Tim Kasher at The Tonic Room, Chicago, IL
From July 27, 2010
Review by: Derek Walker

Tim Kasher is a strange sort. After much success with Cursive, the band that made many a high schooler’s awkward phase just a little bit easier, he swapped bandmates and started The Good Life. The reviews were mixed. Some enjoyed the more somber, heartfelt lyricism of the new band, while others wished for more classics from Cursive. Both sides had their merits, and Kasher never really conceded one way or the other; he still releases albums under both monikers – good ones, at that. And now it seems he’s trying to outdo himself again with a third project, this one under his own name.

Kasher brought some new material to The Tonic Room in Chicago Tuesday, and the lot of it was fairly impressive. The venue itself was rather narrow, holding about 100 people on the best of nights. I have to admit it was awkward seeing the guy so close and candid. Having seen Cursive at festivals and medium-sized venues, one gets the illusion that Kasher is untouchable, a god of the stage who is just out of reach. To see him at a bar on the city’s north side, nervously strumming through poignant, delicately worded songs he attributes to nobody but himself was something special. He was backed by a three-piece band which included Geoff Dolce on bass and violin, Erin Tate (Minus the Bear) on drums and Patrick Newbery (Cursive, Head of Femur) on keys and horn.

The set list contained a good portion of Kasher’s upcoming solo album titled “The Game of Monogamy,” a cover of Tom Waits’s “I Want You” and a tremendous rendition of The Good Life’s “Night and Day.” Songs like “Monogamy” and “Uh-huh,” meanwhile, were true gems that allowed Kasher to belt out some of those “Ugly Organ”-era screams. On the whole, he looked a lot more comfortable than he did several months ago at a house show, also in Chicago. There, he forgot words and had to start a few songs over – which he alluded to and joked about during the most recent set.

It was a treat seeing such a high-profile musician in such an intimate setting. Even if the goal of this set was to work out the kinks of the new songs and test them out in front of an audience, nobody left disappointed.

“The Game of Monogamy” will be released October 5 on Saddle Creek Records.

Set list:
1. Bad, Bad Dreams
2. I’m Afraid I’m Gonna Die Here
3. There Must Be Something I’ve Lost
4. No Fireworks
5. Strays
6. I Want You (Tom Waits cover)
7. A Grown Man
8. Just Don’t Get Caught
9. Night and Day
10. Monogamy
11. The Prodigal Husband
12. Cold Love
13. Uh-huh

FOLLOW TIM KASHER ON FACEBOOK
VISIT TIM KASHER ON SADDLE CREEK

(Courtesy: Tim McPherrin)

Cap’n Jazz at Bottom Lounge, Chicago, IL
From July 18, 2010
By: Derek Walker

It’s been a long time coming for fans of the Kinsellas’ late-80s super group, Cap’n Jazz. Those who weren’t lucky enough to catch the band’s unannounced 20-minute reunion gig in January were treated to not one but two shows at Chicago’s Bottom Lounge, located a convenient block or two away from the Pitchfork Festival grounds in Union Park.

Both shows sold out minutes after they went on sale, which left many hopefuls to turn to E-Bay and Craigslist to acquire a ticket for either of the life-changing shows. Or both. I unfortunately missed the Saturday show, but tried my luck Sunday by hovering around the venue before doors opened, skipping the entirety of Pavement’s set down the street in the process.

I heard from friends who attended the night before the insanity a Cap’n Jazz reunion set provides. I’ve been in crazy, livid crowds before – as recently as Friday night when I caught Modest Mouse – so I sort of knew what to expect. Those expectations were far surpassed when the band tore into its first of 17 songs, “The Sands’ve Turned Purple.” Almost instantaneously, I was thrust frontward into the stage, then pulled back, then – well, you know how a mosh pit works.

The sheer lunacy provided by the guys who make up the band, each of whom is now in the mid-to-late 30s, was unreal. Tim Kinsella, frontman, occasional tambourine slammer and French horn blower, was especially animated. Even for him. Anybody who has attended a show for the defunct/on hiatus Make Believe knows how berserk the guy could be without a guitar in his hands, and Sunday was no different. No microphone stand or fan in the first 10 rows was safe from his constant flailing and many stage dives. One fan got nailed in the teeth with the microphone during “Yes, I Am Talking to You” – which she took like a pro, as she continued to scream her head off.

