Chicago’s seventh annual North Coast Musical Festival satisfied thousands of EDM mavens over this sunny Labor Day Weekend, but headliners The Revivalists also rocked their New Orleans influenced sound to a huge crowd.

You could feel the excitement in the air as the vibrant Revivalists claimed their coveted spots on the Coast Stage. Frontman David Shaw’s signature grainy voice truly brought out the visceral lyrics that earmark the New Orleans-based ensemble. The early evening set was exhilarating from the get-go, with each musician reacting physically to their respective parts. But it was Shaw that leaped into the audience several times, stomping like a wild beast across both crowded corners of the stage.

Each band member was a showman in his own right, but pedal steeliest, Ed Williams, undeniably was having the time of his life, deriving inspiration from some spirited women that mouthed and acted out the narratives. And in keeping with past Revivalist protocol, sparse guitar progressions quickly escalated into full-blown jams. Perhaps part of the allure is that this is a band that really cares and that thoughtfulness comes through in their creative output. New Orleans, a city known for having deep, cultural roots, has recently endured tragedy, which the band hopes to address by raising funds through their concerts.

The Revivalists are: Zack Feinberg (guitar), George Gakas (bass), Andrew Campanelli on drums, Rob Ingraham on sax and Michael Girardot, who does a fine job doubling on keys and fiery trumpet. Last year's album 'Men Amongst Mountains' exemplified their contemporary fervor in the studio, but this band certainly excels onstage.

The Revivalists worked the crowd into a frenzy, demanding almost constant audience participation. Even when the the lyrics grew dark: "You got your bullet-proof vest," the young audience reacted with profound appreciation. That adoration continued when the seven-piece band sang about "the story of the south.”

"My baby told me you gotta get paid if you wanna win," Shaw bellowed, fusing anger and hurt. Williams and company filled out the spaces with killer transitions. Shaw had his long hair pulled back and deftly dodged the one wild strand that seemed determined to brush against his face, Williams was super aware of the dancing young women stage left, shooting up smiles as he screeched out blistering chords. There was a lot of diversity in the way the songs were arranged. Shaw did not stand on ceremony when rapping out a series of  angry messages. After he shouted, “Stand down,” the band replied with steamy sax and relentless bass lines.

But when Shaw wondered, "Isn't anybody home? anger turned to mercy. And that pensive juncture became the perfect spot for a dreamy trumpet solo. Outstanding riffs also surfaced in "Never throw your Love Away'. The final songs were also noteworthy, especially when the amped-up singer marched across the stage threatening, “Come here tonight if you want to start a fight.” The Revivalist’s dynamite set not only aroused a range of emotions, it whet the appetite for the remaining fare.

Saturday evening couldn’t come fast enough for this band’s loyal followers. The quartet walked on after a pre-recorded, mind-expanding melody drifted across the stage and established an ethereal mood. The Claypool-Lennon Delirium is all about sharp contrasts, deliciously, disturbing bass lines and rampant experimentation. Listening to them is a cerebral experience, a trip backwards to psychedelia and forward to a time when the bass has rightfully come into its own; as not just an adjunct, but a dignified prima dona.

“I’ve seen him twelve times, and Les Claypool always steals the show,” said one enthusiastic man. A female fan screamed, “Les is God” after the third song. And although this was the first time both parties had seen him perform with Sean Lennon, they agreed (after about ten minutes) that the two were a unique fit.

Lennon used metal slide to make his electric guitar wail, while Claypool vibrated and whacked his thumb belligerently against the bass strings. Lennon seemed content to remain stationary for most of the one-hour set, while Claypool worked the room. Later in the set, though, they faced off and front row fans got to really experience their personal and professional contrasts.

The set list shifted constantly from reflective to suspenseful to psychedelic and purely melodic, drawing inspiration from their recent collaboration, “Monolith of Phobos,” but their closer, “Within You, Without You,” a Beatles cover, was also compelling, There the sticks reigned supreme. The mood borrowed heavily from the original version, but also brought out the most salient characteristics. Most penetrating was the repentant percussion—on the Sgt. Pepper recording, the rhythmic portion is implemented by a group of accomplished experts from India, yet this small rhythm section created an equally outstanding version.

Claypool not only showed off his technique on bass, he brought out a small, stringed instrument over which he violently bowed. The uniqueness of the instrument stirred up lots of curiosity in the first rows. Unfortunately, without the benefit of a large screen, these sight lines might have been obscured, leaving many fans without the opportunity to witness Claypool’s entertaining antics.

And as Lennon used his slide to create ethereal sounds, Claypool, instrumentally, tended towards the sinister.  Vocally, too, the contrasts were off the charts. Claypool growled defiantly into the mic, whereas Lennon displayed a natural bent towards melodic phrasing and precision harmonies, but those divergent shades are what makes this band a thrilling masterstroke.

To call them a jam band, is to under emphasize their talents beyond this style. True, they play long form, but there is never a wasted moment in their creative output, which was primarily instrumental, but with some impressive vocal hooks. Yes, they play long form, but there is never a wasted moment in their creative output, which was primarily instrumental, but with some fancy vocal hooks.

This sextet formed eighteen years ago in South Bend, Indiana, and early in the set, warmly expressed their appreciation to their fellow Midwesterners--most of whom knew the band’s trajectory by heart--for years of support. Brendan Bayliss, Joel Cummins, Ryan Stasik, Andy Farag, Jake Cinninger and Kris Myers did not disappoint. They pulled out all of the stops, delving into funk, bluegrass, psychedelia, rock and signature  selects.

The riveting light show was another element, yet even without the pomp, this band would have gripped the crowd tightly in their palms.  Although the arrangements required stellar concentration, they never once lost contact with their fans or focus with their musical narratives. Their enthuse, precision transitions and technical expertise radiated across the grassy fields and clear skies. And to the fans’ delight, they went on to play three absorbing and blissful encores.

Set List: Sirius, The Floor, 40s Theme, In The Kitchen, Glory, Wappy Sprayberry, Plunger, Piranhas, Puppet String, Remind Me, August, Puppet String.

Encore: The Triple Wide, Electric Avenue To Hell, Mulche’s Odyssey

Back in 1990, three former YES band members, vocalist Jon Anderson, guitarist Trevor Rabin and keyboardist Rick Wakeman rejoined forces for the successful YES ‘Union Tour’. In 2010, the three talents decided to create their own band, which they named ARW (Anderson, Rabin and Wakeman). As their 2016 tour promised, their aim was to play YES hits and more. YES was formed originally in 1968 by Anderson and the late bassist Chris Squire. The band experience the usual lineup changes and officially dissolved, but has been held in high esteem in the prog rock pantheon, so the announcement of this tour has been big news. Their dynamic rhythm section consists of Lee Pomeroy (ELO, Steve Hackett, Rick Wakeman), who is known for contributing to major American films and TV shows and percussionist Louis Molino II, who has worked with Julian Lennon, Kenny Loggins and Roger Hodgson. The entire band is enthusiastic about celebrating YES classics and broadening the scope of the traditional recordings.

In recent interviews, band members have expressed jubilance over the reformation. Said Wakeman in a recent press release, “The ‘Holy Trinity of Yes’ is, for me, very much a dream come true.” Wakeman is referring to performing again, particularly, with co-founder Anderson. YES ruled the prog rock roost during their highly-documented time together. Their textured discography includes debut ‘Fragile,’ ‘Close to the Edge,’ ‘Tales from Topographic Oceans,‘Going for the One’ and ‘90125.’ Wakeman’s reign flourished during the ‘70s at the height of the movement, while Rabin experienced the band’s more mainstream appeal and the popularity of the chart-soaring ‘Owner of a Lonely Heart’.

The tour kicked off in early October in Orlando and will end December 3rd in Indio, California. Next year, ARW will set their sights even higher as they embark on a tour which primarily covers the UK, but will also include Belgium and the Netherlands. As the band walked briskly onstage, they were greeted by roars of appreciation and a standing ovation. Although they would enjoy a variety of lights, there were no back-in- the day disco balls or huge screens to distract from their irresistible onstage chemistry. They wasted no time flooding the stage with hits. Short but tantalizing ‘Cinema’ won a Grammy for Best Rock Instrumental Performance in 1985 (‘90125,’ 1983). Their version reverberated across the historical theater with the precision of a sharp shooter’s bullet.

Jon Anderson looked especially youthful in his stylish black and white jacket. His voice has, surprisingly, lost none of its universal sparkle and strength over the years. Whether gesturing, playing acoustic guitar or a small harp as the night progressed, he won over the crowd with his ease and ability to transition seamlessly from mood to mood and rhythm to rhythm as he transitioned to ‘Perpetual Change.’ Anderson shot a delightful smile to his many fans as he sent them back to a simpler time. “I think we were all children then,” he proclaimed wistfully. Rick Wakeman’s signature, bejeweled cape only half-hid the bright, blue T-shirt underneath.

Wakeman definitely curried particular favor with the Cubs fans in the crowd – I was seated next to one wearing the full regalia. We both chuckled when we noticed the word ‘Champions’ peeking out from his chest. Rock star Wakeman doubles as a team player. How cool is that? The dazzling multi-instrumentalist pulled off another surprise later in the set, when he mysteriously vanished - Buddy Guy style - and then reappeared, this time traipsing through the bewildered throngs, wielding a glistening keytar.

But his other moments were spent playing intricate runs and programming powerful, chromatic keyboard harmonies as he commandeered his sophisticated gear. The feisty Molino displayed confidence and subtlety, electing to punctuate Anderson’s phrases with a delicate ping or, at the appropriate time, pounding a mallet during a group crescendo. He wasn’t too shy, either, when it came to providing some comic relief. The contrast was great, too, since Molino’s display of skill occurred after the swooning acapella harmonies of “I’ve Seen All Good People.” 

Rabin clearly enjoyed showing off his fine chops, too. He worked all sides of the stage and demonstrated stellar shredding. There were times when he chose speed over a breath of white space, but he proved that his ear for melody is top-notch. Anderson reflected on Chris Squire’s legacy before the band plunged into “Long Distance Runaround.” Pomeroy came upstage to perform his own hefty solo, eliciting awe as he slid, thumped and emotionally connected with the first rows.

And although it was enjoyable to watch the camaraderie that appeared to just organically flow, it was especially moving to witness Anderson and Wakeman perform a tender duet under soft lights. It was also an opportunity to hear Wakeman on the acoustic piano, as he gingerly framed Anderson’s crystalline tenor. “Owner of a Lonely Heart” had been, of course, eagerly anticipated. All rose again to sway, sing and celebrate. Anderson handled the high notes like a young Placido Domingo. I’d be hard-pressed to name check a live performance that could equal this one.

Although the generous two-hour concert allowed ARW to deliver the best of the best, there was still something missing, the hit that would truly set the hall on fire. That something came about after the fans went ballistic for an encore - but to back track, it was only last week that the Cubs had won the World Series - Wakeman had commemorated that victory, but ARW’s own victory cannot be understated. The band had elevated the vaults, injected their own brand of vibrance and brought together generations. These arrangements were every bit as fantastic as their spirit.

Anderson, clearly overcome with emotion, had repeated at one point, “Give love, give love, give love.” Perhaps it was a heartfelt plea for unity or perhaps it was simply his positive self, inviting fans into his inner sanctum. After all, he had also uttered that next year will be a year of “bliss” if we can survive all of the craziness. Fingers crossed, fans, just days before the election… But back to the set and that energetic, end-of- the evening encore of “Roundabout.” Back-in- the day fans may have missed the acoustic progression and subtle harmonics that jump started the recording (which had now been electrified), but true to the holistic YES vision, ARW had made “the music dance and sing” and will hopefully continue to do so for years to come.

Minneapolis-based PHO is comprised of Arthur “LA” Buckner (drummer), Spencer Christensen (guitarist), Joe Paris (guitar), Luke Ibach (bass), Aaron Levin (tenor sax/flute), Lukas Skrove (trumpet/flugel horn) and Patrick Horigan (keyboardist). Don’t let the fact that these cats look young-enough-to-get-carded fool you; they are a bonafide funk machine plus.

Perhaps in theory, the formula sounds simple: draw influence from the likes of Herbie Hancock, James Brown, Jimi Hendrix and thread it up with contemporary Soulive accents, blips and bleeps, but now YOU TRY IT.

