Although in recent years the fledgling Springfield music scene has garnered more attention for acts that have disbanded (Park, The Junior Varsity) rather than those which have emerged, The Graduate are attempting to put the state capital back on the map for reasons other than the hiring of a kooky bird whisperer.

Coming off recent cross-country treks with Spitalfield, The Forecast, and Simple Plan, on March 22 the alt-rock quintet used its current downtime to treat the concert-deprived citizens of Springfield (unless you count an August show featuring Vanilla Ice, which I don’t) with an impassioned hometown performance at Club Chrome.

Having witnessed The Graduate take the stage twice at Canopy Club in a supporting role, I have become accustomed to watching the group work to slowly win over the crowd – a process that always added double meaning to the sexually charged lyrics of “Confidence Is Everything”: Turn off the lights / I gotta prove myself tonight.

However, no such conversion was necessary this night. From the moment the members emerged from backstage and launched into the danceable rhythms of “Anhedonia” (the first single from its 2007 full-length of the same name), it became clear that most of those in attendance were already devoted followers and eager to prove it by singing along to the words of every song.

Throughout the too-short 12 song set, lead vocalist Corey Warning fed off this unfailing energy – frequently banging on the drum kit’s cymbals and inserting primal yelps into several songs. Even the other members seemed to be enjoying themselves more than usual, often choosing to fill the time between songs with ambient instrumental segues.

With more time to showcase its growing catalog of songs, the group rewarded the audience with a nice balance of harder-edged, power-pop cuts (“Better Company,” “Justified”), soaring toe-tappers (“Sit and Sink,” “I Survived”) and the slower, more emotionally powerful, “The City That Reads.”

The Graduate also indulged the audience with what has now become a hallmark of its live show – a drumline at the end of “The Forumula” during which Warning pours water on his snare to create a sparkling shower when all the members start banging on their drums in unison

As this dynamic concert demonstrated , like all good alumni the four musicians in The Graduate are more than willing to give back to the place that gave them their start.

Set List

Anhedonia
Interlude
Doppleganger
Sit and Sink
I Survived
Stay the Same
Better Company
The City That Reads
Surround Yourself
The Formula
—
Confidence Is Everything
Justified

Summary Couplet:
The Graduate are done with classes, done with books.
Instead of typing essays, the members now write hooks.

Gaining inspiration from the Pixies and channeling acts such as Sunny Day Real Estate and Clarity-era Jimmy Eat World, The Brother Whys make music that can best be described as emo, before that label became a dirty word. Borrowing the much-maligned genre’s penchant for heartfelt lyrics and merging these words with infectious melodies, The Brother Whys produce a sound that would be just as at home in 1995 as it is today.

Although I Wrote This With Our Bare Hands is the band’s debut album, the group proves it is already adept at crafting songs that function as part of a cohesive whole without ever becoming repetitive. While several songs are blended together seamlessly with instrumental segues, each track still manages to maintain a distinct identity with the help of unique touches – like the instantly memorable guitar solo in “River Black” and the well-placed handclap (I’m a sucker for those) on “Friend You Can.”

This type of ear-pleasing variety is extends throughout the album – from the alt-country leaning “Run! Don’t Walk” to the stripped-down “Song From Humboldt Park” to the slow-burning “Telephone” (which boasts a wistful hook that is so captivating I can’t shake it from my head several days later).

Even on more traditional, uptempo cuts (“Big Teeth,” Working Son”) lead vocalist Tom Riordan’s plaintive (but never grating) voice instills lyrics such as “With books and pens / I journalized your sins” with the subdued energy and emotion of someone who is worn-thin, but not yet worn out.

Although backup vocalist/percussionist Kelly Turner is often relegated to a supporting role, on the piano-driven closer “Acid Rain,” Turner uses her smooth alto to beautifully belie the caustic nature of lyrics such as “I’m not sorry it hurt. / I’m not sorry I meant it. / I’m not sorry I poured / Acid rain on your parade.”

