COORS LIGHT & JAM PRESENT
Mon · May 15, 2017
Doors: 6:30 pm / Show: 8:00 pmRiviera Theatre - Jam Productions
$35.00 - $250.00
This event is 18 and over
Driving to the event? Secure your parking in advance with ParqEx! Click Here
For your chance to win tickets and vip passes to meet the band courtesy of Coors Light go to one of these locations on Friday, May 12th:
Moe's Tavern - 2937 N Milwaukee Ave - $2 Coors Light bottles - 8pm to 10pm
Flagship - 1622 W Belmont Ave - $4 Coors Light Pints - 9pm to 11pm
O'Shaughnessy's Public House - 4557 N Ravenswood Ave - $3.75 Coors Light Pints - 7pm to 9pmhttps://www.rivieratheatre.com/event/1419949/
With the first track on the album, "Just Like My Other Sins," Rossdale says Bush "wanted to open the record with a sonic statement of intent to pull you into the record, that steps up the dynamic of these garage electronics with vintage amps and pawnshop guitars. It's really great to find a way to use technology to not be too pristine. What was cool was to start the writing of the songs with these different programs that kept it very much like I was doing it super-DIY in the garage, which gave it a life that we could build on from there to make it more layered and expansive." The album did become "a really collaborative process. I start with very clear concepts of the songs, but then I have to get myself out of the way and let Chris (Traynor, on guitar) come in and be himself, and then the same with Corey (Britz, on bass) and Robin (Goodridge, on drums). There's a really clear road map if anyone gets lost — or, they can remove the road map, chuck it out the window, and show me how they would do it." The new album was helmed by two producers, Nick Raskulinecz (Deftones, Alice In Chains) and Jay Baumgardner (who'd previously mixed a number of Bush and Rossdale projects). "I've never split a record up with two people," Rossdale notes, "but I think the record is quite consistent between both sets of recordings." He'd wanted to work with Raskulinecz on the recommendation of friends like Evanescence's Amy Lee and the Foo Fighters' Dave Grohl (whose studio was the setting for a bulk of the new album's recording). When Raskulinecz was delayed in finishing up a Mastodon album, Bush were feeling such urgency to get the sessions underway that Rossdale decided in the meantime to just go with their longtime mixing guy, Baumgardner. "To go in and do songs with Jay was just a really comfortable process," he says, "and then when we got in with Nick, it was a bit like a voyage of madness, just feeding off his energy. He's so contagious and electric and enthusiastic, you want to do good for him." Man on the Run hardly ever slows down to a trot, much less a stroll — it's virtually ballad-free. "Having been inspired by being off the road, I felt that it had to be a high-energy record," Rossdale says. "It has these fantastic crowd moments; it's probably the record where I most considered what the songs would be like in the live arena much as on CD, or on the hard drive or whatever. And that's why going for slightly longer type of songs, not so driven by short attention spans. I wanted to make sure that any of those songs could compete with any of our best songs on the set list in terms of place in the set. It's no use if we just write a song that can't even knock off a ballad that didn't get used as a single from another record. There are couple of songs, 'Surrender' and 'Broken In Paradise,' that have ballad qualities but we ended up doing them in a quite upbeat or powerful way." Thematically, "maybe the whole record is about staying firm and staying true to your path, and to your vocation and your passion and your intention. Perhaps that's starting to become the strongest lesson that I'm learning in reaching this point in my life, realizing that it's about not wavering, and about sticking to your guns, really." Do these lessons really apply to a band with as many miles and platinum albums under their belt as Bush, too? "I think I've had to learn, yeah, on everything, on every level, absolutely, to stay alive," he says. "I mean, we're all in a dance competition, right?"
The album also represents vocalist/guitarist Billy Yost's seven-year odyssey, as he shifted from being a small town songwriter living with his parents to writing music on his own terms, putting together an acclaimed band, and earning the respect of one of his primary influences.
The story begins in 2009 when Billy, a recent college graduate, decided to leave his rural South Dakota home and move to Chicago. "I was terrified about making the move," Billy confides. "I loved where I grew up. I spent a lot of time there writing songs for this record, and figuring out what I had to offer. But I needed a bigger pool of musicians who I had things in common with musically."
