Rock Shows in Chicago

Doors open at 630PM. Performance begins at 730PM. This show is for AGES 17 AND OLDER. Valid Photo ID is required for age restricted shows. Forms of valid ID are current and non-expired Driver's License, State ID, or Passport. House of Blues Chicago is a standing room only venue, all tickets are General Admission unless otherwise stated. *All support acts are subject to change without notice.* Upgrade Your Experience: https://www.sevenrooms.com/events/hobchicago/hobwebsite

There is a delivery delay on all orders until approximately one week prior to the show. This show will be taking place inside the Shed.

Doors: 8PM / Show: 9PM / 21+ JAKE XERXES FUSSELL Over six unique and very personal studio albums, Jake Xerxes Fussell has found his musicalfuture by reimagining, reorchestrating, and reunifying the past. By combining differenttraditional music sources in a completely original way, he routinely creates fresh works of artthat are at once rooted in tradition and ingeniously modern. Recorded in North Carolina,The Old Beloved Pathwas mixed by producer Ben Whiteley, amember of the band The Weather Station who has also played bass on tour with Fussell.Friends Dominic Billett, Isa Burke, Wayne Horvitz, and Ken Whiteley add their instrumentalvoices to Fussell's singular musical amalgams. As producer, Ben Whiteley fulfilled Fussell'sdesire to make an album that was more direct: a document of musicians playing live together ina room, dwelling less in atmospherics and musical elaboration. Working together, theyintentionally limited their palette - focusing less on all the things a song could be, and honing inon the essential. In the revelatory , "rdquo" -> Every Time I Go to Town," the sprightly spider rhythms of, "rdquo" -> Boney," a traditional tune rarely played let alone recorded, and his upbeat take on anothertraditional American classic, , "rdquo" -> Boll Weevil," the overall approach is airier, focusing on buildingtextures and staying focused and direct in the art that sustains him. The songs Fussell chose forThe Old Beloved Pathare songs he has heard for years, but many ofthem felt newly illuminated - hitting different., "rdquo" -> Traditional music gets more intense the older I get. The way that I see the world is throughthese songs. The world of traditional music has been such a gift to me. If nothing else, a lifelongcompanion. "The Old Beloved Pathis in stores September 18th via Fat Possum Records

Fishtailing across a trimmed sod lawn, the parking lot of a box-store strip mall, a fast food drive-thru----it's a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on Gentling the Horse at the Walt Whitman Mall. The release doubles as the debut of SUCK records, the LA based artist's own imprint---a fitting next form for an enigmatic musician whose work resists settling into one shape. Gentling the Horse at the Walt Whitman Mall stretches the ordinary into the uncanny. The record pairs sharply observed, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage. It's Ennio Morricone with an AR15: surf guitars, spaghetti westerns, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable, so we'll keep telling stories---and for Rose, the sinister slickness of the everyday grows a new head. Working with producer John Congleton, Rose built the record through humor, layering, and instinct rather than polish. Songs like , "rdquo" -> Conversations with Shiv," , "rdquo" -> Goddamn Train," and , "rdquo" -> Everything in its Right Place" were recorded in studio for the first time, with sessions that prized first impulses over perfection. The result is panoramic but never precious---songs that feel meticulously constructed while always threatening to mutate. Over the last six years, Rose's music has evolved alongside their work organizing around stronger labor protections and collective bargaining rights for musicians and crews. Creative and political practice have increasingly become the same project as Rose's career has taken on its hyper-independent form. Those concerns echo throughout Gentling the Horse. Its landscapes are populated by inherited systems that feel absurd yet inescapable, where humor becomes a survival tactic and satire reveals the quiet violence embedded in everyday American life.

Born from the womb of Y2K techno paranoia, dance-punk mega duo DEATH FROM ABOVE 1979 have been a cathartic through-line since 2001. Every now and then they come to fly their jumbo jet sound into the skyscrapers that the zeitgeist has erected. Youre a Woman, Im a Machine (2004), The Physical World(2014), Outrage! Is Now (2017) and Is 4 Lovers (2021), now in 2026 they once again blast off celebrating their 25th anniversary with a fifth LP, Private Lives, slated for a fall release. Theyve survived CDs, MP3s, pirating, streaming and AI slop undeterred and have delivered nothing but musky power-cock riffs, psycho tenor wails and frenetic juvenile delinquent rhythms. Will you join them on tour? Will you submit yourselves to the all-natural sound? Honk once for YES, honk twice for HELL YES.

