, where a lot of my family was from, or kind of go down the road a piece to be able to find any kind of real jams or music. So I just love that The Dixie is bringing music into the community like that so cool.

Logan: Yeah and you are very much at the forefront of this huge bluegrass revival. I’m seeing it as someone who wasn’t really in the bluegrass a few years ago seeing it wash over this this whole music culture right now, and being a part of this leading charge here it seems very cool. How does the bluegrass scene seem now compared to maybe what you were growing up with, does it feel any different? 

Sierra: Well, I just think the music scene, in general, the way we get our music, the way that our culture feels toward music is so different than what it was when I was a kid. I mean, but I’ve been lucky enough to kind of be really immersed in the bluegrass community since I was really young. So in a way, that community is still there. It’s thriving. It always has been, right? It’s always been a big part of my world, but it’s exciting to see it be able to reach a bigger audience in some cases. There’s always been moments I know we’ve got like the big anniversary of the “O Brother Where Art Thou” soundtrack I think hitting this year. And there’s always a wave of something like that that comes along and puts it in the spotlight. You know when I was a kid that was one of the big things, and someone like Allison Krauss kind of being at the forefront of that to see what my buddy Billy Strings is doing these days and the audiences that he’s reaching. The way that bluegrass can kind of coexist alongside a bunch of other styles of music just because I think our culture consumes music that way now, where we can get on our phone and within, 2 minutes we can curate a playlist of everything from bluegrass to hip-hop if we wanted to. So I think it definitely feels different, but I think it’s more, for me, it’s more that the culture around music just feels different. But the bluegrass scene, has always been this beautiful, thriving thing, and it’s cool to see other people start to get a glimpse into that world and that community that I’ve loved since I was a kid. 

Logan: You mentioned the ability to get these wild playlists going on. Do you have anything you wouldn’t expect to be on, you know, bluegrass Grammy nominee Sierra Hull’s playlist these days? 

Sierra: Oh man, I’m all over the map and what I like to listen to. I mean, it’s funny. It’s like I really enjoyed the Justin Bieber performance a lot at the Grammys. 

Logan: With the loop pedal and everything? 

Sierra: Yes, sitting in the room the other night, I mean, he’s such a crazy singer. And so it’s been kind of fun, even some of the things that I was in the room here on the other night, I started going, okay, cool man. Say what you want about pop music and coming from a world like bluegrass and others, a lot of people are like, Oh, I can’t stand the Grammys. That kind of thing is just not their cup of tea. But I’ve always just been someone that loves all kinds of music. And you sit in the room and you hear somebody actually sing live though, I mean, there’s no denying the level of talent in the pop. There really is some incredible singers and some incredible artists so it kind of makes me go home. Maybe I want to listen to some of this stuff that I kind of missed over the last year. I Don’t know, I bop around a lot to be honest with my listening of Joni forever, of course, but then it’s like, I kind of go, oh man, that makes me want to go back down a Joni rabbit hole. There’s so much great music to listen to, for sure. 

Logan: What is the most recent rabbit hole you fell down? 

Sierra: Oh, well, probably Bieber the last couple days, diving into his new record, listening to that a little bit. The total rabbit hole, oh gosh. Yeah, I don’t know. Maybe that just because that’s the last couple days. I’ve probably watched that performance four or five times over the last few days.  

Logan: Do you have any memories of watching the Grammys at all growing up? Do you have any performances that have like stuck in your head? 

Sierra: Oh yeah, it was always cool for me to see as a young bluegrass kid, I mean, I was so immersed in bluegrass. Of course, my friends at school were listening to the popular pop music of the time, but that really wasn’t where I was digging in my heels as a listener. It was all bluegrass, and I was such a big Allison Krauss fan. Of course, Allison’s been a staple of the Grammys for basically her entire career, and has been loved on strongly by those folks. And so anytime I would see someone like her perform, that was always really exciting to me because it felt like there was a part of my world being represented on the big stage like that. 

Logan: You mentioned growing up listening to bluegrass. I saw in some older interviews you brought up how your dad brought home a Larry Sparks tape and Tony Rice and stuff like that. What would you want to show the next generation of bluegrass players right now? What would be your Larry Sparks? 

Sierra: I mean, Larry Sparks is still out there crushing it, to be honest. And I think there are people like Larry, like Belle McCurry, who are still out there really holding the torch for that sort of early bluegrass sound. They’re the closest thing that we have to Ralph Stanley. It’s like you’ve got Larry, who actually played with Ralph ,and you’ve got Dale, who actually played with Bill Monroe. I mean, these guys come come at it with that first generation connection that like the rest of us don’t quite have. And for me, I think for anybody who’s really getting into bluegrass, I love, like I said, all kinds of. The music that I make obviously leans more progressive these days and a lot of what I’m tapping into too, but I mean, at the heart of it, I love that traditional music, and I wouldn’t trade sitting in those jam sessions as a kid singing that. Singing and playing the music of Flatt and Scruggs and Bill Monroe and the Stanley Brothers and growing up listening to Larry Sparks, people like that, there’s a foundation you build on that first generation music that I think is so important for a young musician who wants to grow up playing these instruments. And even if your heroes are more progressive people, I think there’s no replacement for going back and digging into where this music really comes from. 

Logan: How do you find a balancing act between the two? Because I feel like you do such a good job of doing new and innovative things while also kind of holding down that old Larry Sparks charm. 

