START-TRACK AT SHOW: Silkworm wsg. Gotobeds, Dianogah – September 24–25, 2025

I have been a feverish fan of Silkworm since I was 22 years old. In my late teens and early twenties, when I first began playing the electric guitar and bass guitar in local punk bands, I was particularly influenced by bands with releases bearing the Touch & Go Records label, such as Shellac, the Jesus Lizard, Slint, et al. I had made a point of going through their roster and devouring all their material when a band called Silkworm had caught my eye. I did a quick search and came across their song “Couldn’t You Wait?”—maybe the closest thing they have to a quasi-universal “hit” among their fan base—and was immediately hooked. From there, I sprinted through the rest of their discography, adoring their records as a quartet and as a trio in equal measure. The rest, as they say, is history.

For the uninitiated, I will attempt to use this paragraph as a brief discussion of Silkworm’s history. The band was formed in 1987 in Missoula, Montana, by singer/guitarist Joel R.L. Phelps, bassist/singer Tim Midyett, and guitarist/singer Andy Cohen, rising from the ashes of the post-punk group Ein Heit that had previously featured all three of them. In 1990, they relocated to Seattle, Washington, where they met drummer/chanteuse Michael Dahlquist. In 1994, after three records and a string of singles and EPs, Phelps left the band that he had helped form, and the remaining members carried on as a trio. This lineup released several celebrated records—as did Phelps, who has remained active both as a solo artist and with his new group, the Downer Trio—before Dahlquist was tragically killed on July 14, 2005, suddenly and brutally ending their time together.

Midyett and Cohen formed the band Bottomless Pit in the wake of Dahlquist’s passing, releasing three impeccable records and a colossal four-song EP before announcing their hiatus in 2014. In the present day, Midyett stays active with his band Mint Mile (which he formed with Songs: Ohia’s Jeff Panall in 2015) and frequently appears as bassist for Chicago’s Deep Tunnel Project as well as legendary drone/doom lords Sunn O))), while Cohen (now in Boston, Massachusetts) has released a record under his given name with Chicago’s Light Coma serving as his backing band, 2017’s excellent Unreality.

I’ve been fortunate enough to catch Mint Mile over the years, and I’ve seen Andy Cohen with Light Coma on a couple of different occasions. The truth is that it’s all gold. These gentlemen are all such interesting human beings, each with an extensive knowledge of rock and roll history, that I don’t think they could put out something rote or by-the-numbers if they’d tried. Tim and Andy have both referred to themselves as “lifers” enough that it’s clear that this is where their hearts lie. They’re also funny, charming, intelligent, and incredibly charitable human beings, and I don’t think it’s possible for me to write an essay on the band without mentioning this.

Tim is the only member of the band with whom I have a more personal relationship, and I still credit him as a towering inspiration, even serving as a mentor in a number of different regards. In addition to pointing me toward different labels and pressing plants and generally being very encouraging and supportive of my own musical pursuits, Tim has been a fantastic sounding board with regard to some of my other concerns in life—how to address struggles with mental health and substance abuse, whether or not to go back and get a college degree at age 28 after seeing the ceiling with other prospects, and various other things. If not for this band, what their music means to me, and who they are as human beings, my life may have taken another direction entirely, and quite possibly a less positive one at that. It feels important to preface the remainder of my essay with this.

Given all of the above and the fact that I got into Silkworm about a decade too late, it didn’t seem likely that I’d ever have the chance to see them. Then I heard that they were reuniting for Steve Albini’s memorial service (may he rest in peace) with Jeff Panall (Mint Mile, Songs: Ohia) on drums—not only that, but Joel R.L. Phelps would be joining them again as well. I eagerly tuned in to the event to witness the four gentlemen, roiling as ever, charging through revitalized versions of their old material. Shortly afterward, they announced that they would be playing a handful of shows in Chicago before hitting Goner Fest. I’m in Colorado now; it’s the first semester of a brand-new graduate school program for me, and I hate flying, but I couldn’t have scored those tickets quickly enough. Fast-forward to today, and I’m still recovering from the whirlwind travel and ravaged sleep schedule that came with it, but I’m all the better for it. I got to see my favorite band in the world in one of my favorite places in the world—two nights in a row, at that!

The first evening—Wednesday, September 24, 2025—saw Pittsburgh’s excellent Gotobeds kicking off the show. I first saw the Gotobeds at Bell’s Eccentric Café in Kalamazoo, Michigan, over six years ago now. Their frontman and one of two guitarists in the group, Eli Kasan, has become a friend over these years—just last year, he offered me a great deal on a very cool 1980 Fender Lead II with an adequately cracked black finish, which I (somewhat irresponsibly) accepted. Eli is a raving mass of energy and charisma, and his Gotobeds cohorts (including agile “new” bassist Dane Adelman and hotshot lead guitarist Zach Bronder) are hot on the heels of 2025’s Masterclass, arguably their best LP to date.

The Gotobeds careened through material old and new with reckless abandon and a fresh sense of professionalism (though never so much as to threaten their ramshackle charm). For one number, “Rope,” Silkworm’s Tim Midyett briefly joined them on stage as a guest vocalist. They’re a hard group to photograph, given their insistence on bright red stage lighting and the fact that they never stop moving, but I tried my best! For as much as I adore their records, this is a band that must be witnessed in the flesh. Their shows are as good as it gets—like their idols in Silkworm, I don’t think they could be boring if they tried.