Midway through the energetic set, Tim tore his shirt off at the behest of the fans, his furry, sweaty chest acting as a Blarney Stone of sorts. Fans young and old, male and female all reached for Kinsella, hoping to touch history in the making. While guitarists Sam Zurick and Victor Villarreal, and bassist Davey von Bohlen were spot-on the entire performance, Mike Kinsella deserves special recognition for his drum work. Rarely, if ever, missing a beat, the ex-American Football and current Owen frontman seemed more at ease behind the kit than he does with the spotlight directly on him.

There was a lot of moshing, as is to be expected at shows like this, and a few overzealous fans leapt up to the stage and started dancing beside Tim Kinsella and playing air guitar next to Villarreal before security pushed them back into the crowd. This didn’t deter the band from strumming through the songs, though. If anything, it only encouraged them to try harder, play louder and give in to their emotions.

Tongues opened the set with a rather disturbing stage act, though not everybody might consider a topless, tattooed girl in a clown mask rolling around on the floor “disturbing.” If you’re reading this and you fall into that lot, rent “It.” Tim Curry stars, it’s pretty great. Tongues played a tight half-hour set which was fairly enjoyable, minus the freaky clown lady – that was just unnecessary. Plague Bringer performed second, and while their sound wasn’t my style, the individual members were thrilled to be there, opening for Cap’n Jazz.

It was a wild night and a great capper on a hectic Pitchfork Festival weekend. While I ended up sacrificing the opportunity to see Pavement, I lucked out and found a spot at Cap’n Jazz’s last show this size in Chicago perhaps ever. The band will be back at Wicker Park Fest later this month, and they will play the Pygmalion Festival in Champaign/Urbana come September. And after that, who knows? Mike is working on his sixth Owen LP, with a tentative release date of spring 2011. Davey is hard at work on the next Maritime record for new label Dangerbird Records, and he hopes to have it out by the beginning of 2011. Victor continues to work on his second solo record, and will be releasing a split 7-inch with math rock band Loose Lips Sink Ships. Tim looks to head back to Joan of Arc, alongside bassist Bobby Burg and drummer Theo Katsauonis. The three are billing themselves the “Joan of Arc Power Trio,” and have plans to release a new full-length in the upcoming months. And Sam is, well, Sam.

Whether or not these next handful of shows are the end of Cap’n Jazz remains to be seen. The reaction from fans, however, has been beyond anything I ever have witnessed, and that alone may lend itself to future reunions or one-off gigs. But then, maybe it will not.

Set list:
1. The Sands’ve Turned Purple
2. Ooh Do I Love You
3. Planet Shh
4. We Are Scientists!
5. Olerud
6. Forget Who We Are
7. Basil’s Kite
8. Little League
9. Oh Messy Life
10. Sergio Valente
11. Tokyo
12. In The Clear
13. Yes, I Am Talking To You
14. Que Suerte!
15. Precious (encore)
16. Take On Me (encore)
17. Puddle Splashers (encore)

Remaining shows for Cap’n Jazz:
July 31, 2010 – Chicago, IL at Wicker Park Fest
August 27, 2010 – San Francisco, CA at Bimbo’s 365
August 28, 2010 – Los Angeles, CA at Echoplex
September 25, 2010 – Urbana, IL at Canopy Club

VISIT CAP’N JAZZ

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Videos filmed by Derek Walker
@Lincoln Hall, Chicago IL

Songs filmed: Note To Self, New Song Untitled #1, New Song Untitled #2, Metallica Song #2

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Written by: Derek Walker
April 2, 2010
Photo Gallery below

I first heard Seabear’s stunning debut EP, “Singing Arc,” a couple years ago, and immediately following my initial listen, I was a bit confused. The lo-fi genre, which is on-and-off at best these days, was one that had yet to fully click with me. Perhaps I was still crawling out of my surface indie death hole, wherein production value and a dynamic wall of sound mattered more than raw emotional candor. I didn’t think music got any more “real” than The Decemberists or Minus the Bear, two artists I had on constant rotation at the time – but it did. What the Seabear brand lacked in sweeping acoustics and lush soundscapes, it more than made up for with ethereal harmonies, a mass of poetics and the grace of a band many times its own size. But front man Sindri Már Sigfússon didn’t require any help in crafting that initial work, nor did he ask for any; “Singing Arc” was the product of his own ideas and talents, and it shows on every incremental listen.