Despite the persistent themes of failed relationships, lost youth and misplaced trust, this album does not aim to depress. Instead, as exemplified on album opener “Thumbtacks” (featuring another Turner-anchored chorus) the jangling tambourines, electronic blips and thumping drum beats never fail to keep the listener immersed in catchy, feel-good harmonies.

All in all, the songs on “I Wrote This With Our Bare Hands” are the kind you might include on a mixtape for your girl/boyfriend – if you wanted to break up with them and still put a smile on their face.

NOTE: The Brother Whys are holding its album release show this Friday, March 28 at The Iron Post. The concert starts at 9 and also features Lucky Mulholland and Brandon T. Washington.

While most students were either packing their bags in anticipation of spring break or starting to transition from Happy Hour to a full night at the bars, Snowsera and The Brother Whys entertained a small crowd at the Illini Union Courtyard Café.

Leading off the free show was The Brother Whys, a band whose unusual name I had already heard, but not its music. Therefore, I was a bit apprehensive as the six members crammed onto the tiny Courtyard platform and lead vocalist/guitarist Tom Riordan repeatedly invited everyone to cozy up to the stage (winning line: “We’re not an orchestra!”). However, fears of bleeding ears soon subsided after the opening strains of “Big Teeth” – as the myriad of instruments combined to produce a warm, mid-90s era sound that, like the stage, was full but not cluttered.

From this starting point, the crowd was treated to a robust 11 song set that provided all the time I needed to fall in love with the group. In a little under an hour, the group blazed through a set list that included the entirety of its upcoming debut album (to be released March 28th at The Iron Post) along with a faithful cover of the Pixies’ classic “Where Is My Mind?” – with Kelly Turner’s sweet vocal harmonizing replacing the haunting echoes of the original. Featuring hazy, meandering melodies punctuated by Riordan’s introspective lyrics, The Brother Whys pull off an impressive feat: making music that is both emotional without sounding whiny and bursting with energy without having to blow out amps.

Set List (provided by The Brother Whys)

Big Teeth
Run! Don’t Walk
River Black
Telephone
Friend You Can
Song From Humboldt Park
Working Son
Charts And Maps
Acid Rain
Where Is My Mind? (Pixies cover)
Thumbtacks

Next to inhabit the tight stage quarters were Snowsera, an alternative rock quartet that is quickly distancing itself from the other student bands attempting to make a splash in the local music scene. Just nominated for a Local Music Award (in the category of Best New Artist) and fresh off the release of their self-titled EP, Snowsera put on a performance that suggested the group are already seasoned veterans. Anchored by Bill Arteaga’s pitch-perfect live singing voice and drummer Jeff Wagner’s limitless talent and energy behind the kits, the band came across as professional and, well, flat-out good. (Incidentally, Wagner also filled in on drums for The Brother Whys, whose songs, ironically, proved to be a better showcase of his ability than his own band’s material.)

Aside from a few failed attempts to spark conversations about spring break plans, the members of Snowsera wisely let their music speak for itself. Beginning with two new offerings in the same vein as those found on its EP, the group continued with one of that release’s standout tracks, “Trends” – a burst of danceable pop-rock with deceptively biting lyrics. After hearing another batch of newer material, about the only complaint that can be raised against Snowsera is the lack of variation among its songs; however, this criticism can almost be ignored solely on the basis of how well the band does what it does. Following the slower, bass-driven “Charity,” the set ended with the superb one-two punch of catchy single “So Subtle” and faster, harder-edged new cut “History.” Don’t worry if you missed out on this show – the next chance to catch them is at the Canopy Club on March 27.

Set List (provided by Snowsera)

Who Else Would We Run To?
What You Will
Twenty-Four (EP)
Trends (EP)
Too
Perennials
Safe
Charity (EP)
So Subtle (EP)
History

Summary Limmerick:
There is nothing better than free shows.
If I were Mya I would love them like, whoa.
The Brother Whys
Were a nice surprise.
And Snowsera rocked out like old pros.

On March 6, the Canopy Club hosted a trio of buzzworthy indie acts – from local scene upstarts Tall Tale to the Chambana-bred and nationally acclaimed Headlights. Rounding out the bill, and adding a touch of foreign spice to its Illinois flavor, was co-headliner Evangelicals from Oklahoma.

