I Breathe the Underground

Why I'll Think Twice Before Seeing Another Show at the Metro

Last night, I went to the Metro to see Alkaline Trio and Saves the Day. Today, I have a bone to pick.

Now, I've been to a ton of shows at the Metro, and I've seen Alkaline Trio at least six times. I know the standard routine for an Alk3 show, and I know the shows can get hectic in front of the hometown crowd. I also know that the Metro tends to get a little rowdy for sold out shows due to its relatively small size.

What I also know is that you don't ever want to hassle or harass your patronage, because they pay you money. Apparently, the Metro didn't receive the memo.

Two specific occurrences at last night's show left me with a very, very sour taste in my mouth. Neither one reflects well on Metro management. Listen guys: I understand that it takes a lot to manage a bunch of rowdy, drunken people, and you have to look out for the well-being of your patrons. But, Metro staff and management, this is the risk your patrons take coming to see a show. This is the risk you take as a venue that hosts live music. Turning the screws so tight on security that you are literally offending your patrons is not the way to do business.

The Story

I grab a ride with a co-worker following work and stop for a few drinks at a bar a couple doors down from the Metro. I have three drinks, am extremely tired and haven't eaten dinner, so I've got a bit of a buzz on -- but I am coherent and calm and wouldn't describe myself as reaching an inappropriate level of intoxication. Far from it, in fact.

As I saunter by the security at the front door, one of the guards pulls me aside. This burly, threatening-looking guard asks me if I've been drinking; I answer honestly that I've had a few beers, and I haven't had much to eat today. But I demonstrate to him that I'm not intoxicated by clearly and coherently explaining my case. He tells me that I'm too drunk and have to go get something to eat.

"But I'm not hungry," I protest.

"I don't give a shit. If you don't get something to eat, I'm not letting you in." I argue with him for about ten minutes, and he calls another threatening guard over to explain the exact same thing to me. This guard touts the fact that they are "trained at detecting intoxication," which is great -- except for the fact that I'm not intoxicated. Good for you, asshole. Did you sleep through your training classes? Did you have to get your GED before you could confidently judge someone's intoxication level?

I head across the street, grab a hot-dog, walk past a girl crying hysterically on the phone (she had apparently been kicked out of the show), and eat the hot-dog in front of the guards, who finally let me in. Thank god.

Fast-forward ten minutes: standing at the bar next to my buddy Jim and some other friends when my friend Joel from college appears out of nowhere. The three of us chat for a bit. In the middle of our conversation, a woman shoves Joel out of the way so she can get to the bar. Joel is standing next to a step and nearly topples over, spilling his and other people's beers. Not too big of a deal; this is a concert, right? Still, there wasn't a band onstage, and we weren't standing in a very crowded area. This girl simply could have asked Joel if she could get through.

Jim, a loyal friend with, admittedly, a volume control problem, makes a slightly inappropriate but non-threatening comment about the girl who shoved Joel. The bartender overhears the comment and stares daggers at Jim.

Now, I'm not defending Jim's comment, but when you or a friend get run down and spill your beer for no reason at all, you feel the need to say something. The only thing you can blame Jim for is lacking a little tact. Again, this is a concert, right? Apparently not.

I disappear to the ATM and when I get back, Jim is nowhere to be seen. He texts me to tell me he got thrown out for making "sexually threatening" suggestions to the bartender. One offhand, non-threatening comment. His cousin was also tossed...for doing nothing except being next to Jim when the incident occurred. On top of all that, turns out the girl who ran down Joel was a Metro waitress! So, the Metro was responsible for running one customer over, spilling the beer he paid them for, and kicking another customer out of the show that, again, he paid for...because he was defending his friend.

At this point, you might be asking yourself, "Why?" So was I.

The most I could get out of the bartender was that the staff recently attended some state-mandated classes -- although it's hard for me to believe that the state mandates you treat your customers like shit.

Conclusions

The real endgame here is simple: Metro, if you can't handle the strain of hosting live music, close your doors. I've had some amazing times at your venue, and I've seen some equally amazing bands. But this is Chicago, and there are hundreds of venues in this city. If you need to change security, find a better way to do it.

And please, for the love of god...people are spending money at your establishment! Your customers are paying a large lump sum to walk through your doors. Then, they are paying ridiculous prices for alcohol! If you're going to kick people out for stupid reasons, at least refund them their money. How bad is this going to get, anyway? Are you going to start selling tickets, pulling the fire alarm as soon as people are inside the venue, and then locking the doors so they can't get back in? Are you going to sell tickets to shows without actually booking the bands on the bill? Are you going to put SEATS on the floor and host classical music groups??? Where does it end?

