The city was bustling with foot traffic from a plethora of events happening over the weekend, but only Beyond Wonderland was worth going to. The long march towards the venue was all worth it once welcomed at the colourful gates. The Alice in Wonderland theme is always enjoyable to take part in. The first day was perfect to walk around and get the lay of the land to locate all 4 stages. Across the festival grounds were pop-up art installations surrounding carnival rides, along with actors walking around dressed up as characters from the novel to take photos with. More than a dozen attendees dressed as the Mad Hatter, but not enough dressed as the main character, Alice or the villainous Red Queen. 

Speaking of the Red Queen, the Queen’s Domain stage was the biggest setting fit for royalty. It only made sense that DJ Snake got it rocking with the successful run recently. DJ Snake got the packed crowd hyped by opening with his remix of ISOxo “F**k The Speakers Up”. The loud sirens ignited the fans’ excitement immediately. He kept the party going with his iconic Lil Jon collaboration track, “Turn Down For What,” followed by “Lean On” with Major Lazer. DJ Snake filtered out the chorus vocals of MØ, transitioning into UK drum and bass. He then requested the audience to turn on their phones’ flashlights to light up the scene for throwback tunes “Middle” and “You Know You Like It”. DJ Snake proceeded to turn up the heat with reggaeton jams with Daddy Yankee’s “Gasolina” and his Latin America track “Taki Taki”. 

At the Mad Hatter’s Castle stage, many gathered, eager to see Rebecca Black’s DJ set. The pop singer has come a long way since her “Friday” debut. A light drizzle began to pour during her set, which only awakened the crowd’s enthusiasm for her set even more. She started with “Sugar Water Cyanide” before leaning into more provocative techno and house music with explicit lyrics. She then went for more pop playing hits like Rihanna’s “Rude Boy” and Black Eyed Peas “Fergalicious”. She even played a remix of the iPhone ringtone, telling the crow it was their exes calling. Many were pleasantly surprised by her skills behind the decks, and it was great to see her mastering different elements in music.

The Caterpillar Garden tent is where all the House music fans camped and grooved for the weekend. One of the biggest names of the event was Chicago legend, Green Velvet. The energy in the tent was immaculate as fans waited to welcome Green Velvet back home. Once on stage, he wasted little time getting the mood right with speakers so loud you could feel the bass in your chest and cause your ears to ring.

The atmosphere was on point as actors on stilts danced by interacting with the front row, and a sea of bubbles fell from the ceiling. Green Velvet played unique blends of Pink Floyd’s “The Wall” and Sharam’s “PATT,” a modern mix of Eddie Murphy’s 80’s classic “Party All The Time”. Of course, it was only right for him to play “Percolator” and “Brighter Days,” two tracks that are synonymous with Chicago house music and pretty much the city’s anthem in the summer.

Alan Walker arrived to the Queen’s Domain stage to a huge ovation. The Norwegian DJ made sure to give the devoted audience by playing favourites “The Spectre” with vibrant aesthetics. He hit people in their feelings with “On My Way” and “Alone” before ending his set with the epic track, “Faded”. Fans stayed at the Queens Domain stage and rallied for Tiësto to close out the weekend, who started the set with his newest single, “Don’t Lose Your Head”. From there, he continued mixing trance with heavy bass with beautiful visuals and pyro that left fans in awe.

Beyond Wonderland Chicago is always a fantastic weekend to experience music. Even with past events getting rained out, fans continue to support the festival because we desperately need more EDM events at the beginning of summer. Since bringing the celebration to the Windy City in 2024, the festival has grown as a destination, earning the name of Insomniac’s marquee title.

Insomniac has shown its commitment to continue to expand the event by recently announcing the fest will be moving location to Chicagoland Speedway and will be a 4-day event starting in 2027! This will turn the event into a camping festival, something many have wanted to experience. While the event is a year away, we here at Quip can only imagine how big the folks of Insomniac plan to go with art installations and the lineup for the new location.

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This year, a must-attend event was sponsored by Warner Music, who took over the iconic La Casa Del Pueblo Supermarket in the Pilsen neighbourhood. Turning the grocery store into an exclusive club was a trip to witness. Walking through the entrance, you saw every Latin flag represented. A DJ booth was set up in the produce section, spinning classic hip-hop and reggaeton, food served over the carneceria counter, and drinks and photo booths spread throughout the store. It was a great space to connect with other creatives and brainstorm collaboration ideas. 

Excitement was at an all-time high on Day 1 as the weather finally allowed summer attire. Devastating storms interrupted the festival in the past, so we all watched the forecast vigilantly. Luckily, Danny Ocean was on stage to provide the good vibes with “Me Rehúso”. The Venezuelan singer performed a few tracks from his Babylon Club album, such as “Vitamina” and “AyMami”. He even surprised the audience by doing a brief cover of Maná’s “Oye Mi Amor”.

Clouds took over the city skyline, causing a hazy fog, which was the perfect backdrop for Kali Uchis, who arrived on stage in a white carriage. Her backup dancers waved white feathered fans add to her angelic elegance. Kali’s aura was on point, melting our hearts with “Moonlight”. She made sure to play plenty of tunes, getting the crowd twisting their bodies to “Labios Mordidos” and “Sad Girlz Luv Money”. Kali hit the nostalgic emotions when she performed the deep cut “Loner” before singing her breakthrough collaboration tracks with Tyler the Creator, “After the Storm” and “See You Again”. It was only right for Kali Uchis to end her magical set with “Telepatía”.

J Balvin had closing duties for Day 1, and he has more than enough tracks to carry the excitement to the end. The Colombian singer is one of the biggest artists in the world, and his performance was a good reminder of why. He opened with tracks from Colores, and all the pyro and backup dancers added to the atmosphere of his superstardom. This set was a reminder of the many ways J Balvin has left his mark on the genre, including his many collaborative tracks with artists Cardi B, Bad Bunny, Ryan Castro and DJ Snake. J Balvin rounded things up with some of his first big hits like “Ay Vamos,” “Mi Gente,” and “In Da Getto”.

Day 2 carried through with the same energy, fans exploring the different stages and photo pop-up opportunities. One key component organisers have done to facilitate a better flow of traffic is introducing 2 smaller stages, allowing DJ’s to keep the party going. One DJ everyone was hyped to see was Deorro at the La Fuente Stage. The Mexican-American DJ has had success in the States for his ability to give his audiences the right blend of Latino dance tracks with modern American pop music. His most famous track, “5 More Hours”, for example, is done in collaboration with Chris Brown. He even brought out the iconic Mexican Norteño band Los Tucanes de Tijuana for their song “Yo Las Pongo,” which is a unique mix of old school traditional Mexican style with new age electronic.

Speaking of Los Tucanes de Tijuana, they performed an outstanding set at the main stage to a beautiful ovation. Being around since the 1980’s, many of us grew up listening to Los Tucanes de Tijuana from our parents. It was wonderful seeing them arrive and getting the love they deserve. Songs like “El Centenario” remind us of family parties with our uncles blasting the tune on broken speakers at full volume. Nothing was more fantastic than seeing thousands of people dancing to the Mexican favourite, “La Chona”.

Sueños Music Festival continued to respect Latin music legends by showcasing Reggaeton pioneer Yandel. Since the duo of Winsin Y Yandel decided to go their separate ways, Yandel has continued to tour to promote his solo albums with an orchestra. Led by conductor Javier Jose Mendoza, the orchestra adds another layer to Yandel’s classic tracks while showing he still has plenty of new music to share. Haunting violins opened for “Puño De Tito,” with Yandel matching the intensity with his flurry of verses. Songs like “Teléfono,” “Rakata,” and “Pam Pam Medley” were given new life with the background ensemble while keeping the archetypal bass and drums Reggaeton is known for, allowing Yandel to evolve even after all these years.

Finally, the festival wrapped up with Fuerza Regida. The Mexican American band had the crowd excited with one last big hoorah, but it wasn’t without its issues. Immediately, it seemed lead singer Jesus Ortiz Paz struggled with his microphone for the opening of “Marlboro Rojo”. They were able to recover by bringing out artist Chuyin for “Pues Ya Ni Pedo,” which the ladies screamed when the shirts came off. Ortiz had another mishap when he fell on his ribs at the beginning of “Excesos,” but the fans picked up the lyrics while he regrouped himself. Overall was a small blight on solid performance as they finished with “Cuando No Era Cantante”. 

Sueños Music Festival is the Latino music festival to attend every year. It is truly inspiring to see how this festival has grown since its inception just a few years ago into what it is today. In its 5-year span, it has brought together the community not only in Chicago but throughout the country. Meeting people from out of state, excited to not only experience what the city has to offer, but what Sueños Festival has come to represent, is fantastic. We here at Quip Magazine are grateful to have been there since the beginning. Here’s hoping for another 5 years! 

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On the first day, many festivalgoers seemed to arrive as soon as work allowed them. Clocking out and rushing to the beach felt like you were trying to catch the last wave of the day. Once inside the festival grounds and grabbing a quick beverage, fans immediately headed towards the High Tide stage to see Grouplove. It was the perfect scene to let the sun set after a long day. They featured some new tracks, giving us a glimpse of what to expect from the upcoming album.

Once Grouplove finished, everyone ran to the Low Tide stage to find a good spot in the sand for The Chainsmokers. Crammed like sardines, people pushed forward, some even climbed on a statue trying to get the best view. This set certainly catered to the younger crowd, and boy, did The Chainsmokers deliver. The energy was immaculate.

The electronic duo, Andrew Taggart and Alex Pall, wasted no time getting the crowd hyped. They started with dancehall classic Fuzzy Jones “Dust A Sound Boy” to match the oceanic scene before blending into Basement’s “Where’s Your Head At” to keep the intensity high. Their setlist featured Disco Lines’ “No Broke Boys,” Kelis’ “Milkshake,” and the mashup of Mac Miller and Empire of the Sun’s “The Spins”. The Chainsmokers’ entire set had everyone dancing. They had to flex by playing their new collaboration track with John Summit, “ALL THE TIME,” before playing “Paris“.

Saturday started with easy-going vibes. At this point, seeing Sugar Ray at BeachLife feels like a tradition. It’s not a bad thing because fans always love seeing them live to witness them perform “Someday,” “Fly,” and “Every Morning”. Poolside continued the good times by playing a cover of Beastie Boys’ “Sabotage”. Poolside kept things groovy with “Around The Sun” and being on the High Tide stage played “High Season”.

There was a huge ovation when punk icon Joan Jett and The Blackhearts arrived. Rocking all black with a leather jacket and shades to match, Jett took control of the crowd with her stage presence. Fans of all genres can appreciate Joan Jett and The Blackhearts as they played songs off the revolutionary album I Love Rock ’N’ Roll, including the album’s title track. Jetts songs have been sung in karaoke bars for decades, encouraging the audience to sing along with “Cherry Bomb” and “Do You Wanna Touch Me,” before finishing her set with “Bad Reputation.”