The show opened with a strong eight song set from Tall Tale, a U of I student band that has built a loyal following since its inception in August. Seizing the opportunity to showcase its brand of piano-driven, power-pop in front of a larger crowd, Tall Tale performed admirably – with female lead vocalists Tracey Morrison and Tricia Scully trading off verses and sharing the choruses on most songs. Although the group was at its best on upbeat, chorus-driven tracks such as “No Time to Hide,” “Never Knew” and “Pirate Ship,” slower songs “Your Hat” and “Undertow” gave the two singers a chance to make their smooth voices shine over sleepy melodies. Despite a slight lag in pace toward the middle, by the end of up-tempo closing track “Tango” not even the spotlights could compare to the innocent enthusiasm radiated by each member up on stage.

Set List (provided by Tall Tale)

No Time to Hide
Never Knew
Apology
New Song (untitled)
Your Hat
Undertow
Pirate Ship
Tango

Next to take the stage were Pitchfork darlings Evangelicals, a synth-heavy indie rock group touring in support of its recently released second album “The Evening Descends.” After listening to its two studio records several times in the weeks leading up to the show, I had developed an impression of the band as treading precariously on the fine line separating style from substance. And from the moment the members took the stage, it was immediately clear which side its live show resides on. From the fog machine spewing out a dense cloud of smoke over the Canopy crowd, to the black light illuminating a glowing image on the cape worn by bassist/keyboardist Kyle Davis, Evangelicals seemed determined to put on a “show” in every sense of the word.

Oh, and they played some music, too. Although a little out place stylistically next to Tall Tale and Headlights, Evangelicals’ androgynous lead singer Josh Jones captivated the audience with his unique outfit and often unintelligible, high-pitched vocals. Although at times it was difficult to tell whether his coughing laugh into the mic was an artistic choice or a reaction to the cloud of smoke encompassing the stage, his falsetto nicely complemented the harp-like guitar strumming on “Skeleton Man” and oddball electronic effects on “How Do You Sleep?” Ultimately, like Jones’ choreographed crowd surfing adventure, Evangelicals sometimes threatened to collapse under all the gimmicks, but in the end new bursts of originality were always there to lift them back up (along with the occasional help from a few strong audience members).

Once the fog had cleared, the stage was set up to accommodate local favorites Headlights. On this particular evening the group was celebrating the release of “Some Racing, Some Stopping,” its second full-length record through Champaign-based Polyvinyl Records. Even though the musicians entered to the loudest mixture of cheers and applause heard that night, the group started into “Get Yer Head Around It” with little fanfare of its own. Continuing with a stacked set list of newer cuts (“Market Girl,” “School Boys,” “Cherry Tulips”) and older mainstays (“Owl Eyes,” “Lions,” “TV”), Headlights soon succeeded in replacing the lingering smell of smoke with the sweet fragrance of a Midwestern meadow.

Perhaps the greatest thing about Headlights is the band’s ability, especially in a live setting, to generate lush layers of sound from deceptively simple arrangements. Drummer Brett Sanderson and guitarists John Owen and Tristan Wraight join with Erin Fein’s keyboard to produce rolling rhythms that gently swell together and never threaten to overtake each other. In addition, singers Fein and Wraight certainly know how to use their warm voices to full effect, their lyrics often dissolving into soothing “ooooo” harmonies and “ba da da” refrains that entrance the listener without ever lulling them to sleep. As a result, the band creates beautiful, feel-good melodies that effortlessly swirl in the air above you for a moment (and in your head for days).

Set List (provided by Headlights)

Get Yer Head Around It
Market Girl
Centuries
Towers
School Boys
So Much For The Afternoon
Some Racing, Some Stopping
Catch Them All
Cherry Tulips
Owl Eyes
TV
Your Old Street
Lions
Put Us Back Together Right
It Isn’t Easy To Live That Well

Summary Haiku:
Tall Tale are no lie.
Evangelicals preached glam.
Headlights shone brightly.