Anyway, if Metro management, ownership or staff members read this, please know that I will not review any other shows at your establishment, and I will only attend another show at the Metro once in a blue moon. I know I'm just a small time blogger, but I've got a lot of friends who are going to find out about this. Word spreads. Shitty customer service will not build your customer base. Not now, not ever.

You've just earned yourself a spot on my "shitty Chicago venues" list, right next to the Aragon, and unless you guys start shaping up, there is where you'll stay.

- M.S.

Punk in the City #4: The Ghost

Punk in the City is a biweekly feature introducing influential Chicago punk, hardcore, post-hardcore, pop-punk, indie, and rock bands that have had a big impact on my personal musical evolution (and the Chicago scene in general).

The Ghost was this wild experimental post-hardcore band that really started gaining speed around the same time At the Drive-In was collapsing.

I remember seeing the Ghost at Thick Records' Oil: Chicago Punk Refined compilation release show at the Metro way back on Valentine's Day of 2003. The lineup was already strong, with appearances by Southside punkers the Arrivals, Eli and Josh Caterer's Duvall (in between the death and resurrection of the Smoking Popes), and a surprise guest appearance by none other than Rise Against. Oh yeah -- Local H played, but nobody cared. Not that Local H is necessarily a bad band, but they certainly didn't seem to fit the bill for a local punk show.

The concert was spectacular (although spattered with decidedly unspectacular sets), but the Ghost was especially fun to watch. The band played flawless post-hardcore live, sounding as good (if not better) than its actual recordings. (See the video above for more on that).

The Ghost only released two full-lengths (2002's This is a Hospital and 2004's This Pen Is A Weapon), but hot damn were they fun to listen to. Artistic, bitter, raw, and energetic, the former west coast dwellers had a sound that was simultaneously catchy and violent. You might think they were confused, playing complex post-hardcore with predominantly straight-forward punk rock acts, but it was never that simple with the Chicago scene. The kids loved the music for what it was, if you could play it well enough. Therefore, the artistic and intense (albeit out-of-place) musicians carved a niche in the thriving scene.

As with many of the bands represented on Punk in the City, the Ghost is no more. If you enjoy their stuff, check out lead singer Brian Moss' more recent project, Hanalei. Warning: ghastly songs below.

Download 01-the_ghost-broken_ears_poison_hearts-myb

Download 04-the_ghost-banished_and_loving_it-myb

"What’s the lynch mob's verdict, am I truth or am I trend?"

- The Ghost, "Banished and Loving It"

Punk in the City #2: The Broadways

Punk in the City is a biweekly feature introducing influential Chicago punk, hardcore, post-hardcore, pop-punk, indie, and rock bands that have had a big impact on my personal musical evolution (and the Chicago scene in general).

If you're a hardcore Lawrence Arms fan like me, you've probably heard of the group's predecessor, the illustrious, short-lived Broadways.

Think: Jawbreaker with a heavy socio-political lyrical stance, tighter, less predictable riffs, and that certain vocal and songwriting charm that only Brendan Kelly can bring to the table. These guys were fast and hard-hitting -- on par with TLA's A Guided Tour of Chicago. Their music embodied that exact Chicago working class penchant that has always been part of the tone for the city's punk rock scene. At times, the lyrics bordered on socialist tendencies (using "bordered on" loosely here), but they were always intelligent and artistic in their political implications.

The Broadways rose from the ashes of ska-punk outfit Slapstick and pop-punkers Tricky Dick, bringing together Brendan Kelly and Chris McCaughan (who would later form the Lawrence Arms). Interestingly enough, the Broadways played their final show at Record Breakers, an old mom-and-pop music store out in Hoffman Estates (in the waaaaaaaaaaay northwest suburbs) I used to frequent, which subsequently moved to the city and opened Reggie's Rock Club and Reggie's Music Joint. Score one for the burbs.

The Broadways only released one full-length album (Broken Star) and a collection of the rest of their recordings (Broken Van) on Asian Man Records, but what they lacked in longevity, they more than made up for in pure awesomeness. Much like their songs, the Broadways were a short, intense, and unpredictable burst into the Chicago music scene, but one I'm extremely grateful for.

As previously mentioned, Brendan and Chris went on to form the Lawrence Arms. Former Broadways members Dan Hanaway and Rob DePaola eventually formed the Honor System (a group that included Rise Against's Tim McIlrath for a short period of time -- yes, the Chicago scene is extremely incestuous). Keep your eyes open for a blog about the Honor System in the near future.

