Uncle Acid And The Deadbeats @ Thalia Hall, Chicago (US)

UNCLE ACID AND THE DEADBEATS / Jonathan Hultén

Date: 12th February, 2025
Venue: Thalia Hall
Ticket Price: $40/€38 *SOLD OUT*
Promoter: n/a

The way the Metal scene struggled to react to “Nell’ Ora Blu” speaks volumes about how unapologetically UNCLE ACID AND THE DEADBEATS operate as a band. The record deviated from its predecessor, “Wasteland”, and this shift prompted the ever-hasty press and fans alike to rush to critique Kevin R. Starr’s artistic choice. However, this was a project he was determined to fulfill, and the pandemic-enforced break provided the perfect condition for its creation.

“Nell’ Ora Blu” is the soundtrack to a film that could have emerged in the mid ‘60s, a time when giallo cinema was gathering serious momentum. This temporal dissonance is just one of the many reasons “Nell’ Ora Blu” succeeded - it educated the young, while reminding the old of an era when movies were truly a form of Art. Naturally, leaving “Nell’ Ora Blu” unperformed would have been an unfinished endeavor, as a soundtrack demands a theater setting and complete with visuals to fully come alive on the big screen.

UNCLE ACID AND THE DEADBEATS booked a rather limited North American tour, and in true Chicago fashion, winter decided to make its presence known, with a generous snowfall on the night of the sold-out show. Fortunately, the hour-long drive downtown proved smoother than expected, and by the time the doors opened, we found ourselves in line, ready to step into the beautiful and magnificent Thalia Hall. Rightfully so, this was a seated event - something I’m usually against for Metal concerts - but in this case, it felt like the right choice. After all, “Nell’ Ora Blu” is a movie soundtrack, and the prospect of seeing Kevin’s vision come to life on the big screen and on the stage was intriguing.

The stage was already prepped for UNCLE ACID AND THE DEADBEATS, with subtle details evoking the ambiance of a speakeasy bar. Table lamps, rotary phones, flickering candles, and even a mannequin on stage left, set the mood. At the forefront, stood a flower-adorned gateway, along with a stand for keyboards/sampler for the opening act, Jonathan Hultén. If his name doesn’t immediately ring TRIBULATION bells, consider this your cue to do some serious homework.

Minutes before showtime, Jonathan was setting up his gear, giving the audience a chance to take in his appearance - his attire, make-up, and how every element tied into his music’s aesthetic. Commanding a theater-sized stage alone, both visually and sonically, is no easy feat. Yet, the moment the stage lights came on and his voice and guitar tone filled the venue, he had everyone’s full attention. It was clear he had meticulously designed the lighting to complement his sound. His movements, his gaze over the audience – everything was deliberately captivating.

Armed with an acoustic guitar and a handful of effects, he opened with “Leaving”, and it was mesmerizing to the audience, which fell silent – a rarity for any opening act. Usually, you can hear the scattered chatter of an impatient / indifferent crowd, but not this time. Even in a seated setting, the performance felt electric from start to finish. It did not feel like we were watching just a singer/guitarist playing his music, because Jonathan’s body language was intertwined with those beautiful Folk melodies. Even adjusting the sampler felt choreographed, a natural extension of his performance.

Under a wash of red light, he moved into “A Dance In The Road”, stomping his foot through the groovier sections, leading the audience to follow with subtle nods. Freeing his hands from the guitar, he gestured along with eerie, church organ melodies in “...And The Pillars Tremble”, adding a ritualistic dimension to the set. This transitioned into “The Roses”, where surreal lyrical references to Dionysos and Apollonian light further enriched the moment.  

There was never total silence, as brief interludes of nature sounds and birdsong bridged the songs. The whistling and guitar chords in “Where Devils Weep” gave some Americana / Western vibes, contrasting with deep purple hues enveloping the stage. “Thank you so very much, Chicago. My name is Jonathan Hultén, and I’m very happy and honored to be here tonight,” he said, expressing his gratitude to UNCLE ACID AND THE DEADBEATS for inviting him on this special tour. For his final piece, “Nightly Sun”, he delivered yet another mesmerizing performance, and as the last notes faded, the room erupted in well-earned applause. Over the course of a 30-min set, Jonathan’s primavera presence and evocative music effortlessly cut through the storm brewing outside, leaving a lasting imprint on everybody’s hearts inside the Hall.

Jonathan Hultén setlist:

01. "Leaving"
02. "A Dance In The Road"
03. "...And The Pillars Tremble"
04. "The Roses"
05. "Where Devils Weep"
06. "Nightly Sun"

Jonathan Hultén

During the intermission, as the stage transformed into a dimly lit piano bar, the video projections set the mood for an impending journey through time. Movie trailers from a bygone era flickered on the large screen at the back, featuring rare movie titles, like 1964’s “Blood And Black Lace”, 1971’s “Qualcosa Striscia Nel Buio” and “La Coda Dello Scorpione”, along with the somewhat hilariously eerie 1977’s “Watch Me When I Kill”. In between, vintage advertisements further immersed the audience in the aesthetic of that era, blending naïveté with an unmistakable Cult status, from the distinct color grading to the stylized acting, where villains were instantly recognizable by their sinister expressions alone. The final touch? A teaser for “Nell' Ora Blu”, serving as the perfect time capsule, transporting everyone into the world of giallo-inspired horror and thriller cinema. Before the proverbial ‘70s TV was switched on, the audience was informed that the band would be “speaking” to them via telephone, while also being kindly advised to refrain from using their smartphones. A clever way to emphasize that watching a performance through a phone screen strips away a crucial dimension of the experience (after all, the screen is only 2D).

