Photos by AngieStar Photo
Rock and Roll: a term used time and time again amongst people of all ages. For my parents and their friends, its definition was once one of rebellion and even an edge for danger. The pelvic thrusts of Elvis Presley, Mick Jagger’s wild movement around the stage, the grunge tones of Nirvana: these were the performances that made the crowds move in a way that lead people to think of scandal. But as the years advanced, technology did as well, and electronic synthesizers began to take over such a genre filled with the beautiful lust of sin. My generation has grown up in a world where bass beats composed on a computer are looked upon higher than the strumming of a bass guitar. As a result, people don’t even know what to do at concerts anymore. The music may be excellent, but the performance doesn’t captivate. The problem with a lot of music today is the emphasis on the roll and much, much less on the rock.
The Orwells, however, seem to be brought together in some way in order to change that. This past Thursday, on June 19, the group of young performers from Elmhurst held a special release party for their sophomore album Disgraceland at Schuba’s Tavern in Chicago, IL. Winners of a contest held by WKQX Chicago populated the audience that eventually filled the entirety of the intimate venue, and many fans eagerly waited for these guys to come on.
The clock strikes 8 and an impatient audience finally gets what they’re waiting for. After a brief introduction from the radio station, The Orwells took the stage, with lead singer Mario Cuomo quickly congratulating the crowd on their radio contest victories then switching into his signature, almost hypnotic, performance. The group rocked a few songs as the crowd jumped around a bit, but it wasn’t enough for Cuomo. “Man, they were right when they said that people who listen to the radio don’t know how to move, just driving in their cars all of the time,” said the lead singer as he feigned the action of driving a car. With every imaginary turn to the right or left, the crowd became more and more entranced into the mosh-movement that The Orwells are known for (even shutting them down at Bonnaroo this previous weekend). The collaboration of the band’s steady rise into the rhythm of the next song and Mario’s insanity was enough for the guys to take control.
The crowd from here on out grew with rowdiness with each and every note that the band would send out. Alternating from songs on their first album Remember When and those from their latest, the group had no reason to question that the crowd was loving every second of it. The placement of a thong from a fan on a face and the rolling around on the stage floor may seem like oddball antics for a singer, but they actually just are the usual for Cuomo. However, a pretty blonde in the front row managed to make this blonde maned wild child calm down for a few beats, and a lot of time was spent flirting with her from the stage. Despite a few heart breaks from other eager females who stood beside this lucky lady, this interaction, I think, added some great entertainment for everyone in the crowd. No performer disappointed, but I must say that Matt O’Keefe’s performance caught my attention more than maybe it was intended to. His guitar skills were mature in every essence, and it was as if every beat was becoming a part of his blood flow. Most people would think having a wild performer like Mario would cause some problems, but the band doesn’t seem to mind the diverted attention.
Unfortunately, all good things come to an end. The final notes were played out, and the band members put down their instruments to exit off the stage and back out onto the street. Before they even left the stage completely, the demand for an encore was chanted out by the crowd. As O’Keefe, Corso, and the Brinners took over the stage, a switch was done. What at first appeared to be Mario in a t-shirt change and straighter hair was revealed to be his own brother. A moment of confusion ensued for the crowd as this seemingly identical man walked around with the other band members when Mario himself entered with another twist. Being carried with him upon the stage was a young woman dressed in black lingerie and her legs wrapped around his waist. If I’m not mistaken, this is the same young lady who was featured in their “Dirty Sheets” music video. Regardless, the audience went NUTS as she began to move and grind up on him for a minute. The girl departed as the band began to play “Cheap Beer” by Fidlar, a band they opened for last fall. A few middle fingers later, the song was concluded, and the guys officially exited for the evening.
It’s truly hard to explain the atmosphere that The Orwells bring with each and every performance. There is an electricity that spreads from the stage to the back of the room; a shock that I hardly ever feel when I see performers live. Seeing their set back at Lollapalooza in 2013, I knew that these guys were going to lead to something absolutely incredible, and their rise since then has only been on a sharp incline. If you don’t come out from one of their shows looking like a battered man or woman, then you obviously Orwelled wrong. Rock and roll should always feel like this wild, vicious animal that your parents would never want to approve of, and it’s refreshing that they can understand that.