Check out a few songs from Broken Star below.

Download 01 15 Minutes

Download 08 We'll Have A Party

Download 10 I Hear Things Are Just As Bad Down In Lake Erie

"Let's go shopping today / drive our fancy cars to the fancy malls and for lunch we'll have big macs."
- The Broadways, "15 Minutes"

Punk in the City #1: Oblivion

New year's resolution: blog more.

I'm starting a regular series of posts that will examine some of Chicago's most seminal (and sometimes most under-appreciated) bands, both active and inactive. As a resident of the city and avid concertgoer, the Chicago music scene has been played a significant role in my musical development. A large chunk of my high school experience was devoted to listening to and following the progress of the Chicago music scene, from in-your-face (albeit melodic-leaning) punk rock like Screeching Weasel, the Broadways, and the Methadones to experimental ska like the Blue Meanies to the snotty rock-and-roll stylings of Apocalypse Hoboken and Mexican Cheerleader.

Why is Chicago such an influential music scene? I'd like to think it's part of a blue collar esthetic that embodies itself in emotional, honest art. Maybe it's the term "Chicagoan" and the spirit of unity and empathy that word evokes among those that label themselves as such. Maybe you want me to shut the hell up and get on with it.

Without further ado, I'd like to present the first band of the ongoing series, the ironic, melodic, and iconic punk rock outfit Oblivion.

****************

Although I never got to see Oblivion live (they were slightly before my time), the band existed in some form or another from 1988-2000. I was introduced to their extremely catchy brand of punk rock in 8th grade by a scene-savvy friend. It took me a few listens to really get into them, but there was something totally mind-blowing about their sound.

What really set Oblivion apart from the rest of the scene was a slovenly intensity that manifested itself in short, melodic bursts of pure rock-and-roll energy. Oblivion's music is wrought with key changes and ironic lyrics; in short, they had punk rock energy with a firm grasp on music, what defines a sound, and how to make that sound attractive.

Oblivion ran with the Johann's Face crowd (spectacular Chicago label), playing tons of shows with the likes of Apocalypse Hoboken and No Empathy. Although they're no longer a band, you can hear a lot of the band's sound in former Oblivion lead singer Pete Kourim's newest band, Mexican Cheerleader.

The internet is apparently a blackhole for Oblivion media. Check out a couple of my favorite Oblivion songs below.

Download 10 - Oblivion - Gar

Download 03 - Oblivion - Mauryland

Download 06 - Oblivion - Annie Edwards

"It's all been said before / but we had to say it again."
- Pete Oblivion, "We Had to Say It Again"

Interview with Dustin Kensrue of Thrice

Fresh off their quadruple EP concept album, The Alchemy Index, California-bred Thrice like to keep things interesting. Currently touring the country with punk superstars Rise Against and Alkaline Trio, Thrice has built a core fan-base as pioneers of the contemporary hardcore and punk scenes, blending elements of metal, pop-punk, folk, electronic and classic rock to formulate a melting pot of aural goodness. IBreathetheUnderground caught up with front man Dustin Kensrue before Thrice took the stage at the Congress Theater this month in Chicago.

IBreathetheUndergroud: How would you describe your music to someone who’s never heard it before?

Dustin: It’s always been changing but it has roots in punk and hardcore. It’s been, over time, incorporating a lot of stuff from a ton of different genres. At this point it’s like kind of dynamic and versatile rock. I don’t know. There’s a lot of heavy hitting stuff and there’s a lot of melody in there and everything in between – from stuff that’s super mellow at times to things that are really, really heavy.

If you could set one thing on fire, what would it be?

That’s an interesting question. I don’t know. I always think too literally for these questions. Too bad you can’t set fire to ideas.

I’d probably set fire to the 911 Commission Report because it’s a giant pack of lies and omissions.

What’s it like touring with legends of the scene like Alkaline Trio and Rise Against?

We’ve known both of them for awhile. We’ve known Alkaline for a really long time. They’re like friends and peers to us. They’re all awesome guys and great live bands, so it’s definitely a pleasure being out with them. It’s great being out with Gaslight [Anthem], too. They’re a great band. I hadn’t heard them much, hadn’t heard them at all until we knew that they were going to be on this tour. Then, I picked their record up and I’ve been digging that quite a bit.

What are your preconceptions prior to the first of a two-show homestead for both headliners, especially in a town that takes so much pride in its hometown legends like Chicago?