Pittsburgh’s raving post-punk quartet The Gotobeds, joined briefly by Silkworm’s Tim Midyett.

After a rousing opening performance by the Gotobeds, the men of Silkworm took to the stage, and I don’t know if anything could have properly prepared me for the ensuing two hours of their performance. The band tore through their back catalog Ramones-style, with very little audience interaction aside from the occasional “thank you.” They played material originally written and performed by the quartet as well as a solid collection of songs from the trio era, only this time with Joel R.L. Phelps providing additional guitar and vocals. Tim stood center stage, hammering away at his Travis Bean Wedge bass—through a rig comprising four 15” bass speakers, no less—locked in with Jeff Panall at the kit. Andy alternated between a Gibson Les Paul with a beautiful flame top and a trusty sunburst Strat (also through a big Marshall head into a 2×12” cab—not exactly a café-friendly band, these folks), while Joel sat perched on a chair off to the side, equipped with a nicely worn black Telecaster, making beautiful use of space and occasionally leaping to the mic for his vocal spots. Jeff, perhaps feeling every ounce of the weight of his position, opted not to reproduce Michael’s original drum parts verbatim, instead bringing his own unique swing and brilliant sense of restraint to the group. The band played through a packed setlist, ending with an encore—which included the Gotobeds’ Eli Kasan joining them to sing “(I Hope U) Don’t Survive”—and coming back out once more for an acoustic rendition of Lifestyle’s closing track “The Bones” featuring Joel singing lead (yes, I cried). It was awe-inspiring to witness all at once.

Indie rock legends Silkworm in action at Sleeping Village, evening one

I spent most of Thursday hanging around Chicago with my friend Paul Robert Fake before going back to Sleeping Village for another round of Silkworm. This time, Dianogah kicked off the bill, a legendary trio from Chicago featuring two bass guitarists (Jason Harvey and Jay Ryan) and a drummer (Kip McCabe). Dianogah’s slow, contemplative, mostly instrumental set served as a stark contrast to the Gotobeds’ performance from the night before, though they made no less of an impression. Their music, recently reappraised in the form of a comprehensive box set, is churning and deliberate, and their sound suggests something far more expansive than what can be seen on the stage. I had enjoyed their proper studio releases prior to this performance, but their music really came to life when I could physically feel the vibrations of the twin-bass assault pulsing toward me. Another great opening set.

The dual-bass assault of Chicago’s rousing Dianogah

Silkworm, again, was nothing less than amazing. To sweeten the deal, it appeared that their set had changed considerably from one evening to the next. Many of the staples and fan favorites were left in, but Thursday’s set featured more inclusions from 2002’s Italian Platinum, including (arguably the highlight for me) an inspired version of Andy’s “White Lightning” featuring Joel on the lead vocal. The band seemed looser and more natural as well—Tim immediately fumbled the first lyric of set opener “Couldn’t You Wait?” and spent an amusingly lengthy amount of time trying to tune an acoustic guitar by ear (“This is the most unprofessional thing I’ve ever done in my life,” he quipped while twisting the tuning pegs for the third or fourth pass). It is exactly these imperfections and the way that they handle them, though, that make them such an incredible group. Their individual senses of humor were on full display, which was very enjoyable to see. They ended with another encore before going into the acoustic “The Bones” again (and, yes, I cried again) before hopping off the stage and mingling among the crowd.

Silkworm in action for a consecutive evening at Sleeping Village

After the show, I had the chance to talk with Joel R.L. Phelps for a while, which was a very special experience for me. I’m close with Tim, and I’ve talked to Andy on a handful of occasions, but I’d never had the chance to meet with Joel before Thursday evening. We had briefly chatted the night prior as he was entering a Mexican restaurant, while my friend and I were leaving right before the show. He remembered me and came down from the stage to talk. Knowing what he has gone through and how incredible a person he is to have overcome it all, and holding his music in such high regard (1999’s Blackbird is an all-timer for me), I was suddenly overwhelmed with emotions in the moment. I could feel my eyes starting to well up, and I asked him for a hug, which he happily obliged. He told me how grateful he was to be here playing with the band and how, even in their time without him, they had remained his favorite band. He was honored to have played some of those songs with him, comparing the experience to “being asked to play guitar with Led Zeppelin.” What a delightful and colossally compassionate man.

The place was packed, the guys had their hands full, and I had a flight to catch (in just four hours after the show!). I found Tim, briefly gave him my thanks and goodbyes, and took off for the airport, where I paced around for a few hours, attempting to process the glory of this event. I’m now home in Louisville, Colorado. I’m still quite a bit tired (though physically, not spiritually), and I’m staring at a hole of missed work out of which I must quickly find a way to dig myself. Still, it was worth every penny, and I can only hope that this won’t be a one-off sort of thing.

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Thank you to the following individuals for making this an especially memorable and life-affirming event: Tim Midyett, Andy Cohen, Joel R.L. Phelps, Jeff Panall (go get that Black Flag tattoo, man!), Eli Kasan, Cary Belback, Jon Solomon, Mark Andrew Morris, Morgan Keltie, Andrew Beard, Paul Robert Fake, Jake Egli, Isaac Turner, Rosy Overdrive, Joni Elfers, Corey Layman.

All photos were taken on an iPhone 11 by Jacob Simons.

There are many better photos and videos elsewhere on the Internet; do check those out as well!

Written by Jacob Simons