By 2007, Sigfússon enlisted the help of several friends and fellow musicians to take Seabear in a new, more realistic direction. While solo records are often more rewarding to the individual, there is no dearth of appreciation for what six other people can bring to the table. And so the band released its first formal long play, “The Ghost That Carried Us Away,” an album that attained small cult-like status in certain parts of the States, but never more than that. The band, working off that record’s success and overall positive acclaim, went on to releasing its sophomore effort, “We Built A Fire,” unquestionably its most well-rounded to date.

Since drawing up the Seabear moniker in 2000, Sigfússon and the rest of the band has only toured America a handful of times, and never Chicago. As soon as I arrived at Schubas, 15 minutes before the show was scheduled to begin, I was greeted by a mass of people, most of whom were bigger fans than I am. Generally, Friday nights in the city is a time for the young, hip and employed to venture out to the bars and concert halls to catch a show – any show. It doesn’t matter if the band is local or from Reykjavík, Iceland, if there is music to be heard and drinks to be had, people will show up. So I was a little stunned to be surrounded by so many people who had actually heard of the band, let alone appreciated its music. A girl next to me dubbed Sigfússon “The Genius,” and there were no fewer than five professional photographers there (as opposed to an amateur like me). Were all these folks there to witness the same thing I was? That in itself I found unbelievable. Surreal, even.

I took a spot near the left corner of the small stage, among the true, dedicated fans and photogs, each of whom was itching to catch a glimpse of Sigfússon’s command of the stage. Quiet and reserved, he approached the front of the room around midnight without saying a word. He wore a white shirt covered in doodles, the likes of which appeared to be hand-drawn. He spoke in a thick Icelandic accent, and he deadpanned jokes – most of which flew over the audience’s collective heads. “It’s warm in Chicago,” he said, before pausing briefly for effect. “It’s nice.” A good portion of the crowd laughed, not a one of them knowing why.

Fittingly, the band opened with its most popular tune, “Arms,” a three-minute feel-good hit with a perfectly placed pause toward the beginning. Catching fans off guard, Sigfússon and company extended that pause, bringing everything to a halt for what had to be 10 seconds. The crowd chuckled. The song, eventually, commenced. It was the little surprises that kept everybody on their feet. By the end of the night there was a sing along, a birthday celebration (with confetti) and plenty of other subtle attempts at humor from the various band members. I was thankful for these moments because, if I have to be honest, the set list wasn’t exactly ideal.

Maybe I went in with skewed expectations – in fact, I’m positive I did – but I expected a few more songs off “Singing Arc.” Besides the title track, the band stuck to its first two full-length albums. And, you know what, that’s OK. Overall, I liked what I heard, and what I saw. Witnessing seven tight-knit friends traveling the country together and making beautiful music was more than enough to keep me satisfied. And, if anything, I think the fact that they played more “new” stuff will open up those songs to another listen from me. Before, I had almost neglected the LPs because of my profound love of the EP. But no longer.

Hang with Seabear

Written By: Derek Walker
Artists: Editors with The Antlers
Venue: Vic Theatre
Location: Chicago, IL
Date: 02/15/2010

Chicago’s Lakeview neighborhood is pretty swanky, and that’s where one will find The Vic Theatre, a relatively upscale concert hall unto itself. For those unaware, which I’m guessing is roughly 98 percent of this Web site’s readership, The Vic is the place for bands too big for the local dive bars, but too small for the larger venues and stadiums — perfect for up-and-coming Brooklynites The Antlers, and one of the United Kingdom’s hottest acts, Editors.

I don’t get to many Monday shows, as Monday is a unique, almost unprecedented day for a concert. While I generally don’t work until Wednesday, I’ve always felt a disconnect with the beginning of the week. Call it a “case of the Mondays,” or just a general malaise on my behalf, but I’m used to enjoying sitting in with a cold one and watching the televised wrestling matches or “24.” So for me to step out at all is a rarity, but there are exceptions to be made for two bands of this quality performing at a venue of this atmosphere.

Being a Monday, the show started somewhat early, at 7:30 p.m. Perhaps I’m more adjusted to going out on a weekend and catching a band’s set closer to midnight to not notice. I almost wish the concert started a little later, as I got lost on my way to the theater, no thanks to Google Maps. But it was fitting, or maybe a little coincidental that the three who make up The Antlers were running a bit late themselves — they didn’t come on until around 7:50 p.m. Because of this, their set was abbreviated, and they were only given about a half-hour to run through a half-dozen or more of their stronger cuts from their critically-acclaimed 2009 record, “Hospice.”