Our outlook on this whole tour is we’re two of four on this, and we haven’t done something like that in awhile. It’s been a lot of fun. You have to earn it, you know, and just go out there and play hard for forty minutes. Play for the people that are there to see you and play for the people who have never seen you before. You can never see how a show is going to go. It’s really unexpected – especially when you’re earlier on the bill. Sometimes you think it’s going to be a really good reaction, and it’s not. But then, later, it seems like it did something. Sometimes, the total opposite. You think it’s going to be awful and people are just having a great time. We really don’t think a whole lot about that kind of stuff. We just go out there and play.

What is your favorite body of water?

I would have to say the Pacific Ocean because I’m from California and I feel an affinity with it, I guess.

How important do you feel your art is to your music?

I don’t differentiate our music from art. I see art as being a pretty broad concept and I feel like the aspects of the music and the aspects of our lyrics and whatever [album] design we’re doing is all speaking to and coming from some other place. If you talk about the contrast between art and a consumer product, I think we try to focus on it as art and not as a product.

Musical evolution is a key component to creating a successful legacy for your act, and Thrice has certainly done its part to move forward sonically. Do you ever step back and think, “Are we changing too quickly for our audience?”

I definitely think we have at times, but, when you’re trying to be true to yourself and what you want to make, that’s a better gauge of how you’re progressing than if people like it or not. I’ve been thinking about this a lot, this issue, and what it means for us to even be making music at this point, ten years in, and what our band is. When we’re writing a record, it could one of a million places, you know? Especially at this point, after The Alchemy Index. I was just thinking that what makes us who we are is not just who we are as people now, together playing music, but where we’ve come from. I’m hoping to try to build a new fort without completely shredding our artistry. We’re trying to do what we can do best and better than anyone else, the places we can go that maybe no one else would go. We all just love different kinds of music. More and more everyday we’re into completely different things. We have a lot of core bands that we like together.

It’s a weird dynamic. I definitely feel like we alienated a lot of fans at certain points. But I do feel like a ton of people really appreciate the fact that we’re just trying to push ourselves and do something different. There’s no right or wrong way that that could have been done. So it’s just more opinion if people want to hang out or not. I definitely appreciate people that take the time to just listen to the records that we’ve made and try to understand why we’ve made that record and where we’re going and why we like it. I think usually those people who’ve been fans before will take that time in appreciating the new records.

Have you ever had a mud facial?

No. I’m not big on massages and stuff like that because I don’t feel like it’s worth the money for me. I buy my wife massages and stuff like that but for me – I don’t need that. I gotta keep that money for something else.

The Alchemy Index is a ball of concepts. There’s the surface concept (man’s relationship with the elements as depicted lyrically), but more important is the deeper idea behind the quadruple EP, revolving around the elements that make up Thrice as a band. Having broken it down, do you feel like it’ll be easier for you to fuse these elements to perfection on the next album?

No, I think it probably makes it harder in a certain way, but I do think it was good for us as an exercise and even just to clear our heads and be able to refocus now on where we could or should be heading. I feel like its good in that sense as something we needed to do.

What prompted you guys to break with Island [Records] and how did you choose Vagrant as the next step?

The Island thing was pretty mutual. They didn’t know what to do with us anymore, and we knew that they didn’t know what to do with us and didn’t really want to invest in the band anymore. Most of the people we had worked with over there had gone at that point. The music industry is just shuffling all the time, especially with the majors. They balked when they heard the majority of the record and our A&R guy at the time actually had to leave after we left. We’re really glad we left because he was our dude there. He kind of helped us negotiate getting out of there – Island saving a bunch of money and us getting to keep the record that we worked so hard on. I feel like it worked out better for everyone. There wasn’t any bad blood. It was just kind of like, “This doesn’t make sense for either of us anymore.” It was nice that it didn’t get super-messy.

So what’s next for Thrice? Have you guys decided on your direction for the next album? Have you started writing?

We’re in the process of writing. We could write anything, so it’s like, “What should we be writing and what kind of direction does that look like?” I think we’re still figuring that out. It’s definitely not set enough yet to put into any kind of words.

What US city that you’ve visited has the best air? You take a breath and say, “Damn, it feels good to be alive.”

Maybe, like, Seattle. There’s a freshness there. Same with Portland. There’s a freshness and there’s also a damp quality that’s not humid really. I hate humidity. I almost said Denver or something, but I really like the kind of wet, earthy smell. You’ve got the ocean coming in and you have plenty of rain. I like how it smells.