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Mitski Be The Cowboy

Mitski Sells Out The Vic Theater on her "Be The Cowboy" Tour

Mitksi continued her Be the Cowboy tour yesterday at a sold out show at The Vic Theater. This was my first time seeing a sold out show at The Vic. I was, somewhat naively, surprised when I arrived 30 minutes after doors opened to see the venue was absolutely packed with people (several of whom were wearing cowboy hats.)  

The Overcoats, a New York based electro pop duo, opened the show. The crowd responded really well to their upbeat music. The two singers had really great chemistry on stage. You could tell they were really great friends.

Shortly after The Overcoats left the stage, Mitski in all her glory walked on. She had isolated the stage so that she made use of the huge space. Mitski wore ballet shoes and knee pads so that she could roll around during her set. Her voice was absolutely beautiful and resounding. It filled the whole room. Not only did she use her voice as expression, but she also used her body. Her songs are so deep and personal, but this intimacy is masked by distorted guitar. The way she moves her body on stage reflected the weight of experience that these songs were based off of. It was a way of connecting her lyrics to her real emotions. She ended one song face down in childs pose, reverting back within herself.

Several time she broke her stoic character to express her gratitude to the crowd. She said that she wrote all of her songs alone in her room, so it’s touching that so many people relate to it that she’s able to sell out a venue. It makes her feel less alone. Evenstill, you could tell Mitski was not super comfortable being the center of attention. I feel like she used her choreography as a way to remove herself from the fact she’s performing in front of so many people, and basically publicizing her most personal insecurities and experiences.

Most of the songs Mitski performed were off her new album, Be the Cowboy. Mitski ran back and forth across the stage in “Why Didn’t You Stop Me” and “Me and My Husband.” The crowd absolutely lost it when she played her hit song, “Nobody.” 

Mitski said a lot of her new album is inspired by archetypes. “Me and My Husband” tells a story about a stereotypical housewife, whose identity is attached to her partner’s. The title of the record, “Be the Cowboy,” is also a social commentary. Mitski explores the common American image of the cowboy, a hypermasculine figure who is sort of a “lone ranger,” and someone who is able to have intimate relationships with women and then just leave detached. Mitski wants to reclaim that, or “Be the Cowboy,” and challenge the notion of unaccessible masculinity.  

“Be the Cowboy” broke the record for most number of weeks at #1 on the NACC’s charts. Her album is out now on all platforms.

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Tyler Childers & ONA play Thalia Hall

On Sunday, October 21, Tyler Childers’ performed his first headlining tour at Thalia Hall with ONA as the opener. As an ex-country music concert goer, I was looking forward to a night of nostalgia, but it turned out to be more than that. 

From the moment I walked into one of my favorite venues in Chicago, Thalia Hall, the atmosphere was lively, happy, and excited. I arrived shortly after the opening band started. I started my night off on the  floor with the diverse crowd that reminded me of the unique fusion of different genres of music that makes up the sound of Tyler Childers.

            ONA, the openeing indie-rock band, is made up of five longtime friends from Huntington, West Virginia including keyboardist Brad Goodall , Bradley Jenkins as leads vocals and guitarist, bassist Zach Johnston, drummer Max Nolte, and guistairst Zach Owens. They brought such a huge crowd to the show that they could have been mistaken for the headlining act. The band’s energy poured out into the crowd, most who were singing along to every song. As ONA announced that they have a few songs left, they also added that they will be back to play in Chicago soon, but didn’t say when. For their last song, they played their song “Forever Young,” which was a personal and crowd favorite. After their last song, the crowd kept chanting “One more song! One more Song!” Despite the fan’s efforts, ONA didn’t do an encore, and ended around 8:50pm.

            As the crowd waited for Tyler Childers to come on, many ordered drinks, food, and moved around. The majority of the crowd was already there for the opener, but some attendees were entering around this time was well.

Childers, is a 27 year old singer/songwriter from Lawrence County, Kentucky. His music is a fusion of bluegrass, country, and folk music with a little bit of rock thrown in the mix. Childers writes all his lyrics, and his lyrics tell a story. His unique sound earned him the award as Emerging Artist of the Year at September’s Americana Honors & Awards. 

Around 9:15, Tyler Childers and his band of four other members took the stage. After Tyler introduced himself to the crowd and they cheered, he said that he “wished that he would always get that kind of applause everytime he said his name.” Childers’ and the band started the night off with upbeat country song, "Whitehouse Road",from his first debut LP, Purgatory. One of my favorite songs that really showed the fusion of folk, bluegrass, and country that make up his sound was his second song of the night, "Deadman’s Curve", which you can find on the album, "Live on Red Barn Radio I & II". The combination of Tyler’s voice and the instruments, especially the violin, gave the song the unique sound.

