Lifeguard is, in my opinion, one of the greatest underground rock bands of the 2020s so far. The Chicago-based trio first caught my attention when preparing to cover Pitchfork Music Festival (which did not end up happening) and going through the pre-fest coverage lists. I saw the name on the lineup and could not seem to deduce what type of music it could be. On a long road trip, I couldn’t stop thinking about the band name, and I decided to play their EPs, “Dressed In Trenches,” and “Crowd Can Talk.” I was immediately blown away by what I heard. Soon thereafter learning that these kids had yet to finish high school made it all the more impressive–their sound was developed and centered, and their confidence shone through the speakers.

Songs like “17-18 Lovesong,” “New Age (I’ve Got A),” and “Ten Canisters (O.F.B.)” became regular tracks in my rotation. I managed to find a 12” dual copy of both EPs, and since then, I have patiently waited for new music. Lifeguard released a single “It Will Get Worse” ahead of their new album, “Ripped and Torn,” and it showed a maturation in sound, straying from the heavy reverb-laden vocals and twangy guitars. Their sound has developed into a pure-70s early punk tone–think Buzzcocks on tracks “Everybody’s Happy Nowadays” and “Why Can’t I Touch It?” The new record is somewhere at the nexus of art punk and lo-fi garage rock. The record is mixed with intent–drums muted, high mids, little to no reverb, and an overall tight sound. The record is notably recorded in mono, and I have a feeling they either dubbed it on tape or recorded straight analog. Seriously though–give it a listen. Give their entire catalogue a listen, it’s worth it.

PARKiNG took me by surprise. After a brief break on the Ace of Cups patio, I came back in to a dimly-lit scene. A singular incandescent lightbulb illuminates the entire room, and the band dives into their impeccable set. They sound like if someone took the band Slint and crossed them with Dry Cleaning, and some of the aesthetics of Black Country, New Road’s album “For The First Time.” Once you see that a drummer doubles as a vocalist, you know the show is about to be killer. The post-punk sound seems to be a common theme here, and I could not be more thrilled. The band plays with dynamics and sound in such an interesting way–the bass is punchy and metallic, drums unwavering and full of might, guitar providing the perfect phrasing and complementation to the sound. The vocals oscillate between a seemingly pissed-off monotone monologue, to frantic, almost chilling shrills. An unexpected upright bass interlude really tied the artistic expression together. I have found myself listening to their new record over and over, and I highly suggest you give it a listen, you’ll be blown away.

Tracks of note include “Siren,” “Thirds,” and my personal favorite off the new record, “Mike Johnson Is A Mechanic.” If you took a break and listened to The Laughing Chimes and enjoyed it, I really think you’re going to unlock a whole new level of underground post-punk that will give you hope for the future of alternative music.

Lifeguard, as expected, delivered with an incredible set featuring a plethora of songs from their new record. The band played many of these tracks, including “It Will Get Worse,” “A Tightwire,” and “(I Wanna) Break Out.” Of course, other tracks from their previous work such as “New Age (I’ve Got A)” were performed, and were as great as I expected them to be. Their live sound is just as refined as the recordings, and this makes their vision even more clear; Lifeguard doesn’t rely on post-processing and effects to make great music, they’re able to translate the unique timbre of “Ripped and Torn” to the stage with ease.

Kai, Asher, and Isaac have great chemistry on stage, and I have a feeling that their trajectory is going to be exponential if they continue working at this rate. I have been consistently impressed by Lifeguard, and I cannot wait to see where their sound goes next. If their first full-length record is any indication, big things are coming, and they are certainly a band to keep your eye on. The Chicago youth music scene is producing a lot of truly impeccable art, and Lifeguard is just the tip of the iceberg.

My only qualm of the show was with the audience rather than any of the artists. This is the type of music you can’t resist moving to, yet, somehow, the largely older audience seemed to be more keen on standing as still as possible. All of the bands that performed on this bill deserved a lot more energy from the crowd, and I wish that the younger demographic would have shown out. The youth music scene in Columbus is thriving, but often times weeknight shows can be difficult for turnout. Still, there was plenty of dancing and movement in the crowd from those that did attend, and between photo bursts I was sure to partake.

Mannequin Pussy is arguably one of the greatest band names. It’s everything a punk band aspires to be–it’s shocking, it captures your attention, and simply put, it’s badass. From the controversy behind their name, to the theft of some $50,000 worth of gear while on tour in 2021, Mannequin Pussy, despite the odds, never threw in the towel, and have since managed to take larger stages as each year passes. I was thankful to have the opportunity to finally catch them on tour in Cincinnati at Bogart’s, and they did not disappoint.