Their 2015 release ‘CASH IT’ triggered a barrage of critical acclaim. Since then they have shared the stage with Larry Graham and Jonathan Richman. The following year they received the surprise of a lifetime when Prince discovered their YouTube channel and invited them to his Paisley Park Studio for Larry Graham’s opening.

After the Prince-blessed band began the bewitching hour set with the pedestrian greeting: “What up?”, they encouraged immediate audience participation and got it in large doses.  Fans began dancing in twos and threes in every cul-de-sac of the already crowded Tonic Room. With a long, low-to-the ground stage, fans were able to get super close to the musicians. Part of the fun was how the band and their followers fed off of each other’s energy.

The non-dancers still had plenty to occupy their minds. Ibach’s bass lines invariably led to Levin and Skrove’s sultry build of horns. The blood-thirsty roar of the latter’s excellent trumpet provided another welcoming texture. Pho’s signature twin-guitar battles left many breathless. Buckner is one of this era’s most ferocious percussionists.  His sense of timing is superb and his monster fills; sublime. Adding the excitement welcomed guest musicians on stage throughout the set including Alex Wasily on Trombone, Parris Fleming, Trumpet and vocalist Catherine Poulos.

Paris exhibited impeccable tone. When engaging in sonic battle, he and Christensen looked like they were having the time of their life.  And this is a band that doesn’t stand on ceremony when offering praise to the legends. They dedicated ‘Rich and Sexy’ to James Brown player Clyde Stubblefield. The chopped-up riffs and edgy keyboard runs would have made both men beam.

Also incredible was the way this slick ensemble slyly switched up tempo and dynamics and coolly modulated throughout the night. The unanticipated changes kept warm bodies happily dancing. Most notable was their performance of ‘Pop Top’—the deep grooves and sci-fi trimmings made it a standout, and the rendering of their scatological 2014 tune, ‘Butter Ona’ Biscuit’. Catch this highly original band while you can still afford the cover.  

Set List:

Hennipin

Sour Town

Rich & $exy

Famous Waves

Still Waiting

Con Funk Shun

South 2nd

Tomorrow in Texas

Pop Top

Butter Ona' Biscuit

Dr. Drake

Responsibility

New Song

The act, Tuck and Patti, is comprised of guitarist William Charles “Tuck” Andress and vocalist/arranger Patti Cathcart. They began garnering steam in 1981 after making the decision to perform as a duo. Their recording career was launched with the release of “Tears of Joy” (Windham Hill Records) in 1987. Then went on to record nine additional albums for that label, including the follow-up to their debut, entitled “Love Warriors,” followed by “Reckless Precision” and “Dream” and ultimately started their own label, T & P Records. Also of note is the album, “Taking The Long Way Home,” which featured a complete set of originals.

The duo intrigue because they create a flow through careful and complete concentration—part of the pleasure of watching them perform is due to their process. Tuck’s watchdog eyes remain faithfully on his wife as she performs, so as not to intrude on her phrasing, and to embellish her unique style with precise chordal voicings or subtle counter-rhythms. Any aspiring performer would profit from following their example of professionalism. By the same token, Patti made it clear though her body language and even her clever quips that she appreciates and is fascinated by her husband’s skills.

But technical expertise tells only half of the story. It is their essential message that keeps crowds coming back. Leave it to a long-time aficionado to hit the nail on the head—in response to a YouTube video, the fan stated that Tuck and Patti are “avatars of love.” Their much-anticipated Wednesday evening performance illustrated that description to a tee.

“Let Me Hear You Say Yeah”, a great opener, allowed Patti plenty of space to boast her multi--octave range and flex her seasoned, improvisational chops. Tuck’s own instrumental scat was also unpredictable and playful; he name-checked his own instrumental heroes throughout the night with grace and clear tonality.

They followed up with a cover of Nancy Wilson’s 1964 ballad, “(You Don’t Know) How Glad I Am” by Jimmy Harrison and Larry Williams. Patti’s exploratory sensibilities were made to interpret such airy and meaningful lyrics:

“My love has no beginning; my love has no end. No front or back and my love won’t end.”

The most quintessentially clever lyrics of the night, however, were found in their celebration of Al Jarreau. This one-off rendition proved the duo’s versatility as Patti scatted the names of jazz giants in a contemporary hip-hop style. Most impressive was her use of the microphone as she wowed the audience with her expert command of vocal percussion.

And what could be more timely than her passionate recitation of the phrase, “I’ll be your sanctuary” from “Live in the Light” (“Learning How to Fly”, 1995) -- Chicago is, of course, a sanctuary city, and Patti’s no-nonsense introduction alluded to our country’s current political state.

But musically, she masterfully transformed her voice from husky and rich to a persuasive purr and back again. I heard shades of Cleo Laine and Minnie Riperton, as she explored intricate ways of returning to the contagious refrain. Tuck followed her scalar moves with uncanny precision, while impressing the sold-out house with a “slap” technique commonly reserved for bassists.

Patti dedicated the original “Love Warrior” to a couple celebrating their anniversary. The words tell a remarkable story: “We give up our love so easily; every little thing seems to turn us away.” As it progresses, Patti sings about a “promised land.” The words are hopeful, yet cautionary. Patti brought out the rough patches as well as the payoff.

“I am soft and silly and my name is Lillianaloo…”

“Die! I would lay me down and die, for my captain.”

“Captain for Dark Mornings” is from Laura Nyro’s third album, “New York Tendaberry” (1969). Tuck vamped on a dissonant chord that stood delightfully behind the beat; just the way Nyro would have wanted it played. Typical of the late singer-songwriter’s style, the words drifted from illusionary to devastatingly raw. Patti finessed those transitions with maturity and clarity.

Kenny Rankin, “In The Name of Love” is a song about relationships that go south. It takes a while, though, to realize it as the song has a resilience and tempo that could move it in the opposite direction. Tuck’s jangular chords added the right degree of tension.

It was on to the classic, ‘My Romance,” which has been so widely covered that it’s easy to forget how poignant the lyrics are. Patti made sure each delightful phrase received her special legato treatment. It was also the right moment for the couple to talk about their three-decades plus marriage.

Then Patti took a break, allowing Tuck to play “a great old standard” called “Body and Soul” and Santana’s flamenco-edged “Europa.” “Body and Soul” is known, harmonically, for its complicated circle of fifths and crafty resolutions. Tuck subtly ran through the progressions, taking care to anchor the sensual melody.

On the latter, one of his most beloved signature pieces, he segued from shimmering harmonics to catchy calypso-blues. The visual effect of his fingerstyle performance left the audience begging for more.

Another show stopper, which was from the “Tears of Joy” album, was “Takes My Breath Away,” which was every bit as awe-inspiring as the title suggests.

But the concert was not just about performance; it was equally about establishing connections.  In another intimate moment, the couple thanked two fans that “drove eight hours” to be at the show. Later Tuck would jest, “We had to be here. We signed a contract. You didn’t!”

Cyndi Lauper’s “Time After Time” is another song that’s included in many concert sets, but Tuck and Patti’s version could be the litmus test for overall creativity and audience interaction.

Patti divided the audience in three-parts so we could join in. I’ve witnessed other audiences shy away from this type of tactic, but this crowd, prompted by Patti’s loving encouragement, responded immediately and seemed to find the task irresistible. I have to admit we sounded pretty darn good.

As they turned to exit the stage they received a unanimous standing ovation. The duo looked sincerely pleased to return. Perhaps they viewed it as an honor; not an obligation.

“Love is the Key” was the encore; a T & P original that exemplified the community spirit they so expertly facilitated. Patti, still in superb voice, wailed, cajoled and diligently circled back to the theme, while Tuck synced the fevered pitch up with his fierce, electric embellishments.

Tuck and Patti won this audience over with their genuine, celebratory spirits, attention to nuance and a deep respect for the bygone artists (Wes Montgomery, Sarah Vaughan, Art Tatum, etc.), they painstakingly acknowledge.

When The Babys recorded ‘Every Time I Think of You,' the lead single off 1978’s Head First, it struck a genuinely passionate chord. The band would go on to enjoy Top 40 fame with ‘Back on My Feet Again.' The Babys, an air-tight group with an alluring sound, boasted a silky-voiced, Lancaster-born vocalist with ginger hair. A star was born.    

The band broke up in the 1980s, but not before seriously stamping their style and sensibilities on the receptive pop/rock genre. But John Waite did not stand on ceremony. He forged ahead with plans for a solo career, perhaps a risky move for any regular performer, but he possessed all the right stuff: the look, the sound, the stories.

Mr. Waite not only continued to melt hearts with his sonorous voice, but he also attracted legions of new fans through MTV rock videos, where his charismatic persona and profoundly moving stories stunned. 1982 single, ‘Change’ from ‘Ignition’ showed off his finest chops. Just a few years later, he would make lovers swoon with a softer, steamier ballad, ‘Missing you.’ His career continued with another smash, ‘When I See You Smile,' this time under the auspices of the short-lived, 1987-formed Bad English, which broke up in 1992 and included former bandmates Jonathan Cain and Ricky Phillips.

American fans following Mr. Waite’s solo career watched ‘Missing You’ from 1984’s No Brakes’ soar to No. 1 Billboard Hot 100. The moving ballad fared almost as well in his native country, where it rapidly became a top ten singles hit. Mask of Smiles, just a year later, unveiled ‘Every Step of the Way,’ and ‘If Anybody Had a Heart,’ which enhanced the About Last Night soundtrack.

But Waite’s bedrock has less to do with the succession of hits than with the ultimate payoff: Despite the stress of facing off a changing industry for decades, he has kept his vocals as evocative as ever.

Vocalist Leslie DeNicola had opened the set. Her teary soprano, in particular on the Dolly Parton hit ‘Jolene,' was airy and heartbreaking. Her guitarist, Sergio Ortega, did a fantastic job, either employing Travis-style picking or light strums.

Midway through Waite’s set, he invited Ms. DeNicola up to join him on ‘If You Ever Get Lonely,’ which was a huge, crossover hit for Waite. The blending of their voices was awe-inspiring. 

The other 13 songs drew from The Baby’s, Bad English and the ensuing solo years. Concurrently Waite is alternating these acoustic-based “Wooden Heart” performances with a full electric band and “The Wooden Heart” lineup; this tour stop featured the lineup of the latter:  Philadelphia bassist Tim Hogan (Anna Nalick), Camden, New Jersey drummer Rhondo and Long-Island born lead guitarist Mark Ricciardi. John Waite also played acoustic guitar.    

The “Wooden Heart” billing led some fans to believe they would have to endure a compromised set of soft rock, but they were quickly proved wrong when Ricciardi played the first of several gutsy, bluesy solos right off the bat. Hogan’s sharp lines pumped up the heat on the powerhouse, ‘Change,' and Rhondo, who is heavily influenced by The Who and The Stones, recalled lots of their fitful fervor. Waite masterfully balanced out dynamics and expertly handled the mic. If he used falsetto, it was because the song demanded it; not because he couldn't handle a given key.

He introduced each song with either a light-hearted back story or with a sensitive comment: “To the dreamers in the audience…”

“All of life’s uncertainties…well they all just slip away, and you lie down in God’s shadow,” he sang smoothly, in a song inspired by an afternoon with Keith Reed. “Going back to the 80’s,” Waite quipped. “Does anyone remember the ‘80s?”

Another poignant, lyrical highlight came in the form of ‘The Bluebird Café,’ written about a young and fearless singer/songwriter looking to be discovered at the famed Nashville venue. Waite talked sincerely about fulfilling his lifelong dream of performing at the Opry.  

‘Whenever You Come Around’ imbued the warmth and pentameter of a Cole Porter standard, and allowed Waite’s love for the blues to flourish. The audience went ballistic when Waite launched into ‘Every Time I Think of you,' one of The Baby’s most successful and heartfelt ballads.

“There’s diamonds in the Avenue / As the day shift turns to night,” Waite crooned earnestly when relaying the story of ‘New York City Girl,' a visceral song that harkens back to hard-edged places.

As a change of pace, Rhondo played a fresh and dynamic drum solo. By this time, fans had yelled one particular title out repeatedly with zeal. They finally got their wish. ‘Midnight Rendezvous’ (from Union Jacks) sounded as good as we all remembered, or probably even better.

This song’s contagious urgency comes through immediately in Waite’s strong delivery and emotionally charged imagery: “Driving faster than you want me to / Can’t help myself when I’m alone with you / Alright…”

“We’ve got it all sewn up,” Waite kidded. But there was still one more song to go. ‘Head First’ featured Hogan’s soul-expanding runs and Waite’s impressive moves. He asked us to sing along, and some did, and the rest of us couldn't bear hearing ourselves when we could hear the master.