In the middle of his performance, Childers paused to share a story about when he performed in Circleville, Ohio . Childers’ and his band were given some ‘gummies’ and visited the Circleville Public library where they indulged in more of the candy. By the time they took to the stage, Childers’ said that he couldn’t remember the lyrics to the songs that he wrote. During that show, he looked back at his drummer, Rodney Alkins, and asked “Hey man, you wanna play something?” and he handed Rodney his guitar, and for about 25 minutes he played the song “Country Gold” while Childers tried to get himself together. He continued by saying that earlier when they were at the library, he wrote a song called “Country Squire,” which he then transitioned into playing. 

            Tyler Childers and his band played a mixture of upbeat songs about being in the country and sweet, slow, love songs. He also debuted a new song, “Every Loving Hand", about being away from your significant other and being lonely while trying to stay faithful to them. After playing 18 songs, he ended with the 19th song on a slow note. It was only Tyler and the violin player on stage, and they played Childers’ song “Lady May,” which is named after his wife, Senora May. It was a beautiful way to end the night. As Childers’ thanked the crowd for coming and walked off stage around 11pm, the crowd and myself were cheering for an encore, but unfortunately wasn’t indulged in as he had with the aforementioned gummie. 

Lisa McAuliffe


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Melting Emo Hearts Around The World - Swearin' Play The Lincoln Hall

Philadelphia band Swearin' hit Lincoln Hall this past Thursday the 18th in support of the new album Fall Into The Sun, along with fellow Philly rockers Empath. WLUW team members Olivia Cerza, Scott Clancy, and Elise McGannon were there and present to you their account of the evening's concert: 


Philadelphia seems to be a bit of a hotbed lately for noise rock. Bands like Spirit of the Beehive and Mannequin Pussy rip through the City of Brotherly Love and beyond and right up there with them is my favorite Philly band - Empath, who were opener number two for Swearin’. Look up the band on Bandcamp and there isn’t much more than a handful of songs put out on tape that bubble warm, lo-fi bombasts. Among the swirls of noise you can make out moments of melody and hooks played by a band of guitar, drums, and two noisy synths.

The band members have a unique look...they all have the same hair - this sort of crudely cut blonde bang situation with sort of long locks. It’s kind of freaky but it’s also cool - much like their music. In a live setting the songs, a lot of which I didn’t recognize from their two tapes, played with much more of a jangly guitar sound and a little more clarity. The raucous quality wasn’t quite as strong which I think is a trademark to the band though my favorite of their songs - “Scout’s Song” which closed the set, sounded really great, nice and noisy and it makes me happy to see the band moving beyond the basements of Philadelphia.

-Scott Clancy


They’re back! After a 3 year hiatus, Swearin’ has reunited to melt emo hearts all around the world. As their set opened with “Big Change,” the crowd sang along to the lyrics “we are like mutants who found each other by chance through rock-n-roll music.” Crammed into a crowd of both new and old Swearin’ fans, this lyric seemed like a perfect testament to just how vital these music spaces and communities are to all of us mutants. Chicago welcomed Swearin’ back with open arms, as did Lincoln Hall, who, with fancy fun lights and a wonderfully operating air conditioning system, did not disappoint as a venue. Swearin’ bounced between a wonderful blend of both new and old songs, including “Dogpile,” “What a Dump,” and “Kenosha,” a clear crowd favorite. Bandmates Allison Crutchfield, Kyle Gilbride, Jeff Bolt, and newcomer Amanda Bartley flew between songs, sharing smiles with one another just like old days. In classic Swearin’ fashion, Crutchfield and Gilbride passed the mic back and forth between songs, showcasing their foil characteristics in songwriting, one of the most special Swearin’ signatures.

Between Swearin’s set and encore, Crutchfield gifted us with a solo performance of “Anyway” under a spotlight all by her lonesome. And you guessed it, folks, I cried a whole lot! At the core of all of their typically loud songs are simple yet powerful lyrics that’ll just tear your heart apart, and this little moment of stripped down vulnerability that Crutchfield shared with the audience was just the best.

With an encore performance of “Grow Into a Ghost,” their first very first single after announcing their 2018 album Fall Into the Sun, Swearin’ reminded the crowd of the magnitude of this reunion. The energy behind this performance was electric, and as it spilled over the crowd, I couldn’t help but realize how special of a comeback this was to have witnessed.