This event was rescheduled from Thursday, August 27, to Thursday, March 18, 2027. Original tickets will be honored on the new date or refunds are available from point of purchase before the show passes. Event features a General Admission Dance Pit in front of the stage! All sales are final, no refunds/exchanges permitted, but tickets may be transferred through your TM Account. Garcia's is fully ADA compliant featuring wheelchair lifts and ramps between the various levels of the venue, assisted listening devices upon request, and allows official service animals.

Doors open at 630PM. Performance begins at 730PM. This show is for AGES 17 AND OLDER. Valid Photo ID is required for age restricted shows. Forms of valid ID are current and non-expired Driver's License, State ID, or Passport. House of Blues Chicago is a standing room only venue, all tickets are General Admission unless otherwise stated. *All support acts are subject to change without notice.* Individuals under 17 are allowed to attend if accompanied by their parent or legal guardian Upgrade Your Experience: https://www.sevenrooms.com/events/hobchicago/hobwebsite

Over the last two decades Cory Branan has released five albums to much critical acclaim from NPR, Pitchfork and Rolling Stone among others, who called him, , "rdquo" -> A country boy with a punk-rock heart." He has toured extensively, appearing on stages from Letterman and the Ryman to your town's shittiest punk bar. , "rdquo" -> ...a career stacked with lonesome country anthems to life on the road, delivered in a voice that's pleasantly weathered." - NPR Branan's songs have been covered by such artists as Tyler Childers, Frank Turner, and Dashboard Confessional. He has also collaborated with the likes of Jason Isbell, Laura Jane Grace (Against Me!), and Craig Finn (The Hold Steady) who have been included as featured guests on previous records. Branan has even been mentioned in the Lucero song, , "rdquo" -> Tears Don't Matter Much" with the lyrics, , "rdquo" -> Cory Branan's got an evil streak, and a way with words that'll bring you to your knees." , "rdquo" -> It's rad", says Branan, , "rdquo" -> to have a new home with nice folks at Blue Èlan who've threatened to turn me loose to make my kind of weird American music, and I'm really looking forward to getting into the studio this fall and giving it hell."

Doors: 9PM / Show: 10PM / 21+ In January 2025 Alex Cameron exploded his life in a controlled detonation largely ignored by the universe. No one was safe. And nobody noticed. The charred remains of Cameron's life fragmented and reassembled into 9 synthetic rock songs detailing his world's deep confusion and regret. He continues to find pieces of his own reflection in the shattered characters he creates and embodies. Their yearnings and their humiliations. The promised Messiah. Agamemnon's appetite for war. Mel Gibson's ransom note. Humanity's Pro-War destiny. A cold war breakup. This is the sound of a man walking out on somebody else's family. Into a new world afraid to remember what it used to be. These are songs of protest against life itself. This is the world our fathers feared. And here is its soundtrack.

Doors: 8PM / Show: 9PM / 21+ The Lemonheads returned in 2025 with Love Chant (out via Fire Records, October 24th), their first studio album in nearly two decades - a bold, melodic reaffirmation of Evan Dando's singular songwriting voice. Written across continents and recorded primarily in São Paulo, Brazil, where Dando now resides, Love Chant finds the frontman reconnecting with longtime collaborators while introducing new creative voices. It's a record of fresh starts and familiar sounds - emotionally raw, melodically rich, and unmistakably Lemonheads. The new album features contributions from J Mascis (Dinosaur Jr), Juliana Hatfield, Tom Morgan, Bryce Goggin, Erin Rae, and Nick Saloman of The Bevis Frond. It's a diverse but coherent work - from the full-throttle hooks of , "rdquo" -> Deep End" to the spectral softness of , "rdquo" -> The Key Of Victory," and the Modern Lovers-like drive of the title track. Co-released alongside Dando's forthcoming memoir Rumours Of My Demise (via Faber, November 6th), Love Chant marks both a return and a reckoning - the sound of an artist who's lived, lost, and located the thread once again. Formed in Boston in 1986, The Lemonheads have long thrived on that intersection between chaos and charm. With a revolving cast built around Dando's melodic instincts and ragged charisma, their early punk roots were forged across three scrappy albums on local label Taang! before signing to Atlantic Records and releasing 1990's Lovey. It was on tour for that record in Australia where Dando connected with Tom Morgan and future bandmate Nic Dalton - a meeting that reshaped the band's songwriting and sound.

