Young love, joy, and the hope of youth filled the room Saturday night during Beach Bunny’s set at Thalia Hall. The sold-out, headlining show was part of the band’s second annual Pool Party on Ice festival, which concludes Sunday.
Bringing together local and national artists like Hank Heaven and Aly & AJ, the event kicks off a season of Chicago winter music festivals, which also includes the Empty Bottle’s outdoor Music Frozen Dancing in February and Lincoln Hall and Schubas’ Tomorrow Never Knows in January.
Taking place during the amorphous week between Christmas Day and New Year’s Eve, the festival is a welcome break from the end-of-year doldrums. “Thanks for hanging out during the awkward time of the season,” said band leader Lili Trifilio during their hour-long set. “Are we excited for 2025?”
Not to be outdone, 2024 has been a big year for Chicago musicians, and nobody else embodies this time of opportunity and success quite like Beach Bunny. After gaining worldwide attention for their hit single “Prom Queen” during the pandemic, the spirited garage rock band made a name for themselves through their highly relatable albums and spunky live shows. This year, those skills were on full display as the band toured with Melanie Martinez in the spring and played Riot Fest in September.
Saturday night, fans across different age ranges came together on this post-holiday, pre-holiday night to create a lively, summer-like atmosphere in Thalia Hall. The lights dimmed as the group walked out to The Ronettes’ “Be My Baby.” A large inflatable heart appeared on stage in the background, setting the mood for the evening and connecting the lineage of sounds. The song’s cheerful melodies and reverb-soaked guitars and vocals, paired with lyrics of yearning and regret, were a perfect first bite for Beach Bunny’s similarly constructed music.
Beach Bunny has evolved significantly since their DIY beginnings in Chicago’s basement scene. What started as Trifilio’s bedroom pop project has matured into a tight unit that transforms their recorded indie pop into something more urgent and raw on stage. Tonight, the guitar work shined during “Sports,” with reverb-drenched leads cutting through the mix with clarity. The band’s delicate balance between punk energy and pop precision was fully on display.
That lively atmosphere permeated throughout the evening, even during some minor technical issues as they played “Dream Boy.” While the audience clapped and danced along to “Promises,” a young couple next to me made out on the dance floor. During “Cuffing Season,” a mini mosh pit formed toward the center front of the room. “We need to amp it up,” Trifilio said. “It’s a Saturday night.” The audience cheered and cheered, never letting up.
The sound at Thalia Hall later did justice to Beach Bunny’s dynamic range, from the quieter moments of vulnerability in “Rearview” to the crescendos of 2024 single “Vertigo.” I was reminded of obscure ’90s groups like Moonpools & Caterpillars as well as beloved aughts bands like Paramore. Trifilio’s vocals, which have grown stronger and more confident with each tour, soar above the mix without losing the intimate quality that makes her lyrics so affecting. The band has clearly learned to harness the power of contrast, letting songs breathe during their verses before exploding into melodies and choruses that get the whole room moving.
It’s not hard to understand why they are so popular. Trifilio has a way of connecting with her audience that feels both authentic and charming. She makes the live experience something interactive and memorable. You’re not just watching the show; you’re a part of it.
When they performed tracks like “Weeds” or “Clueless,” which first premiered at Riot Fest, Trifilio asked the audience if they could sing along. Instead of just jumping into the track, she had the audience practice its “campfire chant” before playing it.
“If anyone wants to put a flashlight up, this is probably the song to do it,” Trifilio said before jumping into “April.” The massive audience, including those in the upper-level seated sections, waved their cell phone lights, illuminating the room.
During “6 Weeks,” they upped the ante, asking everyone to squat down low during the initial verse before jumping up as the song progressed. It wasn’t a crazy moment, but it did showcase the audience’s devotion to the group. Disaffected concert-goers aren’t too proud to join in on the fun of a Beach Bunny concert. It’s a real testament to their appeal.
This moment proved to be a real party starter for the evening as a large beach ball was unleashed in the venue and bounced across the room from audience member to audience member for the rest of the show. At one point, it even hit me in the head, and I threw it back into the crowd with a deep smile on my face. Why would I be upset during a night like that?
Britt Julious is a freelance critic.