-Olivia Cerza

  <------ Fall Into The Sun is available on Merge Records

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The Pygmalion Festival 2018 Review

Established in 2005, Pygmalion is the baby of Co-Producers Seth Fein and Patrick Singer. The larger than life lineup performs at various venues tucked away Champaign-Urbana, Illinois such as The Canopy Club, the Independent Media Center, and a public street stage. Besides attending concerts and mingling with artists, festival-goers can also buy artisan goods, handcrafted items, and food from local vendors.

Pygmalion is, and always will be, a staple to WLUW's festival season for it's relaxed setting and casual crowd. Check out the recap and review of this years fest below!

Thursday–Sept 27th

Whitney (Duo)

It wasn’t too long since we last caught Whitney performing, (heck, you can check it out here if you’re interested), however this performance was a once-in-a-lifetime experience.

Max and Julien left the rest of the band in Chicago, and came down to work through some new songs in front of a live crowd. With Julien playing an acoustic guitar, instead of being behind a drum kit, and Max questioning why there was a microphone set up in front of him, the intimacy of the performance carried from the stage to the back of the auditorium.

From what seemed to be a jam/practice session between the two, Max and Julien performed a mix of songs from their debut record, “Light Upon the Lake”, and a few new tracks from the forthcoming sophomore record. Prior to playing some of the new tracks, Julien apologized to the crowd as they wanted to play the new songs, however they weren’t finished yet, both lyrically and musically.

One of the three new songs performed has a tentative title: “Day and Night”. A graceful song about love in the city, Julien introduced the track, and double checked with Max that he has his capo on the right fret. The two other new tracks the duo worked their way through (even having to stop a song, and pick it up due to a little mess up) were tentatively titled “My Love” and “Dancing Slow”. Toward the last of their set, Max reminisced over his first time playing Pygmalion, where he opened for Unknown Mortal Orchestra and drank underage at the disposal of generous bartenders–which got a good laugh from the crowd. The duo closed the intimate set with “No Woman,” as everyone in the theatre hummed and lightly sung along.

-Kaylie Plauche & Paul Quinn

Diet Cig

I’ve seen Diet Cig far and wide, but watching them through a packed crowd in Canopy Club’s front room was definitely a treat. Rocking a large black knee brace, singer and frontwoman Alex Luciano still gave the crowd her all. The indie-rock duo played fan favorites “Barf Day,” “Sixteen,” and  “Harvard.” Alex also made a point for the crowd to register to vote in for their local elections coming up at their merch booth where they gave aways free stickers and collegiate banners to those who did register. At the end of the show, the band beckoned the sound engineers to play “Cha Cha Slide” as they exited the stage while the entire crowd joined into dance.

-Kaylie Plauche





Friday–Sept 28th


This was my third time seeing JPEGmafia play, and all I can say is that man KNOWS how to put in a show. The first time I saw him play, it was to a crowd of hundreds at Concord Music Hall. This time, it was to a crowd of roughly 100 (and that’s being very generous). Either way, his set had so much energy. JPEG ran into the crowd several times, and elicited a mosh pit of about four people. Seeing him keep the energy up in such a small venue was truly inspiring.

-Carolyn Droke

Kweku Collins

The Evanston native, signed to Chicago record label Closed Sessions, casually strolled around the venue to greet fans, friends, and family. The coolest thing about Kweku, beside that he tends to dress like “Arthur,” is his friendly demeanor and humility. He played a majority of his set from his debut album “Nat Love” (“Stupid Roses”) and more recent releases such as “Jump.I” from the EP “Grey.” In the middle of his set, he made a point to talk about his own personal conception of race (being biracial himself), sexual assault, and consent within daily life as well as in the music industry. After his set, Kweku stuck around to sign fans merchandise and take pictures before heading back to Chicago.

-Kaylie Plauche


Cuco was definitely the most packed show of the night, to my surprise. Fans were screaming for at least 20 minutes before the 20-year-old graced the stage. He shouted out the latinx crowd several times in the set, which seemed to get a huge response. Cuco had a fairly large band with him, about five other members that he shared the stage with. Although Cuco himself didn’t play an instruments, he did whip out his trumpet for a few solos. Towards the end, he played his most popular songs “My Lover is a Day,” and “Amor de Siempre,” and “Lo Que Siento.” He even got the crowd to start a circle pit, which was impressive considering he’s a bedroom pop artist. We ended up seeing him after the show, and he was completely swarmed by fans.