"D.K. Harrell stands tall. His mature musical conversations are inspiring...his voice custom-built for the blues. A funky soul stew of traditional music and contemporary lyrics." ---Blues Music Magazine Guitarist, vocalist and songwriter D.K. Harrell, one of the most formidable young stars of the current blues resurgence, sounds like no one else on the scene today. With his stinging, single-note string bending, deep soul vocals, and attention-grabbing original songs, the 28-year-old Harrell--a major draw at blues festivals around the world--is already in a league of his own. Now, with his Alligator Records debut album, Talkin' Heavy, D.K. Harrell cements his place among the leading voices of the new generation of blues players. This Blues Music Award-winning guitarist with a soul man's voice and a well-earned reputation as a mesmerizing live performer delivers fresh, emotion-packed blues informed by the tradition he loves and played with the foot-pounding fervor of a revival tent preacher.

Thursday, March 25 Metro, Empire Productions & Kickstand Productions Present… Haywire * Dark Thoughts * Gvllow $19.05 Adv. / $26 Day of / All Ages / Doors: 5:30PM / Show: 7PM

Doors open at 530PM. Performance begins at 630PM. This show is for ALL AGES House of Blues Chicago is a standing room only venue, all tickets are General Admission unless otherwise stated. *All support acts are subject to change without notice.* Upgrade Your Experience: https://www.sevenrooms.com/events/hobchicago/hobwebsite

Ruby Waters has partnered with PLUS1 so that $1 per ticket goes to supporting communities in need with access to essential, life-saving resources, including clean water and other basic needs. From her home in the BC mountains, Canadian singer-songwriter Ruby Waters rattles off the definition of the phrase , "rdquo" -> to suppress." , "rdquo" -> It's the act of holding back or preventing something from developing, functioning, being seen or being expressed," she reads. It's a definition she's found deeply relatable over the last couple years. , "rdquo" -> A lot of that is what the album is about: hanging on to old habits and stopping myself from becoming the best version of myself," Waters explains. , "rdquo" -> It's also about the pressures of being seen by the world and wanting to hide like a little crab underwater in a safe little shell. Or the opposite, being weighed down almost underwater by suppressed emotions." Waters poured those feelings into her sophomore album SUPPRE$$IONS (out via Wet Records). Written mostly from this same house in the mountains, the smokey voiced singer dives into the dark waters of how her vices and the pressures of the world began to overwhelm her. She takes it literally on the album cover, wearing a collection of fishing lures as earrings and nose rings, and being lifted by a hook out of the water on the back cover. , "rdquo" -> I've been dealing with addiction and mental health issues for a very long time," she admits. , "rdquo" -> This album stems from wanting to change or being in limbo between wanting to change and building up the courage to do so." She states, , "rdquo" -> It's an acceptance album. Accepting all of these feelings, wants, and needs instead of suppressing them." Written and recorded with her longtime collaborators Sam Jackson Willows (The Beaches, A Boogie Wit Da Hoodie), Harper (Burna Boy, Russ), TJ Whitelaw (John Legend, Syd) and mastering engineer Alec Ness (Alabama Shakes, Sam Smith) over the last two years, her 20-song opus honestly admits to many of the distractions and habits that she's used to escape her real life: sex, drugs, nature, and rock'n'roll. The candor comes with maturity as the artist details these crutches alongside her path away from some of them. , "rdquo" -> There are some deeper songs and some more fun ones, all mostly fueled with vices," she explains. Caught in the middle is album opener , "rdquo" -> SAME MISTAKES," a vulnerable, dreamy prologue that sets the tone for Waters' story. , "rdquo" -> I'm talking about being a piece of shit and not trying hard enough," she details. The hypnotic, soulful track recounts the loop she's been in: half-hearted attempts at changing her life that lead her right back to where she started. On a song like , "rdquo" -> OFTEN," she takes the cyclical nature of these experiences literally in the music, using sonics to replicate the experience of waking up from a bender and feeling your brain loop with regrets.