Sierra: I don’t think about it that much, to be honest. I think that the foundation and that old-school thing is just a part of me. I mean, I grew up here in Tennessee, too, and that music, kind of the way even culturally, what the music was kind of built on, you know, singing about the little cabin home on the hill and, the hard times in which people, Appalachian people, were facing. It’s like, that’s kind of those stories, even though I grew up obviously in a different time, hence the fact that I think my music reflects a different kind of sound and time as well in order to feel truly authentic to me, I think it kind of has to. But those sounds are like my people, It’s a part of not only just the music I grew up listening to and playing, but the people that I was around too, and people that experienced the music, the things that those stories are all built upon, the sounds of bluegrass really just sound like the part of the world that I come from. So I think there’s the there’s that part of me that will always just reflect in the music because it truly is, as a person, who I am and where I’m from. 

Logan: It’s so ingrained in kind of Tennessee, the culture of it all. Is there anything that you have learned on mandolin or about bluegrass music or anything that has recently come into your ears that you’ve been able to implement into your songs? 

Sierra: I think if you’re really keeping your ears open, there’s always something to be learned and to be brought into the music. You know, I think like coming out of this kind of crazy week I just had, I think there’s a lot of inspiration to be had being in the space, and I was in Los Angeles all week for Grammy stuff. And you’re around all these incredible artists for an entire week, people who are all there celebrating all styles of music and just the love of the craft and the hard work that everybody kind of puts into this too. I know it’s like you kind of go, oh, Grammy week, it’s all about the flash and the awards and getting dressed up and all that kind of stuff. Yeah, that’s fun, that’s true, but it also is like a showing of all the hard work that all these artists put into music over the last year and sort of celebrating that. And so, I think coming home even off of that hearing, like I said, a lot of performances that were inspiring to me, conversations I had with people that were inspiring. All that really starts to get me excited to work on the next thing, so it’s always hard to put your finger on, well, something that you’ve learned directly, whether it be an exact musical phrase or just something in life that happened that inspired you. But I know I certainly feel inspired right now and a real desire to kind of be like, okay, that was fun, now let’s get back to work. Let’s get back to the actual thing we all want to do, which is making music. I came home and I said that to my husband. I was like, well, that was fun, but now I’m like, shoot, I can’t wait to get back to actually playing my instrument and singing songs. 

Logan: Are you writing anything new these days? Do you often write new things casually or do you have to be in a certain mindset to like put down some new ideas? 

Sierra: Yeah, the last couple days I’ve been writing like crazy. That doesn’t always mean that’s something ever going to be heard either, but gathering lyrics and ideas and feeling, I think for me, there’s moments where I can like grasp it and go, I can like connect to something like I’m always writing. But then there’s sometimes when there’s this like real inevitable feeling of I must do it, like I have to do it, and so whatever that is, I feel it right now. And that comes in waves for me. That’s not all the time. Sometimes you can think, well, it’d be good if I got back to writing because I hadn’t been doing it much, but you just don’t feel like you can work on it a little bit. But the connection, I’ve got to do this almost in a therapeutic way, is not there in the same way. And I’ve definitely been filling that pole lately. And I think that’s probably as a result too, the whirlwind of being busy and finishing one project, we put “A Tip Toe High Wire” out not quite a year ago, but almost, and you jump into this whirlwind of being so busy around new music and a new album, and then you sort of find yourself near the end of that cycle, and it’s almost like your emotional space frees up for me, where I can suddenly go, okay cool, we sort of did that thing. Now I can get back to the creative side again. 

Logan: In this past year, you played the Outlaw Music Festival with such a cool variety of artists. I believe the dates I saw had Willie Nelson, Bob Dylan, Billy Strings, and Lake Street Dive, and a few others. Normally, there’s not too big of an age gap between eighty-year-old Bob Dylan and these younger artists right here. Did you learn anything from that tour being around these older artists? 

Sierra: Well, getting to watch him play, I didn’t even get to meet Bob. I didn’t get to hang out with him, unfortunately, or anything and I think it’s understandable. It’s like Willie’s in his 90s. Bob turned 80, actually, while we were on the road, which is pretty cool. But getting to see him take the stage every night as these legends and when you’re on a tour with Willie and Bob, I think the main takeaway for me was man, songs. They just have songs, It’s like we all, we think about, of course, Bob Dylan probably as a songwriter first and foremost. Willie… Willie’s just such a treasure kind of all the way around, but like he has such an incredible catalog of songs and even songs he didn’t write, his ability to be a storyteller. I remember he would sing this song every night on tour called “The Last Leaf on the Tree”, and I swear I didn’t realize it was a Tom Waits song. It wasn’t a Tom Waits song that I knew, But it was like my favorite in the set every night. Just the way he sang it sounded exactly like he wrote it. I think because they’re such great songwriters and they understand the power of words and lyrics, there’s a delivery that those guys have and what they do that is just, I don’t know, it sort of stands on its own. And then the performance is just like the cherry on top, you know what I mean? So yeah, it just reminded me of like, okay, you gotta have good songs first and foremost first and foremost. All the fancy like tricks and talents of like vocal moves or instrumental whatever prowess, that’s really secondary to the song. It’s pointless without having really good songs in my opinion.

Logan: Do you have any songs that you really enjoy covering yourself?

Sierra: You were talking about that tour, we covered a couple things on that tour, most nights, we have a cover of “Mad World” we do a lot, which is one of my favorites.  On sort of the flip side of that, that’s like moody, edgy, or, you know, lyrically a little bit more edgy than something just straight ahead. But then like on something just completely joyful, it’s like we would, to cover Bela Flec stomping grounds, often. So, I mean, we have a wide range of stuff. I just most recently covered, actually during Grammy’s week, the Americana folks have a kind of tradition. They do a music cares fundraiser show honoring an artist at the Troubadour every year. And this year it was Neil Young. So it’s a bunch of artists singing Neil Young songs and I did the song “Look Out for My Love”, which is such a great song. And yeah, such a great catalog of songs he has to. 