With only two bands on the bill, as well as the early start time, I expected a little more courtesy from the venue folks. Another group, The Dig, was supposed to open, but had to cancel due to weather issues and complications with their tour van. Unlike most in attendance, though, I was there to see Peter Silberman, Michael Lerner and Darby Cicci: the three gents who make up The Antlers. However, the guys did their best with what time they were given, offering a powerful, most poignant performance. Emotion is never something that runs low for this band, as their new album demonstrates, and their stage show is equally sensational. Silberman, belting through the lyrics of “Sylvia,” stared blankly into the half-full balcony. One could tell he is a vocalist who puts his entire heart, soul and being into what he does. As an avid concert-goer and fan of the music, that is certainly an appreciable quality to possess. My only complaint is not hearing the bittersweet “Epilogue,” though it is a minor complaint at most.

The Antlers brought it Monday night and kept the crowd nice and toasty for Editors, which took things to a whole new level. After releasing its third record overseas last fall, the group has been riding a wave of momentum which culminated in a brief run of the States this month. I hadn’t had a chance to hear “In This Light and on This Evening,” which has received mostly favorable reviews, and after checking out some of the new songs live, I regret that decision. The songs I did recognize were each executed masterfully, all accompanied and fleshed-out by The Vic’s lush sound system. The lighting, disappointingly enough, left a little to be desired.

I compliment the guys behind the lighting boards, but from an amateur photographer’s perspective, the first three songs I was allowed to photograph during were marred with a sharp red hue impossible to capture digitally. Now, I’m not one to place the blame; I recognize my photo-taking ability is not ideally where I’d like it to be, but even the nice fella beside me shooting for the Associated Press had his problems. So, to those clicking through the image gallery after reading this, my apologies, as I was only able to get a handful of decent, usable shots of vocalist Tom Smith. Or, if you’re a fan of Smith’s and none of the other guys in the band, I suppose you’re in luck. Depends on your perspective, but from my literal perspective, the lighting was less than stellar — which is unfortunate, because standing back from the stage led to some impressive visuals, replete with the much-desired, epilepsy-trigger strobe effect.

Editors, the clear headliner, were given a nice 90-minute window to perform, and the band used every second of it to their advantage. With a lengthy 19-song set, which included four encores, no fan in the almost-sold-out audience left unhappy. I wish I had heard “Camera,” from the debut record, “The Back Room,” but my ears were pleased enough with what they were given. With great sound, a neat, strobe-y light show and a compassionate, mature crowd, this was one of the better concerts I’ve attended as of late. It was so good, in fact, it almost took the sting out of ponying up $20 for parking and getting lost on my way there.

Almost. Maybe if I had heard “Epilogue.”

Editors set list:

1. In This Light and on This Evening

2. Lights

3. An End Has a Start

4. You Don’t Know Love

5. Bullets

6. The Boxer

7. The Big Exit

8. Blood

9. Eat Raw Meat = Blood Drool

10. The Racing Rats

11. Escape the Nest

12. Like Treasure

13. Bones

14. Smokers Outside the Hospital Doors

15. Bricks and Mortar

Encore:

16. Walk the Fleet Road

17. Munich

18. Papillion

19. Fingers in the Factories

Photographer: Derek Walker
Venue: The Vic Theatre
Location: Chicago, IL
Show Date: February 15, 2010

Written By: Derek Walker
Date: 1/22/10
Venue: Empty Bottle
Location: Chicago, IL
Check out the photos HERE!

Tim Kinsella is a tough guy to pin down. For the past two years he’s been hard at work forging a legacy under the Joan of Arc moniker, but sporadically, he has branched out and tried his hand at other projects, the latest being the 18-song, 41-member compilation album, “Joan of Arc Presents: Don’t Mind Control.”

The record, passable in quality and certainly worthy of a few listens, lent itself to its own special three-plus hour talent showcase, officially recognized as the Joan of Arc Variety Show. Eleven of the 18 bands that contributed to the album performed Friday night, with sets ranging from one to four songs. Every band was given a 15-minute window with which to perform, with most taking advantage of the full time allotment.

