Cat’s Cradle Carrbora, NC
Contact: cysteelecobb@gmail.com
Web: instagram.com/cy_and_i_band
Players: Max McMichaels, guitar, vocals; Cy Steele-Cobb, keys; Gus O’Brien, drums; Aidan Gillette, bass
The CY&I Christmas Show at the Cat’s Cradle Back Room quietly but convincingly made the case that a modestly talented, traditional four-piece rock band can still leave a meaningful impression—and walk offstage feeling pretty damn good about their night, their young ensemble, and their delightfully wacky, left-of-center songs.
In an era bloated with overproduction, algorithm-tested sameness, and an endless stream of carefully calculated “content,” it’s easy for genuinely human bands to dissolve into the noise. Everything filters into the background haze—until suddenly, WHAMO!—out from the shadows steps a band that’s fun, uncomplicated, and refreshingly unconcerned with impressing anyone other than themselves and the room in front of them. CY&I doesn’t arrive with a manifesto or a rigid aesthetic. They simply plug in, lock eyes, and play.
There’s a developed raison d’être here—something you feel more than analyze. It’s sometimes hard to put your finger on exactly what it is, and that’s part of the charm. CY&I sounds like a band still discovering itself in real time, and that sense of discovery gives the music its pulse. Most importantly, this young four-piece is clearly having as much fun onstage as the audience is having watching and listening.
One of the most distinctive elements of CY&I’s sound is their unique instrumentation and how effectively it fills the room. While technically a four-piece, the band often feels larger than that, thanks to clever arrangements and a thoughtful use of sonic space. The interplay between guitars leans more toward texture and rhythm than showmanship, allowing songs to breathe while still sounding complete. Even in quieter moments, there’s an intentional density to the sound that keeps things grounded and engaging.
“Highway Life” kicked off the set with a Byrdsian jangle and Petty-esque twang that immediately established the band’s melodic instincts. That shimmering guitar tone—equal parts chiming and earthy—set the template for much of the night. From there, CY&I rolled seamlessly into a tight run of originals including “Tell Me Why,” “What Christmas Means to Me,” and the wonderfully off-kilter “I Try (Choo Choo).” Each song felt like another small chapter in the band’s developing narrative, quirky but never careless.
Perhaps most impressive is that despite having just one primary vocalist—the guitarist handling all lead vocals—the band never sounds thin. There’s no scramble to fill gaps or disguise limitations. Instead, the instrumental arrangements do the heavy lifting, wrapping around the vocal melodies in a way that feels natural and unforced. The rhythm section plays a crucial role here, providing a sturdy, often subtly inventive foundation that keeps the songs moving forward. The result is a sound that feels full, cohesive, and confident.
That fullness carried through “I Hate My Friends,” a sharp-edged crowd favorite that balanced humor with a hint of self-awareness, before the band barreled into “Tonight, It’ll Be Christmas Day,” closing the first stretch of the set with momentum and a room-wide grin. At no point did the energy dip; CY&I understands pacing, and they know when to lean in and when to let a groove settle.
As the set progressed, the band continued to coalesce right before the audience’s eyes. What stood out most was what wasn’t happening—no jaw-dropping, face-melting solos, no attempts at instrumental dominance. This is a band committed to supporting one another, trading small musical artifacts and arpeggios across the stage, and serving the songs above all else.