Logan: You went to the Berklee College of Music, and I’m in college right now. Was there any party that wanted a more traditional college experience? Because obviously Berklee’s a little intensive, one might say. Do you at all wish it was a little bit more of the classic American college, or were you just too locked in on the music to even think about that? 

Sierra: You know, I don’t think, to be honest, I would not have gone to college at all if the opportunity to go to Berklee hadn’t kind of appeared. I wasn’t really planning on going, and then I got offered this scholarship, kind of out of nowhere, and  just wound up feeling like, okay, well this is an opportunity that is almost too good to pass up. I should definitely give this a try. But I knew all I ever wanted to do was play music, to be honest. And I think the value of getting an education is so important, and I always tried, I was an honor roll student the whole time I was in school. I always tried to make good grades and cared about getting an education, but I also knew that just going to a traditional college and spending four years and spending the money and things like that and the time, if I wasn’t really going to apply it, I didn’t see the point in the path. You know what I mean? It’s kind of like I knew what I wanted to do. I wasn’t even planning to go to music college because I was fortunate enough just to start young and I already had a record deal and I already could see a path in front of me for starting to tour, even at a small level. So yeah, I don’t know. I think there’s times where of course I can go, what would this feel? If I could just have a normal college experience? I think anybody who doesn’t have something like that, you might kind of go, what would that have been like sometimes. But at the same time, I think I was so fortunate, to just already know what I wanted from life, to know at least generally, where my path was headed and what road I was hoping to take. And I have a lot of friends who are still figuring that out, even in their 30s, and it’s tricky. So I don’t know. It’s a mixed question, sort of, because I think it would have been cool to know what that’s like and maybe feel more relatable to my friends who did have that experience. But at the same time, I wouldn’t change anything about where my path has taken me, because I think this is all I’ve ever wanted. 

Logan: You’re on a pretty cool path right now, I’d say. You’ve been playing music your whole life, like you said. But do you remember the first time in Nashville, Tennessee you sat in the pews at the Ryman? 

Sierra: Oh, man. Funny enough, the first time I ever went to the Ryman, I was on stage. 

Logan: Really? 

Sierra: The first time I ever got to go, yeah. I was 11 years old, and I got to go play the Grand Ole Opry with Allison. And the Opry, in the winter months, usually they move it to the original home of the Opry is the Ryman Auditorium. And so they move it from the Grand Ole Opry House to downtown to the Ryman, and they host their shows there for a couple months. And so it happened to be, this was in November, and they were doing Opry at the Ryman. And so, Allison called me up as a young kid. My biggest hero called me up and asked me to come play the Opry with her. I’ll never forget that for so many reasons. And honestly, that was such a magical experience, just even being in the room. Of course, I knew the history of the Ryman, I still think it’s my favorite venue in the world for so many reasons. The stage they say in which Bluegrass was born, when Bill Monroe and Earl Scruggs stand on stage playing banjo at the Opry. But to actually be in the pews, it sounds funny to say I probably played it the first few times before I actually got to see a show there. 

Logan: Wow. I don’t think many people are able to say that. So that’s pretty cool. 

Sierra: That’s insane, I know. I’m so fortunate. But I love being able to go see shows there because I never forget that that magical feeling I had as a kid getting to be there for the first time. 

Logan: I hope the Englert Theater in Iowa City is somewhat memorable enough. You know, it’s not the Ryman, but maybe it’ll leave an impression over here. 

Sierra: Hey, I’ve actually played there once before. Like two years ago, I believe two falls ago. It was a fall tour we did maybe in like October or something. So I’ve definitely been there before and yeah, looking forward to getting to come back. You know, there’s a few venues on this tour we’re doing with Milk Carton Kids that I haven’t done, but then a handful that I’m like, oh yeah, we get to go back to that spot. So yeah, I’m looking forward to it. 

If you think bluegrass isn’t your thing and you find yourself saying things like “they play too fast” and “the banjo scares me”, I am prescribing some exposure therapy on February 12^th. This combination of Sierra Hull and The Milk Carton Kids is a viciously entrancing mixture that is bound to make any non-fan into a fan, any fan into an enthusiast, and any enthusiast into a devotee. You can listen to Sierra Hull’s latest album “A Tip Toe High Wire” here and find tickets for Sierra Hull and The Milk Carton Kids at The Englert Theatre here. 

The post Interview: Sierra Hull appeared first on KRUI Radio.

Liam Gallagher wasn’t in hibernation leading up to the announcement. His lengthy European tour celebrating 30 years of Oasis’ debut record “Definitely Maybe” was in its final stretch when a glimmer of hope was shined above the crowd at Readings Festival. The classic “Oasis” font and block with a set of dates displayed in black and gold. “27.08.24”. Murmurs began. A hesitating hush grew and blossomed into a raucous cheer. What could this be? A re-release of the debut album? A new line of $50 shirts? It couldn’t possibly be a reunion between “The Pouting Potato” (Liam said about Noel) and “the man with a fork in a world of soup” (Noel said about Liam). When the 27^th finally arrived, the impossible was confirmed. With 11 months warning, Oasis would be returning in July 2025.  

This tour lasted through November, touching down in Europe, North America, South America, Asia, and Australia. No shortage of miles being put on the Gallagher brothers as they embarked on their first tour in 16 years. “Live ‘25” was announced almost a year ahead of its opening date in Cardiff, Wales. Under a closed roof, Oasis firmly planted their foot as they stepped off the retirement bus. Holding hands and walking step by step, Noel and Liam Gallagher appeared from stage right.  

