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Florida's The Fest Unveils 2024 Lineup Led by Hot Water Music and Bouncing Souls

Streetlight Manifesto, Matt and Kim, Superchunk, Ted Leo and the Pharmacists, Joyce Manor, and more are also on the bill.

April 15, 2024

Jon Wurster Leaves Superchunk: "My Heart Just Isn't in It Anymore"

Bat Fangs drummer Laura King will step in for Superchunk's next gig,

February 10, 2023

Frantic City: Car Seat Headrest, Yo La Tengo, Snail Mail, and More to Play New Atlantic City Festival

Hosted by Fred Armisen, the new one-day fest also promises Titus Andronicus, Superchunk, Rocket from the Crypt, and Protomartyr.

April 12, 2022

Superchunk Announce New Album and Tour, Share "Endless Summer": Stream

Wild Loneliness features contributions from Sharon Van Etten, R.E.M.’s Mike Mills, Owen Pallett, Camera Obscura's Tracyanne Campbell, and more.

December 7, 2021

Superchunk's Here's to Shutting Up Is Getting a 20th Anniversary Reissue

The limited-edition LP will be available October 22nd via Merge Records.

June 24, 2021

Merge Records Releases Covers Album Benefitting Georgia Senate Democrats

Featuring performances from Arcade Fire's Will Butler, TORRES, Titus Andronicus, Superchunk, and more.

December 4, 2020

Speed Stick Announce Debut Album, Share "Knot" Featuring Kelley Deal: Stream

The Carrboro, NC supergroup touts members of Polvo, Bat Fangs, and The Love Language.

November 18, 2020

Superchunk Share Halloween Single "There's a Ghost", Cover Sisters of Mercy: Stream

The band's first new song since 2018 is backed with a cover of "Alice".

October 30, 2020

Superchunk, The Mountain Goats, Iron & Wine, More Contribute to Charity Album Benefiting North Carolina Venue Cat's Cradle

The indie space is in danger of closing due to the COVD-19 pandemic.

July 1, 2020

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“We didn't emulate Mudhoney's behaviour because we might not be alive if we had!" Superchunk look back on the decade that helped birth and destroy US alt rock

Superchunk's Mac McCaughan and Jim Wilbur talk us through a life spent on the fringes of alt rock – and being inadvertent godparents of mainstream emo

Their second single might’ve made ‘Slack Motherfucker’ core to the 90s indie rock lexicon, but Chapel Hill’s Superchunk were anything but. Their relentless album-tour-album-tour cycle would grind most bands to paste, and their first decade saw a sequence of classic albums that married brash punk energy with sugar rush melodies and sharp songwriting. While they skirted the pitfalls that incinerated so many other acts, the 90s nevertheless took their toll, with the band experiencing exhaustion, the collapse of romantic relationships and the reality of life in an industry where nothing is ever certain.   

After a nine-year slowdown the band returned with renewed vigour, and have gone from strength to strength since 2010’s Majesty Shredding . While today’s Superchunk may look slightly different - Laura King has taken over from longtime drummer Jon Wurster, and Betsy Wright subs in as live bassist for co-founder Laura Ballance - the band remains true to the sound, spirit and ethos that has guided them from day one. 

With this year marking three decades since third album On The Mouth was released, we turn back the clock and ask the band about the decade that helped both birth and destroy American indie rock.

“In terms of the UK and Europe I felt we’d maybe already reached our peak,” says frontman Mac McCaughan drily. “We’d been on the cover of the NME with our second record [1991’s ebullient No Pocky For Kitty ] and usually it's only downhill from there. It wasn't like in the States, which was a steady uphill trajectory. I feel like by the time On The Mouth came out we’d already settled into a point where our fans were still coming to see us and the casual observers had moved on to Britpop or whatever.” 

Chock-full of indie anthems like Precision Auto (later covered by the likes of Jimmy Eat World and Les Savy Fav) and Mower the album provides a glorious jolt of bittersweet adrenaline that’s perfect for either a lost-in-the-moment pogo or glummer, bedroom-bound introspection. “We were trying to make a different, slightly more expansive record each time even though, listening to them now, they're not that different from each other,” chuckles Mac. “In our minds we were incorporating and absorbing things from bands we were touring with like Rocket From The Crypt , Drive Like Jehu and Polvo, but, when you listen to it, it just sounds like a Superchunk record.” 