Gustavo Santaolalla is one of the most influential and celebrated artists in contemporary music. A visionary composer, producer, songwriter, and multiinstrumentalist, his career spans more than five decades, during which he has redefined the role of Latin American music on the global stage through groundbreaking work in recording, film, television, and video games. A two-time Academy Award winner for Brokeback Mountain and Babel, Santaolalla has also received two Grammy Awards, 19 Latin Grammy Awards, two BAFTA Awards, and a Golden Globe, making him one of the most decorated composers of his generation. His unmistakable musical voice, rooted in the expressive sound of the ronroco and shaped by Latin American folk traditions, has become instantly recognizable to audiences around the world. Beyond his achievements as a composer, Santaolalla has been instrumental in shaping modern Latin music as a producer. Through his work with artists including Café Tacvba, Juanes, Julieta Venegas, Molotov, Los Prisioneros, Bajofondo, and many others, he helped define the sound and international expansion of Rock en Español and Latin alternative music. His compositions have become an essential part of contemporary visual storytelling, scoring acclaimed films such as The Motorcycle Diaries, Amores Perros, 21 Grams, Biutiful, The Book of Life, and Wild Life, as well as the landmark video game The Last of Us and HBO's Emmy Award-winning adaptation, introducing his music to an entirely new global audience. In concert, Santaolalla presents Ronroco, an immersive live performance celebrating the landmark album that transformed his artistic career and became a defining influence on modern cinematic music. Joined by a band of exceptional multi-instrumentalists, the program weaves together selections from Ronroco with music from his celebrated film, television, and video game scores, creating an intimate and deeply emotional journey through one of the most distinctive musical catalogs of our time. Widely regarded as one of Latin America's greatest living artists, Gustavo Santaolalla continues to bridge cultures, genres, and generations through music that is at once profoundly personal and universally resonant

Destroy Boys have partnered with PLUS1 to direct $1 from every ticket to local organizations expanding food access, supporting mutual aid, and protecting Indigenous lands. They've also teamed up with Concerted so fans can trade local volunteer hours in these cause areas for a limited number of tickets at each tour stop. FOIE GRAS, Destroy Boys' fifth album, feels like the record the band has been working toward all along. It's bigger, stranger, and more confident than what came before, without losing the immediacy that got them started. Roditis and Mayugba formed the band when they were 15, playing DIY shows around Sacramento while still in high school. Over the past decade, Destroy Boys have grown from those house shows into an international touring band, opening for Blink-182, Pierce the Veil, and Rise Against. Their songs have gotten harder to pin down, too: punk remains the foundation, but grunge, pop, post-punk, Britpop, bossa nova, and jazz all find their way in. Produced by Zach Tuch, with additional contributions from Frank Iero, FOIE GRAS pushes that restlessness further. It's the sound of a band finally giving itself permission to follow its instincts, no matter the risk---and, in the process, making its best record yet.