A sober Liam, who was driven right to the stage and right from the stage at every gig, made it very clear on social media that his shenanigans would be put on hold for the “Live 25” tour. This was a celebration for the old and new fans alike. Too sacred to jeopardize.  Folks have lived lives since their last gig. Children were born, people married, people divorced, houses were built. The world kept spinning without Oasis, but that doesn’t mean it time didn’t freeze during two hours they were on stage. A cleansing of the spirit. A wash of the life we all led earlier that day and will tomorrow. For a large group, this was the first time they were seeing Oasis. Whether they were 20 years old like myself who were 3 when Oasis last played the States, or a 50 year old who never got the chance when they were growing up to “(What’s the Story) Morning Glory”, this was the maiden concerts for fans everywhere.  

I saw Oasis at Soldier Field in Chicago on August 28^th, their first return to the US in 17 years. An open and wide stage sets the backdrop with screens that spanned its length. This was a smaller stage than normal for them, due to the size constraints of the smallest NFL stadium and the busy weekend Soldier Field had. The iconic font and block raised above the stage like a halo. A heavenly omen to the performance ahead. Before stepping out to tens of thousands, a warning was played for the crowd. Recalling their live record “Familiar to Millions”, “Fuckin’ in the Bushes” was blared over the speakers during their entrance. Jumping straight into the aptly named track “Hello” followed by the duet “Acquiesce”, you were hit over the head with only the beginning of a legendary night. The same setlist every night was welcomed as it was a nearly perfect encapsulation of the bands legendary run. 8 tracks from “Morning Glory”, 6 from “Definitely Maybe”, 5 B-Sides from “The Masterplan”, and a collection of other hits. A variety anchored by the first two historic records.  

Liam, at his heart, is an entertainer above all else. If the instruments were left in the truck, he could keep the people entertained with his stories. A key moment of this tour was ahead of the sixth song on the set “Cigarettes and Alcohol”. Gallagher would spew a story, depending on the location, of him being approached earlier that day by a worried fan that the crowd would not participate in the “poznan”. A celebration that has found its way to Maine Road and Man City, the Gallagher brothers favorite club, infected the Live 25 tour as well. Webs were spun across these stories, as Octopuses and Koalas in Australia were worried, Sharks in Sau Paulo questioned, and Noel even taking the reins for this ongoing bit in Mexico City. A volley back and forth between the brothers, one that seemed impossible 2 years ago. 

The final 8 songs were something that very few other bands could pull off. Split in half was the final four of the set and the encore quartet, it was a roulette of some of the greatest Oasis songs. “Slide Away” persuaded its outro into my ears for life, “Whatever” gave me a snippet of “Octopuses Garden” live in 2025. “Live Forever” into “Rock n’ Roll Star” is the exit of folklore. As a white screen with “live 25” sprayed bright lights over the crowd. No one moved a muscle. There was more to hear. Noel came back out with an acoustic guitar to play the B-Side “The Masterplan”, as he introduced the backing band. Bonded by original Oasis guitarist Paul “Bonehead” Arthurs, his replacement from 1999 Gem Archer, Beady Eye and Oasis alum Andy Bell on bass, and drumming extraordinaire Joey Waronker to hold down the rhythm section. A group welded together through connections, solo projects, and Oasis itself that felt like they’d been together for decades.

The final three tracks were what a lot of people were waiting for. All off the 1996 album “(What’s the Story) Morning Glory”, any of these tracks could have been the closer. Starting with Noel continuing his vocals with “Don’t Look Back in Anger”. The piano held steady going from C to F, as the pentatonic box that Noel loves so much was tickled into its iconic intro lead guitar part. The tension in this song builds so well, as the pre chorus goes from F to F minor to craft that dropping feeling before you are lifted back up for the chorus. Noel left the singing duties in the first two choruses to the crowd, rejoining the choir of 65,000+ after the guitar solo. Swiftly into the open mic night favorite “Wonderwall” followed by a thank you from Liam for showing up to Oasis’ first American gig since 2008. The first note of “Champagne Supernova” was struck. It felt like the closing of a book you adored. You’d waited a long time to finally read it, paid extra for the hardcover too. Once you got your hands on it you couldn’t put it down. Flipping through pages at an alarming rate, almost too fast, to the point where you knew you weren’t leaving that chair until it was done. With a final blank page at the end turned, you felt that lovely hardcover leave your fingertips and fall to the will of gravity as it closed. An expansive guitar solo, powerful vocals, and a fireworks display that would bring a grown man to tears, Oasis had reconquered the Unites States. Time to put the book on the shelf.  

In Chicago, there were songs dedicated to the Irish, the early risers, the warriors, the glue sniffers, and those who couldn’t be there. Whether they were just not in attendance, or those we have lost, “Live Forever” is a staunch reminder of what makes Oasis so challenging to put into words. There are lyrics that have implanted a response in my head whenever I hear those words in daily life. Also, absolute nonsense about lasagna in “Digsy Diner”. No matter where on the spectrum of poetry to pasta the lyrics fall, it’s the feeling it evokes. It’s the rattling of the barricade, the smiles spreading like the flu, the people singing, and the people listening.  