To haunting chords of Neil Young’s “Dead Man”, UNCLE ACID AND THE DEADBEATS took the stage under green lighting, and just like that, the movie began... The two keyboard players immediately enriched the vintage atmosphere as the guitarists launched into “Il Sole Sorge Sempre”. At one point in the song, rather than using a pick for the lead guitar, Kevin brandished an Italian swing guard stiletto - the same kind of knife that would sever a character’s thread of life in a giallo film. There were inevitable comparisons to Claudio Simonetti’s GOBLIN performances, as both incorporate film projections during their live shows, but the key difference here was that Starrs had to construct the visual content from scratch, as “Nell’ Ora Blu” only exists within his imagination. I believe he used a mix of sourced material and original content, stitching them together, to craft his own giallo-inspired thriller.

In a typical seated venue, it’s common to see the audience eventually rise for the headliner’s set - but not this time. The crowd remained seated, fully engaged in the cinematic experience UNCLE ACID AND THE DEADBEATS had meticulously crafted. This was a resounding success, with minimal smartphone interruptions - though I can’t fault anyone for capturing brief moments of such a unique spectacle. Kevin’s vocals on the slow-paced “Giustizia Di Strada - Lavora Fino Alla Morte” were pristine, undoubtedly a key reason for choosing Thalia Hall as the venue. With Kit Marsden and Rachel Burnett on keyboards, the sound was rich, draped in a distinct ‘70s film score aesthetic. Under green lights, the GOBLIN-esque “Vendetta (Tema)” felt like an authentic passage through time, which made me wonder -how did the younger audience members perceive this? Had they done their homework after being exposed to this world through Kevin’s artistic vision? Judging by their enthusiastic reactions, I’d say they had, marking another triumph for “Nell’ Ora Blu”.

“La Bara Resterà Chiusa” offered the band a moment to re-tune, while the audience delved further into the movie’s atmosphere. During “Cocktail Party”, Kit Marsden lifted the rotary phone and played his part in this interlude, and hearing a crisp “pronto” on the other end of the line, was like stepping straight into the vintage film. As always with UNCLE ACID AND THE DEADBEATS, the band was shrouded in dim lighting, a staple of their performances, but here, it made even more sense as the focus was meant to be on the unfolding story.

The ‘70s-infused vocal stylings and moody guitar chords of “Il Tesoro Di Sardegna” built a calm-before-the-storm atmosphere, accentuated by Hammond-style melodies and a stellar saxophone solo by Rachel, who stepped out from behind her keyboard setup to deliver a breathtaking performance - one that immediately drew enthusiastic “yeahs” from the crowd. That’s how you know a band has connected with its audience. The moody blue lighting and stormy night visuals provided the perfect backdrop for the Jazz-y “Nell' Ora Blu”, which seamlessly transitioned into the intensity of “Il Chiamante Silenzioso” and “Tortura Al Telefono”. The main keyboard melody felt lifted straight from a ‘70s thriller, with the guitars amplifying the tension. We were rapidly approaching the story’s climax, but true to the era’s cinematic formula, there was a brief moment of respite. “Pomeriggio Di Novembre Nel Parco - Occhi Che Osservano” lulled the audience into a sense of calm before “Il Ritorno Del Chiamante Silenzioso” shattered the illusion, reminding us that something sinister still lurked ahead.

“Solo La Morte Ti Ammanetta” was the only track that fully embraced the UNCLE ACID AND THE DEADBEATS signature sound, and the band executed it flawlessly. I’d wager this was one of the rare moments during the concert when the audience had to fight the urge to rise from their seats. A black cat appeared on the screen, signaling our arrival at “Il Gatto Morto”, a bar straight out of a bygone era. Some audience members may have found the imagery jarring - people smoking indoors?

Spoiler Alert:

Then, it was time for one of the night’s most theatrical moments. As “L’Omicidio” reached its conclusion, Kevin grasped the switchblade, crept behind the unsuspecting mannequin and… blood streamed from its carotid artery. “Resti Umani” provided the perfect sonic backdrop for this cinematic murder, leading to an open-ended finale as “Ritorno All’Oscurità” drew the performance to a close. Before leaving the stage, the band, now clad in black hoods (except for guitarist George Hurlon and Rachel Burnett, if I recall correctly) delivered a final burst of jamming, using their guitars and bass as simulated automatic rifles, a nod to the storyline’s resolution.

The standing ovation that followed was more than deserved, and I couldn’t help but feel a tinge of regret for those who won’t get the chance to watch this live. It remains to be seen whether “Nell' Ora Blu” will receive a sequel, or if any of these concerts will be filmed. In the meantime, I urge you to explore some of these films - you’ll absolutely fall in love with the vintage aesthetics.

UNCLE ACID AND THE DEADBEATS setlist:

01. "Il Sole Sorge Sempre"
02. "Giustizia Di Strada - Lavora Fino Alla Morte"
03. "La Vipera"
04. "Vendetta (Tema)"
05. "La Bara Resterà Chiusa"
06. "Cocktail Party"
07. "Il Tesoro Di Sardegna"
08. "Nell’ Ora Blu"
09. "Il Chiamante Silenzioso"
10. "Tortura Al Telefono"
11. "Pomeriggio Di Novembre Nel Parco - Occhi Che Osservano"
12. "Il Ritorno Del Chiamante Silenzioso"
13. "Solo La Morte Ti Ammanetta"
14. "Il Gatto Morto"
15. "Guidando Veloce Verso La Campagna"
16. "L’Omicidio"
17. "Resti Umani"
18. "Sorge Anche Il Sole"
19. "Ritorno All’Oscurità"

UNCLE ACID AND THE DEADBEATS