-Carolyn Droke

Mount Kimbie

Unfortunately, nearly everyone left the venue after Cuco, which means they missed Mount Kimbie. And let me tell you, they MISSED OUT. There were roughly only 50 or so people in the room when Mount Kimbie’s set ended, but it was absolutely incredible. This was my first time seeing Mount Kimbie live, and my eardrums have not been the same since. Their light show was entrancing, including the visuals they projected on screen behind them. They played their hits like “Blue Train Lines,” and “Marilyn”. Although King Krule didn’t come out on stage, it was still as beautiful as I could have possibly imagined.

-Carolyn Droke


Saturday Sept 29th

Playboi Carti

Despite being late by 20 minutes, Playboi Carti still put on a hell of a show with limited time. The rapstar came out on the stage and the crowd instantly erupted like a volcano. Security had to push back people spilling over the barricade and escort rowdy individuals out. Carti’s hypeman egging the crowd on to open up a mosh pit didn’t help the situation. Carti performed many of hits such as “New Choppa,” “Do That Shit,” “Wokeuplikethis*,” “Lean 4 Real,” and “Poke It Out.” Throughout his set, he got down to it, stripping off layers of clothing and dripping in sweat. Fans swarmed to one side of the venue when he threw his t-shirt into the crowd. The rapper also gave an emotionally intense go at the song “Home (KOD)” that took fans such myself by surprise. For his last song he popped off to “Magnolia” and displayed his body with with crucificatory form onstage to the song “Fucked Up” by Xxxtentacion & Ski Mask The Slump God.

-Kaylie Plauche

Post Animal 

Post Animal hosted, what seemed to be, the second Polyvinyl party at Pygmalion (and also the final Polyvinyl artist to perform). Taking the stage at 1am, yes, 1am, the band had to compete with festival attendees with Playboi Carti performing at the same time across town. However, fighting the struggle of having such a late show and competing with Playboi Carti, Champaign-Urbana showed up. Having gained some attraction as “the band who had Steve from Stranger Things in it”, a packed room and a rowdy crowd made the evening one of the festival’s highlights. Performing the majority of the songs from their debut album “When I Think of You In A Castle”, Post Animal performed one of the loudest sets at the festival (with help coming from three different guitarists). Chicago - if you haven’t seen Post Animal yet, not the type of band you wanna miss out on as they konw how to put on one heck of a show.

-Paul Quinn

Frankie Cosmos

Frankie Cosmos was in her element at Pygmalion Festival. She played to a standing room of about 75. Her shrill voice echoed throughout the room. Frankie Cosmos seemed to be on autopilot during this show. She didn’t spend much time talking to the crowd or announcing songs. She played all her hits. I don’t normally listen to Frankie Cosmos, but I will say one song I can tolerate is “Young.” I was prepared to get up and start moving when the beat hit, but instead of hearing the familiar opening line, I heard the strum of a guitar. Frankie Cosmos decided to make this an acoustic rendition, much to my disappointment. The crowd filed out after her short set ended.


Having never played Champaign-Urbana before, Frankie Cosmos filled the venue with fans who have been waiting for this moment for some time now. Coming on the stage in shy and reserved manor, Greta Cline and her band led the swoon/dance party at an early show at the festival. Performing songs dating back to her first record (2014), Frankie Cosmos performed an expansive set, featuring fan-favorites such as “If I Had a Dog”, “Young”, and “Jesse”. A highlight of the performance was them playing “Being Alive” and watching the crowd dance hard to the upbeat moment of the song, then watching the transition to a heartfelt sing-a-long of the chorus when the tempo slows down. Giving the audience a good taste of the Frankie Cosmos catalog, Greta talked to and thanked fans as they were being ushered out after the show.

-Paul Quinn

V.V. Lightbody

With a tightly knit crowd of about 30 people, I never thought I would be able to witness such an intimate set with V.V. V.V's smooth guitar playing toppled with her vibrant voice created such a great aura for an awesome night. With every song, the crowd couldn't help but gravitate closer, dedicating their silence to V.V and her band's full sound. Playing songs like “Fish in Fives” and “Fig Leaves”, Vivian kept her crowd in a constant sway. Combatting the windy, cold air from outside, V.V's songs forged a warmth that tastes like a hot chocolate and felt like one big hug. Truly a magical experience.