Guitarist Jim Wilbur has his own thoughts on why, even if they were subconsciously channelling The Pale Saints or The Boo Radleys, On The Mouth was only ever going to sound one way. “We’re idiosyncratic,” he says. “We're not trained musicians. And that's why the band always sounds like us because the limitations are flaunted, and they become strengths. So even when we're trying something different, there's only so much we can do because of the ability behind it all.”

Recorded in 1992 at Westbeach Recorders, the studio founded by Bad Religion ’s Brett Gurewitz , On The Mouth was produced by San Diego native John Reis, erstwhile member of acts like Pitchfork, Drive Like Jehu, Hot Snakes and Rocket From The Crypt. Superchunk played with Jehu in San Diego on their first tour, and became firm friends. “We felt a kinship with those guys,” says Mac. “They were big fans of Honor Role, who were a band from over here in North Carolina, so we bonded over that, traded records and became friends. We really loved the way their records sounded and wanted to work where they’d worked. We didn't really know what John would do as a producer or what a producer did , but it just seemed like a fun thing.”

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On The Mouth landed slap-bang in the middle of the post- Nevermind , pre- Dookie era that split punk rock open and chewed up innumerable indie, punk and post-hardcore heroes who took their shot at major label stardom. On the face of it, the album’s mix of exuberant fuzz and gutpunch hooks should have made them ripe for major label plunder - especially with the music industry eye of Sauron temporarily hovering over their Chapel Hill hometown. Nevertheless, the band kept it indie - viewing ‘the man’ warily even if their decision was born of pragmatism rather than a staunch DIY-or-die attitude. With the band’s contract ending with Matador the band took things in-house, deciding to go it alone via Merge - the label Mac had formed with bassist Laura Ballance back in 1989 - after a distribution deal with Touch & Go Records opened up new possibilities. “It wasn't that we didn't like Matador,” says Mac. “It was just more like… well, why wouldn't we? We had this apparatus, why wouldn't we use it?” 

If the DIY approach made sense and they managed to avoid the major label tarpit that beset peers like Seaweed, Girls Against Boys and Jawbox, it wasn’t entirely by design. “We had a meeting with Danny Goldberg [then president of Atlantic Records] in Los Angeles, and we had lunch in New York with someone from DGC,” recalls Mac. “So there was interest, but it never got to a point where there was a number on a piece of paper. Maybe we just put out the vibe that we weren’t interested? Perhaps we just weren't ambitious enough, but it just never seemed like it was the way to get ahead.”

Mac suggests the 90s represented a period of trying to “figure out how to be a band” - a surprising admission considering the cohesiveness of their output. He mentions long-running UK post-punkers The Mekons as inspiration in terms of longevity and ongoing creative purpose, as well as early tourmates Mudhoney. “We certainly didn't emulate all of their behaviour because we might not still be alive if we had,” he laughs. “But Mudhoney knew when to take things seriously and when to not take things seriously, and how to have a work ethic without being rock stars. They had a good balance of wanting to play great shows and have people buy their records but also having a sense of humour.”

For a few years there Superchunk was a sustainable means of making rent. But if the band managed to survive and thrive while many of their peers crumbled, the decade nevertheless took its toll. The band tapped out of a mooted tour of Australia and New Zealand with Sebadoh, while Mac’s relationship with Laura came to an end. “We knew the vibe was going to be weird sometimes but it's interesting how little we talked about breaking up the band,” says Mac. As anyone who’s suffered the awkward agony of avoiding eye contact with an ex at school, work or in the supermarket, the situation begs the question as to how comfortable it might have been to tour, practise and work with a former partner. Was this down to a laudable sense of maturity? “Well, if you can call compartmentalisation mature…” begins Mac with a slight grimace. “Or you can maybe call it something less healthy than that. But, no, I think a lot of it was just ‘we’ve already accomplished all this, why would we start again?’ I think we were just slightly stubborn and decided to power through.” 