Missy is an incredible performer, and Mannequin Pussy is what America needs right now. In a time where so much is uncertain and so much collective pain is festering, releasing this energy is important to maintain an iota of sanity. The stage is Missy’s outlet, and it’s easy to see why the band has grown a significant fanbase. During one of her monologues, Missy made several notable statements surrounding the current political climate, the band, and the collective anger of living in a society that devalues those outside who aren’t straight, white men. “I think you all have suffered from the rage that lives in your body every fucking day of your lives. Like us, you too feel sometimes and don’t know what the fuck to do with it. You feel the anger and rage pulsate in your body, because every single day, especially in this country, especially under capitalism, they try to disconnect us from our empathy…They infantilize our rage and tell us it’s something you’ll grow out of when you grow older. But, the truth is, my rage has grown every fucking year I have been alive.” Missy raises her microphone, and the audience erupts into cheers. Seeing such a receptive audience of nearly 1500 people cheer gives me hope for the future. Despite the attempts to make us feel helpless through legislating hate, resistance is everywhere. Personally, I enjoyed the primal scream–it felt good to let out a guttural, throat-irritating yell that nearly triggered my gag reflex.

Mannequin Pussy put on an incredible performance and did what many artists are afraid to do–speak up. In the words of Missy herself, “if you’re the type of person who doesn’t think politics belong in entertainment, you’re gonna fucking hate this.” The show was full of positive energy, and most importantly, people of all ages and backgrounds letting go and embracing the beauty of live music. Their musicianship was impeccable on all fronts, and they are a group that you do not want to miss. My favorite songs from the night included “Drunk II,” “Loud Bark,” and “Romantic.” The setlist covered most of their discography and gave a stellar synopsis of the band’s dynamic, eclectic sound.

Ratboys

Geese

SHOW REVIEW

For the first time in over a decade, Vampire Weekend returned to Columbus on the second leg of the Only God Was Above Us Tour, corresponding to the title of their latest LP. The band was joined by the incredibly talented Brooklyn-based post-punk outfit Geese, whom I had the pleasure of photographing last year during a performance at A&R Music Bar here in Columbus.

Geese’s live performances often outshine their already impeccable studio recordings. The group knows how to work a stage, and seeing them at a much larger venue really showcased their abilities. The group performed most of their popular tracks, such as “2122” and “3D Country,” which were well-received by the crowd. Frontman Cameron Winter hinted at an upcoming release by the band, which I anticipate will likely be one of my top albums for 2026. Of the nine songs performed, four were unreleased. From what I heard of their new work, Geese is showing no signs of slowing down anytime soon, and we cannot wait to see what they have in store for us next. Geese has grown substantially in popularity since I last covered them, and their success is much deserved.

Vampire Weekend have always been one of my favorite bands–one of my first physical records in my collection was Modern Vampires of the City, which I played endlessly on my Crosley suitcase record player. I had the poster of the album cover on my wall until I left for college. I have wanted to see the group for a very long time, but have always been unable to make it happen. What better time to see them than now?

The band opens with “Campus” off their self-titled record, setting the energy for the rest of the show. Chris Baio’s bass tone is great, his dance moves quirked-up as ever. Immediately, I am blown away by the band’s performance. They sound almost identical to the recordings, and maintaining this throughout a 90-minute performance is quite the feat. The only other time I have seen two drum kits live was during local Columbus band Nodes’ performances. Vampire Weekend incorporates the industrial aesthetic everywhere from the stage props to the high-vis vests worn by the crew, which I found to be a great touch to the atmosphere.

Baio’s fingers somehow aren’t cramping after “Holiday;” the bassline is unwavering and perfectly intonated. The set continues, arriving at “White Sky,” which admittedly, I thought Ezra Koenig would have to alter the song with the high notes in the chorus. I was completely wrong. He hit those notes with perfect pitch, and this was arguably one of my favorite songs of the evening. Other notable tracks of the night were “Cousins,” “Diane Young,” and everyone’s autoplay favorite, “A-Punk.”

I feel like I may have slept on OGWAU as a record. The live performance of songs such as “Prep School Gangsters” and “Pravda” encouraged me to put this back in my rotation, and now I’m kicking myself for not blaring it in my car sooner. It’s perfect summer driving music, the light, effervescent melodies and choruses are unmistakably Vampire Weekend. If you haven’t given it a listen yet, I recommend it. The song titles are almost painful to say out loud when discussing the album with other people, but if you can get past that, you are in for a wonderful listen.

Vampire Weekend uses their encore slot to attempt cover songs requested by the audience. As soon as the band comes back on, fans raise homemade signs with requests everywhere from “Gary Come Home” to “Steely Dan.” Notable attempts include B52’s “Rock Lobster,” Jane’s Addiction’s “Been Caught Stealing,” and A-Ha’s “Take On Me.” Of course, no VW show would be complete without “Walcott” to close out a night of incredible music.

Vampire Weekend has been on my concert bucket list for well over a decade now, and I can say confidently that any post-concert depression is overshadowed by the incredible performance put on by both Geese and Vampire Weekend. This is not a show you want to miss, and if you can’t make it this time around, I promise, it is well worth the wait.

Alabama Shakes reunited in December 2024 for a surprise performance for the first time since the announcement of their hiatus in 2018. As the group prepares to release new music and embark on their first tour in nearly a decade, we have decided to revisit the group’s sophomore album, “Sound and Color,” released ten years ago to critical acclaim.