Everyone knew there was a timer on this. These moments couldn’t last a lifetime. They aren’t meant to. That’s what made it so special. If it didn’t end, we wouldn’t have the memory. Memory is a tricky thing. It can contort itself without you even knowing. Run threads from one to another as it crochets itself into a mural of your own making. It’s short sighted to say something like a concert can change a life. It didn’t change me but rather stuck with me. It was a hefty and sturdy string that has woven its way into my mural. The music, the look, the people, the smile, the joy, the day. I spent it by the lake with my friends, listening to one of my favorite bands, and running around in the chaos of what we all know will probably be the first and last time. I knew it in the moment too that this was going to be with me permanently. My bucket hat and I watched what will replay in my head when I’m stuck inside in February and feeling the sun on my face in July. I love being in a memory in real time. There was no questioning this. I know what I saw, what I heard, and what I felt. This memory has been woven in. It will live forever.  

The post Oasis “Live 25”: The Gig of a Lifetime appeared first on KRUI Radio.

It was surreal to see this band as it was formed 20 years later, still singing through the modern classic The Michael Jordan of Drunk Driving tumbling over into Disposable Everything off their newest record. They chatted with folks between songs, completely just two dudes up on a stage. At one point, a Santa hat was given to Ben Gallaty, who captured the look extremely well. Their sound was sparse with just a guitar and stand-up bass, but they both pulled their notes full to flood into the crowd. AJJ’s most recent record Disposable Everything is definitely an “end of the world” record, nihilistic folk punk in every way AJJ was expected to deliver. They sang through songs about pride, waste, corporations, and the human greed destroying the planet and killing the humanity of what we have left to offer. It’s a change from their earlier discography, which focused through the same semi-nihilism ideas, but from a very personal view. Now, their messages encompass everyone, framed to describe the world at large, and the end of it all. Sean Bonnette’s voice rang out in a fully half-step-off pitch at every point where it mattered, it was a beautiful set. They closed out with a favorite, Big Bird, and the crowd sang and cried along while the final piercing notes of AJJ howled around us.

Room is a generous term to describe The Raccoon Motel venue, a tall but narrow side to the main bar, it’s like Gabe’s upstairs had a wall built halfway lengthwise and shoved a sold out show into the space, people like sardines in a quaint tin. The stage was no different, stickered amps, two guitars, a bass, a firetruck red tambourine, a synth set, a drum kit with the newest Cursive album cover skinned onto the front, and a fucking electric cello sat squished together on a stage that would struggle to fit a mattress, with a massacre of Hy-Vee plastic water bottles scattered around.

That one dude (don’t know his name but remember his voice) who announces these kinds of shows with his crazy impressive yelling stepped on stage to introduce a poet to prelude the Cursive set. A man read out his poem he wrote from emotions seeing Cursive perform when they were last in Iowa, I don’t recall what he said, but his words struck into me that this would be a special show, that could affect us in the same way to be moved into poetry. His words ended, and five people walked on stage, the sixth (Tim Kasher) less walking than bouncing into his spot. 5/6ths of the band was wearing a button-up shirt that night.

This tour formed for the release of the most recent Cursive album, Devourer. Released last year, Devourer is this maniacal end-of-the-world frustration and this idea of the great consumer, an imperialistic devourer that controls our lives, and the very personal imperialism that we find eating away at our own selves. Regaling earthquakes, volcanoes, gasoline advertisements, and self-immolation DIY, and the Cursive protagonist’s own denial of reality as they’re stuck within their own consumptions.

“Happiness is in the devouring. I saw our future, and I want to go back,” Cursive opened the final show of their tour with Consumers. This band has mastered building melodies out of simple riffs for decades, somehow reinventing a blowing heaviness within each pattern. It’s so simple, yet never boring. They continue into The Casualty, another dense melodic tune as the set continues weaving tracks around their full discography from the past 20 years. During a break, Tim Kasher justifies that since this is the last night of their tour, “we have a lot of fucking off to get out of our systems.” As Cursive gets comfortable on the twin-size stage, the singer Tim and cellist Megan Siebe continue to get lost in the throes of their hammering tones. The rest of the band plays incredibly with a much more subdued energy, the others with that desperate gleam of an exhausted runner in their last mile of a month-long marathon.

As the set continued, you could notice a distinct difference in the energy between their older music, and their most recent album. Tracks like The Recluse and Caveman from their younger years were played with a loose recklessness, they felt like a band of 20-somethings playing with lazy exaggeration to cause a scene. That same recklessness became much more intentional, almost a nihilistic abandon during The Avalanche of Our Demise and tracks from Devourer, still filling the hall with the same thundering energy but with a stronger intention.

Cursive continued their unburdening “fucking off” spiral, and the crowd joined right in with them. All around, the vast sprawls of middle-aged dudes in beanies and baseball caps screamed along, a drunk birthday girl and her even drunker friends all dressed in tiaras shoving and shrieking against the rail, before collapsing under the weight of the tallest moshpit I’ve experienced heralding the first thrums of Art is Hard. I’m not exactly one for self-preservation, but even under the intoxicating cello pulls of that tune I’m not fucking about in the midst of eight dudes with perfect elbows swinging into my eye level. Immediately after finishing the song, Tim threw the shot back he had so tenderly carried on stage with him as it became increasingly obvious he was at least reasonably hammered, whipping his ridiculous curtains on his head all around.

Megan Siebe on the cello really pulls Cursive together as a band, the final and fundamental piece that separates them apart from the whole slew of indie-rock bands out there. Seeing her play live was incredible, bridging some gap between classical technique and rock with her skill and intense energy. She also had a wee finger monster stuck onto a knob on her cello, mad respect. I’ve been a huge fan of their music for years, one of the bands that really dragged me into this divorced-dad-indie-rock shithole that we love and adore. Cursive as a band has changed so much, and not at all since their humble Omaha beginnings. It was really lovely to see them at the end of this tour, to really experience how they’ve stayed exactly the same yet changed so much, their fundamental uniqueness staying so consistent yet fresh for the past 20 years. They closed out their main set with From the Hips, with nothing more needing to be said.