John Waite exuded complete confidence on the stage. And even when he had some guitar troubles, earlier in the set, he switched gears like a pro, inviting the audience to ask random questions about his career, or anything damn well else they wanted to know.

“Any advice for an aspiring singer-songwriter?” “Get loaded,” Mr. Waite smirked.

Sad to see it all come to an end, the audience shouted for the band’s return. At that point, the “Wooden Heart” theme morphed into a Metal freak fest for ‘Whole Lotta Love.' Waite’s vocals were uniquely his, yet every bit as thrilling as Robert Plant’s. Not surprisingly, The Axemen pulled out all the exhilarating stops: pendulating riffs, blues-centric solos, and killer backbeats.   

“We only know one song. It’s kind of a rave-up,” Waite had warned in his self-effacing, light-hearted manner. Whether you call what happened a rave-up, an impromptu jam or whatever, it certainly hit the spot.  

SET LIST

Best of What I’ve Got

When I See You Smile

Back on My Feet Again

If You Ever Get Lonely

In Dreams

In God’s Shadow

Change

Bluebird Café

Whenever You Come Around

Every time I Think of you

New York City

Drum solo

Missing You

Midnight Rendezvous

Head First

Encore

Whole Lotta Love

Photography: Randal Hickes

Dressed in black, like his collaborator Carlene Carter’s famous dad, Johnny Cash, John Mellencamp wasted no time getting in tune for his second Ravinia performance, surrounded by a smoke machine and a background of scrawled graffiti.

The legendary Ravinia may be one of Chicagoland’s most expansive venues, but the 2008 Rock and Roll Hall of Famer quickly created a “Small Town” atmosphere. And it was that very song that signaled the moment Mellencamp chose to face the crowd to say: “Good evening. I’m John Mellencamp. We’re going to do some songs you know and songs you don’t know…”  and the man kept his word.

The set, which included some fantastic riffing, riveting guitar solos replete with slide, and delightful standup bass, offered something for everyone. That said, the singer clearly had his own favorites, which mostly included the new stuff. In fact, he made an aside about 1982’s ‘Jack & Diane’, attributing it to his younger self.

To honor the quintessential “Cougar” era, his accordionist and violinist, pulled out all the stops to play an unforgettable medley. If you’d forgotten how rhythmic and haunting those early melodies were, this pair made sure you’d recollect.

Carlene Carter had warmed up the house with a supreme set of originals on guitar and piano, but returned during the middle of Mellencamp’s set. She was especially vibrant on the poetic ‘Soul’s Got Wings’’ and ‘Grandview’. Their voices blended like honey and they looked like they were having a fabulous time.

But other moments bled dark. The cryptic ‘Easy Target’ sent shivers with the sentiment: “Crosses burning and we still don’t let it go.” The lyrics of ‘Lawless Times’ struck many as eerily relevant, too, and Mellencamp’s unabashed sincerity shone through.  Another series of powerful lyrics were heard on ‘Rain on The Scarecrow’; dynamically portrayed against a backdrop of shimmering lights.

Fans, ecstatic over the six-piece band’s high-octane rendering of ‘Crumblin’ Down’, which included a dynamic drum solo, paid it forward by crooning ‘The Land of 1000 Dances’. This audience didn’t stand on ceremony either when the front man requested they raise their voices for ‘Pop Singer’, featuring raw blues harp and ‘Check It Out’, enhanced by fearless violin and sonorant backing vocals.

Mellencamp proved that he is still one of the Heartland’s most resilient troubadours and an undisputed inspiration to songwriters all over.

Set List

LAWLESS TIMES
JOHN COKERS
MINUTES TO MEMORIES
SMALL TOWN
STONES IN MY PASSWAY
POP SINGER
CHECK IT OUT
JACK & DIANE (JM SOLO)
GRANDVIEW (CC)
SOUL’S GOT WINGS (CC)
EASY TARGET
OVERTURE
RAIN ON THE SCARECROW
PAPER IN FIRE
CRUMBLIN DOWN
AUTHORITY SONG
PINK HOUSES (CC)
ENCORE:
CHERRY BOMB
worldwide.

The Los Angeles-formed Vintage Trouble consists of vocalist Ty Taylor, guitarist Nalle Colt, bassist Rick Barrio Dill, drummer Richard Danielson and newcomer extraordinaire Brian London on keys. Their youthful flair for performance was immediately apparent on their 2011 debut, “The ‘Bomb Shelter Sessions’ and then peaked on ‘The Swing Acoustic Sessions’ (2014) and most recent chestnut ‘1 Hopeful Road’ (2015). It’s hard to believe that it was only a decade ago that they first performed live. The VT sound is so compelling that they were selected to open for The Rolling Stones, AC DC and The Who, classy bands that admired their three-piece suits and gift for unprecedented audience interaction.

Funny thing is, one might think these cats traveled through time and space to jam with Sam Cooke or The Temptations or hung out late nights at Stax with the likes of Otis Redding (VT, of course, did guest on the 2013 Booker T. Jones album, ‘Sound The Alarm’, just saying…) because they do “old-school” so divinely, but then there’s a difference between bands that superficially tribute the soulfulness of the ‘50s and ‘60s and bands that internalize the intricacies and hip, holistic hoodoos. Vintage Trouble has, historically, achieved the perfect balance so it was no surprise that they acquired a whole new set of “Trouble Makers” at Chicago’s stately Riviera.

This is one ambitious group. After the Riv, they make their way through Canada and fifteen North American cities, but Ty made sure to namecheck Chicago multiple times during the well-constructed set list. They lost no time getting started and soon the venue rocked with hand claps, tambourine taps and extended electric guitar intros and outros that coolly clung beneath Taylor’s gritty, purposeful pipes. Opening song, ‘Blues Hand Me Down’ was rife with spectacular starts and stops; a veritable hoedown…

Though it was certainly easy to get lost in Danielson’s manic beats on ‘Blues Hand Me Down,’ those that chose to listen well to the words, got a special lift upon hearing ‘Doin’ What You Were Doin’, which the sly front man introduced by grunting, “Y’all like to dance together in this town?”

Taylor continued the tease, by grasping a fan’s hand and breathlessly announcing, “You see what I need.” And every move he made was accentuated by the other players with the rhapsodic screech of a keyboard, the steady thump of the bass or Colt’s bluesy-plus intones. And the moves were fluid and consistently surprising. Ty sat on the stage, knelt at eye-level before an excited fan, pounded his chest and conducted the orchestra.   

Taylor, dressed to the nines in a plaid suit and black and white patent leather kicks, made a point of celebrating the release of male emotions with ‘Another Man’s Words’, “a love song for the fellas.” This one was terrifically enhanced by the elaborate electric riffs and screaming organ sounds. Colt’s sweltering, finishing touches framed Taylor’s breathtaking outro.to a tee.

Then Taylor surveyed the venue and commented on the theater’s ornate design, growling, “We’re gonna turn this bitch into a dance hall.” ‘Can’t Stop Rolling’ had an intoxicating swampy allure which got everyone wildly excited, as the words spilled out of the man in torrents.

Taylor then turned up on stage holding a trombone. It was true that a lot of fans had come to see the headliner, Trombone Shorty, and many had not yet heard of Vintage Trouble, so the sight of Taylor with the trombone definitely inspired an aire of mystery. Was he holding it for show? Or tell?

Taylor seemed to enjoy the suspense. He took the time to share his philosophy: “Turn off the noise and dig into what is your gift” before taking off full speed ahead with ‘Crystal Clarity.” Ty did treat the crowd to some tasty bits with the trombone, after all, and the percussion was also spot on

“How many people want to go to church right now?” Taylor inquired. ‘Run River Run’ definitely inspired religious zeal with its sharp rhythms, heady chants and great all-around ensemble appeal.

“I need you to come closer,” Taylor pouted. “I need both hands.”  And when he wasn’t begging for mercy, he succumbed to flocks of trusting hands that moved him from the stage towards the balcony, where he paused, and scribbled his initials in this writer’s composition book.

Closer, ‘Knock me Out’ found Taylor skip roping over the mic cord, but oddly, barely breaking a sweat, despite that perilous horizontal traverse across the jam-packed theater. But then that’s the glam, spit and polish those trouble makers came for and that left them in a state of undisputed awe.  

VINTAGE TROUBLE SET LIST, Riviera Theater, Chicago, Il., October 21, 2017

Blues Hand Me Down

Doin' What You Were Doin'

Another Man's Words

Can't Stop Rolling

Crystal Clarity

Run Like the River

Knock Me Out

When the Struts played at Chicago’s Aragon in 2015, they opened for a popular electronica band, Awolnation, and appeared after singer/songwriter Meg Meyers. Many of the attendees had never heard of the British quartet, so they couldn’t sing along with confidence, despite frontman Luke Spiller’s grand enthusiasm. But that was then and now is a fascinating wow.

These days, Chicago and The Struts comprise a compelling love match. The place was jammed; fans still pouring in and craning their costumed necks to see the low stage at 9 pm. At Chicago’s Bottom Lounge, Halloween was certainly a hot topic. Fans were dressed as super heroes and hot dogs. The host of sponsoring radio station 101 WKQX didn’t miss a beat, commenting on a mid-set contest, after the opening band, The Gin and Tonics, got off stage.

The Gin and Tonics? Opening act? Hmmm. Funny that the four guys who played six Oasis covers, dressed like young Brit pop stars, bore a strong resemblance to Darby’s darlings. After the “ah-hahs,” fans settled in to enjoy a set of swooning harmonies and jangling chords. But while the harmonies recalled classic boy bands, the covers were another story. This first set of The Struts was a tribute to Oasis.

Guitarist Adam Slack, drummer Gethin Davies and bassist Jed Elliott supported their singer with pumped-up licks, delirious smiles and wicked drumming. They are big on image, too—a visual cross between Pan’s lost boys and Twist’s Artful Dodgers.

The other thing about this band is, they look louder than they sound, which is great because the volume was not as ear-splitting, as one would expect. Translation: big, broad stage movements, without the decibel debacle. The sound guy was on top of the nice, crisp, clear electric guitar solos and the blistering, bottomless bass.  

The Struts have opened for The Who, The Stones and Guns ‘n’ Roses and it doesn’t take a bop on the head to see why. They know how to win over an audience. During that first set, the preening Spiller, lost no time professing his love to Chicago. And he was in exceptional voice, backed harmonically and instrumentally by some real technical experts. And what was really fascinating? That a band with an enviable roster of originals would devote a set to six (Oasis) covers, but the tease worked, whetting our appetite for their chestnuts. And they really understood Oasis: the dark, brooding progressions and visual lyrics. Especially well-done was ‘Wonderwall’.

True, Spiller’s impeccable voice brings to mind Queen’s Mercury, but the singer does not respond well to formula. He’s toned down some of the vocal schmaltz over the years and has really come into his own.

Set 2 inspired a mass push towards the stage. Spiller chanted: “Are you ready to learn? Are you ready to sing?” When this lad asks, he’s not interested in hypotheticals. He stared us down until we answered. Soon enough, hands were in the air, dudes were slapping each other on the back and voices roared.

The Struts drew about six songs from their debut so it was exciting to hear that we’d hear ‘Prima Donna,’ a brand new tune, probably appearing on their upcoming album. The wood blocks gave the ballad a terrific timber. ‘Kiss’ gave Slack a chance to take off like a lightning bolt.

And who’s to argue with the concept of ‘Sexy Money’? The repetitive lyrics of Bowie’s ‘Rebel Rebel’ turned satin-skinned Spiller into a snarling punk, as the band went crazy, stomping out bluesy riffs and swarthy bass lines, all the while, surveying the front lines, and having a blast?

‘Put your Money on me’ and ‘Could Have Been Me’ ran together like honey and cream from the bottom of a heated mug. Both tunes imbue a catchy, innocent warmth. Even the somewhat shy and self-conscious fans, swiveled hips.

The last third of the set, included a dynamic drum solo by Davies and a cheeky, compulsory court-martial by Spiller, who commanded the fans to crouch and jump, as he bopped around singing, ‘Oh, oh, oh, where did my love go?’

It didn’t go anywhere, Struts. It stayed right in the room, and the fans lapped it up.

Stay tuned for The Strut’s upcoming album and their return.  

