Live music review: Ty Segall Shows No Signs of Slowing Down with Return to Mohawk
Every music review is filled with labels and descriptions. Writers show off the amount of sub-genres they can rattle off and lots of readers (myself included) use heuristics to neatly define the music they hear. Frequently, that tactic works. But trying to categorize the output by Ty Segall is throwing spaghetti at the wall. Every album stands on its own and every touring cycle provides a different experience. It’s Segall’s multiverse and we’re just living in it.
Ty Segall and his Freedom Band, which includes Mikal Cronin on bass, Charlie Moothart on drums, and Emmett Kelly on guitar, took the stage at Mohawk June 18 to a sold out crowd. It was Segall’s second show at Mohawk in just the past three months and his third since last October’s Levitation festival, both times playing drums for the trio Fuzz.
With an acoustic guitar in hand, Segall started the show off with some lighter ballads before Kelly joined him for a few more mellow duets. Segall crooned his newest ballad, “Saturday Pt. II” in a stripped down version. (Cronin’s sax solo was certainly missed.) After putting out music for over 14 years, Segall still looks as eager to write songs as jam out.
But jam they did. It was a pummeling of acid soaked psych rock with airy, blown up distortion featuring hits from 2008 to 2022. It may be the group’s first proper support of 2021’s Harmonizer, but the band was already playing singles from their soon-to-be-released Hello, Hi.
The crew’s previous tour of Emotional Mugger raised eyebrows for its absolutely deranged and unhinged performances (see: Colbert or spooking the co-hosts of a local Chicago morning news station). No crying baby masks were worn this fateful night, as the gang opted for a casual look with Van Halen t-shirts and plaid button downs.
The night’s highlights included Emotional Mugger’s “Squealer” and “Candy Sam” treating the crowd to quirky chord progressions and pounding synth lines. They rearranged ‘Finger’ with a longer intro and a heavier bass tone to accentuate the garage rock anthem’s outro.
Segall’s mythical presence didn’t happen overnight, but via a prolific output of 14 studio albums over the same number of years (not counting all of his other projects). He’s gained a cult following with his musical versatility and passionate playing.
Even the great John Frusciante of the Red Hot Chili Peppers adores Segall, saying “In his carelessness, what comes across is that he cares deeply.” While the ‘carelessness’ word choice may seem like a slight, it’s actually a style so many guitarists strive for. There will always be catharsis in generating fuzzy gain with your index and ring finger on the guitar and staying in the pocket of a few comfortable keys to play in. The guitar has become an extension of Ty’s senses.
Segall then opened the encore with a fan favorite, ‘My Lady’s on Fire’ as an acoustic rendition. These quieter performances aren’t necessarily a needed relief from the onslaught of rocking out – we know Segall and co. can play 90 minutes of gain. It’s just an opportunity to showcase his adept and varied songwriting.
Labels be damned. Ty’s personality transcends any tropes. Let that be enough for writers and listeners alike to sit back and just listen to whatever universe he brings us to next.
If you like Ty Segall, check out: Jacuzzi Boys, Jay Reatard, King Gizzard and the Lizard Wizard, Thee Oh Sees, No Age, White Fence
All photos by Michael Maly
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