The Offspring had the honour of closing out day two. The California natives felt the love from the locals cheering them on. They wasted little time with an introduction as they started off with “Self Esteem”. An inflatable skeleton and psychedelic sugar skulls displayed on the LED screen matched The Offspring’s cover for their album Smash. The Offspring got a little mosh pit going for “Bad Habit” and “All I Want”. The band celebrated their set with “Pretty Fly (For A White Guy)” for which they brought out the actor from the music video, Guy Cohen, who still looks, they say, as when the video debuted on MTV.

The best was definitely saved for last, as many fans flocked to BeachLife to see Sheryl Crow. The area was absolutely packed, making it hard to squeeze through the fans that camped out. There’s something simple in her tunes that audiences of all ages could appreciate. Her fun-loving, laid-back tunes can be somewhat cheesy, but there’s nothing wrong with it. With her signature guitar strapped over her shoulder and amazing harmonica skills, Crow performed fan favourites like “If It Makes You Happy” and “All I Wanna Do” before ending with “Soak Up the Sun,” putting a cap on the perfect weekend. 

BeachLife continues to bring out the best acts to Redondo Beach. However, this year was extremely crowded compared to past years. While there were some pop-up shops to check out, it was difficult to navigate through the swarm of people pushing in opposite directions. Still, BeachLife hits the main essentials that make us want to come back: scenic atmosphere and, of course, the best music in the last few decades.

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Throughout his career, Son Little has collaborated with numerous notable artists, including The Roots, RJD2, and Black Pumas. Now living in Atlanta, Little has connected with two-time Grammy winner and Alabama Shakes member, Ben Tanner. Their organic collaboration has helped Little deliver a reflective piece learned from his family history and recent hardships.

The new album, CITYFOLK, opens with the country-rooted tune “Rabbit.” Whistling horses naying off in the distance while Son quickly strums his banjo at a fast pace, immediately speeding your heart rate. Little’s echoing voice haunts his folklore storytelling, letting your imagination run wild. It has the soul of stories handed down from ancestors who sang by firelight, gazing up at the stars. “Devils on the run. Just a punk with a gun. All you did was send one…to the angels.” Little strives for peace in the uncertain times as the deeply Americana-styled track sings about mankind needing to repent for its wickedness, “See this sickness was made by man. Mother Nature’s ashamed of him. Feels like the dream is dead. We got to get him…before he goes to ground.”

Son Little changes the mood completely for something more seductive on “Whip The Wind.” The shift in tone is what makes CITYFOLK a fun listen, having Son Little refuse to be confined to one genre. “The industry likes to keep artists in little boxes, and for Black artists, it has meant being defined by your proximity to “urban”, Little states. “But my music has always had flashes of Country, Rock and Folk, as well as Hip-Hop, Blues and R&B.” Maybe he can add Salsa to his list of genres because there’s a spiciness to “Whip The Wind.” The romanticism oozes on the percussion during Little’s story detailing forbidden love that isn’t meant to last, but those involved are going to tango till the bitter end. 

“It’s Your World” is a blissful track that manages to calm listeners while reinvigorating their self-importance. Little speaks softly over soft guitar and piano chords, spitting truth, “They say it’s a sign of the times, but it’s a state of mind… Baby, it’s your world, I just came to watch you twirl on by. Baby, it’s your world, but the universe is mine.” The dramatic pause before line, “But the universe in mine”, is a gut-punch delivery and a good reminder that we are all capable of making greatness within our lives. It’s almost gospel-like as Little’s godly vocals grow with reverberation. 

It is immediately followed up with the best song on CITYFOLK, “Cherry“. A delightfully sweet R&B song with a catchy chorus where Son Little repeatedly professes his love to someone named Cherry passionately. After one listen, it’ll get stuck in your head, making you wish you could hit the notes like Son Little. I was singing the lyrics over Valentine’s Day weekend to less success. But if you have someone you love deeply and can’t be without, throw “Cherry” on rotation one time and let the sparks fly.

“Be Better” is a motivational track that showcases strength in resiliency and the power of self-belief. The will to shed the pain of broken expectations and hold onto past stories. Little calls on the listener to leave the grudges behind and have the trust in oneself to move forward, even when the road ahead isn’t clear. Its a uplifting track that shines the darkness of uncertainty away.

Son Little’s CITYFOLK was an absolute treat to listen to. He keeps you on your toes as there is a variety of styles on the album. None of it is overwhelming or ruins the pacing. The blending of styles and beautifully crafted storytelling results in Son Little’s pleasant album.

CITYFOLK is available on streaming services. Catch Son Little on tour now in both the USA and Europe. 

Cover image by Jasmin Valcarcel.

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The below-freezing temperature was a rough journey as fans ran against the frosty winds towards the entrance. Those lucky enough to grab a main floor ticket made sure to get as close to the stage as possible. Others took to the upper levels to grab seats. All spaces had a great view of the stage with a giant screen behind the DJ booth offering a closer look for all. 

The opening night began in the dark with the crowd cheering in excitement. A giant projector screen took on a voyage of the Milky Way, and as we slowly crept to Earth, you could hear music in the distance. Hook and DC waltzed on stage dressed in black snazzy suits, greeted with a standing ovation from the fans. Zeds Dead wasted no time getting to work with an opening mix of Eminem’s “My Name Is,” but replacing the answer of Slim Shady with “Zeds Dead”. Playing to the city, they spun a little rendition of Frank Sinatra’s “Chicago” mixed with heavy bass that got the crowd roaring in amazement. It then turned into Blues Eyes meets Bed-Stuy as it blended into an electronic remix of Biggie Smalls’ “Big Poppa”. The hip-hop fanatic in me loved their tributes to legends that came before. 