Opening Set List:
Rock ‘n’ Roll Star
Morning Glory
Wonderwall
Cigarettes and Alcohol
Don’t Look Back in Anger
Supersonic

Headline Set List:
Put Your Hands Up

These Times Are Changing
One Night Only
The Ol’ Switcheroo
Prima Donna Like Me
Kiss This
Dirty Sexy Money
Let’s Make This Happen Tonight
Put Your Money on Me
Could Have Been Me

Encore
Where Did She Go?
 

Fans anxiously awaited Alison Moyet’s appearance as soon as the house lights dimmed and the stage lights formed iridescent shadows across the spacious Palladium, while the spoken word, ‘April 4th from the recently released ‘Other’ echoed. When the star did appear, dressed simply, but elegantly, greeted by hoots and major applause, she stood silently for a moment, as if in awe of her surroundings. This singer-songwriter has satisfied fans of all ages over her storied 40-year career as a soloist and as a new wave collaborator with Vince Clarke in the dance-oriented Yazoo.

On keys were musical director John Garden (Scissor Sisters) and synth-player and tenor, Sean McGhee (Alanis Morissette, Rizzle Hicks). The versatile duo framed the singer’s voice with precision and warmth, inserting cool backing vocals, flashes of guitar, bass and bright chordal accents. Notably these two musicians provided spot-on harmonies throughout the 90-minute set.

2017 has proved to be an exceptionally busy year for the fiery contralto. She completed a tour in New Zealand, Australia, Scotland and major cities in England before her mid-week London concert. Moyet’s material pushes her miles above the standard artist; judging by her sincere back stories, she seems only to perform songs with which she shares a deep, personal meaning. ‘I Germinate’ not only complied with that ethos; it allowed her luminous voice to soar. Moyet’s range was flawless in the nostalgic, heartbreaking ‘When I Was Your Girl,' while ‘Wishing You Were Here’ brought out a softer, romantic tinge.

Moyet headed off her repertoire with sincere observations: her delight at being accepted as part of the Brighton community, after having felt like an “outsider” for much of her life, became palpable when she sang, ‘The Rarest Birds,’ and in another particularly poignant moment, she spoke about her mother’s descent into dementia. Her tribute, ‘The English U’ was based on her mother’s determination to speak English exceedingly well.

One of the best surprises of the night was the melodic ‘The Man in the Wings,’ which she sang on behalf of the deep relationships Moyet has cultivated over the years. The rhythmic ‘Nobody’s Diary,' ‘Only You’ and ‘Situation’ from her time with Yazoo were spread out across the hour-and-a-half set, and motivated fans from all across the balcony to pump their fists in unison.

A cluster of excited fans, who danced joyfully in the aisles, inspired Moyet to do a two-song encore.  ‘Whispering Your Name’ and ‘Don’t Go’ found Moyet swinging her hips and losing herself at the moment, as well.

“I love you,” she repeatedly crooned to an exceedingly grateful audience, who reveled in her every move. In essence, Alison Moyet’s inspirational set brought forth the best of her old and new material and proved that forty years on, she still ranks as one of the UK’s more vital forces.

Setlist:

April 4th

I Germinate

When I Was Your Girl

Wising You Were Here

Nobody’s Diary (Yazoo song)

Ski

The English U

Only You (Yazoo song)

Beautiful Gun

Changeling

All Cried Out

The Man in The Wings

Other

The Rarest Birds

Alive

Situation (Yazoo song)

Love Resurrection

Encore:

Whispering Your Name (James Shear)

Don’t Go

“Words, that is all I have to take your heart away,” sang Manchester’s Bee Gees. Perhaps that heartfelt sentiment exemplifies the soul of the three-day, annual “Louder Than Words” Fest, once more housed inside the historical walls of the Principal Hotel, a former insurance company, with beguiling stained-glass windows and winding stairways.

Now enjoying a fifth year, the annual event was sponsored by Omnibus Press and featured a host of impressive, contemporary speakers and musicians. The related booklet listed a clever cross-section of lectures and interactive conversations that would appeal to all ages and types.

Opening night featured the famed bassist/producer Jah Wobble, who was a long-time member of Public Image and has enjoyed a solo career and collaborations with the Modern Jazz Ensemble and more.

More events followed on Saturday morning. One relevant choice was “Black Female Voices: Shaping the sound of Manchester Music”. An earlier chat with Louder Than Words co-founder, Dr. Jill Adam, revealed that she was very excited about hosting more female-centered events, so it was no surprise when Clock Tower 6 featured ‘Time-Traveling Suffragettes’ AKA Kitty and Lilibet, who derive their repertoire from Music Hall classics.

In a panel fronted by Louder’s Simon A. Morrison, he spoke about forging a lucrative career as a music writer. Another intriguing theme was ‘Eye Witness Punk Power: The spirit of ’76 and Beyond.’ This forum featured something equally special; it contained “the only color photos from British punks’ first wave.”  And for those seeking something even more specific, there was “Smashing It Up: A decade of chaos with the Damned.”

The charismatic Liverpuddlian Pete Wylie (The Mighty Wah) spoke about his many TV and radio appearances, which include The Culture Show and BBC 4’s “Pop on Trial.” Another highlight was a talk by Celeste Bell, who reflected back on memories of her late mum, Poly Styrene.

Whilst the assortment of speakers was impressive, the landscape of the venue, itself, added to the enjoyment of the experience. Who wouldn’t have wanted to climb the marble stairway of the Clock Tower to revel in the legacy of Steely Dan later that very afternoon? In that same area, another important theme was addressed in “Oh Bondage, Up Yours!” This one promised a “women and subculture” panel discussion.

Sunday, famed interviewer, musician, and event co-coordinator John Robb conducted a fascinating Q & A with Wonder Stuff frontman Miles Hunt, who has published ‘Miles Hunt Diaries 90-91’ and ‘Miles Hunt Diaries 92-94’. Later that day, participants enjoyed a compelling talk by music journalist Martin James on how to avoid a “publishing nightmare.”

And for any admirers of the long-standing American Poetry Slam movement, it was delightful to witness the same kind of appreciation for this art form across the pond. Anyone attending this fascinating fest would probably agree that the information disseminated over the three-days was high-quality and that the fest provided many opportunities for some supreme networking.

Featuring David Satori (Beats Antique), Evan Fraser (Hamsa Lila) and Mark Reveley (Jed and Lucia), Dirtwire emerges from another dimension of music. 

Each member is a consummate showman. The band drums up enthusiasm with low-growling vocals, ambitious jaw harp solos and raw blues harp riffs. Exchanging instruments in a flash, they consistently brandished their versatility. Sometimes mimicking the hum of hollowed-out bamboo; other times, celebrating Africa, with the goni harp or the delicate Kalimba. 

They sure weren’t shy about merging politics into their rootsy/electronic fare:

“Chicago, are you ready for a revolution, my friends? Take it to the streets.”

And against a litany of cantankerous, counter rhythms, Dirtwire rapped:
“Straight to Wall Street, Straight to the Pentagon. What you gonna do? Where you gonna take it?"

There were lots of devoted fans present, who rapped or chanted right along. 

Dirtwire took ˜When The Levee Breaks” to a new level, which is no small feat. It was every bit as rousing as Led Zeppelin’s fine version, but more. Unique with their special flair of intricate beats.  Even Jimmy Page, never mastered slide banjo. The blues harp solo was rich and forceful. 

“Shish Kabobs” is about the most singable song ever written, but the structure left lots of space for brilliant bass lines, too. And when push came to shove, this trio took to the drum sticks, each one outdoing his musical brother - All to the audience’s delight.  

“Next one is for all you earth activists, all you farmers.” David teased.  The dreamy, blues intro. escalated abruptly into a swamp.

“This one’s all about sitting as low as you can go.” David clarified. The lyrics were fun and extraordinarily playful. As for the instrumental parts, the banjo said the rest. 

“Make some noise, you feeling alright?” With their natural stage presence and flair for roots and all-things contemporary, Dirtwire is the definitive crowd pleaser. They performed the last song,"Stranger” to a barrage of applause. 

In 2015, a restless, curious talent from Gloucestershire, England, decided to revisit her Nashville relatives—she had previously spent summers with them, and perhaps she believed that this jaunt would just be one more road trip, yet this visit yielded a major career milestone.

In fact, singer-songwriter, Lilly Winwood, found that visit so illuminating that she chose to document her coming-of-age observations and anecdotes. The result became 2017 debut EP, ‘Silver Stage’.

To support Steve Winwood, Lilly toured in 2017 with her famous dad and a select group of spirited musicians of her own choosing. As vocal narrator, the twenty-one-year old shines. Her original music centers around love and loss. Her extensive range and tearful expressiveness created incredible intimacy in the large, historical building. Perhaps the set could be described as, part travelogue and part painful lessons learned.

“I’m not from any of these parts.” She smiled broadly, before launching into a song about the landscape of California. Manning the first one alone, the talented band kicked in at the second verse. The song culminated with an inspiring, electric guitar solo. With her fresh, warm voice and honest approach, Lilly convinced all there that she has a bright future ahead.

“I’m dedicated to be opening up for an old friend tonight,” she ribbed, referring to, of course, her legend father. And she appeared every bit as humble as her father would later that night, too. “Thanks for being so kind to us, Chicago!” When one fan screamed, “LILLY!” she cupped her ear, smiled and murmured, “Sorry, I didn’t quite hear that.”

‘One Big Sky’ was even more subtle, as the drummer employed brushes on the skins and Lilly crooned convincingly, about being seventeen.

With heartfelt persuasion, she employed great breadth on ‘Safehouse,’ a touching song about loneliness. “Safehouse, I treat it like a playground.” As her vocals soared, she exhibited some fine gymnastics, exclaiming, “What a way to hide out.”

Klaus Luch echoed Lilly’s sentiment on lap steel, another breathless feat. The response was clear. That was the audience favorite. In the olden days, it would have been an airways favorite. Nevertheless, in current times, a sure contemporary hit, with its lovely blend of pathos, innocence and hopefulness.

Each arrangement was tastefully executed, essentially light on percussion in all the right places, and where, often, Lilly took the lead with her forceful arranging acumen on acoustic guitar. She also moved well onstage, and interacted frequently with her band mates.

Later, she joined Steve Winwood for several songs in his set. Their voices blended delightfully, especially on ‘Higher Ground’.  Lilly has already acquired the ability to be a team player, even on a stage with an undisputed legend. And to his credit, Steve Winwood, treated his daughter as the pro she already is.

Audience members hooted and screamed, “I love you” several times. Lilly seemed happy about the adulation and offered a few tongue-in-cheek comments back, offering to meet fans after the set, “come get a photograph; a kiss on the cheek if you’re lucky…”

With humor, grace and a stunning blues-country intensity, Lilly impressed. This rising star will have no trouble corralling the troops next time she hits Chi-town.

The Steve Winwood Band’s Greatest Hits Tour will have touched down on three U.S. coasts by July 8th, concluding thereafter with concerts in Germany and the UK. But it’s hard to imagine those other fans showing their love the way Chicago did on Thursday night.

And that adulation was well-deserved, too. The setlist, as promised, swept the ticket-holders through vocalist/multi-instrumentalist/songwriter Steve Winwood’s most productive and exhilarating eras. Just a teen when he first performed with the Spencer David Group (he had performed at an even earlier age with his father, Lawrence, and elder brother, Muff), Winwood has since become a life force, a Brit rocker who appears to enjoy folk, psychedelia, blues and rock in equal measures, and whose stints with the Spencer Davis Group, Blind Faith, Traffic and, ultimately, his post solo career have enabled him to broaden his fan base, and, ultimately, allow him to gain the status of sought-after, rock super star.

But that didn’t happen overnight. The Spencer Davis Group was undeniably inspired by raw, riff-based, electric blues and jazz. Winwood had been primed early for such antics, having backed American acts on Hammond organ (Muddy Waters, John Lee Hooker, Otis Spann, etc.) in his native Birmingham, when the protocol had been that locals would back famous visitors.

Formed originally in 1967, Traffic went through a few incarnations. For the 1970 reformation (with Jim Capaldi, Chris Wood, Dave Mason), Winwood unearthed fine vocal/instrumental based-tunes, such as ‘Low Spark of High-Heeled Boys.’ At the time of this tune’s conception, it relied on a gutsy keyboard ostinato, that once heard, captivated the listener completely. At this point in time, performed live with his pulsating ensemble, the heartbeat still beats strongly, but the texture has changed. Depending on your age, you might prefer the classic version (or not), yet few could argue that this touring band’s updated version equaled sheer energy and showcased copious amounts of talent. From my seventh row seat, I could view ground level fans, who just could not get enough.

