Chevelle’s GLC show was overshadowed by the opening bands’ intensity

After postponing earlier in the month, Chevelle and their hard-rock entourage finally made their way to Grand Rapids’ GLC Live at 20 Monroe on Aug. 31. The Midwestern nu-metal group has been filling venues with their subdued take on metal for nearly thirty years, amassing an audience that applauds their vulnerable narratives. Chevelle sit proudly on top of their underrated genre and do so with an impressive amount of confidence; during live performances, the group embodies a more level-headed take on the stereotypical rockstar egomania. On this tour, Chevelle’s intensely emotional material was complemented by the fresh sounds of the two newer groups. Grunge revivalists Return to Dust and Tigercub showed off their incredible styles and commendable musicianship opening the show. Their energetic sets ensured the audience expected the headliner to give an equally energetic performance.

The show’s lobby was a chaotic spattering of polar opposite demographics buying criminally overpriced White Claws. An older audience nearly outnumbered the younger typical concertgoers. These weren’t old punks either. Chevelle’s show had drawn the attention of fans who had listened to them when they were younger and edgier, who had since grown up, stopped dyeing their hair black, started wearing khakis and now work with Excel sheets. As former alternative kids were pushed into line with their modern counterparts, there were some awkward interactions. Still, for the most part, the preshow crowd was a wholesome reminder of the longevity of music’s effect on the human experience.

West Coast group Return to Dust began the night, walking onto the stage with an arrogance usually reserved for glam rockers and pop stars. Drummers are already infamous for shedding clothing as a set goes on, flaunting tattoos and skin for no reason besides vanity. Virtually never does a vocalist, already assumed to be attention-driven, start a performance that way. Still, frontman Matty Bielawski thought it necessary. Initially, the entire scene read like a juvenile and slightly egocentric talent show. However, once they started their set, it became clear the band wasn’t arrogant. They were apathetic, emphasizing a hardcore mantra and rejecting the costumed performer identity. Return to Dust’s set captured something familiar and brand-new, like a melody you wake up with stuck in your head. Their wicked, dirt-inspired take on hard rock interested even the most stoic punks who seem intent on never smiling. Occasionally, the heavily melodic instrumentals overpowered the anguished, full-bodied vocals, leaving the audience wondering about the lyrics. Still, sound balancing notwithstanding, Return to Dust’s performance merged friendly and genuine crowd interaction with energizing melodies that marked them as a skilled new group worth looking into.

Following Return to Dust, the English band Tigercub took over, but only after drummer James A. Allix had finished personally selling their merch and talking earnestly with half a dozen fans. They opened with two of the band’s more experimental tracks, “Show Me My Maker” and “Swoon,” which allowed the audience to discover if they appreciate Tigercub’s admittedly eccentric style. Their new age, whimsical grunge pulls from English rock legends like Led Zeppelin, post-punk ideology and art phenomena like color theory, all making for a musical collage of concepts that feels borderline otherworldly. Even with three members, the band gave a lively, optimistic performance. Interspersing dry English humor with winding metaphorical choruses and heavy breakdowns, Tigercub’s set showed off their impressive discography. 

Ending the night, Chevelle coated the stage in red light and, with no preamble, launched into a brutal set. The audience instantly doubled in volume — in response, the group attempted to match the intensity. With an underwhelming frontman and a staticky light show liable to give a corpse an epileptic fit, Chevelle’s performance entertained an excited crowd but didn’t inspire much movement. The only exception was the zombified mosh pit, which stubbornly pushed into the less lively crowd. The group’s actual songs, while produced exceptionally, sounded disappointingly similar to their recorded counterparts. There was virtually no indication the music was being performed live, besides an exaggerated rest before the chorus of “The Red,” creating a uniquely unbalanced effect. The band’s rather long set managed to weld a strong emotional connection with the majority of the audience, who applauded when lead vocalist Pete Loeffler so much as smiled. Chevelle is aware of just how impressive their audience finds them; this late into their career, they don’t bother with crowd-pleasing gimmicks. Chevelle’s evolved past the need to prove their talent — or maybe, more accurately, they don’t have a reason to put much energy into their performance anymore. Even after postponing the show for weeks, Chevelle still drew a massive crowd, exposing them to the prowess of the band’s openers. Their show made for a diverse look at alternative subgenres and a dramatic transition into the fall season, all while letting older fans remember the rebellion of their adolescence. 

Daily Arts Writer Mivick Smith can be reached at rmontsmi@umich.edu.

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