Truly, it’s hard to believe it’s been this long since this record came out. I remember the day it came out, seeing it plastered on the front of the iTunes store. Now, after several years of lead vocalist, Brittany Howard, pursuing a solo career, Alabama Shakes have chosen to return to the scene, and we could not be any more thrilled. 

Title track, “Sound and Color,” opens with this hypnotic vibraphone introduction, slowly painting the foundation of the record, adding in shuffled drums and keys. “Sound and Color” repeats through the outro, with Howard’s impeccable harmonies synergizing with emotive expression, “I want to touch a human being…ain’t life just awful strange?” It has been previously said that the track is about an astronaut that has been frozen in time, coming back to life and seeing how much things have changed. I think this can be applied as a metaphor for experiencing loneliness and isolation, which Howard is all-too-familiar with through her experiences as a black, queer woman growing up in the South, and as someone who has experienced significant loss from a young age. The track lays the groundwork for the rest of the album, with sound painting brushstrokes of deep, velvety mauves through spinning sound. Maybe it’s just the power of suggestion through the album title, but it’s hard to refrain from associating color with the various tracks on the record.

“Don’t Wanna Fight,” opens with a twangy, syncopated guitar duet that brings out this light green hue from the background, reworking the feel from the first track. It’s effervescent and refreshing, contrasting with the lyrical content depicting a relationship marred by incompatibility. It’s easy to understand why this was chosen as the lead single ahead of the full album release. Howard’s jagged “ooh” heading into the first verse is sharp as a razor, cutting through the music and putting her presence at center stage. 

“Dunes” occupies a space somewhere at the crossroad of Led Zeppelin and MC5 with a dash of Aretha Franklin. Initially, the production leaves me feeling like I have water in my ears from the equalization of Howard’s vocals. I can look past this for the artistic effect it adds, especially in stereo, and I think this is an underrated song from the Shakes’ discography. It’s pure 70s in its sound; the dry, muffled drums and dirty fuzz complement Howard’s magnificently-blended harmonies.

“Future People” proves to me that Alabama Shakes songs hit their stride after their intro. The jagged bass, synth, or whatever it may be, adds such a garage lo-fi component that makes it feel like I could be listening to a record I found in a long-forgotten bin at a record shop just waiting for someone to give it the time of day.

“Gimme All Your Love” plays with dynamics in a manner that really showcases the band’s musical abilities. The opening guitar and snare hits will jolt anyone unfamiliar with the track. This grandiose entrance oscillates between punchy guitar and clean, sizzly ride pings. This song is gentle, soulful, and romantic, but comes in blazing with the chorus. In my opinion, as unpopular as this may be, the bridge is the best part. The walking, booming, muted bass line coupled with syncopated keys and sloshy open-hat drums leading into a pre chorus call-and-response of the guitar between right and left channels is impeccable. “Gimme All Your Love” is undoubtedly the highlight of the album, and in an album full of incredible musicianship, this says a lot.

“This Feeling” completely changes the vibe, embracing minimalism and stripping down all of the fanfare and fuzz, while still making it clear who is behind this song. The nylon string guitar, upright bass, and hand drum keep things moving along, no big muff necessary. “Guess Who” keeps things chill, embracing the lo-fi, homemade aesthetic that takes over the middle of this record.

“Gemini” is the longest track on the record, clocking in at 6:35. This is a song that warrants a few listens. I find myself oscillating attention from the phasing keys dancing between my right and left ear, and Howard’s hypnotic, echoing vocals. The drums feel like they’re on the back end of the beat, which builds that tension in the song; the drums take the backseat here, but their presence is not lost on me. I love the way the album plays with stereo sound, it feels like the song is flossing my brain. The incorporation of auxiliary percussion contrasts the crying bit-crushed guitar.

“Gemini” is the longest track on the record, clocking in at 6:35. This is a song that warrants a few listens. I find myself oscillating attention from the phasing keys dancing between my right and left ear, and Howard’s hypnotic, echoing vocals. The drums feel like they’re on the back end of the beat, which builds that tension in the song; the drums take the backseat here, but their presence is not lost on me. I love the way the album plays with stereo sound, it feels like the song is flossing my brain. Additionally, the incorporation of auxiliary percussion contrasts the crying bit-crushed guitar tone with incredible complementation.

“Over My Head” closes out the album, it feels almost like a requiem for “Sound and Color,” Howard proclaims “loving so deeply, I’m in over my head” over and over again, contrasting the feelings of loneliness in the beginning of the album. Love and relationships can be complicated; human interaction is often a strange push-pull relationship beyond what we will ever be able to understand. 

Brittany Howard may have ended Alabama Shakes’ last album with emotions over her head, but her time as a solo artist has allowed her to grow significantly as an artist. The group has announced their return with the pending release of their first record in a decade, and I cannot wait to see what the future holds for this incredible group of artists, including catching them on tour this summer.