Winwood’s output with late ‘60s Blind Faith (with Eric Clapton, Ginger Bake, Ric Grech) yielded incredibly, introspective chestnuts--‘Can’t Find My Way Home,’ perhaps being one of the most sensitively composed, candid and relatable ballads of the flower child generation.

And, of course, Winwood’s solo career afforded him total freedom as bandleader extraordinaire, offering the triple-threat Brit the opportunity to cherry pick and cross-reference genres at will.

Winwood’s solo project, ‘Winwood: Greatest Hits Live’ boasts a 23-song track list. Fans wanting to recall the exuberance of the Chicago Theater performance gems should definitely check this one-off out.

But back to the here and the now. The Thursday night aficionados that came to witness Winwood was as savvy and gregarious as his lively band quickly proved to be. The set up included electric guitar, bass, soprano and alto sax, keyboards and percussion which included clave, congas and a solid wall of sound kit.

Winwood sat behind the keys for 1967’s ‘I’m a Man,’ permitting his players to showcase their physicality. There was no stopping them once they got into the groove. The bandana-clad, extroverted lead guitarist demonstrated a great ear for melody. The song was also enhanced by an absolutely killer outro, by the passionate percussionist whose hands-on triple skins vibrated with such vigor that they resembled streaks of lightning.  Add to that, the cool sax man’s wail, ‘I’m groovin’...

‘Pearly Queen’ from Traffic’s sophomore album of 1968 enjoyed enharmonic, electric soloing, a palpable Mideast groove and ethereal flute. Their anticipated cover of Buddy Miller’s ‘Them Changes’ began with a gigantic drum roll and included the blissful squawking of brass. Winwood was in especially great voice. Even after all these years, he still evokes passion with each counter-culture phrase.

Winwood then walked center stage, revealing his modus operandi. “We’re hoping to take you through the decades. It’s not chronological, but we’ll get everywhere.” Then, with his lime-green axe, he played some extraordinary changes, which set off a tumultuous jam session. Despite all of his talent, his persona and choice of clothing did not scream rock star. His simple choice of a beige shirt and jeans spoke volumes.

As soon as the unforgettable riff of ‘Low Spark of High-Heeled Boys’ began, the audience went ballistic. It was Winwood, back at the keys. Drums echoed each other, and the soprano sax blew hard. It was Winwood’s turn to really shine at the keys, and he did not disappoint.

‘Can’t Find My Way Home’ from Blind Faith’s 1969 masterstroke was surprisingly cool with the addition of flute. ‘Had to Cry Today’ was a surefire ensemble feat. The instrumental, ‘Domingo Morning’ from 2003 ‘About Time’ from Winwood’s solo career, probably the least well-known arrangement of the night, created a wonderful contrast to the standard heavies.

‘Roll with It’ was pure rocker heaven and the ’80s hit ‘Higher Love’ brought force multitude memories of Winwood’s partnership with Eric Clapton. From Winwood’s fourth solo album, ‘Back in the High Life,’ co-written by Will Jennings, it once won ‘Best Male Pop Vocal Performance and two Grammy Awards for ‘Record of the Year.’

For an encore, fans were quick to appreciate a homage to 1970’s “John Barleycorn Must Die.”  One need not be a drinker or prohibitionist to appreciate the ironic lyric. The lovely Celtic arrangement cast an enchanting spell. The theme song was portrayed stunningly, and followed by the alluring “Empty Pages.” With Lilly Winwood at the fore, the blending of father/daughter voices yielded considerable alchemy.  

‘Dear Mr. Fantasy’ (Steve Winwood / Chris Wood / Jim Capaldi) from the 2003 ‘About Time’ beckoned the brethren to rise up in the aisles, followed by 1967’s ‘Gimme Some Lovin’ which motivated all of us to dance with complete abandon only minutes later. From ‘Notting Hill,’ this stupendous energy drink still holds its own, as a cocky funk rock staple that holds no prisoners. It just doesn’t seem that long ago that a group of exuberant 1963 rockers, tore up the airwaves with this charmer. As promised, Steve Winwood’s band took us back to “everywhere,” a most incredible place to land when the mood cast, is just right.  

SETLIST
I’m a Man
Pearly Queen
Them Changes
Can’t Find My Way Home
Had to Cry today
Low Spark of High Heeled Boys
Domingo Morning
Roll With It
Higher Love

Encores
John Barleycorn
Dear Mr. Fantasy
Gimme Some Lovin’

Singer/songwriter/guitarist Ani DiFranco, an early proponent of the indie label movement, began her buoyant career 1989, created her Righteous Babe label in 1990, and without the benefit of the airwaves, built a huge, politically savvy fan base, while producing more than twenty albums, largely on her own.

She is not one to shy away from real world issues--in word and in deed, she has, over the years, offered her support to society’s most unsupported. To that end, her themes are often fueled by feminist perspectives and an activist ethos. Perhaps that’s why she is so easily able to galvanize her audiences, who often share her voice. But, of course, she is a seasoned musician, too, prone to whacking the heck out of her acoustic guitar to emphasize a given phrase—a technique that greatly punctuates her fervor. And her voice at the Park West, Chicago, also came off as bold and brassy.  

The set list featured some definite rockers, which stand up bassist, Todd Sickafoose, and percussionist Terence Higgins, really rounded out. And the super fans, who knew every lyric by heart, wasted no time joining in, which Ani consistently encouraged.

But it was Ani’s warm exuberance that set the stage and kicked in early. “I’m not going to be lonely tonight. It’s nice,” she said, after an exceptionally warm reception the minute she walked onstage. She strummed plaintively on ‘Little Plastic Castles’ at first, setting the “coffee house” setting, and was soon enhanced by her band.

“People talk about my image / like I come in two dimensions…” she sang in full force, in this testament to illusionary fame.  She still seemed stunned by the audience reaction: “I was looking around at all these warm bodies and it just blew my mind.”

Her cantankerous playing continued with ‘Names and Dates and Times’: “Laugh to laugh, talk too long,” was so easy to relate to, and so easy to sing along with.

‘As Is’ was pure poetry. Ani’s voice rose and fell as she interpreted the lyrics. It wasn’t long before she spoke her mind about current events. “Vote them out. This is what we must do,” she proclaimed, about the recent Florida shootings and the power of the NRA.  She spoke about the brave students who are trying to address current laws. “Back these kids up!” she said, to a sea of support. She then returned to her music. “I’m going to play it (the next song) for all the citizens who are still fighting for the truth.”  

‘Marrow’ completely followed up the artist’s point. “Where was your conscience? Where was your consciousness?” (‘Revelling/Reckoning,’ 2001). Midway through the set she invited her support act, Gracie and Rachel, to embellish her tunes. The duo’s angelic voices and sweeping violin completely changed the mood.

And in true DiFranco spirit, she chimed in with her views. “If you sing it enough, it comes true. That’s my belief about life.” The evening was full of insights and exciting tempo shifts. Cheers erupted throughout Ani’s rousing rendition of ‘Untouchable Face’ (‘Dilate,’ 1996) and it was easy to follow the profane chorus and appreciate the disappointed lover’s perspective, “And who am I? / That I should be vying for your touch…”

Leave it to Ani to illustrate the three-dimensions of the human soul in the lyric, “I think I’m what I call sensitive   And easily thrown off my game…” on ‘Zoo’ (‘Which Side are you On’? 2012).

Her set included ‘Names and Dates and Times’ and ‘My IQ’ from ‘Puddle Drive’ (1993), ‘Untouchable Face,’ from ‘Dilate’ (1996), ‘Little Plastic Castle,’ ‘As Is,’ ‘Two Little Girls’ and ‘Swan Dive’ from her highest charting album, ‘Little Plastic Castle,’ released in 1998,’Marrow’ from ‘Revelling/Reckoning,’ (2001), ‘Zoo,’ (‘Which Side Are You On?’, 2012) and ‘Even More’ from last year’s critically acclaimed ‘Binary,’

Often what made Ani’s songs so compelling was her sly use of metaphor, as in ‘Still My Heart’— “That train just won’t stop / Blowin’ its horn that way (“Allergic to Water,’ 2014). And other times, she warmed us over with her awareness: “Let’s give it up for the crew tonight.”

But overall it was her dynamic persona, as she expressed love for the loyal audience that loves her back… “Thank you now and always for giving my music somewhere to go, giving me a home in this world."

Set List:
Little Plastic Castle
Names and Dates and Times
As Is
Two Little Girls
Coming Up
Marrow
Zoo
Still My Heart
Even More
Swan Dive
Untouchable Face
Alright
Zizzing
All This
Deferred Gratification
Play God
Binary
Encore:
Gravel
Shameless
Overlap

Founding members Phil Lesh and Bob Weir, of Grateful Dead fame, playing as a duo without a backing band for the first time together, ended their “Bobby and Phil Tour” with two, consecutive nights at the Chicago Theatre, after selling out New York’s Radio City Music Hall and Boston’s Wang Center. Although the two musicians have long enjoyed a reputation as on-the-road constants, individually, performing on the same stage was the ultimate “can’t wait” draw for fans; a rare pairing that for many represented a one-off dream.

Phil Lesh, in a press release, said, “…I think that fans of our music will enjoy this new format as much as I do.’’Lesh, a Grammy Lifetime Achievement Award recipient, frequently appears with Phil Lesh & the Terrapin Family Band.

RRHOF recipient Weir received this honor in 2007. He enjoys performing with Dead & Company, along with Mickey Hart and Bill Kreutzmann, John Mayer, Oteil Burbridge and Jeff Chimenti.

The first set was, not surprisingly, laid-back and lo-fi. The duo relied on jangling guitar and uncluttered, old-timey balladry. Adhering to the core audience’s counter-culture preferences, they engaged in fluid, melodic jams, leaving the fast-paced, outside world behind them.

Percussionist Wally Ingram made his challenging job look effortless during this penultimate Chicago Theater performance. To his credit, he remained sensitive to ever-changing tempos in both sets.

The early portion of the setlist featured "Box of Rain” and a full-blown, folk-smacked rendition of ‘Ramble On Rose.’ Weir was having a good time conveying the bouncy narrative, although, at times, the lyrics were rushed. Still, the cantankerous rhythms and harmonies seeded memories and fans were swept into a state of bliss after every cadence.

Lesh, in an introspective mode, reminisced about the impromptu creation of ‘Cosmic Charlie,’ and the old school setting where it had been concocted.

The catchy ‘Looks Like Rain’ got the front rows singing along with the duo, and swaying independently to the chorus. The two men joked about writing this ballad over the phone, never guessing the outcome.

‘Estimated Prophet’ drew more memories, this time of the American West Coast, with Weir, on jangling, electric guitar. The result was more of a jazz/folk fusion. Changing it up, Lesh, his vocal timbre, more soothing, launched into ‘Operator,’ but it was during the swirling ‘West L. A. Fadeaway’ that the players loosened up.

The second set featured (Dead) pianist Jeff Chimenti, guitarist Larry Campbell and sparkling chanteuse, Theresa Williams (who also performed in Boston). This smart addition allowed for more precise arrangements, tighter transitions, and dreamy interpretations. At this point, Weir and Lesh looked noticeably more relaxed.

Case in point, ‘Playing in the Band,’ was lush, with Campbell/Weir co-comping muscular rhythms. ‘Scarlet Begonias’/‘Fire on the Mountain’ displayed Campbell’s crisp mandolin, whereas Lesh’s lead-off of ‘Dark Star’ highlighted the bones of this epic; the holistic talents of the ensemble breathed new life into it, by virtue of stringent harmonies and an overall refocused energy. In unapologetic jam mood, ‘St. Stephen’ blossomed. And the rootsy transition and rendering of Dylan’s, ‘A Hard Rain’s a-Gonna Fall,’ couldn’t have been more demonstrative. Weir and Lesh, unabashedly, came back to the fore on ‘Bird Song,’ where the innocent lyrics were offset by the duo’s gritty, instrumental insouciance.

‘Sugar Magnolia’ kept up the pace, too, offering the continually screaming fans a great opportunity to chime in, vocally. Chimenti’s jazzy pianistic embellishments added just the right touch of majesty; the guitar solos were focused and highly melodic, in contrast to the meanderings of ‘Dark Star,’; more emblematic of the age of psychedelia, except when Teresa Williams, wielded her sterling, soprano. And, of course, the fans rightfully refused to leave without an encore. What song better to end the night than ‘U.S. Blues.’