-Austin Edington


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Death Cab for Cutie

Death Cab for Cutie's Dave Depper chats with WLUW about new album Thank You for Today

Death Cab for Cutie is a band that’s really close to my heart. I don’t remember how I first came across their music, but it was 2007 and “Your Heart Is an Empty Room” off Plans was the anthem of my preteen years. I didn’t know what the term “angst” meant, but staring longingly out the backseat window of my parent’s Volvo listening to “Bixby Canyon Bridge” on my orange iPod Nano was a regular occurrence. I grew up in Seattle, near the birthplace of Death Cab and they regularly played shows around the city. They were my first concert, and I’ve talked about this particular show countless times over the years.

Death Cab for Cutie is still a band that Seattle cherishes, especially with the decline of the music scene. When people think about Seattle, most of the time they picture flannel sweaters and Kurt Cobain. Although there is definitely still an excess of flannel sweaters, the tech boom (thanks Amazon) has made the city nearly unrecognizable in the past five years. Rent prices have surpassed those of San Fransicso and Seattle’s music identity has waned. Iconic bars and restaurants continuously get torn down and converted into luxury condos. The city seems to be in a constant flux of demolition and construction.

Many have had trouble coping with this identity loss, which is why there was huge backlash in June when it was announced that historic music venue The Showbox would be closed and converted into an apartment building. Thankfully, many musicians and concerned citizens united to protect The Showbox. Death Cab for Cutie’s front man Ben Gibbard was the face of this movement. Gibbard reached out to over 170 musicians including as Pearl Jam, Conor Oberst, Dave Matthews, and Dinosaur Jr to sign a petition to stop demolition. In August, Gibbard went in front of City Council and was able to get The Showbox listed as a historical site in a unanimous decision, effectively saving the Showbox.

I was able to catch up with Death Cab for Cutie’s guitarist, Dave Depper, on the phone to talk about all these changes Seattle has seen recently, as well as their new album Thank You for Today. 


Carolyn D: Hey Dave, how’s it going? I understand you have really busy schedule, so I appreciate you taking the time to chat!

Dave D: Good! I appreciate you taking an interest in the band.

Carolyn D: Definitely! Actually, I grew up in Seattle and Death Cab for Cutie was my first concert I ever went to. I still have the t-shirt.

DD: Oh, That’s amazing, where was that at?

CD: Marymoor Park in 2007.

DD: Oh man, old school. That was the Plans tour, right?

CD: It was! So, Thank You For Today came out just over a month ago. How has the response been so far? 

DD: We’ve all felt pretty great about it. Reviews have been really nice, and fans seem really engaged with it. We felt like we made a good one, and we’re happy to see that most people agree. It felt good making it, and we were all confident that we had done right by the band at the end. The new songs have been going really well live so far.

CD: This is your first album that you helped write and record with DCFC. Talk about the process of writing this album. Has it been different than other bands that you’ve been with in the past?

DD: It’s been similar in some ways and different in some ways. I mean, this band clearly, song-writing wise, is very driven by Ben Gibbard’s songwriting vision. And I’ve definitely been in bands with that type of arrangement before. He for the most part writes the songs and sends them around to us. We would listen to it and give him feedback. We’d vote on them or give him feedback and say if we’d love one or if one wasn’t working as much. I will say that I’ve never been part of a band where the main songwriter is so prolific. Ben wrote so many songs for this record. He was really focused on picking out the best ones. His work ethic is amazing. There was a very exciting period where we’d all get an email from Ben every day with a new song attached. Sometimes twice a day, but certainly once a week, for months. As someone who’s loved DCFC for a long time, that’s fucking cool. It was pretty special. I contributed a little songwriting to the song Gold Rush, which some chordal and melodic changes to the bridge, but Ben pretty much wrote that song on his own other than that.

CD: Cool! I was actually going to ask you about that song Gold Rush, in particular. Just being from Seattle I definitely relate a lot. I live in Chicago for school and I visit Seattle probably once every six to eight months and I definitely resonate to the part of the song where Ben talks about feeling like a stranger, just because it’s so different every time I go home. It’s shocking to see that just in the short amount of time, six to eight months, so much as changed already. I know that you didn’t grow up in Seattle, but you have lived in Portland. Have you experienced similar changes?

DD: I didn’t grow up in Seattle, but I lived in Portland for 15 years, and it’s a song that resonates deeply with me as well. While I live there, I’m often gone for a really long time. Even now, I’m going to be gone for the next six months at least and I feel like every time I come home, it looks totally different. This spot that I had a memorable first date, or break-up, has been torn down and replaced by condos. My favorite bar from when I was 25, where I had a job interview that changed my life. Just things like that. They’re all gone. That’s really what the song is about. What do you do once those places are gone? Does that memory mean the same thing to you? Can it still live on despite the fact that it’s physical presence has been excised?