Hip-hop throwbacks continued with Dr. Dre’s “Xxplosive,” the smooth voice of Nate Dogg’s echoed throughout the venue. Bridging the sonic sound into Stevie Ray Vaughn’s guitar solo, showcasing ACL TV”, in its entirety was genius. Sticking with the desperado script, they had a montage of old western film, The Good, the Bad, and the Ugly sampling Ennio Morricone’s “Ecstasy of Gold,” with their collaborative track with GRiZ “Ecstasy of Soul”. The good was the music, the bad was nothing, and the ugly were the faces we made when the nasty bass dropped. Afterwards, they hyped up everyone with “Collapse,” one of their most recognisable songs.

The second night had a lot to live up to. The crowd was just as enthusiastic, if not more so, in anticipation of the closing performance. Things started off funky with “Ratchet,” a song most haven’t heard in years! Letting you know the night was going to be intimate, they did a remix to Justin Timberlake’s “Sexy Back” with red lights blaring across the space. Things took a spooky turn when they mixed JT’s track into “The Twilight Zone,” taking us into a spiral of heavy bass. To take us out of the spell, the duo light echoed the vocals of Ella Fitzgerald’s build-up for “One Of These Mornings”. Her soothing voice broke through the chaos, calming our nerves before unleashing heavenly bliss.

Although a newer song off Return to the Spectrum of Intergalactic Happiness, it’s already become a hit with the Zeds’ ongoing category. They continued with banger after banger playing “I Got 5 On It,” Cypress Hill’s “Insane in the Membrane,” and Missy Elliot’s “The Rain” blended into their rendition of Ann Peebles’ “I Can’t Stand the Rain” with Zeds Dead’s own “Sweet Memories”. 

The evening sendoff featured a range of positive messages from their video, “Channel Flipping 2: Only You”. It was inspirational to watch as everyone momentarily stopped dancing and viewed the screen to reflect. Not only what we just experienced as music lovers, but our own power to create and live the life we want. It’s on us to make a better tomorrow, and the reminder was beautiful to witness. 

To pick a favourite night is like picking a favourite child. Sure, we all have one, but you shouldn’t say it out loud. Both were special in their own ways and brought something different. The event was the perfect cap to close out the year.

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Fans waited in line outside the Ramova Theatre in the freezing cold, excited to see Earl Sweatshirt and company. Once a historic movie palace, now a hip music venue, fans packed the Spanish-inspired architectural structure from the top floor balcony to the barricade in front of the stage. Before trying to wrestle a good vantage point, it was important to grab a drink or check out the merch tables (yours truly bought Earl’s album on cassette). No time was wasted as the event kicked off immediately with Zelooperz having the duty of getting the show going, and he didn’t disappoint.

The lanky Zelooperz strutted to the DJ booth with an SP404 in hand as fans cheered when he began his set with tracks off his latest album Dali Ain’t Dead. Displaying his storytelling skills, Zelooperz rapped about growing up in a rough environment with “Bebe Kids”. Afterwards, wanting to get the fans riled up, he leapt into the crowd to mosh for the collaborative song with Zach Fox, “Push Me Around”. Definitely a hyped track that you’ll want to bump in some speakers and let out some aggression. The chorus repeats “Bet you a n***a won’t push me around,” getting fans energised and ready to attack any sucker that dares to step out of line. Zelooperz showed range in his character as he performed the amusing track “Tryna Figure Out Where My Phone At?,” “F**k Cigarettes,” the old school hip-hop focused “Jay Jay-Z,” and even hosted a dance competition. Zelooperz ended his set by getting the crowd to turn their phone lights on, making the venue feel like stars in space for his throwback “Satellites”.

After such intensity, things mellowed down a bit when Liv.e took the stage. She had some diehard fans losing their minds when she arrived, even to her surprise, with one fan’s poster reading, “Liv.e is my big gay sister!” She appreciated the gesture. Liv.e certainly has a unique style blending soulful R&B and solid raps with spacey chiptune beats. She even joked, “Don’t act like ya’ll never heard no weird beats before”. Still through all the boops and beeps, her wonderful voice shone through on the jazzy track “Wild Animals”. Earl Sweatshirt chilled on stage the whole time, and it was nice seeing him vibe and truly support the artists he brought on tour with him. Liv.e continued to scat a bit and played some instrumentals, hinting at her 2026 collaborative album with GENA and Karriem Riggins, The Pleasure is Yours, before abruptly leaving the stage without notice.

Nevertheless, Earl Shirtsweat picked things back up, and the fans were ecstatic! He grinned widely, seeing the turnout and began with Live Laugh Love’s opener, “GSW VS SAC”. Earl performed a slew of tracks off the album, including “Static,” “Exhaust,” “Infatuation,” and “Gamma”. It was incredible to listen to how far the quirky kid from Odd Future had morphed into a more complete artist, both lyrically and with the instrumentation. He showcased that growth by performing “Heat Check” off his VOIR DIRE project with legendary producer Alchemist. “The live and die with a smile. Getting fly, watching water rising. Blood on the horizon. Blood spilling out the idol. They try and judge like Simon. Im leaving on a note most highest. Drop the mic like Ryan.” Yet Earl still repped the early stages of his career by taking us back with tracks from yesteryear like “Molasses” and “Molliwopped”.  

People often perceive Earl’s mellow, nonchalant delivery of his lyrics often are perceived as him not caring. That couldn’t be further from the truth. He has worked hard at his craft, continuously developing as an artist and an individual. He simply figured out who he is, and maybe you should too.

