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Schubas Calendar
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Saturday 10/25/2014 7:00 PM | 21+

Gapers Block presents:
20x2: How Do You Do?
Twenty speakers. One question. Two minutes each.

GapersBlock.com hosts the biannual Chicago edition of Austin TX's infamous show 20x2. Twenty people from all different walks of creative life -- writers, musicians, filmmakers, web geeks and other bon vivants -- get two minutes each to answer the question of the day in whatever way they like. The results can be as varied as the emotions and reactions they evoke. This edition's question is "How do you do?"

RSVP on Facebook.


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Tuesday 10/28/2014 8:00 PM | 21+
$10 Adv. // $12 Doors

What people said about 'Island Fire':
“An album packed with thoughtful adventure and mischief. A true gem.“ MOJO ****
“Thoroughly enjoyable and admirably eclectic” - SUNDAY TIMES ****
“Stylistically grand and wilfully eccentric” – WORD ****
“The national treasure’s songs offer bouquets of bespoke spills and thrills of the sort that make Lana del Rey seem like a very poor relation.” - THE MIRROR ****
“Another gem from Gemma.” – STOOL PIGEON ****



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Wednesday 10/29/2014 8:00 PM | 21+

On Ephemeral, Rich Aucoin takes his past three years of relentless worldwide touring—pick a town in France, a festival in Europe, heck, even pick a beach party in Madagascar, he’s been there and you were up front—and distills all of the big ideas philosophy majors like him love to ruminate on into 10 sharp dance-pop songs all pointed toward the same goal: to gather the things that keep us afraid and apart, and use them to pull us together.

“After 45 minutes of the most intense singing and dancing and butt-touching of your life and you're in the middle, screaming, ‘We won't leave it all in our heads’ in a voice so wild and unabashed you normally wouldn't even let your shower hear it. It's the kind of fun where you turn to your friend in the middle of it and go ‘Is this real?!’ And it is,” as Neil Fridd, leader of frequent Aucoin tour/bandmates Terror Pigeon, puts it.

Everything Aucoin does feeds into another thing, his whole life an endless connected mass of roots, needing air and water and a light show to really be seen—there are songs that match videos that stop in time for the parachute to unfurl—there are so many devoted and curious fans getting under them now, that Aucoin has to custom- order them for size. “He's already holding stadium-calibre, interactive live spectacles in the confines of clubs,” marvelled CBC Radio 3’s Grant Lawrence in 2012. “Imagine what this Halifax electro-imagineer could do in a hockey arena?”



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Tuesday 12/09/2014 8:00 PM | 21+

One of America’s truly great and unique artists is turning 65 this year. Tom Waits is more than a songwriter; he’s an icon, a creator of art on so many levels far beyond what most would ever conceive of, let alone achieve. Waits’ seems to be playing with a deck of cards stacked only with Aces and appears incapable of losing, yet is revered by the world’s vagabonds, ne’er-do-wells and dropouts. He’s a hero to the downtrodden and the finest connoisseurs of music alike, and to honor his legend a talented group of musicians in their own right are performing his material at Schuba’s in Chicago, IL on Tuesday, December 9th.

The band consists of Mark Panick (Razrhouse, Revolting Cocks), Chef Chris (Rumpshakers, Handy Award winner), Jarrod Champion (The Sights, Brunswick Brawlers), David Suycotte (Stabbing Westward) and the core group, Jennifer Westwood (Emmy winning vocalist) and the Handsome Devils which is JD Mackinder (Whitey Morgan, Deadstring Brothers) and Dylan Dunbar (Rumpshakers, Whitey Morgan). It’s a stellar lineup with a hearty resume and they all share a love and passion for the work of Tom Waits.

Pulling material from throughout Waits’ extensive catalogue, the band will delight with their dynamic vocals and renditions of some of his best loved songs and the some obscure, unexpected selections of his deeper cuts. With four outstanding and engaging vocalists rotating, there will never be a dull moment on this magical evening.

Join us in paying homage to the one and only Tom Waits, his music, his style and his legacy.


