Show review: Freelance Whales at Lincoln Hall, 10/4

By Gene Wagendorf III 

Judah Dadone, Chuck Criss and Doris Cellar

Over the last couple years I, and my fellow Windy City Rockers Andrew and Frank, have grown quite smitten with Freelance Whales. From their charming Lollapalooza debut in 2010 to their most recent visit to Chicago almost exactly a year ago, we've been following and digging the Queens-based chamber pop gang. Their inaugural release, Weathervanes, is the kind of first at-bat home run that might have stifled the development of a lesser band. When word got out that the group was working on a new album, the consensus reaction amongst fans seemed to be both excitement and trepidation. Would Freelance Whales again reach the bar they set so high? Would the new record be a facsimile of the fragile, organic compositions on Weathervanes, or a departure so harsh that the band's identity was lost? These questions, and then some, were answered Thursday night at Lincoln Hall.

Wobbling, echoed honks and a gleaming banjo line sailed across a landscape of deliberate thumps.  Choral ooh-ing backlit Judah Dadone's cheery lull; his inflection rendering the poetic lyrics more of an invitation than a statement. Jacob Hyman's cymbal tittering served as a countdown, one that propelled the vocal harmonies and toy piano tinkling into deep, quiet space. This was "Aeolus," the opening track on Freelance Whales' sophomore album, Diluvia. With that one song, Dadone and company quieted any concerns about their future being a retread of the past, or worse yet, an indication that the past was a fluke. Future is the operative word in that sentence, as the new songs played were a synthesis of the band's trademark earthy, acoustic ambling and a new interest in scale and electricity. The dynamic promise of "Follow Through" built from ambient noise into a shimmering, stomping wave that transformed weightlessness into sound and stretched to a size their previous songs had never dared. Clever as ever, the turning point came during what should have been a predictable, albeit satisfying, explosion of sound. Instead the percussion, the keys and the buzz dissolved, leaving only the singer's crystalline swoon and a subdued, shimmering collection of guitar chords. If you've ever seen one human being console another with a simple gesture- a touch to the arm or a quiet embrace in lieu of a lengthy speech- then you know exactly the sound of the climax of "Follow Through."

Show review: Freelance Whales at the Empty Bottle, 9/17

By Gene Wagendorf III 

Freelance Whales jam for Rock For Kids

Last Saturday night Eventbrite's Concert Confidential series brought Freelance Whales to The Empty Bottle for one of several simultaneous free shows around the country. Each event raised money for a local charity, the Chicago beneficiaries being Rock For Kids, a great local not-for-profit organization focused on addressing the lack of music programs in Chicago schools.

Freelance Whales eased the crowd into their set with "Generator ^ First Floor," an idyllic song that evokes images of waking up in a quiet country farmhouse. Possibly the group's most uplifting song, it was strengthened live by the addition of a final verse that doesn't show up on Weathervanes,  their beautifully crafted debut album. Striking harmonies and dreamy twinkles populated the entire set, but few times were they as well positioned as in the opening song. The first giggles of the night came courtesy of band-member Doris Cellar, who managed to knock over a harmonium with her bass (apparently a regular occurrence) while trying to navigate the cramped stage. Drummer Jacob Hyman got a chance to show off some thump on "Enzymes," the only track played not from the aforementioned record. The number's deliberate, climbing synth-line segued nicely into the squeaky dolphin bop of "Kilojoules," whose catchyness elegantly faded into a washy cloud of chimes about two minutes in.

Show review: Foals, Freelance Whales at Metro, 4/26

Posted by Andrew Hertzberg

Freelance Whales

I guess I really had forgotten what it’s like to attend a show at the Metro for an all-ages show during a night home game for the Cubs. But a different rant for another time. Tonight was about finding out how cuddly Freelance Whales are live and rediscovering how completely ass-kicking Foals are. 

The Whales from Queens started off with the opener to their debut album Weathervanes, "Generator ^ First Floor," to get the crowd immediately swooning to the repetitive burst of ah-ah-ah-ah’s. The energy continued with non-album "Enzymes," a 5/4 pop song that’s still complete with the "oh-ahs." On record, lead singer Judah Dadone is most comparable to Sufjan Stevens or Ben Gibbard, while live he takes entirely on the delicacy of the latter. Likewise, the collective notion of the band can draw comparisons to Stars or Los Campesinos!

The set continued with endless hooks, with multiple instrument exchanges. Not to be a straight up guitar, bass, keys, and drums five-piece, four of the members guard the front of the stage, rotating between synths, bowed guitar, mandolin, banjo, an appropriately whale-crooning harmonium, and the most stylized use of the glockenspiel I’ve seen in some time. Don’t let me leave out Chuck Criss’ simultaneous playing of the glock and keys. The best moment of the set was transitioning between the hook-laden and quick lyrical verse of "Hannah" into the majestic build up in "Location." And for those concerned, the water can did make its appearance as well, I’m sure much to the chagrin of certain FW critics. But considering the group's busking background, it was nice to see such an innocuous piece of percussion continue its position in their live set. 

Show review: Tokyo Police Club at Metro, 8/20

By Mike Sullivan

Tokyo Police Club wrapped up their summer tour Friday night at Metro, and an energetic crowd welcomed them at the historic venue.

The night started out with another band out of Canada, the Arkells. This five-piece group from Hamilton belted out their soul-rock flavored tracks. The band only has one album under their belt, Jackson Square, which was originally recorded in 2008. You would think they would grow weary of playing the same 11 tracks over and over, but they played them just like it was the first time performing them live. So much energy and enthusiasm came out of every single member, and the crowd definitely responded.

Next up on the bill was Freelance Whales. This eclectic group comes from Queens. As I stood in the pit watching the stagehands bring out their instruments, I wasn’t sure what I was about to hear. There were your usual drums, guitar and bass, but also banjos, synthesizers, a waterphone, a glockenspiel, some strange accordion box called a harmonium and even a watering can. (yes, watering can!) Needless to say, once they started, I see how it all came together. Their harmonic melodies and story telling lyrics really captured the crowd. They emit a vibe while playing that makes you feel good inside. They are one band that deserves a second look.

Finally, it was time for Tokyo Police Club to take the stage. The stage looked so empty after all the instruments from Freelance Whales were cleared away. TPC came out of the gates with "Favorite Color," "Nature of the Experiment" The capacity crowd immediately began singing and clapping along. With all that energy comes the nasty heat and humidity that always finds its way into these smaller venues. The intense stage lights reflected off of everyone’s sweat glazed skin. They performed a large portion of their catalog right off the bat without even taking a moment to catch their breath. They established a tempo right away, and wanted to keep it going all night without any lulls. For this being their last show on this leg of the tour, they still sounded really fresh and full of energy. 

Tokyo Police Club's setlist consisted of: Favorite Color, Nature Of The Experiment, Graves, Top 5, End of a Spark, In a Cave, Tessellate, Hands Reversed, Big Difference, Not Sick, Be Good, Bambi, Favorite Food, Gone, Citizens of Tomorrow, Breakneck Speed, Wait Up (Boots of Danger), Your English Is Good.

More photos after the jump.

Lollapalooza 2010 day three: Company of Thieves, Freelance Whales

Genevieve Schatz of Company of Thieves at Lolla (photo: Windy City Roc

It can be pretty tough to decide what to see on any given day of Lollapalooza, but I always make it a point to highlight Chicago-based bands when marking up my schedule. This year, I made sure to check out not only Skybox on Saturday (more on that here), but also Company of Thieves on Sunday.

While I was very familiar with the band from their debut album, Ordinary Riches, and even did a Q&A with guitarist Marc Walloch right here on WCR, I had never seen them live before their set at the fest. I was very impressed. Frontwoman Genevieve Schatz was one of the most dynamic, compelling performers I saw all weekend - with one of the best voices - and the band had a bite and an edge that hasn't been as prominent on their recorded material.

Highlights of the set included their most notable song, "Oscar Wilde," as well as material Schatz introduced as being from the band's soon-to-be-released sophomore album. "Queen of Hearts" was an emotionally hard hitting song with an excellent chorus that really showcased Schatz's vocals, while "Gorgeous Grotesque" - an environmentally themed song - engrossed with a dark, slightly menacing vibe. The band had a sizable crowd and did their home city proud.

Freelance Whales at Lollapalooza (photo: Windy City Rock)

Later, I stopped by the BMI stage to check out New York-based experimental folk-pop act Freelance Whales. The band's style was hard to pin down, but overall they had a light, pleasant sound that was great for taking a chill-out break in the shade of the area by the stage. For my tastes, their songs were a bit too sleepy and hard to grasp on to, but they certainly came off as a talented group of musicians who many people seemed to find an enjoyable addition to their Sunday afternoon at the fest.


More photos after the jump