Superchunk ‘powered through’ until 2001, releasing the aptly titled Here’s To Shutting Up before activity slowed to a crawl. They’d triumphantly reemerge in 2010 and continue releasing relevant, often remarkable music from there on in, and it’s interesting to note how the band managed to weather and survive numerous industry fads, nestling alongside and yet often outside such maligned subgenres as grunge , pop punk, college rock and emo. “I've never really felt part of anything like that other than indie rock, and that doesn't describe a sound but a way of going about things,” says Mac philosophically. “None of them are bad words, I guess, but grunge gets the most laughs.” As for Jim, he lets slip that Superchunk may well be inadvertent godparents to mainstream emo. “I worked at [beloved North Carolina venue] the Cat's Cradle club right around the turn of the century,” he says. “The first show I worked was Jimmy Eat World, and I remember them saying ‘we wouldn't be here right now if it wasn't for you’. It was almost like ‘oh my god, what did we do?!’”

All gags aside, as they head towards 35 years of life Superchunk find themselves in an enviable place: respected and adored, and confident in their ability to expand and experiment at will - last year’s lushly-arranged Wild Loneliness the perfect case in point. The band also have the luxury of looking back at a treasure trove of past material. The recent Misfits & Mistakes box set compiles 50 B-sides, standalone songs and hard-to-find tracks from the past 15 years, while milestone anniversaries for releases like On The Mouth mean they’re able to dig back and reconnect with material that might not have been aired in decades. “We can't play 40 songs a night but it's a good problem to have,” says Mac of the struggle to put a setlist together. “It's also just fun to try to come up with some shit that's going to surprise people. Like when we played On The Mouth in its entirety in New York City - we didn't tell people, so it was kind of cool when people realised what was going on halfway through.” 

Jim, demonstrating that trademark Superchunk pragmatism to the last, quips that the gig provided fans with an added bonus: “ It also gave people the chance to go to the bar because their least favourite song was about to be played.”

Superchunk - Misfits & Mistakes: Singles, B-sides & Strays 2007-2023 is available now via Merge Records. The band are touring now

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Superchunk to celebrate 30 years of ‘On the Mouth’ with autumn 2023 UK/EU tour dates

Today, the legendary Superchunk announce their first run of UK and European tour dates since 2018. Coming hot off the heels of the quartet's seminal third album On the Mouth turning 30 in February of this year, expect a set peppered with tracks from that record, as well as a first chance for audiences on that side of the pond to catch songs from last year's acclaimed Wild Loneliness LP live.

Of the shows, Superchunk co-founder Mac McCaughan offers:

It's been more than five years since we've toured the UK and Europe, and 30 years since we have been to some of these places. This year is also the 30th anniversary of On The Mouth ; we toured the UK and Europe for that album in 1993, and we are looking forward to leaning into the album on our November dates. There are obviously songs from On the Mouth that we have played regularly ever since then ("Precision Auto" and "Mower" come to mind) but plenty of deep cuts we love playing as well. Some of the songs on On the Mouth ("From The Curve" "The Only Piece That You Get") are actually about touring in Europe. We will have copies of the album on sale at the shows! This is also the first time touring with the rhythm section of Laura King (Bat Fangs, Speed Stick) on drums and Betsy Wright (Ex Hex, Bat Fangs) on bass! It's going to be a blast.

The shows kick off in Berlin at Lido on November 2, with further stops in Germany, Italy, Switzerland, the UK, and the Netherlands to follow—tickets are available now!

In addition to their UK/EU tour, Superchunk have added a run of North Carolina dates to their schedule this October, including playing Durham’s That Music Fest on October 14. These shows go on sale Friday, June 23.

Superchunk on tour: Jul 08 Chicago, IL – Square Roots Festival Jul 09 Chicago, IL – Thalia Hall Sep 08 Richmond, VA – Richmond Music Hall* Sep 09 Baltimore, MD – Ottobar* Sep 10 Ardmore, PA – Ardmore Music Hall* Sep 12 South Burlington, VT – Higher Ground* Sep 13 Portland, ME – SPACE Gallery* Sep 14 Hamden, CT – Space Ballroom* Sep 15 Woodstock, NY – Colony* Sep 16 New York, NY – Bowery Ballroom* Oct 11 Asheville, NC – The Grey Eagle Oct 12 Charlotte, NC – Neighborhood Theatre Oct 14 Durham, NC – That Music Fest Nov 02 Berlin, DE – Lido Nov 03 Bielefeld, DE – Forum Nov 04 Schorndorf, DE – Manufaktur Nov 05 Bologna, IT – Improved Sequence Fest Nov 06 Zurich, CH – El Lokal Nov 09 London, UK – Bush Hall Nov 10 Bristol, UK – Strange Brew Nov 11 Leeds, UK – The Brudenell Social Club Nov 12 Manchester, UK – Night & Day Nov 13 Brighton, UK – Concorde 2 Nov 15 Haarlem, NL – Patronaat

