Chat Pile @ Urban Lounge 03.05.25

Before the music began, and between every song or two, Busch matter-of-factly shared his thoughts on countless movies filmed in Salt Lake City, from mainstream favorites to only-available-on-YouTube deep cuts. Photo: Diego Andino.

Image: Diego Andino

Concert

The most highly anticipated show of 2025 (speaking for myself and at least a couple of others on the SLUG team) came to fruition as the pouring rain intensified on the night of Wednesday, March 5. Upon entering Urban Lounge shortly after doors opened, an intense wave of body heat and classic local metal scene B.O. instantly washed away the cold — as the night went on, fewer and fewer guys could get away with blaming their sopping wet hair on the weather.

Kansas City three-piece Nightosphere set the gradually intensifying tone of the evening at 7:30. Members Claire Hannah and Brittany Sawtelle crafted hauntingly beautiful, looping shoegaze-y melodies, appropriately spiced up with brief yet potent moments of all-out noise, as they took turns on bass, guitar and vocals. Melodic and creepy guitar licks, relentless and tight drumming by Dekota “Hop” Trogdon and juicy bass lines one can’t help but sway to made Nightosphere a fitting opener for Chat Pile. The soft and dreamy vocals floated above punk-informed hard-hitting rhythms made their performance an equally appropriate segway into Gouge Away’s subsequent set.

Even as a veteran touring musician, Gouge Away vocalist Christina Michelle’s arrival to the stage saw her filled with cheer and an endearingly humble charm as she greeted the eager crowd just below her with a smile. Moments later, her passionate shrieks filled the room and sent chills down my spine. There’s something remarkable — spiritual, even — about hearing and witnessing such an impassioned performer up close. After dropping to her knees, feeling the intensity of each word she let out, she’d hop right back up with a high-pitched and gleeful “thank you!” before reminding the hundreds of us on the floor that this is music with a message: Abortion should be freely available to anyone, anywhere for any reason “and anything less than that is unacceptable” and “fuck ICE.” Michelle’s fellow members — drummer Thomas Cantwell, guitarists Mick Ford and Dylan Downey and bassist Tyler Forsythe — maintained a composed command of each hard-hitting riff and beat they composed with the type of free and loose energy a musician can only demonstrate as a well-practiced and well-seasoned touring artist. In addition to the diverse standout tracks pulled from their first post-hiatus release, Deep Sage, Gouge Away had treats in store for longtime fans, too. Most notably, Michelle invited the crowd to sing “Uproar,” a track off the band’s first record, , Dies. Michelle cheerfully held the mic to the mouths of those in the front row (fittingly including members of P.S. Destroy This) as layered cries for an end to animal testing sucked the air out of the room.

All of us in the sold-out Urban Lounge audience stood uncomfortably close to one another, fighting for a better glimpse of the stage as its emptiness and simple lighting teased the arrival of Chat Pile. “Soul Bossa Nova” (yes, the Austin Powers theme song) ushered them onstage. Vocalist Raygun Busch arrived in his signature sweat shorts and a T-shirt that read “Protect Trans Kids,” which only stayed on for the first two songs. Before the music began, and between every song or two, Busch matter-of-factly shared his thoughts on countless movies filmed in Salt Lake City, from mainstream favorites to only-available-on-YouTube deep cuts. We were taken through a tour of his feelings on each installment of the Halloween franchise between brutal, intense, gut-wrenching performances of songs that tear apart the selfish, greedy and sadistic nature of the United States of America. Busch’s persona, shirtless and shoeless, is quintessentially American — one part televangelist, one part raging maniac and two parts “eccentric unemployed drunk uncle whom you can’t help but listen to and watch out of both curiosity and horror.” His movements ranged from stumbling stomps to robot dance moves to a twisted rendition of the chicken dance which saw his tongue flapping about. Every other member similarly embodies a persona wherein they are themselves with an overlay of Chat Pile’s signature tongue-in-cheek — but scathing and in-your-face — critiques of this country. They’ve all clearly practiced their own unique interpretations of the Kubrick stare, which they masterfully utilize in front of a crowd. I was right in front of guitarist Luther Manhole as he stared into the deepest recesses of our souls while slapping his guitar to the main riff of “Dallas Beltway” (arguably my favorite song performed). Drummer Cap’n Ron, for the whole duration of the hour-long set, stared intensely at his kit with a mad scientist grin, especially during “Davis,” where he took the lead. Instant classics from last year’s critically acclaimed Cool World — including “I Am Dog Now” and “Masc” — were performed with relentless fury and undeniable passion.

While the crowd never stayed still, all hell broke loose when the first note of “Why?” hit our ears. It sounded as if each person in the building knew every word and just had to get them out — while pushing each other over, stepping on each other’s feet and elbowing each other, of course. To hear hundreds cry along with Busch, “Why do people have to live outside?” was powerful in a way much greater and more impactful than merely the joy and community found at a great show. Whether everyone collectively went wild because they know and like the song or because the messaging hit them like a truck, I don’t know, but here’s to hoping it’s more the latter.

After “Dallas Beltway,” Chat Pile teased an encore so obviously that it had to be intentional. I’m glad to have known immediately it was coming, though, as I would’ve spent months kicking myself if I had missed the opportunity to scream along “Send my body to Arby’s / cut me into thin slices” right at the front of the stage. Chat Pile puts on a performance that cannot adequately be compared to any band, past or present; it was an equally hilarious and ideologically powerful spectacle that will linger in my mind until I have the pleasure of seeing them again.

I’d like to give a special shout out to SLUG Assistant Editor William Hughes for securing my spot on the guest list and for holding my coat and bag while I hurt my neck, damaged my hearing and vocal chords, got whipped in the face by unwashed metal guy hair and fully lost my shit during Gouge Away and Chat Pile’s performances.

Below are photos by SLUG Contributing Photographer Diego Andino: