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« Chicago at SXSW 2014: First Look Review: Brendan Bayliss and Jake Cinninger Acoustic Holiday Show »

Concert Thu Dec 12 2013

The Kills and U.S. Girls Rocked the Vic

When they started out as a band, The Kills had very minimalist songs and a mysterious aura. Instead of being Jamie Hince and Alison Mossheart when they performed, they were Hotel and VV. They embraced a cool aesthetic that shunned traditional popularity. Comparisons to The White Stripes were inevitable, but through years, The Kills have changed their tune somewhat (so to speak). Their last two albums added a more varied production to their minimalism. It's hard not to see them as bigger and a bit less mysterious given Hince's marriage to Kate Moss and Mossheart's collaborations with Jack White. But all of these notions fell to the wayside when they started playing their set at The Vic Monday night.

Opening for The Kills was U.S. Girls, an eccentric and very experimental project of Meghan Remy. Usually Remy performs alone, with only some loopers and mixers to fill in for live musicians. However, this performance featured a very full band accompanying her on stage. After a very quiet and humble greeting to the crowd, loops of electronic noise filled the Vic. It was a loud abstract prelude that slowly introduced Remy's penetrating voice. Moments later the band tore into the song, instantly making U.S. Girls' music sound fuller and more complete. The live drumming especially added an interesting depth to the songs. "Island Song" started off with her haunting vocals before being transformed into a bouncing rhythm barely recognizable from the way it sounds on U.S. Girls on Kraak. Even with all the help, Remy still utilized some familiar equipment from her completely solo shows. She could be seen occasionally crouching down and fiddling with knobs on her mixers, creating interesting transitional pieces that allowed the songs to flow into one another. Unfortunately this seemed to extend their set and caused it to end prematurely with Remy teasing the audience about an unplayed Bruce Springsteen cover.

A leopard print background slowly descended as The Kills came on stage. Hince determinedly sauntered to one end of the stage while Mossheart slinked to the other. They were accompanied by two drummers who looked straight out of the 50's with their leather jackets, slicked back hair, and red bandanas tied around their necks. The drummers stayed behind their three piece drum sets for the duration of the show, holding up their drum sticks in the form of Xs when not playing. It was a theatrically charged entrance that was perfectly capped with the heavy rendition of "No Wow".

The Kills have a stage presence like no other. Hince rocked back and forth as he methodically played his guitar, one point shredding his guitar with Mossheart's mic stand. His movements were vicious while playing "Fried My Little Brains," where Hince stood over the crowd virtually attacking the audience with his amazing guitar work. During the encore he admitted to playing without any feeling in one of his fingers, adding to his already impressive prowess. Mossheart was the most active on stage, seductively strutting from end to end. Her hair and clothes blew in the wind as she continually switched roles. One moment she would be playing guitar by Hince's side, then move over to the keyboards; all the while belting out songs in her sultry voice.

The setlist spanned their career, although No Wow was the least represented with only its title track being played. Old favorites from Keep on Your Mean Side sounded like mantras, played with a furious intensity. "Monkey 23" in particular felt completely new and fresh after all these years. "Black Balloon," their modern cover of the blues standard "44 Blues," off of Midnight Boom captured The Kills in a very iconic moment. Their wire thin bodies were bathed in a bright pink light; the leopard print background flashing various colors across it's screen. "Sour Cherry", the final song of the night, really turned the Vic on its head. The audience jumped and hollered, moving with every frantic beat of the song. Like any great performance, The Kills left the Vic with the crowd wanting more.

Too Short / December 12, 2013 5:53 PM

The Kills left the Vic with the crowd wanting more because their main set was only an hour long. And with tix at nearly $40 a pop (what with all the in-convenience fees tacked on) that's what one calls being ripped off, regardless of how awesome they are (and, they are).

And while Meg Remy is adorable, her voice, especially live, sounds not just like a cat being tortured, but like a cat that was given helium being tortured - and, in protest, it proceeded to scrape its little claws against a chalkboard. A chalkboard that was covered with other live, tortured cats. The music accompanying her was awesome. But that voice? No, thank you.

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Classical Tue Apr 01 2014

Pulling Strings: For Classical Music in Chicago, You Got a Guy - April 2014

By Elliot Mandel

Love fugues? Dig counterpoint? Get your fix this month as the music of J.S. Bach fills the city. Plus, don't miss a Chicago debut and all five Beethoven cello sonatas.

Read this feature »


  Chicago Music Media

Alarm Magazine
Big Rock Candy Mountain
Boxx Magazine
Brooklyn Vegan Chicago
Can You See The Sunset From The Southside
Chicago Reader Music
Chicagoist Arts & Events
Chicago Music Guide
Country Music Chicago
Cream Team
Dark Jive
The Deli Chicago
Jim DeRogatis
Fake Shore Drive
Gowhere Hip Hop
The Hood Internet
Jaded in Chicago
Largehearted Boy
Little White Earbuds
Live Fix Blog
Live Music Blog
Loud Loop Press
Oh My Rockness
Pop 'stache
Pop Matters
Resident Advisor
Sound Opinions
Sun-Times Music Blog
Theft Liable to Prosecution
Tribune Music
UR Chicago
Victim Of Time
WFMU's Beware of the Blog
Windy City Rock


Abbey Pub
Andy's Jazz Club
Aragon Ballroom
Auditorium Theatre
Beat Kitchen
Bottom Lounge
Buddy Guy's Legends
The Burlington
California Clipper
Concord Music Hall
Congress Theater
Cubby Bear
Double Door
Elbo Room
Empty Bottle
Green Mill
The Hideout
House of Blues
Kingston Mines
Lincoln Hall
Logan Square Auditorium
Mayne Stage
The Mutiny
Old Town School of Folk Music
Park West
Red Line Tap
Reggie's Rock Club & Music Joint
The Riviera
The Shrine
Symphony Center
Tonic Room
Uncommon Ground
Ultra Lounge
The Vic
The Whistler

  Labels, Promoters
  & Shops:

Alligator Records
Beverly Records
Bloodshot Records
Dave's Records
Delmark Records
Drag City
Dusty Groove
Flameshovel Records
Groove Distribution
He Who Corrupts
Jam Productions
Jazz Record Mart
Kranky Records
Laurie's Planet of Sound
Minty Fresh
Numero Group
mP Shows
Permanent Records
Reckless Records
Smog Veil Records
Southport & Northport Records
Thick Records
Thrill Jockey Records Touch & Go/Quarterstick Records
Victory Records


Wed Apr 23 2014
The Knife @ Aragon

Thu Apr 24 2014
LP Marketplace Record Swap Party

Fri Apr 25 2014
Biggest Mouth Contest @ Metro

Sun Apr 27 2014
Loop @ Bottom Lounge

Mon Apr 28 2014
Peter Wolf @ Space

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