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Thursday 12/11/2014 9:00 PM | 21+
$10 Adv. // $12 Doors

It could almost be inferred that Jesse Marchant wrote the songs for his new album over a period of months in New York City during which a lot of his world had come out from under him, in what he has described as “a general period of falling outs, absence and abuse, both of self and of what should or could have been surrounding”. But in the process of finding an end to that Marchant feels to have grown. One is not left to wonder why he chose to drop the moniker of his former releases (his initials JBM) for the use of his proper full name, nor why his voice and lyrics, recorded with a mouth-to-ear intimacy, emphasizing his deepening and wearying baritone, sit loud and naked atop the widescreen backdrop of the deep synthesizer and orchestral pads and arrangements, often reminiscent of “I’m on Fire” era Springsteen. There is a sense of wanting to take responsibility and a desire to have things seen and said clearly for what they are, directly.

The production of the record reflects that same growth, balancing a new, vivid sound with matured control and rootedness. The lyrics were written later in that same year, when Marchant toured the country twice alone, on early mornings in motel rooms and for a period that he spent following, in a rented house far into the desert around 29 Palms, CA. The tone and image of this is carried throughout the record – drenched in a blinding white sunlight, in the heat, in a dream.

The songs that make up this eponymous album are menacing, dreamy worlds of their own, each one unique for each listener, instantly relatable and surprisingly therapeutic: Marchant’s revelations are infectious. He is processing internal and external problems that aren’t just personal but feel like signs of our times, and in doing so has created an album that feels particularly important, relevant, and powerful.



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Monday 12/15/2014 8:00 PM | 21+

The work’s the thing, the joy, the end in itself. Triumphant, defiant, sprawling, content but never complacent—Centro-matic’s latest album is yet another bold statement in the ongoing dialogue between these four musicians and their supporters. After 17 years, the band is still driven to mine new territories and make a beautiful racket together. Rock & roll veterans now, they know—as the title of their new album advises—to take pride in their long odds.

This championing of tireless underdog determination is a key element of the band’s hard-rocking 11th studio LP. “If there are entities telling you that you can’t do something,” singer-guitarist Will Johnson says, “that there’s no way something is gonna happen for you—take pride in your work and prove them wrong. If it’s worth it to you, you shouldn’t give it any less of a chance because of what someone else says.”

Through all the years of touring and making records, the members of Centro-matic are still thick as thieves. It’s something rare and beautiful considering how few bands who’ve been together this long have their original lineups intact. “It’s always been my hope that our connection and care for each other translates through our music, ” Johnson says. “It’s driven things since the beginning. Centro-matic is an excuse to keep hanging out and getting together as our lives unfold. We became adults together in this band, and it’s still exhilarating and rewarding to be in one another’s company.”



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Saturday 01/10/2015 9:00 PM | 21+

If the band's songs weren't about such mundane things as the emotional maze of regular life, and if the writing and playing of them weren't accomplished with such exquisite subtlety and quietly obsessive focus, the bizarre story of the Vulgar Boatmen might seem simply odd, an attention-getting gimmick that would look intriguing on a record-company bio. In fact, the saga of the group with a dual identity — a sporadic studio-centered entity convened by Florida college professor Robert Ray and a remarkable international touring outfit led by Indianapolis auteur Dale Lawrence — reads like a troubled family saga in which claims to a name weigh heavy, ties that bind overcome obstacles of time and distance, and a common vision proves to be the greatest power of all.

Formed and abandoned in Florida in the early '80s by future Silo Walter Salas-Humara, the Vulgar Boatmen eventually came to rest, in a most irregular remote collaboration, on the mutual shoulders of singer/guitarists Ray (at the time a graduate student in Indiana) and Lawrence (a veteran of Bloomington's goofy punk Gizmos who had taken a course taught by Ray). After Ray returned to Florida, the two exchanged tapes by mail, jointly crafting songs that took shape as a sublime semi-electric pop sound melding the patient intensity and precision of the Feelies, the driven certainty of quiet Velvet Underground and the shapely melodic force of classic pop artisans. While Ray maintained a Vulgar Boatmen in the Southeast, Lawrence formed a group called Right to Left (later renamed the Vulgar Boatmen) to play the material that would eventually appear on the band's first album. Over time, the Indiana contingent became an exceptional live act of diverse talents and unassuming intensity, augmenting its original creations with one of the most eclectic cover repertoires on the planet.


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