Huge thanks to The Raccoon Motel for supporting KRUI, to check out their upcoming events (or to see Kermit hanging off a mountain lion) visit them in downtown Davenport. They’re hosting a record party on New Years Eve. Thanks as well to Marshall Rogers for sharing these lovely photos.

The post The end of the world written in Andrew Jackson’s script, Cursive with AJJ at The Raccoon Motel, December 21 appeared first on KRUI Radio.

Around 7:00 pm, the show began with a DJ set from producer Ripsquad, a veteran producer with Drain Gang members (including Bladee, Ecco2k, Thaiboy Digital, and Whitearmor). Some Ripsquad produced Bladee songs include Be Nice 2 Me, Destroy Me, and Frosty The Snowman. During Ripsquads set, he primed the already antsy crowd with a melodic DJ set, including remixes from artists such as Crystal Castles, Frou Frou, Ecco2k and Thaiboy Digital. After his 30 minute set, the crowd was buzzing for Bladee to take the stage.

Bladee began his set at 8:00 pm with his song Hero of my story 3style3, off of his fan-favorite album, 333. The explosive sounds of the opening track set the stage for the rest of the night. The palpable energy was so abundant in the venue, it felt as though the walls were going to break down. Just at the mere sight of Bladee walking on the stage, the crowd screamed and sang every word of the song, pushing to the front to be as close to Bladee as possible. He then moved the music momentum into ICARUS 3REESTYLE, followed by The Flag Is Raised from Crest, the famed collaborative project with Ecco2k from 2022. Although Ecco2k wasn’t present that night, the crowd was ecstatic to hear his verse over the speakers.

In the middle of his set he played a couple of very notable songs including desiree, just the second time he’s played that song live ever. He followed that into Like a Virgin, not only an unreleased track but also the first time he’s played it in years. During this middle portion of the show, Bladee took the time to slow down the tempo, performing more melodic songs like Valerie, DNA RAIN, I think…, EVERY MOMENT SPECIAL, Wings in Motion, and many more. This dip in energy was just what everyone in the crowd needed, they sang out to every word of his songs as they continued to push as close to the front as possible.

Just before the end of his set and the encore, Bladee pulled the energy back up with YUNG SHERMAN, Into Dust, Waster, and Destroy Me. The crowd somehow had even more energy than when the show started. He played his recently released song One In A Million, and walked off the stage. The crowd was well prepared for an encore. They didn’t stop screaming until Bladee came back on stage to end the night with Who Goes There, Unreal, Sugar, and She’s Always Dancing, as everyone soaked in the final fleeting moments, that incredible end to an unreal night. Just as quickly as he appeared on stage, he was gone.

Seeing Bladee perform live was a surreal moment for me. He is an artist I have known for many years, but never thought I would see him live. It was a privilege to have the opportunity to see him in concert, and to share that moment of his first time ever performing in the Twin Cities. I am counting down the days until he makes his return back to Minneapolis. But given Bladee’s illusive nature, God knows when that’ll be–if ever. I highly recommend seeing him live if you ever come across the chance, be wary for the rambunctious crowd, they won’t let anything get in their way of being as close to Bladee as possible.

The post Concert Review: Bladee Brings Dynamic Energy to His First-Time Performance in the Twin Cities appeared first on KRUI Radio.

After a decade being born, Josh Tillman is finally busy dying.

Father John Misty returns to Iowa tonight on October 1st at the Val Air Ballroom in Des Moines for the first time since performing at 80/35 festival in 2022, a show I was not only at, but also vaguely remember. He is supported by Cut Worms, a soft rock singer-songwriter from Ohio who’s been accompanying this leg of the tour throughout the central, southern, and midwestern U.S. This current tour celebrating the release of Father John Misty’s most recent album, Mahashmashana, has been going practically non-stop since February traveling across and back from the U.S. and Europe. Tonight’s show will feature most of his hit songs since 2012 woven between tracks from the new Mahashmashana, and yes, he will probably play the Tiktok song. If we’re lucky, he might even hit us with an ego-death-and-cigarette-fueled monologue about something or nothing in particular.

The latest album’s title is sourced from the Sanskrit word Mahāśmaśāna (महाश्मशान) defined as “great cremation ground, all things going thither.” Though not quite as “viral” as his standout singles and Lana Del Rey collaborations, Mahashmashana oozes an Old Hollywood jazz with wild terrors blended into the soft rock. It navigates themes of mental health and death on a jarring rollercoaster of psychedelic jazz, to sweeping strings, to uptempo rock n’ cowbells. It’s genuine and spiritual in a way that (historically) Father John Misty once tended to subvert. His real name is Josh Tillman, and he’s a former member of Fleet Foxes, so not actually a priest. In the past with albums like God’s Favorite Customer and Pure Comedy, his persona developed into something strangely caustic and haughty, using his own self-awareness to poke at fans who lacked the same particular trait. Despite mellowing out since then (nearly a decade ago), he’s still a sort of contentious figure in the music world, words like pretentious, spiteful, and douchebag are often associated with his character.

