Distracted

By Allie Russell

There’s something revealing about seeing a band as the first opener of the night. Without the benefit of a headlining set, a room full of fans who came specifically to see them, or the production that comes with a larger tour, a band has to establish itself quickly. It becomes clear early on if the music can hold the room. 

At the House of Blues in Chicago this week, Los Angeles-based band wilt did just that. 

Currently touring with Jutes, wilt brought a set that felt remarkably assured for a band still introducing themselves to larger audiences. Comprised of vocalist Chelsea Rifkin, guitarists Aaron Liebman and Andy Vance, and drummer Dan Bermudez, the band moved comfortably between older material and their most recent singles, offering a snapshot of where they have been while making room for where they appear to be headed.

Much of the momentum on stage comes from Rifkin. Her vocal performance was one of the most striking elements of the set, but her presence onstage was equally important. She rarely stayed in one place, moving between her bandmates and engaging with different parts of the room throughout the performance. Rather than treating the stage as a fixed space, wilt used the entire room as an extension of the set. It gave the performance a sense of movement without feeling overly planned or choreographed. 

That balance is difficult to manufacture. A band can have strong songs and technically impressive musicianship, but a compelling live presence requires something less tangible. wilt seems to understand that instinctively.

One of the set’s most unexpected moments was their cover of t.A.T.u.’s “All The Things She Said.” It was a particularly effective choice, not just because the song is immediately recognisable, but because it gave the set a moment of unpredictability. In the context of their original material, the cover felt less like a novelty to appease the crowd and more like an indication of the band’s willingness to play with their influences and have a little fun with the room. 

That sense of personality is worth paying attention to, particularly as wilt approaches the release of their debut album, “when no one’s watching,” on October 2nd. 

The album will inevitably provide a more complete picture of the band than a single live set can. But if their performance in Chicago is any indication, Wilt’s greatest strength may be how naturally their music translates to a stage. They already possess many of the qualities that tend to become more pronounced as a band grows: a vocalist who can command a room, musicians who play incredibly well together, and a live presence that does not depend on the audience already knowing everything about them. 

As their album arrives this fall, with it comes the opportunity to turn the promise of their live show into something more permanent. For now, though, there is plenty of reason to seek them out onstage. If you have the chance to catch wilt in a room before they start filling them on their own, take it. It may not be long before the opening slots feel like a very different part of their story.