Throughout, Lesh and Weir, rose to the auspicious occasion, adding bright, bluesy nuance to their instrumental lines, while taking care not to over shadow each other’s floating solos. And despite the ongoing party atmosphere, when the legends spoke, the audience listened, whether the topic was songwriting or politics, for example, when Weir excitedly exclaimed, “Is everyone registered? If you love the way things are going with our government, why bother?”

Also, there was the simple elegance of white space that came into play. The legendary “Dead” variety of music settles the nerves and invites friendship. That hasn’t changed. And that said, this second-to-the-last night offering, was, two-fold. On the one hand, it was about enjoying the warmth and spontaneity of rock’s most steadfast troubadours, as they paid tribute to their classic repertoire’s acoustic/electric subtleties. On the other hand, it was an opportunity for the revved-up audience to reconnect. As the pair conversed freely, keeping the mood light with pertinent asides and lyrical perspectives, fans expressed their approval, via gestures, shouts, and spirit.

‘U.S. Blues’ made a deep impression as an encore. “I’m Uncle Sam, that’s who I am, been hiding out in a rock ‘n’ roll band…” This tongue-in-cheek song reminded us not to take little things too seriously, yet, it slyly projected a deeper meaning, a paradigm so often reflected in what fans enjoyed all night...

“I love Chicago, I swear,” Darryl Jones exclaimed at Chicago’s classy Park West, Friday evening. “Come home,” a warm voice beamed back. It truly felt like the super star bassist/band leader of the Darryl Jones Project had come home.  

Another smiling woman, Edna, there with her daughter, elaborated on why tonight was so special.  ‘Darryl was my locker partner. He played upright bass. I’ve seen him play with the Stones, but this is the first time I’ve heard him sing. It blew me away.”

“We’ve got West Chatham in the house,” another neighbor exclaimed. Once upon a time, Chicago high school students were grounded in musical training. Darryl Jones was one of them, having graduated from Chicago Vocational School. And on his appearance back home on Friday night, he proved how that early education coupled with dedication paid off.

It’s easy to understand why these locals are proud: Darryl Jones has had a magical career, yet he’s never strayed far from or disregarded his south side roots. During the show, he emotionally gave thanks to his Aretha/James Brown-loving mother and aficionado of Count Basie father. It is clear from his onstage persona, that Darryl checks his ego at the door, but his exceptional talent speaks volumes.

In 1980, Darryl enjoyed his first stint with the Miles Davis Band, during which time he played on 1983’s ‘Decoy ‘and 1985’s ‘You’re Under Arrest.’ After two years, he joined up with Sting for the Dream of the Blue Turtles tour. Being a versatile player meant he could easily transition to gigs with the likes of Madonna, Herbie Hancock, Ryuichi Sakamoto and since 1993, as Bill Wyman replacement bassist for the Rolling Stones (‘Voodoo Lounge’, ‘Bridges to Babylon’).

But this show was about the musical road less publicly traveled, more specifically, Darryl’s heartfelt inspirations and fully-orchestrated originals. With guitarist/vocalist Nicholas Tremulis as musical director, Santiago Torano (Edgar Winter) on lead guitar, drummer Toby Williams (Curtis Mayfield), James Perkins on sax (Ramsey Lewis, Elton John), Phil Perkins on trumpet (Henry Threadgill), keyboardist Woody Goss (Vulfpeck) and Rene Robinson (Albert Collins) as backing singer and soloist on ‘I’m A Woman,’ the players were able to cover a massive terrain.

The six-minute ‘Games’ simmered, before culminating in a full R & B boil with lush harmonies, fierce percussion and a dynamic trumpet solo, while embracing a sultry, minor-tinged progression.  

‘Things’ enjoyed a funky lead-off by Darryl and the perfect pairing of voicings, when he and Rene swung hard. The honestly-contagious hook made this one memorable; it was topped off by Nick’s hard-edged solo.

After commemorating some of rock’s fallen heroes, Darryl’s iron thumb passionately clamped down for ‘Manic Depression,’ a Jimi Hendrix chestnut. Santiago offered up some wild effects and ear-splitting runs. The DJP crammed a lot of energy into this five-minute extravaganza, which also featured driving kit work courtesy of Toby Williams and edgy brass by James Perkins.

Beginning with an intricate flute solo, ‘In The Blood’ (dedicated to his brother) proved that Darryl is not only a family man, but a demonstrative lyricist: “Mom and dad / we didn’t understand the things that we had,” Darryl expressed, through his buoyant baritone. “Stay together, that’s what we learned.”  

With Woody Goss on keys, ‘Burn Like a Mother’ kept up the now-expected pace. The audience roared as band members interfaced and their instruments interlaced. Nick told a story about “macho” males. His burlap-sack voice, making the point viscerally clear. James Perkins made it his own, too.  

“The Radiance” showed off Nick and Darryl’s onstage personalities. This more cerebral number was rife with evocative solo guitar.

Rene, donning a dramatic, red robe, over a stark, black leotard, gave her all during ‘I’m A Woman’. She and Darryl exchanged glances and seemed to be having a blast. The gutsy performance was a great transition into the next song, ‘Westside Baby.’ “I live on the west side, baby, she lives all across town,” Darryl sang, after stating, “We’re gonna play the blues.”  His electric guitar solo was not only a much-appreciated surprise, but a cool transition to a Stones’ cover. ‘What’s Hip’ engaged a multitude of talents and featured Santiago.

For “The first Miles Davis record I played on,” Darryl invited former musical director of the Miles Davis Band, Bobby Irving, onstage to play keys. ‘Decoy’ was a delirious soundscape, which set the crowd on fire.

And in keeping with the theme of inspiration, Darryl asserted, “This is definitely something inspired by Curtis Mayfield.” Here, Darryl showed off his surprising falsetto, with Nick adding dreamy interludes on his odd-shaped instrument.

‘Round and Round’ was another democratic undertaking, which allowed for plenty of instrumental input and celebration. Before exiting, Darryl made sure to thank every musician and crew member, but his Chicago fan club was having trouble saying goodbye. After rounds of applause, the band graciously returned.

“We’ve got one more,’ Darryl explained. The politically savvy encore, ‘Conscious Revolution,’ galvanized voices and united us as kindred spirits. It was sad to see our hometown hero go; but then again, he did promise, “We’ll be back,” and we’re holding him to it.

Set List:

Games

Things

Manic Depression

In The Blood

Burn Like a Mother

The Radiance

Westside Baby

Solo

Live with Me

What’s Hip

Decoy

Here Is My Song

Encore:

Conscious Revolution (“We’ll Be Back”)

Round and Round

After a thirty-year-plus hiatus, Todd Rundgren’s Utopia graced the Chicago Theater stage, with the hopes of promising fans an extraordinary, other-worldly concert experience. The original 70’s-formed band established a stellar reputation for stretching the prog rock/pop envelope and infusing their mostly original material with verve and state-of-the-art technique. There was a mixture of anticipation and sense of wonderment in the air as fans trickled in about half-an-hour before the set.

It was already apparent that the stage was set up for an evening of great showmanship. With double keys and the drum kit on risers, bassist/guitarist/vocalist Kasim Sultan and the “true star” himself would have ample room in which to interact with one another and display a tool kit of excellent chops.

While I can’t speak for those seated in the balcony, sight lines were essentially excellent in my ground level seat, except for those moments when fans in the first few rows wildly danced or remained standing.

The quartet, dressed in eye-catching, glitzy apparel, waltzed onstage without a lot of fanfare, but graciously responded to the excited welcome they received. The first instrumental, ‘Utopia Theme,’ was a fifteen-minute masterpiece—Rundgren’s shimmering electric guitar tones were divined from a soulful and passionate place. Kasim matched Rundgren’s enthusiasm, phrase by phrase, notably when plucking the forceful bass line which started off second chestnut, “The Ikon.”

“Something happened in the middle of the night in a place I’ve never been before,” Rundgren revealed, in regards to the atmospheric “In Another Life.” Then he remarked slyly, “some of you are still standing after that blizzard,” referencing the fierce onslaught of instrumentals just performed.

The onscreen eye-candy ranged from oozing blotches of color to shooting stars, barren lunar landscapes, and images of “Ra.” In every case, the graphics reflected an element of the poignant, lyrical themes. At times, the display was so heady and inviting; it almost seemed like Kasim and Rundgren might burst out of the giant screen, as brilliant colors and sonics swirled in tandem.

As for their onstage partnership, Rundgren and Sultan opted for a proper quid pro quo, trading soulful lead vocals or supporting each other with lush harmonies. To that end, Rundgren’s voice has lost none of the strength and flexibility he has become known for, and as the night progressed, he became even more adventurous with his stylizing and pacing, working the audience up at key moments to an unmistakable fever-pitch. For instance, later in the set, after the band played the introduction to the longed-for “Love is the Answer,” Rundgren, sans his guitar, kept up momentum with signature, exploratory vocal phrasing.

Although the opening numbers were cerebral, the mood shifted, and the set list blew wide open. Fans could not keep still during ‘Do Ya’ (The Move), a terrific contrast with its clipped chorus and strident barre chords. In the same lively vein, “Back on the Street Again” found Sultan in jubilant vocal form—his earlier lead vocals had been, at times, spotty, but this hard-driver brought out the best.

Rundgren’s smooth take on Stephen Sondheim’s “Something’s Coming” from Broadway musical West Side Story was simply arranged but tremendously heartfelt. On “Monument,” Rundgren performed a breathtaking electric guitar solo, this time, focusing on the upper register amid more spectacular, background graphics.

After a twenty-minute intermission, the quartet returned, dressed this time for casual Friday. The pressure of performing syncopated, air-tight instrumental pieces was gone, and after catching their breath, the players exuded an incredibly chill vibe.

They opened, contemplatively, with “The Road to Utopia.” “Set Me Free” was just plain fun. While earlier, the “true star” demonstrated that he has lost none of his gift for imaginative phrasing, he then pulled out all the stops, replacing his pure and soulful musings with bluesy growls for show stopper, “Love in Action.” Throughout these selections, the visuals grew more and more compelling, featuring brilliant shots of setting suns, lunar landscapes and a fitting tribute to “Ra,” which represented a milestone in Utopia’s history.

“Love is the Answer” remains one of Rundgren’s most requested, signature tunes for a good reason. His sincerity and respect for the ballad’s optimistic message came out organically through his timbre and demonstrative body language. Letting go of his guitar, he was genuinely free to emote without added responsibility. That said, he drew close to the front rows for some brief, but intimate interaction.

Another special delight was the addition of “Princess of the Universe,” which in stark contrast to the other tunes, exploded in punk. “There was a Time” saw Sulton shimmer simultaneously on vocals and bass.

“Rock Love,” meant for the dance floor, offered Sulton the opportunity to step in as lead guitarist, a task that he took quite seriously.

While we didn’t have an opportunity to hear drummer Willie Wilcox perform a full-blown solo, his steady hand, and magnetic flourishes more than suggested overall talent. Showman Gil Assayas, on keys, slyly inserted jangly runs that bound the evening of eclectic material together.

Perhaps because this Chicago audience had waited for decades to hear Utopia’s fiery and diverse collection, they refused to hold back, physically or emotionally—their unbridled appreciation echoed the onstage excitement and vice versa. Yet even after a generous encore, fans trailed out slowly, clearly reluctant to leave, perhaps because they were processing the reality that this night could be a one-off. Or then again, maybe not. Either way, the talented quartet truly honored Utopia’s brilliant legacy, and if they do return, they will surely be met with open arms.

Once ZZ Top guitarist Billy Gibbons and bassist Dusty Hill began dishing out shared vocal duties, truculent lead solos and iron-fisted bass lines with hard-working drummer Frank Beard at the helm on a warm Tuesday night at Chicagoland’s Ravinia, it became hard to keep track of the star-studded hits that just kept rolling down the rocker pipeline at full force. ‘Got Me Under Pressure’ proved to be a celebratory opener, followed by the buoyant Sam and Dave smash, ‘I Thank You.’ But after that cover, the power trio primarily relied on the colorful, legendary repertoire that encapsulates their rough-hewn but lovable personalities.

Through the night, Hill and Gibbons loosely engaged in schmaltzy side stepping before exhibiting a famed pair of furry instruments. But aside from the predictable antics, it was Gibbon’s wry observations that kept the set list moving.

