Live Review: The Saints ‘73 -‘78 at Metro • Chicago

Brassneck | November 13, 2025

The Saints ‘73-‘78

Metro

Chicago, IL

November 11, 2025

Review and Live Photos by Jeff Elbel

The Saints ‘73-‘78 (Photo by Matthew Ellery )

Fans of classic punk rock arrived at the Metro on Tuesday night for a rare opportunity to see originators of the form when founding guitarist Ed Kuepper and original drummer Ivor Hay brought The Saints ‘73-‘78 from Australia to Chicago. Hay had performed at the Metro in 1987 with another Saints lineup, but this tour represents the first time that Kuepper and Hay have performed together in the United States. The set list drew six songs from the 1977 debut album I’m Stranded, seven from the sophomore set Eternally Yours, and six more from 1978’s Prehistoric Sounds.

The band’s lineup was completed by singer Mark Arm of Seattle grunge-rockers Mudhoney, keyboardist and guitarist Mick Harvey of the Birthday Party and the Bad Seeds, bassist Peter Oxley of Sydney power pop band Sunnyboys, a trumpeter, and two saxophonists. Kuepper, who turns 70 next month, was an aspirational figure of proper aging. Sporting a gray ponytail and bushy white goatee, he was the most animated figure on stage while slashing at his Gibson SG guitar. He exuded a youthful fire from his bright red shoes to his face. For his part, Hay kept his thundering rhythms locked and the tempos hot.

The set began with “Swing for the Crime” and “No Time,” marked by Arm’s nicotine growl and Kuepper’s razor-edged riffs. Anchored by the lyric, “Don’t need no one to tell me what I don’t already know, ferocious single “This Perfect Day” carried the band’s defiance circa 1977 into the present day.

Harvey doubled Kuepper’s power on guitar during “Lost and Found.” Hay, 70, drove the song with a cracking snare and pummeling tom-tom beat. Oxley provided a steady foundation on bass and sang background vocals. The brass players delivered a sing-along melody during “Every Day’s a Holiday, Every Night’s a Party” while Arm sang the original singer, Chris Bailey’s, disaffected vocal with an extra measure of sneer a la Iggy Pop.

The band lashed into the withering hometown criticism of “Brisbane (Security City).” Afterward, Arm made the set’s lone statement of overt protest targeted to the local audience. “That song was written when Brisbane was under siege by an oppressive government, like Chicago [is now],” he said.

“This one, though, is a tender love ballad,” said Kuepper, making a cheeky introduction to the dissatisfied “Story of Love.” Oxley’s rumbling bass riff heralded “The Prisoner,” accompanied by Harvey’s cathedral organ part. The horn section was again featured during “The Chameleon.” “I will do anything,” repeated Arm, underscoring the song’s portrait of a transactional people-pleaser in the music business.

While Kuepper played the glam-infused riff to punk rager “Run Down,” stagehand Troy Purnell joined the band to play wailing harmonica and sing background vocals. The song led into a string of the band’s best-loved singles to close the main set. “Messin’ with the Kid” was a Crazy Horse-styled buzzing anthem with a whiff of the Kinks’ “Celluloid Heroes.” Inaugural single “(I’m) Stranded” brought the audience to a fever pitch, inciting a full-throated singing from the fans as well as some semi-

moshy behavior among rowdy older punks near the barrier. “Know Your Product” ratcheted the righteous cynicism of the Rolling Stones’ “Satisfaction” from the prior decade. The song maintained the crowd’s peak energy with the Saints’ influential blend of catchy brass licks and the jet-engine roar of Kuepper’s guitar.

Hay led the encore with the surf-punk rhythm of “(I’m) Misunderstood.” “All Times Through Paradise” altered the evening’s adrenalized groove with a swinging beat accompanied by Harvey’s piano. Kuepper’s right hand became a blur during the furious Ramones-styled chugger “Demolition Girl.” Punctuated by Arm’s banshee wail, “Nights in Venice” brought the evening to its thrashing and cathartic conclusion.

The band’s tour has taken The Saints ’73-’78 from Australia to North America, with dates to follow throughout Europe. Any return visit would be welcomed by Chicago’s devoted punk crowd if the group were to continue. This show would have been a smash hit on the Rebel stage at Riot Fest.