It was only fitting that the night started with Tim Kinsella, who appears twice on the compilation. Alongside drummer and Joan of Arc alum Ryan Rapsys, Kinsella played two songs under the Euphone name: “Friend in Common,” off the record, and one making use of the spoken word. The latter was among the more bizarre sights and sounds of the night. Why? Imagine this: Tim Kinsella is naked, wearing nothing but a grizzly beard and a curly blond wig. He is tripping on mushrooms, trying to record a song, but in the heat of that moment gets tangled up with some obnoxiously loud construction workers who won’t shut the hell up. Let that sink into your brain’s wrinkles for a second. Just a second. Yeah. How’s that for a mental image?

Tim’s spoken word has always been a bit, well, “out there.” Thankfully, hearing the guy shriek “YEAH, YOU COME UP HERE AND SUCK MY DICK, MOTHERFUCKER!” to a make believe group of city workers had its place at this show — because, truth told, this show was pretty out there too.

Fans had their attention diverted to the back of the room near the soundboard after Euphone departed. In a turn for the surreal, Pillars and Tongues played beneath the lime green and blue lighting of the sound area, completely unplugged from any instruments. Attention waned after the first handful of minutes, and even the uproariously funny interpretive dancer stopped dead in the midst of his best “Pants on the Ground” routine, which seemed to loop from the time he had arrived to the middle of Pillars and Tongues’ first song. It wasn’t that the trio was boring, but the dim lighting and virtually nonexistent acoustics turned what could have been a solid couple of songs into a plodding 10 or 15 minutes.

The Zoo Wheel, featuring the wonderful, underrated playing of Liz Payne, took the stage briefly after Pillars and Tongues closed up shop at the opposite end of the room. To an anxious, chatty crowd, the three musicians dominated the early portion of the night with a standout performance. Payne and her backup offer nothing in terms of energy or raw power, but they don’t necessarily need to, because The Zoo Wheel isn’t about blowing the pants off you — they’re about reminding you you’re still wearing pants, and why. That doesn’t make a lot of sense right now, but let it settle for a few minutes, it’ll come.

A 15-minute break was announced around 10:35 p.m. which enabled the next few acts to set up. Between sets, a disc jockey spun 7-inch records, local coffee roasters poured patrons free cups of “Joan of Arc Afternoons Mourning Blend” java at the merch table and fans hopeful of catching a glimpse at the rumored Cap’n Jazz reunion lined the outside doors. After grabbing some coffee, grabbing a drink at the bar, or grabbing a drink at the bar to put into the coffee, the crowd slowly migrated back to the main stage, where the digital glitchiness of Litesalive had taken over. Working straight from his MacBook, one-third of contemporary Joan of Arc’s guitarist trifecta Todd Mattei took a seat behind a dusty card table and got to work. Mattei’s songs are choppy bits of electronic poetry, which he dubs “Survival sci-fi music” on his MySpace page. Not for everyone, there was some notable stirring among audience members — whether that stirring was a nervous apprehension for the Cap’n Jazz rumor to come to life or a general apathy toward the survival sci-fi genre itself is unknown.

The venue became increasingly jammed around 11 p.m., when the next two back-to-back acts started. First was A Tundra, which is made up of Don Francis, current Joan of Arc drummer Theo Katsaounis and The Zoo Wheel’s Liz Payne. Full of energy, the three entertained the evolving crowd until it was Jeremy Boyle’s turn. According to the master of ceremonies — who was dressed like a modern day Monty Hall and had his own hokey theme music to boot — Boyle had flown in from Pittsburgh to play the show. A commendable feat, no doubt, but it was outdone by a number of fans who had traveled from all across the country not to play, but to attend. Some music fans’ dedication know no bounds.

Boyle’s set concluded at 11:15 p.m. and another intermission period followed. Cue the DJs. Cue the coffee roasters. Cue the last gathering of people hopeful at getting a peek of Cap’n Jazz. After 15 minutes of schmoozing over the beans and dumping as much free “Don’t Mind Control” merchandise into one’s handbag as humanly possible, round three began. Next up: Disappears, featuring Matt Clark.

(Oh, and I know you’re reading this, Polyvinyl. That free button, sticker and Tetsuo 7-inch you were handing out Friday night? Good stuff. And, yes, I feel your awesome Chambana record label deserves its own paragraph because of the free shit you gave me, and many others. No, no, don’t argue it; you deserved to be thanked.)

There was a certain uniqueness to Disappears, the band’s sound echoing something of a former generation. The jumpy guitars, the washed out vocals, the stage presence, all of it was overwhelming and the perfect lead-in to “Local Cover Band” (nee: Cap’n Jazz), which came on a little after midnight.