For more than three decades, Cornelius has occupied a singular space in contemporary music. The long-running project of Japanese musician, producer and composer Keigo Oyamada, Cornelius emerged in the early 1990s following the dissolution of Tokyo pop group Flipper's Guitar, before becoming one of the most distinctive and forward-thinking names in modern experimental pop. International breakthrough Fantasma (1997) established Oyamada as a restless sonic architect, stitching together psychedelic pop, electronic music, musique concrète, hip hop and avant-garde composition into something playful, hyper-detailed and impossible to pin down. The album became a cult touchstone, while subsequent releases including Point and Sensuous further expanded his intricate, cinematic sound. Alongside his own records, Oyamada has collaborated with artists including Blur, Beck, MGMT, James Brown and Yoko Ono, while his precision-synchronised live shows have long blurred the line between concert and audiovisual installation. Nearly three decades later, Fantasma B-side , "rdquo" -> Typewrite Lesson" has also found a new generation of listeners, recently going viral on TikTok and receiving support from artists including Rosalía. Yet 'REFRACTIONS' feels less like a continuation than the beginning of another transformation. Written between 2024 and the end of 2025, the album explores ideas of perception, shifting realities, memory and interconnected consciousness, not through overt narrative but through structure, texture and movement itself. , "rdquo" -> As the world and my surroundings changed at an intense speed, I think all of that inevitably shaped this work,"Oyamada explains. , "rdquo" -> Rather than expressing these ideas directly, I approached them structurally --- exploring continuity, transformation, and multiple coexisting states within a single, uninterrupted flow of time." That sense of fluidity runs throughout 'REFRACTIONS'. Songs dissolve and reform, melodies appear like half-remembered signals before refracting into new shapes, while acoustic instrumentation, digital manipulation and spectral electronics coexist in constantly shifting balance. At times intimate and weightless; elsewhere disorienting and densely layered, the album feels like fragments of parallel realities briefly overlapping. The album also marks a move outward. Where previous records such as Mellow Waves and Dream In Dream often carried a solitary, inward-facing quality, Refractions was consciously shaped through collaboration and exchange. , "rdquo" -> This time, instead of turning inward, I wanted to open the work through interaction with others," says Oyamada. , "rdquo" -> I've come to feel more strongly that reality is not something completed within oneself, but something shaped through relationships and exchanges." 'REFRACTIONS' is available online now, with physical copies available to pre-order through all good record stores. ''Refractions'' album links: https://linktr.ee/Cornelius_Japan

8:30pm. $20 ADV / $25 DOS In today's fast-paced mid-apocalyptic world it can feel like a waste of time to speak about time at all. Why dwell on the past when we could just live in the present because the future won't shut up about how bad it's going to be? But with This is the Kit aka Kate Stables (songwriter / banjo strummer / pinhole camera lover /Winchester UK born Parisdweller), we're going to have to give time just a modicum of consideration. Because not only is Kate still here and making albums of cataclysmic honesty and welcoming tonal embraces, they are continuing to grow, which is probably the only smart way to move forward through time. This IsThe Kit's music places companionship at a premium, so being welcomed into its space feels like an obvious privilege, on record and in concert hall with her stellar supporting cast of Rozi Plain (bass), Jamie Whitby-Coles (drums) and Neil Smith (guitar). And at this current point in our confusing history, continuing to be here at all, o stand tall and make music to gather to, that's a heroic act. Joyful survival as an act of time-wasting, I'll take that any day of the week. Look to This IsThe Kit to spend at least one day of your week this year, I guarantee it will be time well wasted.

For Love of Grace & the Hereafter is Iceage's tightest album to date, even glossy at times, but not tight enough to dull its pulse. With wordless howls, nastily detuned riffs that bend into harmony, breakdowns, handclaps, and a chaotic choral break seemingly played on pennywhistles, For Love of Grace & the Hereafter is a showcase of the band's fundamental curiosity and trust in their instincts. Produced and mixed by the band (Rønnenfelt, Dan Kjær Nielsen, Jakob Tvilling Pless, Johan S. Weith, and Casper Morilla Fernandez) and Nis Bysted, For Love of Grace & the Hereafter was recorded last year at Silence Studio, a modest house in rural Sweden near the Norwegian border. Twelve years ago they recorded 2014's Plowing Into the Field of Love at the same studio; it's no coincidence it's the only time they have returned to a studio to cut a record. The band wanted to capture the same intense energy. The band leaned on their experiences and the thousands of hours on stages they've shared since they were teenagers. The setup was as minimal as possible: making decisions live and not overthinking, patient full takes with minimal overdubs. The lyrics were written only a few weeks before entering the studio to prevent the overall picture from being too fragmented and to increase the sense of risk and urgency. For Love of Grace & the Hereafter is bright and energetic. It's both fun and as serious as ever, growing and glowing through love. There is no affectation or prescription to this record---no palette of curated influence or sought sound. It is the sum total of inspirations, shared openly in the name of playing and playing's pleasures.