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Plenty of fans brought their kids along to share the experience of seeing their favourite bands. At first, it felt surreal seeing tattooed and pierced adults pushing babies wearing protective headphones in strollers at a rock festival. It made sense though, a lot of these bands are older and their diehard fan base reflects that. Since it was more family-friendly, the festival grounds also needed a change in scenery. The carnival was still there with a Ferris wheel and rides, but the classic “freak show” attraction had been removed in place of a normal video game arcade. There was also a wedding chapel for those who wanted to get fake married. The festival brought a “Quick Stop” convenience store from the Clerks movie series to life to purchase snacks. Lastly, there was a Riot Fest history museum showcasing posters of past lineups, a shrine honouring John Stamos, and autographed gear from musicians. 

On the first day, the Rise Stage title was briefly changed to “Weird Al Yankovic’s Weird World Stage”. A traffic jam made things more hectic as patrons were trying to leave to see Blink 182 as others crammed in like sardines to see Weird Al. It caused mass hysteria and a struggle trying to see someone play their accordion. Nevertheless, Yankovic took centre stage and quickly played a polka medley of popular pop songs. Afterwards, he quickly disappeared for a wardrobe change with a video package playing an excerpt of his biographic movie, Weird: The Al Yankovic Story. After the video clip, Weird Al returned dressed as Kurt Cobain to play his Nirvana parody “Smells Like Nirvana”. It will be the closest most of us will get to seeing Nirvana live, so we moshed in the band’s honour. Weird AL continued changing clothes while displaying video packages such as his history in appearing in animation series and interview parodies. Weird Al is truly a legend, doing this for 40 years, and a pioneer of going viral before the Internet existed. 

The Rebel Stage struggled with noticeable technical audio difficulties. It took the stage crew a long time to diagnose the issue leading to restless fans during Hanson’s set. It was made worse when the Hanson brothers themselves were visibly annoyed that they were behind schedule. Waiting 45 minutes to hear “MMMbop” really wasn’t worth it, but come on Hanson, give the crew a break. That led to Gym Class Heroes session to fall behind as well. What was more heartbreaking is to have Gym Class Heroes being the only hip-hop representation on the lineup. Riot Fest usually has solid rap artists like Wu-Tang, Cypress Hill, Public Enemy, and so on, but having no such acts was a letdown. However, the best act at the Rebel Stage was GWAR.

At this point, GWAR is a welcomed mainstay at Riot Fest every year. They put on a hellacious performance with impressive stage production. This year was no different as they caught national attention for slicing the belly of a Trump figure, spraying blood on the poor souls in the front row. This is what GWAR does. They’ve made similar sacrifices to Obama, Hillary Clinton, Elon Musk and other political figures. If you can’t handle it, get out of GWAR’s way!

One big announcement Riot Fest had on the lineup was The Beach Boys. To be clear, this isn’t Brian Wilson’s Beach Boys but cousin Mike Love’s version. Though Love is an original member, he also isn’t the most well-liked member for his political endorsements, atrocious treatment of Brian Wilson and notorious Rock and Roll Hall of Fame speech. However, the hype for The Beach Boys appearance was about seeing the temporary drummer, John Stamos. For years, Riot Fest has prodded the actor to come attend the festival by making him statues, look-alike contests, and selling John Stamos masks. It was a full circle moment seeing the “Full House” star on stage. He thanked the Riot Fest family for keeping him humble and trolling him all these years, but he’s getting paid to perform, so he had the last laugh. The performances themselves were lacklustre as Mike Love mumbled his way through classic hits, “I Get Around,” and “Good Vibrations,” but girls erupted whenever Stamos took centre stage.

One of the best newcomers was Lambrini Girls. The duo of guitar/vocalist Phoebe Lunny and bassist Lilly Macieira immediately impressed with their stage presence. Lilly wasted no time jumping into the crowd, making everyone sit down to acknowledge the rules of mosh pits and helping any fallen fan from injury before hopping back on stage to perform “Bad Company,” “Big Dick Energy,” and “Cuntology 101”. They definitely gained some new fans with their music, but got everyone’s respect when Lilly wore a “Fuck Ice” shirt, giving a brief speech that US citizens need to fight against a fascist government.

Lastly, the band that brought the high energy was All Time Low. Crazy to think a band we’ve been listening to since junior high is dropping a new album next month. Being on tour for their latest album, Everyone’s Talking, All Time Low have been rocking out for almost 20 years. They did a great job giving fans a glimpse of what to look forward to on the new album with songs like “SuckerPunch” and “The Weather”. However, they knew to balance it with the nostalgic hits like “Dear Maria” and “Remembering Sunday,” taking us back to our youthful days and holding onto the dream. 

Riot Fest is always a great time. Every year, fans look forward to ending the summer with a bang, and the festival always delivers. The Riot Fest crew are always welcoming and helpful in every way. The lineup is usually a mix of punk rock or those who have made it to mainstream. This year was a celebration of the festival’s 20-year existence. While it didn’t feel as hectic as past years, that’s not necessarily a bad thing. The bands and fans were more mature. The leaves room for new bands and fans to take over and shake up the scene.

Can’t wait to see what the next 20 years will bring.

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From amassing 60,000 monthly listeners on Spotify, recording an AudioTree Live session on YouTube, to touring sellout shows in the U.S. and Mexico. The trio of lead singer Jesse Flores, bassist Daniel Vela and new guitarist David Garcia recently headlined Cruel Fest at Navy Pier. Now they prepare for a SoCal tour and a European tour this fall. Taking a break from practising for Cruel Fest, Jesse Flores was kind enough to invite Quip Magazine into his studio and allow us to speak with the three men about Blood Club and share their story.

Vidal Granados: Hey guys, thank you so much for taking the time out of your busy schedule to speak with me. It’s been a long time coming; I’ve been following your guy’s journey over the last 2 years. Thank you for letting me into your sanctuary.

Jesse Flores: Of course, thank you for wanting to talk to us!