“We’ve been coming around with you guys for about three decades. …same three chords right here. We’re gonna take you way, way back.”

And that they did, with illuminating videos to boot. ‘Legs,’ specifically, drew fan attention to a palpable visual, complete with fishnet stockings, but it was ‘La Grange’ and ‘Tush’ that got fans asserting their own sing-a-long talent. Another pop-rock odyssey, ‘Pearl Necklace’ got fans on their feet, as sultry scenes erupted from the massive screen. In essence, this night was rife with compelling eye candy.

‘Just Got Paid’ was another rouser, with Gibbons etching out his infamous swampy introduction, as the commanding lyrics slid off his acerbic tongue. And as the front man waxed nostalgic about performing the Merle Travis cover ‘Sixteen Tons’ with Brit Jeff Beck, he followed the memory up with one of the evening’s most expressive and striking solos. Of course, the stars could not align without Gibbons demonstrating his skill for slide guitar. Kudos to the visual gods for the close-ups of that unparalleled craftsmanship. Gibbons, refusing to stand on ceremony, modestly offered, “We’re just making this stuff up as we go along…”

In the vocal department, too, there was lots of lust. ‘Beer Drinking and Hell Raising’ found Hill and Gibbons trading some fierce, fiery phrases, and more than a couple of fans stood up to express their gratitude. 

This raucous ‘Blues and Bayous’ tour also featured sensational co-headliner, John Fogerty, who is no stranger to the Ravinia family circuit. Although the legendary Creedence Clearwater Revival front man was in excellent stead with a roving horn section, jazz-savvy saxophonist, organist and passionate performances by his electric guitar-wielding son, Shane, and a commanding solo by former John Mellencamp drummer Kenny Aronoff (voted one of the 100 best drummers by Rolling Stone Magazine), sparks flew when Gibbons returned to the stage to stylize new hit ‘Holy Grail’.

Forgerty, committed to performing his own CC hits, as well as a heartfelt homage to veterans via a virtual performance with fellow songwriter Brad Paisley, looked as thrilled to welcome Gibbons back onstage, as the bearded guitarist did, himself.

Props to Ravinia for bringing together these two iconic acts for one jam-packed, historic night.

ZZ Top Set List:

Got Me Under Pressure

I Thank You

Waitin’ for the Bus

Jesus Just Left Chicago

Gimme All Your Lovin’

Pearl Necklace

I’m Bad, You’re Nationwide

Beer Drinkers & Hell Raisers

I Gotsta Get Paid

Sixteen Tons (Merle Travis) 

Just Got Paid

Sharp Dressed Man

Legs

There was an angel sitting on Riot Fest’s shoulder this year. The annual, three-day extravaganza was anointed with spectacular weather and droves of receptive multi-generational devotees. The layout was easily navigable, with the two main stages, Riot and Roots, blessedly close in proximity, while Rebel, Radicals, and Rise were merely a cold brew away. 

Once the sun went down and the crowds conflated, one had to hoof it to catch an act at a neighboring stage, but moving inch-worm style soon became part of the charm. And besides, when viewing the fest as a musical smorgasbord, why be preoccupied with the thought of missing an opening song? The sets were long and lively enough to please everyone.  

The diverse lineup featured Weezer, Blondie, Jerry Lee Lewis, Elvis Costello, Beck, and as expected, a slew of rising stars. Some may scratch their heads over what Riot Fest or their followers consider “punk,” but mincing words seemed to be the last thing on the mind. All the more power to the Fest for allowing the program to breathe and open its doors. 

But judging by the apparel, Riot Fest still screams punk. Sleeveless jackets and spiky hair brightened up the sodded fields. And although fans decidedly made beelines to their favored stages, they were open-minded enough to respond in kind to newcomers as well as the veteran acts they clamored to see. The acts were psyched to be there, too.

Those crowd-surfing, closet gymnasts, Matt (Johnson) and Kim (Schifino), graced the Roots Stage around dinner hour. Their sing-song melodies, salacious asides, and dime-store beats are typically as delightful to digest as microwaved mac and cheese and tonight was no different. Whether these New Yorkers rant about politics or each other’s nasty habits, they lift spirits.  Friday’s still-early set proved this point. Drumsticks have never flown so high so early. They’ve been around since 2004 but retain an exuberance that’s impossible not to love.

Front man Ishmael “Butterfly” Butler and his players wowed with their full-out performance of 1993 debut, Reachin’ (A New Refutation of Time and Space). This band of elites is celebrating a 25thAnniversary—no wonder they’re so pumped. Clever samples draw from the likes of Herbie Hancock, KC, and The Sunshine Band and Sonny Rollins. Their energizing, jazz-rap set was mesmerizing. And even fans who couldn’t easily identify the curious beats succumbed to the groove and looked ecstatic.

This was the first time that the Arkells played Riot Fest but our Canadian neighbors hardly broke a sweat, even when they performed the cover, “Same Drugs,” by native son Chance the Rapper. Frontman Max Kerman possesses an exceptionally warm and flexible vocal instrument and a wondrous falsetto. He truly instilled life into the lyrics.

2018 finds the band boasting the new album, “Rally Cry” as well as experimenting with samples and new ways of crafting songs. They drew a sizable and appreciative crowd. Fingers double crossed Chicago gets to bear witness to them again in 2019.

Sameer Gadhia’s breathy lead vocals encourage the dreamy harmonies of his bandmates so freely contribute. Young the Giant’s performance at Roots took back the night. Their melodies are as tangible as a tender caress; though they are subtle, however, their approach to arranging is every bit as powerful as their peers. Guitarist Jacob Tilley, guitarist Eric Cannata, bassist Payam Doostzadeh and drummer Francois Comtois blend in enviable ways. Watch out for their new track “Superposition.” It’s stellar.

Young the Giant (previously known as ‘The Jakes’) created a unifying, peace-loving groove at Riot Fest. A sea of swaying bodies validated that point.

Bleachers were formed by guitarist Jack Antonoff, whose stint with pop-heavy Fun foreshadowed his songwriting and performance fame. “I Wanna Get Better” and “Rollercoaster” were undeniable standouts. Dual drumming and melodies that curl off the lip are hallmarks of this cool band. Antonoff and his crew have an old-school innocence that spells charm.

Weezer consists of Rivers Cuomo, Patrick Wilson, Brian Bell, and Scott Shriner. This California quartet has been around since the early 1990s but their setlists, new and old, never sound dated, which speaks to their outstanding musicianship. After Riot Fest, they’ll finish their tour of the U.S. and follow it up with appearances in Mexico and Spain.

Weezer was warmly, or make that ecstatically, welcomed as a Friday night closer. In a respectful and very appropriate move, they paid tribute to Blink-182, who would have appeared had Travis Barker not become ill.  That said, Weezer’s cover of Blink-182’s ‘All The Small Things’ kicked major arse—“Let’s see what it sounds like Weezer style”--but their signature ‘Beverly Hills’ remains so darn catchy that even dehydration is no excuse not to join in. It was, in fact, fantastic to hear fans join in with such enthuse. Weezer’s infectious rendition of Toto’s “Africa” mimics the original orchestration in an affirmative way, but make no mistake, those were Weezer subtleties glimmering through. This generous set list also included “Undone” and “El Scorcho,” songs designed to spike an adrenaline rush. Weezer has more than earned their stripes as a Riot Fest repeat act. “Turn the lights off, carry me home,” indeed.       

Two homesick space aliens walk into a bar. They yearn to feel at home. So what do they order? What’s on tap? Hell no--Gary Numan, bro. Numan’s flowing tunic, octopus’ arms, and catatonic stare were made for the sound effects his amazing musicians manufacture. Now, the blistering electric solos would be grand enough alone, but when Numan sings his post-wave heart out and channels a higher spirit, you’ve got undefinable magic. The purveyor of 1979’s “Pleasure Principal’ still oozes Oxytocin into the air. Isn’t that illegal?

Numan’s delirious ‘Cars’, not surprisingly, got the biggest bang. The infectious rant soon graced all lips. But this show wasn’t just about the hits, it was about the mood and the eerie spaces between the melodies.

With two percussionists and a trio of horns, Twin Peaks were raring to go. This young band which consists of Cadien Lake James, Clay Frankel, Jack Dolan, Colin Croom, and Connor Brodner rose from the ashes of the Humboldt Park days and have accumulated quite the fan base at Riot Fest’s newer locale.

“What Up Dawg” was accompanied by a fellow musician dressed in a Dalmatian suit. Yes, that fur ball was James Swanberg who unabashedly joined in the vocal hook; after all, it was his song they were singing. Jack Dolan’s pipes were properly raw and convincing as he kept pace with his own creative bass lines.

Connor Brodner’s drums grew overpowering for a spell through no fault of his own, but the tech issues couldn’t hide the fact that he’s a talented dude. And besides, this group of outgoing guys wasn’t going to let anything stop them from having a great time.

Their latest album, Sweet ‘17 Singles,’ is a compilation from which they drew with gusto, and which speaks to their prolific fortitude; Twin Peaks has released an album a year since 2014, with the exception of 2015.

As the crowd grew bigger and bigger, the hooks grew more and more strident, as voices from the back and front rows conflated. Twin Peaks gets under your skin with their classic rock renderings and lived-in confidence, although it must be stated that they still retain a dash of hometown humility. Even their contemporary lyrics allude to their love for their local fans: “We Will Not Make It (Not Without You),” being a solid example.

Flogging Molly‘s tin whistling “Devil’s Dance Floor” and the sobering introduction to “What’s Left of the Flag”, would create enough of a stir alone, but as usual, their set included much more. They opened with the colossal, crowd-pleaser/character study, “The Hand of John L. Sullivan. The seven-piece group pleased with a couple of songs from 2002’s Drunken Lullabies, Float, Life is Good, Swagger and the closing number, “The Seven Deadly Sins” off Within a Mile of Home.

Flogging Molly has been touring since the late 1990’s and their colossal command of the stage shows. They swagger from mood to mood artfully, i.e., consider the poignant opening line of “The Likes of You Again”— “It’s been so long since I lost my daddy-o,” and how that mournful statement segues into a cannon of ferocity in the blink of an eye.

Killing Joke, who hails from the Notting Hill section of London, have inspired Soundgarden and Metallica. Their lineup consists of vocalist Jaz Coleman, guitarist Geordie Walker, bassist Youth, and drummer Paul Ferguson, Coleman may resemble Ozzy Osbourne or Alice Cooper at first glance, but he’s not a doppelganger.

Ferguson’s truculence on the drum kit was a definitive part of their appeal. Walker snuck in some eerie solos. Youth sent chills up the spine with that bass line acuity--he’s so unafraid to take a risk and his confidence shows.  

Jerry Lee Lewis made his first records at Sun Studios in Memphis circa 1956. Since then, many critics and fans alike consider this rockabilly singer/pianist a close king of rock ‘n’ roll, with his nickname being, “The Killer.” 

Fans couldn’t wait for “The Killer” to come on stage. They stood against the barricade, chanting his name, while his bandmates played an enjoyable, but sizable set. Soon they were on their fourth song, leaving fans confused, as the figures on stage weren’t clearly visible from all angles and a player who slightly resembled Jerry Lee stood in the shadows, plucking away at a guitar. Now maybe this configuration works at the casino, but Riot Festers were getting agitated and downright antsy.

“Is that Jerry Lee playing the guitar?”  “When is he coming on stage?” This hiatus also inspired gossip. Fans compared notes about what they had heard over the years. “Is it true he married his cousin?” “She was only 13?” Before they could reach a consensus, the lights streamed over an 82-year-old in a glittery, eye-popping jacket. He untucked his chalk, white shirt, sat on the throne and allowed his silver-streaked hair to fall against his forehead.

Any confusion about which one was Jerry Lee Lewis disappeared. He received a riotous reaction when he played his hits; leave it to legacy, people of all ages knew the lyrics. And anyone who knows about Jerry Lee knows what he was expected to play. This octogenarian still has a strong, persuasive voice and a malleable ear. His fingers don’t exactly do what they used to, but he makes up for it with his bubbly personality and familiar chord clusters.

“The Killer” has cut way down on his touring engagements and has been known to cancel over the years so fans were lucky to see him, even though his set was finished in a flash. That said, he played exactly what we expected him to play and even a few more for good luck. His band did a terrific job, especially seasoned drummer Kenny Aronoff. But who can sing Jerry Lee Lewis better than Jerry Lee Lewis? Duh. Hiring “The Killer” for a predominately punk fest may have seemed weird to some, but “great balls of fire,” we were blessed.