Doors: 8PM / Show: 9PM / 21+ The record started like this: a move to New York from England. An out of the blue phone break-up, on Independence Day. A month of running, not eating enough, drinking too much. A month of writing thousands of words a day, frantically, from a place of guilt. A month where it felt like this loss of self. It started out like an exorcism. But it doesn't end that way. Because things started to shift for Fenne Lily. The blame she placed on herself dissipated. New York, her new city, started to feel like her home. A place she had some ownership; a place that now held her own memories and experiences. She drove to New England in a truck. She made music with her friends in the Hudson Valley. She spent nights running pool tables. She fell in love again. She began writing the songs to her fourth album, Win Win. And she found that as she did this, the songs she wrote were coming from a place of warmth, self discovery. Something new was emerging from inside of herself. , "rdquo" -> I wanted to make music that sounded like the sun was out," says Fenne. Win Win is a record that sounds like the sun is out. , "rdquo" -> What do you feel like you've won?" asked Fenne's father of the record's title. She explained to him that what she won is what she did not lose. Of course, she had experienced loss: the loss of a relationship, the loss of a beloved pet dog. But she did not lose her integrity. She did not lie. Win Win is an exploration of this idea; this need for grit and conviction as a means to make art and to feel whole. The resulting album is some of Fenne's best, most beautiful writing to date. It is a record that is honest, feels hopeful, sounds free.

For current health & safety information, please visit www.auditoriumtheatre.org

This is The New Alternative: a new genre for the 21st century. More specifically: a new genre for music's optimized VC-funded super deluxe remixed AI-enhanced algorithmically perfected wild west 2020s, where a million streams is great, a billion even better, and a trillion well within reach. On their fifth album ZIRP!, DIIV emphatically and ecstatically embrace the underground pedigree and the pop instinct that have anchored the band like magnetic poles for the better part of their career---smashing them together in pursuit of a sound that pre-empts any notion that Zachary Cole Smith, Andrew Bailey, Colin Caulfield and Ben Newman have ever been playing between worlds. Put more simply, on ZIRP! DIIV answer the simple questions that so many bands can't: What would it mean to grow up? And glow up, too? For as long as they've been making music, DIIV have been victims of a world without the vocabulary to describe their willingness to braid the harshness of genres like shoegaze (on 2024's Frog In Boiling Water) and grunge (2019's Deceiver) with mellifluous and memorable pop melody. Over the years, the world has caught up with them, with artists like Slayyyter, Eartheater and Turnstile forcing old-guard gatekeepers to find new ways to describe this gleeful disregard for old-fashioned scene designations and genre tags. With ZIRP!---and their embrace of The New Alternative---DIIV lock in on a name for the universe they've been chasing for all these years, and a sound that represents the apotheosis of that universe. Produced by British pop wizard A. G. Cook (Caroline Polachek, Charli XCX)---a chief architect of our current post-category future---ZIRP!, named for the zero interest rate policies that drew us into a world of failed startups and turned us all into atomised , "rdquo" -> users," expands on the themes of Frog In Boiling Water with a newfound lightness. Here, Palantir, societal breakdown and streaming's endless hamster wheel are all fodder for rich, sparkling pop songs: Album opener and lead single , "rdquo" -> The Fountain" pairs the sprawl and squall of DIIV records past with a jolting rhythmic guitar section that has arena-filling potential, while , "rdquo" -> Evangelizer" taps into the sweet-and-sour mainstream appeal of bands like Linkin Park and System Of A Down. Throughout, the band is zeroing in on its punchiest, most memorable melodies to date, each new internal hook and tossed-off earworm indicative of a band more than ready to make good on its ability to play in the mainstream.

Since his acclaimed 2006 debut Gulag Orkestar, Condon has continually woven indie-folk, orchestral pop, and global influences into music shaped by wanderlust and introspection. Following the atmospheric Hadsel (2023), recorded on a remote Norwegian island, A Study of Losses continues Beirut?s evolution through an exploration of places and histories that have vanished, and what remains after they are gone. Across nearly two decades, Beirut has maintained a distinctive balance between nostalgia and reinvention?an ever-shifting reflection of places, people, and the passage of time. The 2027 North American tour marks a long-awaited return to the region and a new chapter for one of indie music?s most singular voices.

Doors open at 6PM. Performance begins at 7PM. This show is for ALL AGES. House of Blues Chicago is a standing room only venue, all tickets are General Admission unless otherwise stated. *All support acts are subject to change without notice.* Upgrade Your Experience: https://www.sevenrooms.com/events/hobchicago/hobwebsite