Destroy Boys, Sons of an Illustrious Father rock Schubas

As rain poured down outside, Schubas was packed to capacity as fans waited in anticipation for Destroy Boys and Sons of an Illustrious Father to take the stage on June 18.

Sons of an Illustrious Father is comprised of vocalist and bassist Josh Aubin, vocalist and guitarist Lilah Larson and vocalist and drummer Ezra Miller. Although they’re technically classified as an alternative or indie group, the Brooklyn-based trio classifies themselves as a  “genrequeer” band—meaning they aim to challenge not only the constructs of genre, but also gender and sexuality. This classification is especially appropriate because their music blends so many styles that it’s nearly impossible to narrow it down to one genre.

Previously performing at smaller DIY venues in Chicago—like the Observatory in 2013—the group took to Schubas to perform tracks off their newest album “Deus Sex Machina: Or, Moving Slowly Beyond Nikola Tesla,” and took Destroy Boys along for the ride.

Destroy Boys are transforming the punk scene. Formed in 2015, the group is comprised of lead vocalist Alexia Roditis and guitarist Vi Mayugba.

The punk duo delivered an electrifying opening performance. “Crybaby” and “Vixen” stole the set, but the group delivered an impressive cover of The Ramone’s “Teenage Lobotomy.”  It was only a matter of time until a mosh pit opened up on the floor—especially with the encouragement from the group themselves.

Standing close to the wall towards the back of the venue, Miller could be seen dancing along to the set—but he unfortunately didn’t join in on the pit.

After a brief delay, Sons took the stage and kicked off their set with “Post Future”—the only track they played off their album “Revol.” Aubin’s powerful vocals—combined with the instrumental and backup vocal support from Larson and Miller—set the tone for the entire gig.

Next up was “U.S. Gay.” Intense red lights illuminated the trio onstage as they performed their hit single with Miller and Larson’s vocals dominating the performance.

“Extraordinary Rendition” was especially powerful. The band put their all into the performance of the heavy track—and the vibrations could be felt in your chest. Miller’s vocals didn’t waiver throughout the entirety of the piece—it almost seemed as if they intensified as the song went on.

“When Things Fall Apart” was up next and was nothing short of beautiful. Larson’s vocals were ethereal and the audience was loving it.

But what truly stole the show was the band’s cover of Nirvana’s “All Apologies.”

Stepping away from their instruments, Aubin, Larson and Miller came together at the middle of the stage to deliver a powerful acapella performance. The connection between the trio and the audience was at an all-time high during this raw rendition.

The tranquility didn’t last for long, as the band picked right back up with high velocity performance of “EG.” Miller remained on drums, but Aubin and Larson switched spots for the piece.

Larson and Miller then switched spots for “Crystal Tomes.” With Miller now on keyboard and Larson on drums, the skill amongst the trio was more apparent than ever.

Sons closed out their set with a rousing cover of David Bowie’s “I’m Afraid of Americans.” As advocates for all things social justice, the group couldn’t have picked a better—or timelier—song to end their performance. As red lights once again illuminated the venue, the band poured their heart and soul into the finale. Miller became visibly distressed towards the end—perhaps reflecting on current social issues—but finished strong nonetheless.

The rousing performance delivered by Sons—coupled with their immense talent—makes them a profound and must-see act. Although they obviously want to remain close to their DIY-scene roots, it’s only a matter of time before they make it mainstream.