Multi-instrumentalists David McDonnell and Dylan Ryan have collaborated for years, but their band Michael Columbia has only recently found its stride since expanding from a duo to a trio with Chris Kalis on keys, bass and guitar. With that in mind, the group seemed like a ripe choice to kick off the final day of the fest on the Balance stage, even though the band keeps a considerably low profile about town—rarely gigging due to each member’s numerous other commitments.

Columbia’s creative orbit includes the Shape Shoppe and Griffin Rodriguez’s Icy Demons, which includes Ryan and Kalis. But in Columbia, Bablicon veteran McDonnell sings, strums and plays sax over jerky postpunk tunes occasionally recalling the driving Krautrock of Kalis’ synth-heavy Chandeliers. Ryan and McDonnell also spar in two other jazz combos (Ryan’s Herculaneum and McDonnell’s the Hats), and this is clearly their “rock” outlet. That said, I wouldn’t object were they to import those other acts’ improvisational approach into this vehicle.

Killer Whales Photo: Martha Williams

Taking the Balance stage in little more than cutoffs, fellow locals Killer Whales‘ garment-defying disposition was a visual letter of intent as the band proceeded to plow through a monster high-energy set rivaling Ponytail’s Saturday performance. The souful yelp of bassist-singer Travis Murphy soared over a torrent of tribal grooves spotlighting the manic guitar-work and falsetto chirp of John Williams.

Channeling James Brown–hustle into its uniquely mutated funk, Killer Whales’ bizarre Afro-punk fusion easily makes them one of Chicago’s most original bands. It’s refreshing to see a festival act seemingly disinterested in the trend-mining so often seen in bands championed by Pitchfork. Sure, four scrawny white kids re-imagining African and African-American folk forms could be viewed by many as cultural appropriation. But the Whales appear sincere in their dedication to the music, more interested in a monster jam than navigating socio-cultural politics. The group could’ve been playing a basement gig and its infectious energy would’ve been just as potent.