Peering out from under the brim of his midnight black hat, Beck illuminated the Riot Stage, when closing late Saturday night. The elongated set spanned the breadth of his brilliant studio career and also allowed time to showcase evocative tracks from 2018’s Colors. Always the engaging team player, he murmured, “I just had to see a little more of that,” before standing side by side with Gary Numan, who vivaciously rehashed his beloved 1979 produced “Cars,” which he had done earlier to a growing crowd.

Beck’s vibrant lighting, nonstop movement and all-around joie de vivre made for a spectacular concert. His music is so relatable and he’s such a consummate showman that it was impossible to take your eyes off of him. And conversely, he couldn’t take his eyes off of the audience. In essence, everything clicked, and Beck put on one of the most well-paced shows of the Riot Fest season.  

When Dweezil Zappa’s Choice Cuts! World Tour commanded the stage of Chicago’s Vic Theatre Friday night, Scheila Gonzalez (horns, keys), Adam Minkoff (rhythm guitar, vocals), Cian Coey (vocalist), Ryan Brown (drums), Kurt Morgan (bass) and Chris Norton (keys) and Dweezil Zappa, the late Frank Zappa’s most dedicated interpreter entertained receptive fans for approximately three exuberant hours.

Dweezil explains on his website’s promotional video that the exploratory set list was “designed to showcase obscure songs, expose lesser-known arrangements of well-known songs and balance them out with Zappa classics.”

The 30-plus song set list was, as expected, derived from decades of fan-friendly music, but a fascinating number have been rarely heard on tour. Ask any fan who has trailed Dweezil intensively, and they’ll likely agree that Frank Zappa’s songs are a challenge to perform live. Many are comprised of complex rhythms, angular backing vocals, nonsensical or political themes, and comical mimicry, while others reveal lush orchestral introductions or outros. Still, other songs follow a more basic structure in an effort to celebrate blues or country, and because there is also a very theatrical arc to many of the themes, an ensemble has to be multi-talented and resilient to pull off this kind of show successfully. Remarkably, Dweezil and this multi-talented ensemble do it all, seamlessly.

Drummer Ryan Brown is unarguably masterful at sneaking in complex fills that accentuate and never dare to distract from all the clever antics and onstage cacophony. Cian Coey decked out in an elegant black and white gown, demonstrated her superb range and dexterity when skating from blues to faux-opera in a flash. Her star moments? ‘Honey, Don’t You Want a Man Like Me’ from 1977’s Zappa in New York and ‘Tell Me You Love Me’ from Chunga’s Revenge. Cian can belt like hard-edged Joplin and bend blues notes like Bonnie Raitt and then some.

‘Absolutely Free’ from 1968’s We’re Only in It for the Money’ harkened back to the long-haired Mothers of Invention days with peace-loving harmonies.

Adam Minkoff has a great ear for comedy, and his strong vocals and terrific strumming made every song stand out. His vocal rendition of ‘Andy’ from ‘The Best Band You Never Heard of in Your Life’ was beyond par; Adam got to shine many more times throughout the night, bringing many zany fictional characters to life.

Kurt Morgan demonstrated outstanding showmanship as the night progressed, easing into even the most complex tempo changes. Scheila Gonzalez dependably and coolly switched from keys to her trusted sax but at one especially explosive moment, she wildly entertained with triple-horns, a routine that required immediate assistance from an adept crew member--Dweezil’s description of his longest-running touring partner as “pretty much bullet-proof as a musician” was spot-on; when donning flashy, cheap sunglasses, her ‘Valley Girl’ monologue from ‘Ship Arriving Too Late to Save a Drowning Witch’ garnered plenty of good-natured laughs.

As the generous set progressed, Dweezil invited up a couple more players: Nathaniel Murphy, whom Dweezil first noticed on Instagram and whose dynamic solo on ‘King Kong’ from 1988’s Uncle Meat became incrementally more breathtaking, as well as a School of Rock guitarist, Ian Hammond, who passionately peppered up ‘Muffin Man’. Both of these unexpected artists impressed and Dweezil’s delight at having them there was palpable.

But the rest of the time, Dweezil handled guitar solos himself, exhibiting enviable tone, deep emotion and confidence that can only come from years of diligent performing, while incorporating the strongest trait of all, “active listening.” Most notable were his solos on ‘Keep It Greasey’ from 1979’s Joe’s Garage and the incredibly complex ‘Black Page.’

For a dozen, multi-aged, shredders, Dweezil had offered a unique master class at 3 pm. About half of those in attendance showed up with their own instruments and followed along, while others took mental notes, but all who were there listened with great interest.

Dweezil shared a variety of strategies and techniques--for instance, how to achieve proper thumb placement, increase muscle memory and ways of using a pick economically, but the guitar-master also demonstrated how to play non-chordal notes against a droning “A.” He also demystified modes, asking pointedly, “Does ‘Phyrgian’ sound Spanish’? and showed how to break down complicated runs through the exploration of “shapes” and “contours.”

In Dweezil’s own words, “You have to figure out what you like about a sound and learn how to communicate it through music. Take something complicated and break it down into simple pieces.” He also stressed the importance of forward thinking: “Like playing sports, you have to be ready to react.”

Class members were curious about the art of embellishing solos: how does Dweezil process so much practical information when he goes onstage? How does he tackle difficult passages, such as those in the complex ‘Black Page’? When does he improvise and when does he attempt to reproduce what’s on a classic record?

Dweezil hinted at “bending below the pitch” and emphasized how to best pace passing tones. He also added that rehearsals allow him little time to pre-plan solos, but he does rely on many of these tried-and-true techniques as he performs live. “I just like mixing up ideas to see what happens.” Dweezil thoroughly enjoys ‘the freedom to use your ear.”

But how important is sight reading? Are his band members expected to read arrangements? Dweezil explained that though many of his band members have a solid grounding in theory, that’s not the only way to go--he relies mostly on his “ear” and when combining all of their skill sets, his talented band rises to the occasion.

Although Dweezil’s day sounded truly compact, the night did not end with the concert and even the extended encore. The band stayed on to sign autographs at the merch table. Choice Cuts! inspired a tremendous outpouring of fan love. Chicago really appreciated Dweezil and his band giving their all and then some.

Choice Cuts! started in Amsterdam in July and this exciting world tour will come to a close in Portland, Oregon on December 15.

Nearly past his bedtime, this tween prodigy opened for B.B. King. Who then could have guessed that decades later, guitarist Joe Bonamassa would illuminate that statesman’s “Nobody Loves Me Like My Mother’ in front of the sold-out Chicago Theatre?

Ask a die-hard fan, ‘What’s the big fuss?’ and they’ll roll their eyes. Joe may not be a household name, but he’s the real deal. His tear-in-the throat voice, heart-pounding solos and technical precision melded together like nobody’s business at this sold-out, second-night appearance. Truthfully, though, that’s nothing new. He’s enthralled audiences for years, but the more remarkable thing is that he’s been brave enough to experiment in various genres, and in doing so, always keeps his set lists fresh and exciting.

Promptly, he graced the stage, sharply dressed in a crisp, black suit. Among the sea of hardened blues addicts, a pocket of young folk sat. Joe lost no time in getting the set rolling. He flaunted heavies, “King Bee Shakedown” and “Evil Mama” from recent album ‘Redemption’ before handing off the first of many instruments. But first, with slide as stinger and pull-offs riding the beats, Joe took his band into frenzy-mode.

With this last album still clearly in mind, the band unbuckled ‘Just ‘Cos You Can Don’t Mean You Should’. With keyboardist Reese Wynans cocking the steering wheel, the talented band settled into a roots-defying groove.

Joe’s band is one of the best out there. Besides Wynans, his touring crew consists of drummer Anton Fig, bassist Michael Rhoads, trumpeter Lee Thornburg, saxophonist Paulie Cerra and stylish Australian backup vocalists, Jade Mac Rae and Mahalia Barnes, whose strident harmonies and choreographed dips helped create a stunning, stage tableau.

The set list was so full of winners that it’s hard to pin down the highlights, but Joe’s gut--wrenching interpretation of ‘Self-Inflicted Wounds’ was certainly a sure seller for anyone doubting his vocal confidence and sincerity. The minute he uttered, “You’ve got a lot of nerve,” that clear voice conveyed a striking degree of menace, yet restraint. By the last stanza, a blissful hush had fallen over the room.

Joe’s slide on “This Train” gave this classic a vengeful bite. In contrast, on “Blues of Desperation,” the instrumentals, dystopic, the rhythms, forceful and riddled with suspense. Hopefully, the amazing lyrics of “How Deep This River Runs” (Blues of Desperation, 2016) were picked up by the fans: “Tread water ‘til you can’t float.” Tim Curley’s ‘Sloe Gin’ was phenomenal, and has, deservedly, become one of this showman’s signature songs. Another shift in mood when the band raced into Delaney and Bonnie’s “Well, Well”.

Blistering horns and a cool, cha-cha beat washed over Albert King’s “I Get Evil” but it was back to the Delta for the afore-mentioned B.B. King classic. Really pumped and not to be undone, Joe and company then tumbled into John Mayall turf with The Bluesbreaker’s “Little Girl.” “Last Kiss” employed all of this crew’s magic, but Joe’s manic drive and searing vocals were clear contenders.

The encores exceeded expectations. Alone, under the subdued spot, Joe’s acoustic mash up of flamenco, blues/jazz and acid rock on “Woke Up Dreaming” cast an exceptional spell. Folks who’d seen it before wore smug, ‘Told you so’ expressions. First-timers were simply giddy.

Overall, the sound was top-notch. Tenth row seating sometimes translates into a bass-heavy, throbbing experience, but the balance on this night was impressive. 

The silky-smart changes and easy-going timber of ‘Mountain Time’ (So, It’s Like That, 2002) brought everyone to their feet. Joe’s solo was smooth and infectious. Shifting seamlessly between songs, Joe and his ace band created stunning textures. Three hours of nonstop entertainment is certainly a testimonial to their collective talents.

Singer-songwriter Peter Himmelman is a Minneapolis native whose natural vocal and instrumental talent flourished as early as sixth grade when he formed and fronted his own hard rock band. Then, still in high school, he not only charmed his way into an audition for Shangoya, a reggae band of Trinidadians, he convinced his future bandmates of his capabilities, got the gig and fearlessly impacted their sound.   

That he has achieved cult status is an understatement. As to why? That phenomenon may be linked to his breath-of-fresh air lyricism, ease at shifting from meditative finger-style guitar to blazing rock strumming, or perhaps, it is his fourth-wall, slice-of-life observations that assure audience approval. 

Mauer Hall was near-packed, with folks still strolling in as Himmelman appeared onstage with his familiar, pork pie hat and men-in-black suit. Joining him were drummer Chuck Lacy; Matt Thompson, who doubled on electric and standup bass; electric guitarist Scott Tipping and vocalist Leslie Beukelman.

First up was the contagious “Press On,” an excellent, upbeat anthem which enabled all band members to show off their skill sets. “Whispering Days,” more steady and soulful, found Himmelman’s lusty voice commanding center stage.  Confidently seguing from song to song, he let us in a little more each time, about life’s challenging lessons: how to be a good husband, how to survive grief...

Before performing, “The Woman with the Strength of 10,000 Men,” (From Strength to Strength, 1991), he divulged the back story: the subject’s keen life force altered his youthful, world view. During the course of the show, he also talked about two, late family members and how his songwriting helped him face the arduous, grieving process. As such, “Tremble” is a searing ballad that examines loss with subtle nuance.

In contrast, there were moments of supreme levity.  “Some of the love songs sound a little bitter. I’m an inch away from being a feral lunatic,” he mugged.

A highlight was Himmelman’s piano set during which he performed a brand, new, love song, “A Place in Your Heart.” His explained that his own transition from bachelor to forever-married man was one which he “took seriously.” Then, when he echoed that thought with the heartfelt lyric, “Only God could have brought us together,” his sincerity shone authentically through.     

Other universal perspectives followed: “Our minds are too focused on steel,” Himmelman surmised on the full-out, rock oblast, “Rich Men.” The two-hour set, which included a triple encore, also featured the seminal “Impermanent Things” (The Musings of Someone, 1991), a profound, signature think piece: “Why keep hanging on / To things that never stay…”