Dinosaur Jr.

Fall Tour 2026

with special guest Stef Chura

Dinosaur Jr.

GENRE: Indie Rock

Spotify | Youtube | Website

There Near

Finally! The sixth studio album Dinosaur Jr. have recorded in the 20 years since their triumphal rebirth. There have been several live and/or closet cleaning collections to keep us punters sated for the five years since Sweep It Into Space, but there is nothing quite like having a full slab of new Dino tunes to fry your ears. And There Near has all knobs set to Extra Crispy.

Created in short, intense bursts over the course of a year at Amherst's Bisquiteen Studio, There Near was recorded almost entirely by Dino's core trio -- king of the thunder tubs, Murph, human tornado Lou Barlow on bass/vocals and the inimitable J Mascis on guitar/vocals -- with a bit of piano and organ work by local master musician, Ken Mauri. And the album roars from start to finish.

Trying to define the essence of Dino's sound is never easy. It's an instantly recognizable blend of loose vocals, sharp guitars and an animalistic rhythm section, but these parts combine into a whole far more magical and exciting than its components. In strict rock-write terms, you might call the approach “post-core power balladeering,” but what use is that? Dinosaur Jr. invented their formula for noise/pop jiggering around the same time Husker Dü were trying out some of the same ideas, all of which got made popular by a band they inspired called Nirvana. But that's an old and much-told tale.

J's guitar tone throughout There Near is even more animalistic than usual, perhaps owing partly to the fact he's playing through a recently acquired 70's Mesa Boogie MK 1 amp. “I bought the same amp that Chris Dixon had when we made our first album,” J says. “Chris recorded us at his house with his amp. It has a real interesting sound I haven't gotten for a while. And it's something I was trying to get back to on this album. The Stones started using Mesa Boogies in the '70s after they heard Santana playing through them. Then The Clash copied The Stones, etc. As the years went on into the MK 2 and so on, the Boogie got more metal sounding. But the MK 1 has a souped-up Fender sound. You always hear how Rick Rubin always makes bands he's producing sit down and listen to their first album and say let's get back to that sound. So I just gave myself his advice."

Asked about the philosophical opacity of his lyrical approach, J says. “I'm not always sure what a song is 'about' when I'm writing it. I guess the meaning will present itself at some point. I'll use whatever words work. And a lot of it will be influenced by whatever esoteric mumbo jumbo I'm reading at the time. I try not to think too hard about any of it. I think it's a drag that Spotify shows all the lyrics to a song. What's the fun of that? Japanese labels always wanted us to give them lyrics to print. I wouldn't hand them over so they'd just have to try and figure them out. It has always been better to make up your own version of lyrics to songs by the Stones or R.E.M. or whoever. I mean, R.E.M.'s whole thing was about mumbling. I never understood why they caved to pressure and started enunciating."

“Someone suggested this album sounds more upbeat, but I guess that's to do with my delivery, because lyrics like 'No Friends' might make you think otherwise. But I usually write in the third person. It's all just make believe.”

While it's true There Near does present a slightly softer lyrical edge on some of J's songs, even a relatively gorgeous ballad like “Put It Down” eventually explodes in a shower of fiery guitar distentions. It's just what happens. Meanwhile the two tunes provided by Lou -- “Blowin' Up” and “No One's Ready” -- may have less frenzied musical settings, but their lyrics sound like pointed and timely attacks on our current regime. As is so often the case, Lou's melodic constructions have a friendly mien, but his lyrics cut like knives.

There Near continues Dinosaur Jr.'s string of classic albums. The new songs are sure to sound amazing with their monstrous riffs blaring from live stages amidst their historical brethren. Can't wait to catch them live, but in the meantime There Near will be a constant companion. The nearer the better. --Byron Coley

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Stef Chura

GENRE: Indie Rock

Spotify | Yout ube | Website

It's been seven years since Detroit singer and songwriter Stef Chura released her last album, Midnight. Plenty of dramatic and life-altering things happened in those seven years: She broke off an engagement, she left Detroit for New Orleans (and then Louisville), she gave birth to her first child, she ultimately returned to Detroit. But those events are not the true story of Dancing Alone on the Concrete, her third album and second for Saddle Creek. The true story of this album-the experience that gives it its thematic and aesthetic shape-is more simple than that. Here's what happened while Stef Chura was writing the songs that would eventually become Dancing Alone on the Concrete: She practiced the piano and the guitar a whole lot, and she went on dates.

Stef Chura's been through a lot in the last seven years. Maybe you've been through similar things. If you haven't, it’s likely you will soon; everyday difficulty is the primary source here. But Dancing Alone on the Concrete's key is right there, the adverb in the album's title: alone. Not loneliness, but personal comfort, self-affirmation, healthy solitude. Not that you'll find such therapy-speak on this record; it's too embodied, too rich with experience. It's clear that these songs come from a place of pain or confusion, that their genesis is in various forms of suffering-you can feel it. As Chura says, they're about the search for love. And while they never quite arrive there, the rightful object of her affection is right there in every song, in the form of the person singing them.

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Doors 7PM // Show 8PM

General Admission is standing room only. Mezzanine is on the second floor, reserved and fully seated. For more information please contact ticketing@guildtheatre.com