Skating Polly w/ Black Ends and Allegra Hernandez
xBk presents
Skating Polly
w/ Black Ends and Allegra Hernandez
TUESDAY, JULY 29
Doors: 6pm | Show: 7pm
All Ages
Day of Show Ticket: $20 + Fees
*Limited seating available on a first come, first served basis. If you require ADA accommodations please reach out to aW5mbyB8IHhia2xpdmUgISBjb20=*
___________________________
•• SKATING POLLY ••
Over the past decade, few artists have embodied the unbridled freedom of punk like Skating Polly. Formed when stepsisters Kelli Mayo and Peyton Bighorse were just 9 and 13, the Oklahoma-bred band have channeled their chameleonic musicality into a sound they call “ugly-pop,” unruly and subversive and wildly melodic. With Kelli’s brother Kurtis Mayo joining on drums in 2017, they’ve also built a close-knit community of fans while earning the admiration of their musical forebears, a feat that’s found them collaborating with icons like X’s Exene Cervenka and Beat Happening’s Calvin Johnson, touring with Babes In Toyland, and starring as the subject of a feature-length documentary. On their double album Chaos County Line, Skating Polly reach a whole new level of self-possession, ultimately sharing their most expansive and emotionally powerful work to date.
The follow-up to 2018’s The Make It All Show, Chaos County Line finds Skating Polly working again with Brad Wood, the acclaimed producer behind indie-rock classics like Liz Phair’s Exile in Guyville. As their songs journey from art-punk to noise-rock to piano-driven power-pop, the band matches that musical complexity with a sharply honed narrative voice that manifests in countless forms (ultravivid poetry, diary-like confession, fearlessly detailed storytelling, etc.). Not only the outcome of their constant growth as songwriters, Chaos County Line’s scope and depth has much to do with Skating Polly’s newly heightened clarity of vision. “All these songs are the most special to me of anything I’ve ever written, and I think Kelli feels the same,” says Peyton. “In the past I didn’t always write with a clear purpose, but this time I knew exactly what I wanted to say. We both ended up writing about the most difficult emotional experiences we’ve ever been through, and instead of being terrified of saying exactly what I was feeling it just all came out so naturally.”
Whether they’re opening up about matters internal (identity, disassociation, unhealthy coping mechanisms) or external (obsession, deception, gaslighting), Skating Polly imbue that outpouring with an unfettered emotional truth. On songs like Chaos County Line’s frenetic lead single “Hickey King,” Kelli and Peyton trade off vocals as they share their distinct perspectives on closely related experiences—in this case, the minefield of power dynamics in sex and relationships. “In Peyton’s verse she’s talking about never knowing how far to go or how much of yourself to give to someone, and when my part comes crashing in it’s about guys being possessive and always trying to leave their mark on you,” Kelli says. “To me it’s the most Skating Polly song on the record, because it’s all these different energies happening at once.” Meanwhile, on “I’m Sorry For Always Apologizing,” Skating Polly deliver a bouncy piece of bubblegum-punk in which Kelli calls herself out on certain messy behavior in her past. And on “Double Decker,” Peyton examines her own possibly self-sabotaging patterns, magnifying the song’s mood of confusion with a dizzying guitar solo and breakneck vocal performance. Elsewhere on Chaos County Line, Skating Polly offer up moments of unabashed fun—“Rabbit Food,” for instance, serves up a pure rush of punk delirium spotlighting Kelli’s gift for infusing so much psychodrama into her vocal work.
Over the course of its 18 kaleidoscopic tracks, Chaos County Line embraces the kind of combustible emotionality that comes from fully uncompromised self-expression. “I think on this record Kelli and Peyton were really confident in being more honest and more experimental at the same time, whereas in the past they might’ve made the lyrics more poetic in order to cloak that honesty a bit,” says Kurtis. And as their songs shift from devastating to exhilarating to gloriously cathartic, Skating Polly hope to provide the same sense of solace they found in creating the album. “I’ve had people tell me we’ve helped them get through a breakup or an abusive relationship or the death of someone they loved, and all these other heavy obstacles everyone goes through,” says Kelli. “I feel like I’m not necessarily the best person to draw a map on how to live the happiest life, but I like the idea that our songs can make other people’s lives better in some way. I want our music to be like armor.”