*w/ Cable Ties

Superchunk Sound Surprisingly Upbeat on Punky ‘Everybody Dies’

• By Kory Grow

Superchunk won’t let a little thing like the brittle and cruel nature of human mortality get in the way of a good punk song. On their latest single, “Everybody Dies,” frontman Mac McCaughan pays tribute to the many musicians who have passed away in the last decade and how jarring their loss has been. “I was happy in a world of wishful thinking and outright lies,” he sings, “but I’m beginning to think that everybody dies.” The music recalls Superchunk’s pogo-ready, hyper-enough Nineties rockers, paired with some Clash-like “whoaas.”

A seven-inch single, which features a cover of Alastair Galbraith’s “As in a Blender” on the flip side, comes out Jan. 26. The cover sports a painting by McCaughan, who recorded the songs with his bandmates, bassist Laura Ballance and guitarist Jim Wilbur, and their new drummer, Laura King.

McCaughan continued to say that he began “Everybody Dies” playing to a drum pattern that reminded him of Drive Like Jehu, a band whose frontman, Rick Froberg, died last year. “Lucky for everyone, I didn’t try to sing like him on this track,” McCaughan said. “When we were thinking of covers to record for the B-side — dedicated to [the Clean’s] Hamish Kilgour [who died in 2022 ] in the runout groove — I came in one day and said, ‘What about an Alastair Galbraith song?’ and Jim said, ‘As in a Blender’? Galbraith’s meditation on mortality and the passage of time is somewhat more sanguine than ours and was exactly the one I had been listening to.”

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Superchunk tour dates:

Feb. 1 – San Diego, CA @ Music Box Feb. 2 – Los Angeles, CA @ The Regent Theater Feb. 3 – San Francisco, CA @ The Regency Ballroom (HOMESICK Festival) Feb. 4 – Sacramento, CA @ Harlow’s Feb. 6 – Portland, OR @ Revolution Hall Feb. 7 – Seattle, WA @ The Crocodile Feb. 8 – Vancouver, BC @ Rickshaw Theatre

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Monday 21 October 2024

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3504 Montopolis Drive 78744 Austin, TX, US

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Doors open: 20:00

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Superchunk’s import on the indie music scene can not be overstated. Not only did they help lay the framework for 90s alternative rock, they also founded one of the most revered and influential labels in this circuit, …

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Superchunk's unique blend of punk energy and indie DIY philosophy has carried them through a 20 year career that continues to evolve and present them as one of the most exciting and important rock and roll bands on the …

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Superchunk - 30th Anniversary of Foolish

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Superchunk on march 25, 2024.

Pneumatic Tour 2024

FEVER, Tokyo, Japan

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2023.12.20｜14:12

SUPERCHUNK and NOT WONK Announced Joint Tour in March

SUPERCHUNK and NOT WONK’s split tour “SUPERCHUNK and NOT WONK “PNEUMATIC TOUR 2024″” will take place in Hokkaido, Osaka, and Tokyo in March 2024.

SUPERCHUNK is a leading indie rock band formed in Chapel Hill, North Carolina, U.S.A., in 1989, and has maintained a DIY style for more than 30 years. Wild Loneliness”, their 12th album released in 2022, is a mature work that befits the band’s history, with folk rock and soft rock at its core, and the addition of strings, acoustic guitar, and horns.

NOT WONK is a three-piece band formed in Tomakomai, Hokkaido, in 2010, released their 4th album “dimen” in January 2021, and held a 2-man event “BEING THERE” in 2022 with ZAZEN BOYS, Legal Lily, Paledusk and THE NOVEMBERS as guests. In 2022, he will release his 4th album “dimen” and in 2022, he will host a 2-man event “BEING THERE” with ZAZEN BOYS, Legal Lily, Paledusk, and THE NOVEMBERS.

