Presented by Unregistered Nurse and Savage Party
7:00 p.m. doors // $12 // all ages
Slugger is a pure solo effort. Sadie didn't just write and sing and play guitar, she recorded and produced the record herself in a subletted bedroom in Fishtown—a not insignificant act of feminist defiance. Despite millennia of evidence to the contrary, women in music are still relentlessly pigeonholed as, essentially, decorative. Sure, you can be a girl singer, or a girl tambourine player, or, once in a while (the height of novelty!), a girl drummer, but a girl producer? A girl engineer? Cool X-File, Mulder! Sadie steers Slugger with a serene sure-footedness, vaporizing that old lie better than any howling polemic ever could. The best revenge is to do your work.
Slugger's musical touchstones are vast and varied: contemporary pop à la Charli XCX, Santigold, Kelela, Grimes; folk songwriters Karen Dalton and Connie Converse; '90s trip-hop; riot grrrl (duh); plus Sad13's feminist indie and punk contemporaries like Tacocat, Waxahatchee, Mitski, and Bully. Slugger shouldn't feel like a revolution, but it does—in both content and execution. This is fun music about real shit.
Stef Chura's debut studio album Messes, is born of her years of experience playing around the Michigan underground, setting up DIY shows in the area, and moving around the state-nearly 20 times. "Right when it starts to feel like home / It's time to go," she sings literally on its opening cut, "Slow Motion," a twisty, dim-lit guitar pop song where she curls and stretches every word. There are worlds of emotion in the ways Chura pronounces phrases with twang and grit, alternatingly full of despair, playfulness, and abandon. Chura calls her music "emotional collage," eschewing start-to-finish storylines in favor of writing intuitively about feelings, drawing from experiences and references related to a certain sentiment.
Messes deals with these sorts of internal anxieties: power struggles, friendships falling apart, even one song about a conflict with a landlord. "It's more about pain than anything," she says. "A lot of these songs are a cathartic release of overwhelming emotional stress. "On and Off For You," for example, deals with being gaslighted and controlled by a lover. "Putting in overtime to get my revenge on you," she sings. "When I look back on that time period I obsess about how I should have left or done better for myself or been a stronger woman. It's the emotional or mental overtime I think a lot of people endure."
Accessibility info: This venue is mostly accessible. For more info, http://www.itvaccessible.com/