•• BLACK ENDS ••
Black Ends’ self-described gunk-pop is about as sweet as that wad of asphalt-crusted bubblegum you found stuck on the bottom of your favorite boots. Much like the legendary grunge bands that influenced the Seattle trio, Black Ends is artfully adept at smothering catchy pop and rock structures with toxic levels of grime; but please don’t call them “post-grunge”, the term used to describe the major label wave of flannel-clad bands trying to capitalize on grunge’s aesthetic. If you must, “post-post-grunge” may be more apt at capturing Black Ends’ reaction against this type of commercialization.
Further cementing this connection to the city’s rich musical history, the band’s sophomore EP of surrealist grunge, Stay Evil, was mixed and mastered by influential Seattle engineer Jack Endino (Nirvana’s Bleach, Mudhoney), whose thoughtful treatments emphasize the dynamics and clarity of the basement-recorded tracks without smoothing over their raw energy. Bandleader Nicolle Swims takes charge with commanding guitar playing, channeling catchy riffs and bluesy sensibilities through warped effects, scuzzy tones, and math rock joltiness. Beloved radio station KEXP, who describes the release as “a four-song foray into dark alternative rock, art-folk, and the contours of our minds when we are faced with treachery,” exclaims that “Swims’ instantly recognizable voice cuts through the din and grabs you, holding you into place while they sing their words — rubbed raw, cut deep, sometimes willfully obfuscated — in your face.” The recurring lyrical theme of social alienation is enhanced by Swims’ unique and cryptic vocal delivery that embraces their outsider status.
While both of their EP’s have garnered praise from multiple publications and have sold out of physical copies, those who have experienced Black Ends live know the band is most gripping in the context of their electric and dynamic performances. Swims’ alien blues are backed by a raucous rhythm section that seems to exponentially increase in telepathic chemistry with each show, tour, and festival date they play. Bassist Ben Swanson and drummer Jonny Modes are so tight they appear loose, like a runaway train threatening to veer off the rails at any moment, yet somehow managing to always be in the right place at the right time. Whether going off into a noisy freakout or a jammy detour the trio is always in sync and able to turn on a dime. If you haven’t had a chance to see Black Ends live, this is a train you won’t want to miss.
•• ALLEGRA HERNANDEZ ••
Allegra Hernandez is a musician and guitarist from Des Moines, IA. Their music is layered with intricate dynamics and rich, melodic, guitar on top of heartfelt vocals. Allegra lets the music speak for itself onstage, with an organic and loud performance. With elements of rock, melodic hooks, and splashes of technical skill, Allegra taps into a realm of musical versatility. Strong songwriting and vocals are combined with exceptional guitar playing, big chunky distortion, searing leads, and first-person vignettes.
Aside from being an artist, Allegra also is a music educator and teaches guitar and bass lessons independently. Additionally, they also studied music at McNally Smith College of Music and Berklee College of Music, where they graduated from in 2020. They also work with a local non-profit, Girls Rock! Des Moines. As a non-binary person, Allegra is passionate about supporting and uplifting transgender, gender non-conforming, and queer youth. They are also passionate about making music accessible to everyone. Find Allegra's music on major streaming platforms.
___________________________
ADD ON OPTIONS
(does not include tickets for the show)
A limited amount of reserved tables are offered for this event if you'd like to ensure that you have seats. Reserved tables can comfortably accommodate up to a party of four individuals. Please note that the Reserved Table Add-On does not include a general admission ticket; each person must have their own general admission ticket for entry. For example, a party of three people would want to purchase three general admission tickets and one table. For the remaining tables, seating is available on a first-come, first-served basis.