Mahashmashana, all is silent
And in thе next universal dawn
Won’t have to do thе corpse dance, do the corpse dance
Do the corpse dance with these on

Mahashmashana, by Father John Misty, 2024

The last time I saw Father John Misty in 2022 (newly bald-ed), I had just finished by first year of college and could not imagine what life after my graduation would hold (it was another degree thus more college). But most things aren’t the same, all the loose pieces of my life since that summer have changed and continue to shift as everything in the world starts, ends, and breathes in the dissonance. I’ll be soaking in the haze of Des Moines air and stale marijuana scent on the corpse dance floor tonight. I’m preparing by setting myself in that nauseating heady mood as I get ready to head over to Val Air, packed only with the absolute essentials: a silver cross and loose tobacco.

Tickets for the event are for sale from First Fleet Concerts here.

The post Concert Preview: Father John Misty at Val Air Ballroom DSM on October 1 appeared first on KRUI Radio.

Matthew Prince – Gunk Lung

Matthew Prince of Iowa City band Gunk Lung started the show with a rare acoustic set, showcasing his vocal and guitar skills in a departure from Gunk Lung’s typical emo-punk vibe. I enjoyed this fresh take on Gunk Lung’s music, which gave Prince’s vocals a chance to really shine. This set highlighted Prince’s versatility as an artist, demonstrating that beyond his typical rock vocals, he can also excel as a solo performer in a more stripped down set. Though he often asked the audience to bear with him, as the acoustic set isn’t his usual territory, Prince’s raw performance excluded a beauty that should give him confidence. The lyrics to Gunk Lung’s music are chillingly poignant and refreshingly real, which this acoustic set amplified in a way that sent shivers down my spine. Melancholically, Prince sang “I told my girlfriend I’d write a song. She asked if it would be another depressing one, another depressing one.”

Zaq Baker

Minneapolis-based artist Zaq Baker made a grate appearance as he was wrapping up his book tour for his debut novel Unspectacular — currently on order at Prairie Lights if you want to add something sweet to your bookshelf. 
The self-declared “only pop punk pianist at this show” seems like the perfect blend of Drew Monson, Paint, and Death Cab for Cutie and his music ranges from sad to bittersweet, resonating with anyone who’s ever faced heartache, or is just having a crappy day. He performed his song Dairy Queen, which was a treat, especially considering that it has been banned off of all streaming platforms. I was soy into all of the dairy puns he milked and brie-formed in the song. This artist truly brought gouda vibes to the show leaving us all grate-ful he stopped by.

I Will

Iowa City duo I Will lit up the stage with a blend of hard rock and heavy punk sound, delivering songs with timely themes of race and alienation. I appreciate the deep roots this band has in the Iowa City music scene — a member of Slacker is the son of I Will’s original drummer. With soulful vocals paired with creative effects like reverb, their sound is powerful and visceral, landing like a punch to the gut.

Slacker

While I may be biased — Slacker is one of my favorite local bands — it’s hard to deny that their electrifying performance absolutely rocked the house. Their set featured a never before performed song, Who The Fuck Took My Nose? as well as classics such as Molasses Eatin’ Mailman —another cheese-themed song for the evening. Slacker brings a unique vibe to the Iowa City music scene with their commanding presence and sound. Their distorted vocals filtered through a radio mic adds a raw, haunting quality to their sound that is not soon forgotten. Their distinctive songwriting combined with abrasive guitar riffs creates a sound that is unapologetically bold and untamed, just like the band themselves. 

If you want to see Slacker live, they will be performing as a part of Mission Creek on April 5.

Charlie Otto + his gear

Charlie Otto, based in Chicago, made a bold statement with his radical electric pop sound and stunning live visuals. A truly innovative musician, I can confidently say I have never witnessed a set like his before, and I was completely captivated by it. Not only is Charlie an incredibly talented vocalist and lyricist, but his ability to craft intricate songs and then integrate them with mesmerizing visuals is something unmatched in today’s music scene. One song of his featured a live cam that altered the visuals depending on the buttons he pressed on his keyboard. Another set cleverly allowed Charlie to puppeteer Israeli political leaders on screen. I cannot forget the kazoo he brought out that made rubber duck sounds —  truly a refreshing touch we need more of in modern music. I can only hope that Charlie stops by Iowa City again in the near future.

POLYACHi

Cedar Rapids-based band POLYACHi masterminded this pre-St. Patricks Day show, which also served as an E.P. release for GOD iS BAD! They performed a few songs off of this new E.P., as well as their E.P. THE BLVEBiRD OF NOTHiNGNESS. I have nothing but gratitude to them for curating this marvelous lineup, showcasing a range of contrasting but immensely talented artists. POLYACHi’s industrial hard rock sound is marked by their gripping vocal talent, rough guitar riffs, and explosive drumming. Their unpolished, growling vocals and abrasive lyrics felt like they were directly piercing my soul. My only critique is that their recorded music doesn’t quite hit as hard and capture their raw power in the way their live performance does — this is a band you must catch live.

Anchoress

Des Moines trio Anchoress made a powerful Gabe’s debut with their riveting post-hardcore rock and screamo sound. A bold new voice in the Iowa City music scene, this band brings a gritty, intense, and unapologetically daring sound that leaves a lasting impression. I’m excited to see how their sound evolves in the future and I can’t wait for a full album — their five released songs aren’t enough to satisfy the craving they ignited. 

Fishbait

An Iowa City staple, Fishbait never fails to impress. Self-described as “nautical prog,” Fishbait incorporates a wide range of musical influences into their work, creating intricately crafted yet lyrically playful songs. Their stage presence is immersive, and the striking contrast between their fun Halloween costumes and their intense vocals cements them as one of Iowa City’s finest acts. The only thing to watch out for is the mosh pit that inevitably erupts at every show! 

