I’ve always found something so electric, so palpable about being in line for concerts: people seem more open, more talkative, more willing to share in anticipation with one another. I felt that energy this past Saturday at The Spot underneath Leutner Commons, where I found myself in line with my fellow Case Western Reserve University students awaiting one of the most anticipated events of the year: Battle of the Bands.
Each year, 10 student bands compete for audience votes, hoping to obtain the opportunity to open at Springfest—perhaps the biggest campus event of the year—along with a professionally produced music video. Between stripped-down acoustic duos and brass-backed ensembles, the performances made it clear that there was no one way to stand out.
As the lights dimmed, Rat Jacket took the stage. Scholars by day, hard-rockers at night, this group of Ph.D. students set the tone with dark, dusky guitar strums before Liz lulled us into the opening to Kelly Clarkson’s “Since U Been Gone.” Their set of pop-rock hits continued into a cover of Paramore’s “Still Into You,” and finished out with a cover of Wheatus’ “Teenage Dirtbag” complete with DJ-style scratches from Aratrik’s Synyster Gates signature guitar and the iconic male falsetto performed by Jude to a strong reception.
Overbloom kept the energy going with a recital of Led Zeppelin’s “Moby Dick.” When the iconic drum solo hit, Max and Emilio delivered a whimsical and altogether impressive bongo solo with some of the most technical percussion work of the night. The band slowed it down with Fleetwood Mac’s “The Chain,” but Josh’s uniquely rough vocals added a new level of edge to the song. A heartwarming moment followed as the band passed out light purple daisies and eased into Paramore’s “All I Wanted Was You,” culminating in powerful belting from Anna.
Next up was the band that was “formed a hundred years ago and has stuck together ever since,” Cadence. One of the youngest groups of the night, they delivered an ambitious set, starting with The Strokes’ “The Adults Are Talking.” Evan’s smooth soprano saxophone work on “Careless Whisper” was an unmistakable centerpiece. On Bruno Mars’ “Locked Out of Heaven,” Alexa gave us her strongest vocal performance of the set, as her airy vocals blended with Eddy’s voice. This group has clear potential, and I’m excited to see them grow into their sound in the future.
After three upbeat sets, acoustic duo Lost and Found—composed of pianist Tiger and guitarist Delphine—took the stage in blue corduroy sweaters, accompanied by a striking sunburst ultramarine guitar, and delivered the most intimate set of the night. Opening with Maroon 5’s “Maps” and the Kid LAROI and Justin Bieber’s “Stay,” the duo provided a refreshing run of pop hits. Disclosure and Sam Smith’s “Latch” had the crowd clapping and singing along. The highlight of the set, however, was “Love the Way You Lie” by Eminem and Rihanna, where Tiger leapt off the stage mid-song and rapped with an infectious energy, producing one of the most joyful and unpredictable moments of the night.
Following the duo, Before Closed Doors, a group formed by overcoming “a series of scheduling challenges and many closed doors,” set up their three-song heartbreak arc: “betrayal,” “despair,” and “bigger and better.” They began with a rendition of “Wake Up Call” by Maroon 5, in which Sawyer showed off his kick drum work alongside Neythan’s funky guitar strums. Singer Kashmere sank to the ground while the band slipped into “despair” with No Doubt’s “Don’t Speak,” building into fury as Tyler pumped out the bass line and Kashmere brutalized a microphone stand. They closed with “So What” by Pink, and a group hug at the end encapsulated their unparalleled ability to connect, both with one another and with their audience.
Some of the tightest musicianship of the night came from Hunny, a band whose members noted they had all been in bands back home. Their experience showed in a cohesive rhythm section composed of drummer Eamon, guitarist Reid and bassist Creed. Terry ripped the solo to Weezer’s “Undone (The Sweater Song)” with squealing pinch harmonics and bends. When Terry hopped on the lead vocals for Radiohead’s “Creep,” he seemed to channel an agony reminiscent of Thom Yorke himself. This group was clearly among the most experienced of the bunch.
Soulstice, an eight-piece, neo-soul collective, framed their performance as larger than tunes: “[This is] representation, it’s community, and it’s us finally living out that common childhood dream for all members in real time.” Opening to chants of their name with Raye’s “Where is My Husband,” they performed a set rich with texture—trumpet lines, walking bass, jazz-inflected keys, a vocal power trio and rap sections. A tribute to Women’s History Month invited the audience to describe their mothers in one word before transitioning into John Legend’s “Dope.” They finished with the night’s second performance of “Locked Out of Heaven,” complete with crowd call-and-responses, holding total command of the crowd by the end.
In Love I Swear, a three-piece group built from a “desperate need to make music with each other,” had the crowd on its feet for the alternative metal anthem: Evanescence’s “Bring Me to Life.” Julie demonstrated range here, veering from ethereal croons to metalcore screams on “Screaming” by Loathe. Jericho dropped a blistering drum solo, and a metal take on Paramore’s “Misery Business” ensued, where Aaditya strummed away on a seven-string djent guitar before delivering a thrilling tapped guitar solo.
Lake Effect, in contrast, brought a lighter seapunk energy, beginning with bassist Daniel slapping out Red Hot Chili Peppers’ “Can’t Stop.” They then delivered the only original piece of the entire show, “Autopilot,” supplemented by a vibrant stage presence. Finally, they reminded the crowd of the importance of “having a little faith” as drummer Jonah ran over to the keys to deliver Journey’s “Don’t Stop Believin’” to phone flashlights swaying in unison.
And then there was Step Bros, a sprawling eleven-member ensemble. With a brazen brass section, three layers of vocal harmony and extensive instrumentation, they delivered an unmatchably grand sound. Noa’s key performance on Bruno Mars’ “I Just Might” was impressive. The blend of Adam’s expansive voice, dirty guitar tones and polished brass on D’Angelo’s “Untitled (How Does It Feel)” created a sound that can only be described as golden. By the time they closed out the night with Earth, Wind & Fire’s “Boogie Wonderland,” the room felt like a full-scale concert. With a consistent and cohesive performance from every single member from this group, this performance landed on the top of my list.
More than anything, this year’s Battle of the Bands showcased the breadth of artistic expression on campus. Each group created their own affections with the audience whether through technical ability, vulnerability or sheer energy. For a few hours, the competition faded away, leaving only a reminder of how music, in all its variety, can bring a campus together.