Option #1: Floor High-Top Side Table : $50 (+ Fees)
Option #2: Premium Balcony High Top Table: $50 (+ Fees)
Get Tickets
Skating Polly
w/ Black Ends and Allegra Hernandez
TUESDAY, JULY 29
Doors: 6pm | Show: 7pm
All Ages
Day of Show Ticket: $20 + Fees
*Limited seating available on a first come, first served basis. If you require ADA accommodations please reach out to aW5mbyB8IHhia2xpdmUgISBjb20=*
___________________________
•• SKATING POLLY ••
Over the past decade, few artists have embodied the unbridled freedom of punk like Skating Polly. Formed when stepsisters Kelli Mayo and Peyton Bighorse were just 9 and 13, the Oklahoma-bred band have channeled their chameleonic musicality into a sound they call “ugly-pop,” unruly and subversive and wildly melodic. With Kelli’s brother Kurtis Mayo joining on drums in 2017, they’ve also built a close-knit community of fans while earning the admiration of their musical forebears, a feat that’s found them collaborating with icons like X’s Exene Cervenka and Beat Happening’s Calvin Johnson, touring with Babes In Toyland, and starring as the subject of a feature-length documentary. On their double album Chaos County Line, Skating Polly reach a whole new level of self-possession, ultimately sharing their most expansive and emotionally powerful work to date.
The follow-up to 2018’s The Make It All Show, Chaos County Line finds Skating Polly working again with Brad Wood, the acclaimed producer behind indie-rock classics like Liz Phair’s Exile in Guyville. As their songs journey from art-punk to noise-rock to piano-driven power-pop, the band matches that musical complexity with a sharply honed narrative voice that manifests in countless forms (ultravivid poetry, diary-like confession, fearlessly detailed storytelling, etc.). Not only the outcome of their constant growth as songwriters, Chaos County Line’s scope and depth has much to do with Skating Polly’s newly heightened clarity of vision. “All these songs are the most special to me of anything I’ve ever written, and I think Kelli feels the same,” says Peyton. “In the past I didn’t always write with a clear purpose, but this time I knew exactly what I wanted to say. We both ended up writing about the most difficult emotional experiences we’ve ever been through, and instead of being terrified of saying exactly what I was feeling it just all came out so naturally.”
Whether they’re opening up about matters internal (identity, disassociation, unhealthy coping mechanisms) or external (obsession, deception, gaslighting), Skating Polly imbue that outpouring with an unfettered emotional truth. On songs like Chaos County Line’s frenetic lead single “Hickey King,” Kelli and Peyton trade off vocals as they share their distinct perspectives on closely related experiences—in this case, the minefield of power dynamics in sex and relationships. “In Peyton’s verse she’s talking about never knowing how far to go or how much of yourself to give to someone, and when my part comes crashing in it’s about guys being possessive and always trying to leave their mark on you,” Kelli says. “To me it’s the most Skating Polly song on the record, because it’s all these different energies happening at once.” Meanwhile, on “I’m Sorry For Always Apologizing,” Skating Polly deliver a bouncy piece of bubblegum-punk in which Kelli calls herself out on certain messy behavior in her past. And on “Double Decker,” Peyton examines her own possibly self-sabotaging patterns, magnifying the song’s mood of confusion with a dizzying guitar solo and breakneck vocal performance. Elsewhere on Chaos County Line, Skating Polly offer up moments of unabashed fun—“Rabbit Food,” for instance, serves up a pure rush of punk delirium spotlighting Kelli’s gift for infusing so much psychodrama into her vocal work.
Over the course of its 18 kaleidoscopic tracks, Chaos County Line embraces the kind of combustible emotionality that comes from fully uncompromised self-expression. “I think on this record Kelli and Peyton were really confident in being more honest and more experimental at the same time, whereas in the past they might’ve made the lyrics more poetic in order to cloak that honesty a bit,” says Kurtis. And as their songs shift from devastating to exhilarating to gloriously cathartic, Skating Polly hope to provide the same sense of solace they found in creating the album. “I’ve had people tell me we’ve helped them get through a breakup or an abusive relationship or the death of someone they loved, and all these other heavy obstacles everyone goes through,” says Kelli. “I feel like I’m not necessarily the best person to draw a map on how to live the happiest life, but I like the idea that our songs can make other people’s lives better in some way. I want our music to be like armor.”