VG: You are preparing to headline Cruel Fest at Navy Pier. How are you guys feeling?

JF: We’re feeling good. You just heard some of the songs, so I’m happy with our set list. We just got a new member too [David Garcia], so he’s been learning the songs and we pretty much have it down now.

VG: You sounded great! I wanted to cheer after each song, but I knew you were locked in and didn’t want to interrupt.

Daniel Vela: [laughs] You could’ve been the echo going “Yeah!”

VG: How proud are you of your team, Cruel Management? How has it been collaborating with the other bands on the lineup?

JF: I’ve known Vincente Ramirez [manager] forever. It’s cool to grow with him. I appreciate everything he’s done. It’s cool to work with someone whom I’ve been friends with so long that I confidently tell him what I want instead of some business guy. It makes me feel comfortable asking for things and planning stuff with him, so it’s great we both have had a rise together.

As for the other bands, Vinny works with a lot of other bands for booking. We’re cool with most of them because we’re all in a friend group chat trying to support each other.

DV: We’re friends, so Vinny and Cruel Management created this environment to grow together. That’s what makes all this really fun, cause it’s not a business thing, it’s friends. I know we can go to each other and say, “Yo you’re fucking up.” (laughs)

JF: You’ve got to be able to have the freedom to say that, but also take it too. It goes both ways, or else it’s not going to work as a team.

VG: Congrats on your latest EP Sufres Porque Quieres. What has the feedback been since it dropped?

JF: It’s actually been pretty great. It’s doing better than I expected (laughs). I’m happy it’s doing well. Sufres Porque Quieres came together quick. I wrote it all in a month and a half. We were busy with tours, so I had to set time aside to write it in the spring. I gave myself a tight deadline since we had our No Llores North American tour coming up at the time, so I wanted it to give fans an incentive to listen. Plus, we also wanted to play new songs.

VG: What has the experience been like being able to travel the country as well as the globe with your art?

JF: It’s the dream! We are super grateful. A lot of it really is luck, so we’re never going to take it for granted. It is hard work though, so we don’t always get to explore the cities we’re in. It’s the van, venue, and hotel room. We love it though; I can keep going forever.

DV: Honestly, on the outside, it may seem like a vacation, but we know what we go through on the road. What makes it the best is that I’m literally experiencing it with my best friends. It makes it so easy. Touring to me is like a retreat. You see everyone’s highs and lows. If you crash out, everyone sees it. You have to get your emotions together. Whatever problems you have at home, stay at home. It’s still there, yet you’re out and away, so you have to balance everything and still stay locked in to be ready for shows. This is what we want, we are doing it, and we’re super grateful it’s all happening.

VG: What has been your favourite city to perform in?

JF: Chicago for sure is one of our favourite cities to play in! It’s cool we’ve built a fan base here that always shows support. Chicago and LA are my top two cities to play in.

DV: I agree, but I also always liked playing in Riverside, California. They always bring the energy. I don’t know, it’s just the random type of people that you may not expect to get down to our style, but they’re the most passionate. I love seeing all types of people get down with our shows there. The first time playing there, I couldn’t hear Jesse singing the song, but the crowd was screaming the lyrics. I will always remember that.

VG: Jesse, Blood Club is your brainchild. How good does it feel seeing your idea come into fruition, knowing this is just the beginning?

JF: It feels amazing. I know it sounds cliché, but I’ve always had this dream since I was a kid. I always said if I can just do tours and a lot of people show up, I’d be happy with that. We’re already at that point so anything more makes me grateful. We’re going to keep going and have a blast.

VG: David, you being the newest member of the band, how excited are you about joining Blood Club and a part of this experience?

DG: I’m in another band [Violet Waves] with my older brother, who is friends with Jesse. I met Jesse last year. Pretty much, we started playing together for a little bit, and chemistry grew with Jesse and Daniel.

JF: We needed a new member so I thought of him because we vibe together, and he plays great. Only recently did he start learning our songs, and it’s going really well. I went to his brother’s house one day, heard David play guitar and thought it sounded good and invited him over, and the rest is history.

DG: It’s crazy what if I was upstairs that day. It would’ve caused a butterfly effect; it was destiny [laughs] I love being in Blood Club, it’s great.

VG: Building off that, what makes this dynamic click between you three?

JF: I write the songs and show the guys what I got. Once I’m done, these guys come to the studio and learn all the parts; we fine-tune it for live performances. Daniel is definitely the glue guy.

DV: I try to do anything to help everyone out. Being the oldest, I feel I have to be the most mature and versatile. It’s easy because Jesse is such a good leader. He’s straight up, and gives you props. He’s doing it because he wants to grow, be better and wants the best out of you. There’s no ego. No games played, let’s fucking run it. We all play our roles and we all root for each other. With David, he’s ready to go. Jesse and me have been going strong for 3 years and our vision is for the future. David was able to step in and do his thing. It’s easy to vibe with him cause he’s ready to go.

DG: I feel like there’s a very strong brother dynamic going on here, which is why it’s worked so far.

VG: All this is an exciting experience, but can be overwhelming. Any hobbies you explore outside of music to stay engaged creatively?

JF: Personally, I handle a lot of the visual side of the band. Like music video or social media posts. I work with my videographer closely to provide feedback. I always had the dream of being a moviemaker so I like that aspect.

DV: Not really too much outside of music for me. After this last tour I finally got a routine down to keep me grounded. I wake early to go running, practice before the set and try to relax. You can get lost seeing the same people so doing my own thing before a show has helped me out.

DG: I ride my bike a lot or go for a jog. I like to draw a lot. I also just focus mainly on music. Mess around with music software on my phone. I play drums, piano, guitar, bass, and played the glockenspiel before.

