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With our state-of-the-art sound and video systems, world-class catering options, top-rate staff, full kitchen, three stocked bars, gorgeous dining room, and spectacular music hall, Lincoln Hall is perfect for your next private event.

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  • Lincoln Hall is located at 2424 N. Lincoln Ave. in Chicago, IL.

  • Advance tickets guarantee entry to the show.
    • They are general admission only and DO NOT guarantee seating.
    • For the best seats/position in the music room please arrive 30 minutes prior to show time to pick-up your tickets.
    • All shows are 21+ unless otherwise noted.
  • Tickets ARE NOT mailed to you.
    • A NON-REFUNDABLE service charge will be added to the purchase price of each ticket - in the instance of a show cancellation, this fee will not be returned.
    • All tickets purchased through the web site are NON-REFUNDABLE.
    • All tickets are NON-TRANSFERRABLE.
    • The name in the 'Shipping Address' portion of your order will be the name your tickets are held under at the door- if you are buying tickets for someone else, you must indicate their name in these fields.
    • Advance tickets are only available through LincolnHallChicago.com (until 5 pm day of show) and JamUSA.com when noted. Lincoln Hall does not have a physical box office. Walk-up ticket purchases are only available at Lincoln Hall beginning one hour before listed show time unless the show is sold out.
    • Please add "no-reply@lincolnhallchicago.com" to your address book to ensure you'll receive your confirmation email.
Mon. Sep 23 2013

8:00 PM   18+   $18.00 Doors

Lincoln Hall
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Only the brave and original survive the indie music maelstrom which either sucks new guitar bands down into the depths or produces identikit sounds capitalising on trends of any given time. Bastille have moved away from the common output being churned out by indie bands to create pop songs that are absorbing and genre defining without ever being formulaic. The origins of Bastille lie in the creative mind of singer/song writer Dan Smith, whose embracement of multi-eclectic musical styles have led to one of the most exciting sounds in new music today.

Despite playing the piano and dabbling in instrumentation, Dan did not initially gravitate towards music when he was young. Growing up, he listened to Simon & Garfunkel, The Beach Boys and Fugees, all of which gave him the requisite understanding of harmonies and hooks. However, films were his obsession, with a pertinent affinity to the horror genre, particularly art house fare such as that of Dario Argento and his work in the Giallo sub-genre. This was the gateway to commonly cited influence David Lynch and then onto the more existential work of Terrence Malick. Dan's appreciation of metaphysical cinema is complimented by his literary leanings. Having studied English literature at university, the work of Ian McEwan, Hubert Selby and Brett Easton Ellis were of particularly note with their themes of human thought, sense and sexuality. Compositions like "Oblivion," with its voyeuristic empathy, are the offspring of these themes. Dan is predominantly looking on within the songs. He is the narrator, rarely taking centre stage.

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