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On a chilly Monday night, a crowd of around 30 people assembled at Trumpet Blossom Café for an evening show. The show was assembled as a feature of the ongoing Feed Me Weird Things program; A series of events organized to bring in eccentric and abnormal performing acts to the live scene of Iowa City, whilst promoting and boosting local artists.

Early arrivals to the quaint cafe, typically closed on Mondays, were greeted by the scene of Tengger eating dinner in front of the stage. Opening act Birdlabs, an Iowa City via Chicago electronic beatsmith, charmed the audience with tasteful selections from their repertoire of releases. They saved the best for last with a blissful ambient loop and then a bouncy house bop to top off the set.

Image via Evan Raefield

Tengger, the headlining artist of the night, is a Pan-Asian trio/traveling family of musicians, currently touring North America in support of their latest self-titled release. Hailing from South Korea, they offer a transformative blend of ambient, drone, progressive electronic, and gospelesque vocals, creating a subtle but transcendental experience as the notes grow and change before the audience’s very ears.

As they began their set, the very venue around us felt as though it was expanding as their tonal bliss filled the room, as Itta flexed her vocals’ delicate but glorious reverberation. I cannot speak for everyone in the room, but I can absolutely say that the gossamer chorus over the ever-present warm hum of the synthetic soundscape turned my mind to concepts of grandeur. Electronic elements like minimalist drones and downtempo bleep-bloops combined with the inherent humanity of such instruments as the harmonium, bells, and vocals.

Image via Anika Maculangan

About midway through the set, the group played a composition of the youngest member Raai’s creation. Written during the COVID years, when the family was fractured by Marquido’s return to Japan, Raai wrote the song in order to express the feelings he was experiencing at the time. The emotion put into the song was tangible, to say the least. During the song, Raai and Itta came down from the stage with bells, went to each individual member of the audience, and played them over their heads. It was as though I could feel my connection to everyone in the room, and appreciated them thoroughly.

Faith is a hard thing to come by in these seemingly ever-dimming days. We had each come into the night unsure, and had come to find that for just a moment, we were in the right place at the right time, in the company of good people. Maybe that is faith enough. After the show, they immediately headed to their merch table at the back of the room, and personally thanked every audience member who came by. I did not hesitate in buying a CD and thanking each of them for one of the most special live experiences I’ve ever had. If the primary goal of art is to move its audience, then I would say Tengger is one of the most successful artists operating today.

Image via Casper Bakker

“If I shall ever die, God forbid, let this be my epitaph- ‘THE ONLY PROOF HE NEEDED FOR THE EXISTENCE OF GOD WAS MUSIC'” – Kurt Vonnegut

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Amos stood onstage with a guitar with a long, linear array of pedals in front of him. To his side was a laptop hooked up directly to the venue’s sound system which provided the majority of the instrumentation and allowed the band to perform their deeply composed songs. Touring member Al Nardo, also on guitar, took the right side of the stage. In the center was Brown, donning a pair of sunglasses, with just their microphone. 

Nate Amos of Water From Your Eyes

The set began with a whirling sound of harsh noise which would go on to fill in the gaps between songs. The sound was broken with the word “break” to open the first song of the night, “Break”, from their 2019 album “Somebody Else’s Song“. It played out with hypnotic layers of non-quantized repetitive beats. A soft ringing of a minimalist guitar waded through it, with rolling pianos going over. Brown’s vocal performance in the song switched between a staggered, and a haunting searing tone. 

Much of the audience immediately found a groove to dance along with. This groove continued through the second version of “Quotations” on their 2021 album “Structure.” The Steve Reich-like piece included Brown singing over short, sampled pieces of their own voice, syncopated clicks and drums, and faint rumbling bass.  

Image via Little Village

The already bouncing energy of the venue immediately soared when the band played their new single “Barley” from their upcoming album “Everyone’s Crushed”. The audience borderline moshed as they counted along with the lyrics. Brown broke out into an odd, flowing wavy dance on stage. They swayed to the shuffling beat, Amos’ abrasive guitar and the repeating dissonant chime of a phone sounding synth. Along with “Barley”, Water From Your Eyes filled half the setlist with unreleased songs from the new album.  

Then after moments of silence, the audience was blasted by the earth-moving sound of a shredding heavy bass tone, cycling repeatedly in the track “My Love’s”. The crowd jumped up with each of its roaring hits, as if they were trying to add to the seismic intensity of the artificial quake. Rising and falling, short articulated melodies joined in with the intense vibrations.  

Rachel Brown of Water From Your Eyes

Afterwards, the band played “Track Five”. Brown sang over a slightly out of tune backing track, and a dreamy, gazey electronic buzz swelled up and down in its amplitude, until it hit a breakdown. The track then reminisced like a needlessly bad ass theme to a propaganda-like police movie, with its pummeling “Robocop”-like synth lead. On top of this, Brown talked out distorted echoey chants.  

The band closed out the set with the unreleased song “14″, which was much more soothing than many of the songs played throughout the set. It made for a calming closer to a fantastic, energetic performance. The tranquility of it was there to hush the frantic energy of the crowd. Nonetheless, when the song was over, chants of “Water From Your Eyes” broke out as they packed up. 

Water From Your Eyes continues their tour for the next month, going until just before the release of their new album “Everyone’s Crushed” on May 26^th through Matador Records. You can listen to their music on their Bandcamp and other streaming services. You can also read through the interview Rachel and Nate did with KRUI here.  

Full Setlist: 

Break 

Buy My Product (Unreleased) 

“Quotations” 

Structure (Unreleased) 

Barley 

Out There (Unreleased) 

My Love’s 

When You’re Around 

Track Five 

True Life (Unreleased) 

14 (Unreleased) 

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