VG: As we come down the stretch of 2025, what is the rest of the year looking like?

JF: Cruel Fest! We have a show in Chicago at Bottom Lounge on October 10th. Then we’re off to SoCal for a few tour dates. Then we’re off to Europe. I’m planning to write a new album for next year.

DG: It’s going to be a good time. I’ve never been on an official tour before. Going to LA then Europe, is going to be a brand new experience.

VG: Lastly, any advice for anyone trying to chase their dreams and make it in the music industry?

JF: Put in the work. I’ve wanted this since 13 and just now it’s getting traction. If you really love it, you’ll work hard at it. A lot of it is luck too, you have to put yourself in a lot of situations, you can become more lucky than someone who doesn’t do anything. Also, don’t let it get to your head; you have to treat your people well.

DV: It sounds chees,y but believing in yourself is where it all starts. Putting in the work and never giving the fuck up.

DG: Trust your ideas. That idea that keeps coming back and sticks, then get it out to the world anyway you can. Keep creating.

VG: Thank you fellas, appreciate your time and wish y’all the best on your continued success!

Blood Club’s Sufres Porque Quieres is streaming on all major platforms now and visit bl00dclub.com for upcoming tour dates.

Photos by @junnylaraa, courtesy of the band.

The post Getting to know Blood Club with Jesse Flores and Daniel Vela appeared first on Quip Magazine.

Sueños team delivered on their promise. They expanded the fairgrounds to include two additional stages, La Plaza and La Fuente. They also added more vendors for food tents and shopping areas, and included art installations for photo opps, keeping congestion down and the fun flowing. Lastly, Sueños continues to bring together some of the biggest Latino artists in the world to Chicago, showing why it is becoming the go-to event for Latino music.

The big expansion gave people a reason to step away from the main stage, shop a little, and see more artists. La Plaza stage, located directly across the iconic Buckingham Fountain, focused on highlighting local Latino talent. It was a beautiful sight to behold when the fountain erupted with the Chicago skyline in the background.  La Fuente stage was catered more to DJ vibes. Being the Windy City, DJs like Deorro knew the assignment mixing Raggaeton with Classic House music along with modern EDM and Trap.

One decision that was deemed controversial when the initial artist lineup was announced was the inclusion of Grupo Frontera. Apparently, a relative of one of the band members made a post in favour of U.S. President Donald Trump. The band responded, saying they had no affiliation with any political party after facing backlash. However, Chicago being a sanctuary city, this response wasn’t enough for many, leading to a petition from residents to have the band removed from the lineup.

Organisers refused to back down, as Sueños Music Festival’s message has always been to be welcoming and inclusive. Many worried what the outcome would be when Grupo Frontera took the stage. Like most things on the Internet, it was blown out of proportion. The field was half full, but once the band started playing “Tulum,” fans rushed to the field. Singing from the heart, ignoring the “controversy,” and having a good time. There were no protests, only celebration when they played “Coqueto” or “No Se Va (En Vivo)”. Matter of fact, Grupo Frontera probably gained a lot of new fans.

Last year’s event was sadly cut short on the final day due to an extreme rainstorm. Everyone was disappointed as the main headliner that weekend, Peso Pluma, had to cancel his set. Even his aftershow at a local club was only three songs long before he promptly left; making some wonder if Peso Pluma even liked playing in Chicago. Fortunately, Peso Pluma returned to Sueños this year and gave a performance to remember. When the sun began to set, the city got chilly, but fans waited a year to see Peso Pluma to perform hits like “Luna” so a little cold wasn’t going to stop them. Adorned in a black fur coat, Peso Pluma bellowed as he sang “Bandida” making the crowd cheers echo throughout the field. Hearing “Nueva Vida” live made the wait worth it.

The biggest artist on the lineup this year was none other than Shakira. Fans had suspicions she would not be included this year because her current tour dates for Las Mujeres Ya No Lloran noticeably had Chicago missing. But fans rejoiced once her performance announcement became official. Shakira committed to doing her full two-hour set at Sueños Music Festival, making her set alone worth the price of admission.

Everyone and their mothers were trying to see Shakira. By the time the Grammy Award-winning artist took the stage, the sun was long gone, making the weather in the mid-40s next to the lake. Those of us who prepared had sweaters to endure the cold, while those who didn’t huddled in the crowd to stay warm. It was all worth it once the queen arrived. She wasted little time performing classics such as “Girl Like Me,” and “La Tortura”. The stage production was magnificent with multiple wardrobe changes; dancers with fire and Shakira belly dancing with swords. The hits continued with “Hips Don’t Lie,” “Whenever, Wherever,” “Waka, Waka,” and she still gave fans an encore.

The final night had similar weather conditions to the previous day, and it was difficult to top the brilliance of Shakira. However, the weekend ended with the perfect sendoff from one of Raggaeton’s pioneers, Don Omar. One of the founding fathers of Reggaeton, Don Omar music has stood the test of time. His setlist was a throwback to yesteryear, reminding some of us of our junior high school dances. His catalogue has a plethora of recognisable hits like “Dile,” “Dale Don Dale,” before ending his set with party anthem “Danza Kuduro”.

Sueños Music Festival was a beautiful celebration of all Latino cultures. From the different music backgrounds to the various faces in the crowd, everyone was welcomed and represented proudly. The additional expansion was a welcome change, and though the weather wasn’t the warmest, there were no complaints as Sueños Music Festival knocked it out of the park this year.

The post Sueños Festival continues to dream big appeared first on Quip Magazine.

