It was above freezing here in Chicago this weekend so I took Esley and some fellow schoolmates to the Lincoln Park Zoo. Considering we’ve been half a dozen times in the past year, I was surprised how the Zoo always seems to have something I’d overlooked.
Isaiah, Esley, Vontrell, and D'Entonio at the Lincoln Park Zoo
The Lion House at the Lincoln Park Zoo
Esley at Branko's after the Zoo
A few photos snapped while strolling from Wicker Park to Logan Square.
The Saturday lineup at Tomorrow Never Knows brought Bowerbirds to Lincoln Hall along with support from The Rural Alberta Advantage, a band I had heard of via Daytrotter but hadn’t listened to. I picked up their album Hometowns a few days prior and while not all of it impressed me, I did enjoy “The Air” which for some reason they chose not to play at the show. Surprising considering that, albeit it’s not a lively tune, it’s the most well crafted song on the album.
The Rural Alberta Advantage performs
The Rural Alberta Advantage frontman Paul Banwatt
While Bowerbirds as a band might not blow you away, Phil Moore’s voice doesn’t require much support to carry the show. Performing a number of songs from their two albums Hymns For a Dark Horse [2008] and Upper Air [2009], the band was a natural fit for the (relatively) intimate atmosphere of Lincoln Hall. Alas, not unlike Rural Alberta Advantage, Bowerbirds failed to perform their best song – “Ghost Life” – but they did play a number solid songs including “House of Diamonds”, “Northern Lights”, and “Chimes”.
Phil Moore and Beth Tacular of Bowerbirds
Phil Moore of Bowerbirds
Bowerbirds from the balcony
Bowerbirds and the sold out crowd at Tomorrow Never Knows
Tomorrow Never Knows brought Atlas Sound (aka Bradford Cox) to Lincoln Hall on Friday. Cox opened the performance with a dedication to follow musician Jay Reatard who recently passed away. I was surprised to find Atlas Sound was comprised solely of Cox, who brought on stage with him an acoustic guitar, harmonica and a small synthesizer of sorts which sat on the chair next to him.
The performance was not unlike the Atlas Sound records: beautiful in parts but often esoteric and experimental. His attempt at recreating “Walkabout” (the strongest track from his new album Logos) was a disappointment but I enjoyed some less familiar material and his voice carried a number of tunes.
Bradford Cox on acoustic guitar and harmonica
Bradford and the crowd