The Kickback have released a clutch of EPs and singles and have garnered praise from Rolling Stone, esteemed tastemaker Jim DeRogatis (Sound Opinions, SPIN, Chicago Sun Times), You Ain't No Picasso, the Chicago Tribune, among many other outlets. The Chicago-based quartet has built a robust and respected live profile through incendiary gigs and tours with artists such as White Rabbits, Smith Westerns, Here We Go Magic, Tapes 'n Tapes, and Telekinesis.
The band furthered their reach and appeal with their podcast DISASTOUR, which, with barbed wit, self-deprecating candor, and warmth, peels back the shiny veneer of the rock n' roll life, revealing the humor and struggles of what it means to be a contemporary musician. Since 2010, the group has aired over 100 episodes of the popular series.
The Kickback, composed of Billy Yost (vocals, guitar), Eamonn Donnelly (bass), Jonny Ifergan (guitar), and Ryan Farnham (drums), is influenced by a broad array of irreverent, cerebral, and sometimes outlandish, cultural references. They cite Hunter S. Thompson, post-post-modernism, an inflated sense of self-importance, large families, David Foster Wallace, The Wire, big sounds and then quiet sounds, David Lynch, harmonies, Michael Keaton, and entitlement, as their conceptual inspirations.
Upon arriving in Chicago, Billy assembled the band through Craigslist ads, weathering a series of changes until the band solidified with the current lineup. Despite Billy's status as the founding member and primary songwriter, The Kickback is a truly collaborative effort built around each member's artistic vision.
A milestone moment came when the band, with humor and bravado, sent their demos to Jim Eno from Spoon (one of Billy's primary modern artistic inspirations). Jim responded favorably and got in touch with the band. "I remember I was standing in a friend's kitchen when I got his message," Billy recalls, laughing. "I called him and I was breathing so heavy, and I talked at him for 10 minutes about every song he's done. He mercifully let me finish my diatribe before asking about my music."
To record Sorry All Over The Place, the four-piece decamped to Jim Eno's studio, Public Hi-Fi, in Austin, Texas. "We spent three weeks sleeping body to body to body to body. It was like trauma bonding," Billy says laughing good-naturedly. "We bonded together through making a lot of sacrifices, working hard, and navigating everyone's feelings to make something we all feel really good about."
The Kickback's debut album is named after a fictional footnote in David Foster Wallace's Infinite Jest. In a similar spirit to Wallace's multi-layered literary tour de force (which includes 388 endnotes), Sorry All Over The Place is rife with a fascinating array of references and revelations. "I like the idea of contrasts. Like with David Letterman you had a late night personality that seemed unhappy to be there, or with the Muppets—they can warm your heart as puppets or terrify a child as monsters," Billy explains.
It's this infatuation with juxtaposition, beamed through the lens of Billy's life, that makes the album both comforting and disquieting. "The rule I make for myself is that the more disconcerting a song is, the more upbeat and dancey it should be," Billy says.
"Scorched Earth Brouhaha" lops along with catchy, propulsive guitar riffs and balmy power-pop passages. It recalls a summer when Billy returned home from college to work at a summer camp, and his parents ended up getting a divorce at the same time. The dreamy "When I Die" is a torch song for the megalomaniac terrified of death, who even in his fearful obsessions seeks to control everything. Here Billy sings, Without me there, you just live a life decayed/Press and fold all my clothes but don't give them away/I'm coming back someday just to spite my enemies.
The new-wavey "Sting's Teacher Years" sonically alludes to The Police and Sting's former life as a teacher, while more directly citing Billy's prior path as a college graduate with a teacher's degree confronting the next era of his life. "It's a scary time after you graduate and it took me a long time to learn 'normal people' adult things," Billy says candidly.
The song epitomizes the band's journey from South Dakota to the driven days in Chicago. "I'm really grateful for how everything has turned out. I've never felt stronger about a batch of songs I've written. We felt so strongly about sharing this music that we were going to hand out albums on street corners. I'm glad it didn't come to that," Billy says laughing.
Riviera Theatre - Jam Productions
4746 North Racine Avenue
Chicago, IL, 60640