It was go time for Tim Kinsella and his former bandmates, ready or not. The visual of the “sold out” sign taped to the Bottle’s glass door must’ve put a quiver in his belly. He’s played the Empty Bottle numerous times, and done Chicago as much, if not more than a local musician trying to earn a quick buck, but rarely do his shows sell out.

The prospect of a Cap’n Jazz reunion has been talked about for years. Those talks heated up early last month, but nothing was “official” until the five members showed up on stage together. Nay, it wasn’t official until they showed up on stage together, picked up their respective instruments and actually played a full song. Or, say, four. Those in attendance, as well as the names peppering the guest list, put a lot of faith in the rumors to snag the pre-sale tickets hours before doors opened. And they put a lot of faith in Kinsella, who organized and supervised the entire spectacle. The obvious question: Could he handle it?

Pacing back and forth, Tim appeared worried. Normally one to handle pre-show jitters head-on, it was rather worrisome to see the guy flustered and flighty. But the other band members shared that feeling. Before the four-song set, guitarist Victor Villarreal confirmed appearances. Was he worried, maybe a little scared? You betcha. Sipping the tea out of his travel thermos, Villarreal expressed doubts that the people in the room would even know who he and his bandmates were. He then said the most nervous one was probably Tim, who, standing five feet away, kept pacing and scanning the room for the next acts.

But he was the next act. With Mike, his brother, Sam Zurick, Davey von Bohlen and Villarreal, Tim slow-crawled to the stage and set up what little gear he needed to, while his old pals did the same. No one expected it beforehand and no one expected it while it was happening, but it happened. Cap’n Jazz, playing under the meta pseudonym Local Cover Band, was back. Keeping pace for the rest of the night, the group adhered to the 15-minute time limit, not before pumping out four of its most beloved tracks. The building almost crumbled under the weight of nostalgic tremor upon the first few licks of opening song, “Little League.” From there, the band played “Oh Messy Life,” “We Are Scientists” and “Que Suerte!” to a floor full of pleased ears and cell phone camera-toting kids who were a mere 3 or 4 when the band formed (I was 2).

Is it apropos for Cap’n Jazz to come back for its 15 minutes of fame by literally coming back for only 15 minutes? Yes and no. “Yes,” because everyone in the band looked like they were having fun playing the old parts for a brand new age of consumer, and “no” because the now-reunited five-piece might be planning on sticking around a little longer than originally planned. Davey von Bohlen stuck around until the show ended, and chatted with fans about the possibility of more shows somewhere down the line. He said that door is now open, as everyone had a good time and enjoyed themselves — but that juicy tidbit of geek-worthy intel comes with a catch, and that is as follows: “[A reunion tour] would have to be this year.” So, full-scale Cap’n Jazz reunion to close out the summer, after Pitchfork and Lollapalooza? Sounds good to me.

Cap’n Jazz leaving for the night meant a good deal of people leaving for the night, as well. That’s a shame considering how many good bands were left, like Josh Abrams, Birthmark (Nate Kinsella), Vacations and Slick Conditions. Notably, it is surprising how in control Nate Kinsella was of his three-song set. Rarely a live performer with his solo gig, one of the last times he did a show for Birthmark was at Schubas in September 2008. Rife with sound problems and a miniature squabble between he and the sound guy, the show fell victim to (unfortunate, unforeseen, likely unfair) circumstance. Now, a year and a few months later, Birthmark was back in Chicago and allowed a proper go at it. It wasn’t redemption-worthy, but it was nice to see things go so well for the guy known as “Nice Guy Nate” to his friends.

Kurt Niesman of Slick Conditions closed out the show with a concise, jolty one-hitter. Those who had stayed till the very end were a little sleepy headed, but still as focused and appreciative as they were three hours earlier when the show started. The was a small rumor floating about that the members of Cap’n Jazz were going to come out after Niesman’s song and treat the remaining in attendance to a short Owls set, but it wasn’t meant to be. Perhaps they’re saving that for another day, at another show of another variety. Four-song reunion? Nah. Too soon.

VISIT Joan of Arc
BUY Joan of Arc Presents: Don’t Mind Control
LISTEN Joan of Arc Presents: Don’t Mind Control Variety Show, in full!

(Special thanks to reader Justin for recording the duration of Friday’s show with his trusty iPhone.)

Photos By: Derek Walker
Date: 1/22/10
Venue: Empty Bottle
Location: Chicago, IL
Read the review HERE!