SUPERCHUNK’s first tour in Japan in four and a half years will take them to ELLCUBE in Tomakomai, Hokkaido on Wednesday, March 20 (national holiday), FANDANGO in Sakai, Osaka on Saturday, March 23, and FEVER in Niyoda, Tokyo on Sunday, March 24. In addition, SUPERCHUNK’s one-man live performance will be held at FEVER on Monday, March 25.

Shuhei Kato of NOT WONK commented on the tour, which will take place over the past five years.

During the somewhat assertive participation in SUPERCHUNK’s last Japan tour, I made sure to insist to Mac that they must come to Tomakomai next. True to the target I had set for myself, within five years, and with a double-named tour! It’s amazing—our SUPERCHUNK truly is a band that doesn’t forget promises. For this upcoming PNEUMATIC TOUR, we plan to rock Tomakomai, Sakai, and Shindaita with a fresh burst of energy, both SUPERCHUNK and NOT WONK. Whether you’ve been a fan for years or you’re meeting SUPERCHUNK for the first time on this tour, we’re certain to provide an awesome time. So, enroll in the Hyper Enough University, complete the required courses, and join us at the venue. It’s a delightful story, isn’t it? It brings tears to my eyes. Shuhei Kato (Vo./Gt.), NOT WONK

Tickets will be available at Ticket Pia from December 15 (Fri.) at 6:00 p.m. U-23 tickets will also be available.

SUPERCHUNK and NOT WONK u0022PNEUMATIC TOUR 2024

Time: All shows OPEN 18:30 / START 19:30

March 20, 2024 (Wed., holiday) Hokkaido/Tomakomai ELLCUBE Price: U-23 4,000 yen / General 6,800 yen / Same-day 8,000 yen

March 23, 2024 (Sat) Sakai FANDANGO, Osaka Price: U-23 4,000 yen / Adult 7,000 yen / 8,000 yen at the door

March 24, 2024 (Sun) Tokyo Niyoda LIVE HOUSE FEVER Price: U-23 4,000yen / Adult 7,000yen / Day-of-performance 8,000yen

March 25, 2024 (Mon) LIVE HOUSE FEVER, Niyoda, Tokyo *Superchunk One-man show Price: U-23 4,000 yen / General 7,000 yen / Day-of-performance 8,000 yen

Official pre-order period: December 15, 2023 (Fri) 18:00 – December 25, 2023 (Mon) 23:59 Ticket link: https://w.pia.jp/t/pneumatic/ Organizer/Production: Bigfish inc. Production cooperation: ATFIELD inc. / Rimeout Recordings INFO: ATFIELD 03-5712-5227 / http://www.atfield.net/

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Kenny Chesney ‘Sun Goes Down Tour’: Where to buy last-minute tickets

• Updated: May. 31, 2024, 7:28 a.m. |
• Published: May. 31, 2024, 7:27 a.m.

Kenny Chesney will perform on Saturday, June 1, 2024, in Pittsburgh, and Saturday, June 8, in Philadelphia. Here, he performs at MetLife Stadium in East Rutherford on Aug. 13, 2022. (Matthew Swensen)

• Deb Kiner | [email protected]

If your weekend is suddenly free, there is still time to see Kenny Chesney and the three-time Grammy Award winning Zac Brown Band on Saturday in Pittsburgh.

The country singer will be making his 12th visit to the Steel City, performing on June 1 at Acrisure Stadium.

A road trip tomorrow (don’t drive your tractor even if it is sexy) could put you in the stands before the sun does down and there are still tickets to be had.

No Shoes Nation can buy tickets here (prices are as of the time of this post):

• Vivid Seats, prices start at $129
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• Stubhub, prices start at $125

If this weekend just won’t work, Chesney and the Zac Brown Band will be at Lincoln Financial Field in Philadelphia next Saturday, June 8.

Fans can buy tickets here:

• SeatGeek, prices start at $115

The show also will include Megan Moroney, the Academy of Country Music new female artist of the year, and Uncle Kracker.

Can’t make those Pa. concerts? Chesney also will perform :

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