CD: Yeah definitely, and I feel like having all these places where you hold memory to, once it’s gone, the memory almost changes. Especially since you don’t have that constant reminder when you walk by, “Oh, this is where that girl broke-up with me,” you know?

DD: *laughs* yes. Luckily most women break up with me in public spaces.

CD: Well, at least it’s not over text, right?

DD: Is it though???

CD: True. Not as public. So, speaking of things being torn down and turned into condos, I know that Ben really spearheaded the Save the Showbox campaign, but did you have any part in that and can you talk about watching that whole process happen?

DD: Yeah, I have less of a dog in the fight, being less of a Seattleite. But I have played the Showbox many times and have been to many memorable shows at the Showbox. It’s been pretty inspiring to see Ben care so much and to take some real action with Seattle City Council. So I can’t take any credit for that movement or getting it going, but I’m very proud to be getting his back on that one. It’s just so sad what is happening to Seattle at this completely unsustainable rate. The Showbox just hurts so bad compared to so much of what’s going on. Portland has those spots too and I’m equally sad about them.

CD: Maybe you can spearhead some saving of places in Portland.

DD: I would like to, there’s certainly no shortage of them right now.

CD: You mentioned earlier that you were a DCFC fan before joining the band. Do you have favorite albums or songs in particular by them?

DD: My favorite album, I announced it online and there was kind of a controversial response. But my favorite is Narrow Stairs. I don’t know because it’s tied to a particular time in my life where that album had a lot of meaning to me. I really adore that record. I really love playing songs from it. In terms of actual songs, Transatlanticism feels like a dream every time we play it. At this point, I’ve been in the band for four years. I’m used to it. I’m used to this way of life. But every single time we play that song, it’s just magic for me. I cannot believe that I’m playing that guitar riff and I cannot believe that I get to just go into this trance-like state for eight or nine minutes and see people crying in front row listening to it as well. That’s my favorite for sure.

CD: That’s awesome. So I know you’ve only been in the band for four years, but do you think that your listenership demographic has changed throughout the years? Do you notice different kinds of people are coming to your shows or do you think that it’s a solid fan base that’s been there since the beginning?

DD: When I joined the band, I really had no idea what the demographic was going to be like at the shows. Is it going to be aging indie rockers like me? Am I just going to be looking back at a crowd full of 35-45 year olds? The answer was no. Those people are there but there are still teenagers and people in their early 20’s and older people too. This band is in this really amazing spot of continuing to have radio success without turning completely into a legacy act yet. We’re all very self aware and know that there is some aspect of a legacy band label creeping in, but can still play new songs from our new albums and have people greet them warmly. We’ll still hear ourselves on the radio and there’s still these fans being picked up whose relationship with DCFC started with “Kintsugi” and that’s an amazing spot for a band 20 years in to be.

CD: That’s good to hear. I know that you’ve been in music for a long time. What advice would you give to young people who are just starting out in music?

DD: We were all talking about this the other night actually. Something that I wish that I had known when I was going to school and doing music is I just didn’t know what working in music meant. I only had a vague idea. I didn’t have any idea of the variety of jobs in the music industry. I thought that just once a band had gotten to a certain size, it had a roadie or two, or maybe lots of roadies. You just played in a band until you got there. I didn’t know the various levels of working at a record label or a PR firm. So I wish I had been more educated about the sort of music industry ecosystem and understood how all those jobs interacted with each other, and done some of them in addition to being a musician. I feel like I know a lot of people who really want to get into music and don’t really know where to start. I would say just find out about these jobs. Try them. See if you could be an intern or a volunteer. Just be a merch grunt, and learn at the feet of people that are doing this kind of thing. Something will probably resonate with you, and it might not be the kind of job you knew existed. In terms of being in an actual band, I’ve always said that no matter how good you are, there’s always going to be someone better than you. Be the person that other people want to ride in a van with for ten hours a day. Be good at what you do, but also just work at being a good human being. If it’s between you and somebody else with a good skillset, and they’re just a cooler hang, they’re going to get a gig. So be the person you want to hang out with.

CD: That’s great advice, thank you so much Dave!

DD: Definitely, hope to see you in Chicago!

Thank You for Today is out now on all platforms. Check out Death Cab for Cutie on Facebook, Twitter, and Instagram

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