Reggie & the Full Effect, Dads, Pentimento | Subterranean | Rock, Pop, Etc | Chicago Reader
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Reggie & the Full Effect

Reggie & the Full Effect

Reggie & the Full Effect, Dads, Pentimento 17+ Agenda Early Warnings (Music) Recommended Soundboard

When: Wed., Feb. 12, 7:30 p.m. 2014
Price: $16, $13.50 in advance
When emo became synonymous with gothy fashion in the mid-aughts, it seemed inconceivable that the main players in the scene could have senses of humor—the music’s histrionics were easy to mock (and apparently still are, judging from the episode that South Park dedicated to black-clad “emos” last fall), but the people making it didn’t look like they were in on the joke. James Dewees of the Get Up Kids, who toured with My Chemical Romance as a keyboardist from 2007 till the band dissolved, has long been an exception. Even before he joined the Get Up Kids in 1999, he was releasing absurd, goofy, and occasionally poppy emo tunes as Reggie & the Full Effect. And his prankish silliness wasn’t confined to the music: the album art for 2000’s Promotional Copy looks so much like a promo CD that Best Buy and Sam Goody supposedly returned copies, thinking they’d received promos instead of finished CDs. Dewees likes to riff on pop culture in his lyrics, song titles, and skits (“Robo Fonzie Meets Frank”), but he’s not just about the jokes; “Getting by With It’s” and “Take Me Home Please” are two of the catchiest and most earnest emo songs of the aughts. Last year’s Kickstarter-funded No Country for Old Musicians (Pure Noise) is uneven, but it has its moments—on “37,” Dewees breaks out some chunky punk riffs while singing about spending his 37th birthday trying to persuade the young monsters lurking in his bedroom to let Bruno Mars into their band. —Leor Galil Dads and Pentimento open.



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