•• BLACK ENDS ••
Black Ends’ self-described gunk-pop is about as sweet as that wad of asphalt-crusted bubblegum you found stuck on the bottom of your favorite boots. Much like the legendary grunge bands that influenced the Seattle trio, Black Ends is artfully adept at smothering catchy pop and rock structures with toxic levels of grime; but please don’t call them “post-grunge”, the term used to describe the major label wave of flannel-clad bands trying to capitalize on grunge’s aesthetic. If you must, “post-post-grunge” may be more apt at capturing Black Ends’ reaction against this type of commercialization.
Further cementing this connection to the city’s rich musical history, the band’s sophomore EP of surrealist grunge, Stay Evil, was mixed and mastered by influential Seattle engineer Jack Endino (Nirvana’s Bleach, Mudhoney), whose thoughtful treatments emphasize the dynamics and clarity of the basement-recorded tracks without smoothing over their raw energy. Bandleader Nicolle Swims takes charge with commanding guitar playing, channeling catchy riffs and bluesy sensibilities through warped effects, scuzzy tones, and math rock joltiness. Beloved radio station KEXP, who describes the release as “a four-song foray into dark alternative rock, art-folk, and the contours of our minds when we are faced with treachery,” exclaims that “Swims’ instantly recognizable voice cuts through the din and grabs you, holding you into place while they sing their words — rubbed raw, cut deep, sometimes willfully obfuscated — in your face.” The recurring lyrical theme of social alienation is enhanced by Swims’ unique and cryptic vocal delivery that embraces their outsider status.
While both of their EP’s have garnered praise from multiple publications and have sold out of physical copies, those who have experienced Black Ends live know the band is most gripping in the context of their electric and dynamic performances. Swims’ alien blues are backed by a raucous rhythm section that seems to exponentially increase in telepathic chemistry with each show, tour, and festival date they play. Bassist Ben Swanson and drummer Jonny Modes are so tight they appear loose, like a runaway train threatening to veer off the rails at any moment, yet somehow managing to always be in the right place at the right time. Whether going off into a noisy freakout or a jammy detour the trio is always in sync and able to turn on a dime. If you haven’t had a chance to see Black Ends live, this is a train you won’t want to miss.
•• ALLEGRA HERNANDEZ ••
Allegra Hernandez is a musician and guitarist from Des Moines, IA. Their music is layered with intricate dynamics and rich, melodic, guitar on top of heartfelt vocals. Allegra lets the music speak for itself onstage, with an organic and loud performance. With elements of rock, melodic hooks, and splashes of technical skill, Allegra taps into a realm of musical versatility. Strong songwriting and vocals are combined with exceptional guitar playing, big chunky distortion, searing leads, and first-person vignettes.
Aside from being an artist, Allegra also is a music educator and teaches guitar and bass lessons independently. Additionally, they also studied music at McNally Smith College of Music and Berklee College of Music, where they graduated from in 2020. They also work with a local non-profit, Girls Rock! Des Moines. As a non-binary person, Allegra is passionate about supporting and uplifting transgender, gender non-conforming, and queer youth. They are also passionate about making music accessible to everyone. Find Allegra's music on major streaming platforms.
___________________________
ADD ON OPTIONS
(does not include tickets for the show)
A limited amount of reserved tables are offered for this event if you'd like to ensure that you have seats. Reserved tables can comfortably accommodate up to a party of four individuals. Please note that the Reserved Table Add-On does not include a general admission ticket; each person must have their own general admission ticket for entry. For example, a party of three people would want to purchase three general admission tickets and one table. For the remaining tables, seating is available on a first-come, first-served basis.
Option #1: Floor High-Top Side Table : $50 (+ Fees)
Option #2: Premium Balcony High Top Table: $50 (+ Fees)
Get Tickets