Is the Internet panopticon going to ruin live music too?

Emerging from the vibrant Chicago indie scene, Fleshed Out has been carving out a distinct path in live music by embracing unconventional performance spaces and innovative promotional methods. Founded by Chris Dunn shortly before the pandemic, the band has struggled to attract large crowds to traditional venues such as the Burlington, Schubas, and the Hideout, prompting a creative pivot in how they engage audiences.

In early 2026, Dunn began booking shows at unexpected local spots, including a hot-dog restaurant in Lakeview called Flub a Dub Chub’s and a Chinese eatery named Ms. Egg Roll. These intimate performances, atypical for live music events, have drawn modest but enthusiastic crowds, comparable to or exceeding attendance at conventional club gigs. This strategy reflects a pragmatic response to the difficulties of breaking through the saturated live music market and connecting with what Dunn refers to as the 'normies' who seldom frequent music clubs.

Complementing these grassroots shows, Dunn has developed a distinctive promotional campaign on Instagram, featuring playful, self-referential videos that highlight both the band’s personality and their local performances. His signature look—often a blue puffer jacket paired with a T-shirt depicting himself in a recursive image—has become a recognizable part of the band's visual identity. This approach blends humor and intentionality, creating a relatable and authentic persona that resonates beyond their immediate fanbase.

The band’s lineup includes notable Chicago musicians such as Samuel Aaron, known for his work on the 2025 indie-folk album Rambler, and Hunter Borowick, guitarist for the experimental indie-pop group This House Is Creaking. Their music defies easy categorization, blending slacker-rock riffs with retro synth-pop elements, as demonstrated in tracks like "Mirage" and "The Gun." Despite limited streaming numbers—YouTube views for "The Gun" remain under 700—the band’s live presence and Instagram engagement suggest growing grassroots support.

Fleshed Out’s efforts illuminate broader tensions in the contemporary music landscape, particularly the complex relationship between streaming platforms, social media algorithms, and live performance success. While streaming data offers some insight into listener demographics and geographic hotspots, industry professionals caution against equating high stream counts with ticket sales. Seasoned talent buyers and agents emphasize traditional metrics such as local community support, concert history, and peer endorsements over raw streaming figures.

Instagram, in particular, has emerged as a vital tool for assessing an artist’s potential to draw an audience. Bookers at venues like the Empty Bottle and Gman prioritize artists’ visual presentation, follower engagement, and connections within the music community. This nuanced evaluation process underscores the limits of algorithm-driven popularity in predicting live show viability.

In larger industry trends, the decline in album sales due to streaming has shifted the financial emphasis toward touring income. However, touring strategies still rely heavily on conventional considerations such as population density and media coverage opportunities rather than streaming data alone. This balance between digital metrics and traditional booking wisdom continues to shape how artists navigate career development.

Dunn’s investment in nontraditional shows includes covering venue fees, renting sound equipment, and funding promotional materials like stickers and T-shirts. While this hands-on approach has yet to secure traditional club bookings, it has enabled Fleshed Out to build a dedicated following and even attract sponsorship for special events, exemplified by a July 24 performance under Navy Pier’s Ferris wheel sponsored by the hip-hop media outlet Real Ones.

Reflecting on the challenges and opportunities presented by the contemporary music ecosystem, Dunn acknowledges the influence of dominant technology platforms and the importance of creatively engaging with their communication channels. His work with director Robert Salazar to professionally capture live performances for social media illustrates a deliberate blending of artistry and digital strategy.

Fleshed Out’s journey offers a microcosm of the evolving dynamics between musicians, live audiences, and digital platforms in the post-pandemic era. By redefining venue norms and leveraging social media’s connective power, they exemplify a resourceful adaptation to the shifting landscape of live music promotion and consumption. Details about the band’s future releases and broader impact remain limited, but their innovative model underscores the ongoing dialogue between traditional music culture and the digital age.