Ridin’ opens with “ICNBYH” and you are immediately hit with percussion and horn section, setting the mood for a slow dance. Cuco enters the song by softly speaking the lyrics, ‘Go grab your coat and let’s go for a ride. I’ll be your Valentine, make it worth your while’. It’s a wonderful old-school tune setting the tone for the rest of the album. “ICNBYH” is sweet in its approach, keeping the honesty of romance pure.   

“My 45,” featuring Jean Carter, is perhaps the catchiest song on the album. Again, the instrumentation jolts you awake before Cuco’s vocals melt your heart. Jean Carter compliments Cuco’s higher-pitched delivery as he plays backup vocalist to each line Cuco says before rapping his verse, ‘My 45, my shorty, I don’t play with. Yeah she know me, she hold them special places’. The whole track is a delight and definitely has a classic soul sound worth returning to for multiple listens.

Cuco slows things down considerably on the album’s title track, “Ridin”. While the two previous songs were sweet in their approach, “Ridin” is baby-making music. Cuco smooth vocals pierce through the simplistic instrumentation, making his wailing voice the driving force of the track. He plants his feet and says exactly what he means as sexy backup vocals echo the sentiment: ‘We’ll be riding (ridin’, ridin’), all night long (ridin, ridin’). We’ll be riding (ridin’, ridin’) til the sun is gone (ridin’, ridin’)’. It really harkens back to simpler days when you take your shorty out for a cruise and enjoy each other’s vibes. The song progresses and trails off into a psychedelic soundscape climax that fans of Cuco come to expect and love.

“Phases” is where Cuco gets into the hard part of any relationship – the ending. The overall tone of the track leans towards more pop-centric, but doesn’t change the fact that the lyrics depict a hardship. As Cuco puts it:

“[the song] is about a tenant in my heart. With “Phases,” there wasn’t a single direct inspiration, it was more about capturing an energy shift.”

The upbeat tempo masks the pain we’ve all dealt with, realising that calling it quits is better for both parties.

“Don’t Be So Rude” tackles the importance of reaffirming your love to your partner. It’s scary to show your vulnerable side, not knowing if the other feels the same. Or perhaps being too aggressive in your proposal can make the other unsure. Yet that’s the beauty of finding that balance together, isn’t it? Again, the background vocals are the highlight here as they respond with Cuco’s words: ‘Don’t be so rude. (Tell me that you love me!) But cannot do. (You need to tell me something!) You need it too. (But you keep hesitating!) This might be rude. (I’m tired of being patient)’.

Ridin’ wraps up with “My Old Friend”. A fun song that stands out on the album as a bit different. While the majority of the album is about a relationship with a lover, “My Old Friend” is Cuco stating his love for a dear friend. The person who always has your back, regardless of the situation. Listening to the song makes you nostalgic for past adventures you had with that special knucklehead.

Cuco’s Ridin’ is a great album that does a terrific job of taking listeners on a personal yet relatable journey. From the joys of romance to the pain of heartbreak. He captures the Chicano car culture with an old-school soulful sound worth cleaning up the car and going for a cruise to chase the sun. As Cuco shared: “Everyone listens to music while driving, it’s integral to your commute, regardless of mood. You’re moving through life’s non-linear journey”.

Cover photo by Carlos Jaramillo

The post Cuco’s new record “Ridin’” takes lovers for a cruise appeared first on Quip Magazine.

Nice Girl From The Suburbs immediately pulls listeners in with the first song, “Too Soon For Sorry”. Lucette’s sweet, heavenly voice pulls on your emotions with her soft-spoken, gut-wrenching lyrics ‘God I’m such a mess, I overthink I guess. I’m losing it this think’. That desperate yearning of a person echoes throughout as the smooth guitar riffs ease the pain a bit. “’I wish you were here right now. I wish I let you in instead of letting you down. It’s 4 in the morning and too soon for sorry’. The instrumentation builds as Lucette professes her regret for handling past relationships that we all experienced before. Please sing to blast on your car speakers when needing a therapeutic session.

The next track is, “Back In The Blue,” features the talented Mariel Buckley. Here the two singers share relatable stories of depression, which is an excellent contrast over the upbeat instrumental. You get caught up dancing to the tune before understanding the lyrics. Together the pair shines as they sing the catchy chorus in unison, ‘I’m fucked up, but so what? It’s not anything new. I never wanted to be up out of the blue’. Again we have all been there and no matter how hard we try, it feels are efforts seem pointless. Of course, they’re not, but sometimes there’s comfort in being in your sorrows.

Perhaps the best track to throw on during a party is Lucette’s “True Devotion”. Here Lucette lets loose providing an anthem professing her love and all the excitement it brings. All the little emotions that falling in love and rejuvenation that make you want to dance without explanation. The song definitely has that country-hootenanny tune going and goes well with some Tennessee moonshine in the cabinet. So pour up a glass and grab your sweetheart close and dance the night away.

“Heading for the End” sees Lucette return to a darker mindset. The tone shifts to a slower atmosphere letting her words be impactful in each delivery as she gives her honest answers. Lucette states: “Heading For The End” is an extension of topics that I began to speak about on my last album. It’s a dark, sarcastic way of looking at my near-melodramatic behaviour when I feel low. Thinking that I’m hurt, I’m heading for the end. Telling myself stories that probably aren’t true. Leaning into those feelings a bit too much.”

Nice Girl From The Suburbs is a wonderful piece to sit back and listen to. Across the 6 tracks, Lucette gives every piece of herself from the highs and lows, not hiding anything in between. That’s kind of the way life works, isn’t it? The simplicity in her lyrics blended with an Americana tone makes for an experience everyone can hear a bit of their own lives.

Cover image by Sebestian Buzzalino

The post Lucette shares her stories on “Nice Girl From The Suburbs” appeared first on Quip Magazine.