Sufjan Stevens, Chicago Theatre, Chicago, Illinois

We arrived to the Chicago Theatre with just enough time to hit the bathroom and grab a drink before indie icon Sufjan Stevens took the stage. The audience remained in their seats as he took the stage, which I normally don’t prefer but would come to find appropriate for the performance to come. Like the previous time that I saw him in 2010, the majority of the evening’s setlist were songs from his most recent album, in this case Carrie & Lowell (2015). However, that meant a strikingly different experience as compared his previous performance of songs from his last album, Age of Adz (2010). That album was a highly orchestrated and experimental wall of sound augmented by electronics and inspired by the apocalyptic artwork of schizophrenic artist Royal Robertson. In contrast, Carrie & Lowell marks a return to the quieter, elegant, and introspective folk music from earlier in this career. The album is named for Steven’s mother and stepfather and recalls experiences from his childhood. In keeping with this dramatic shift, gone were the colorful illuminated outfits, feathers, and backup singers from his previous tour. Other than some fairly basic lighting, the stage was only augmented with LCD screens projecting home movies and nature scenes. Though a band of five or so musicians playing a variety of instruments joined him onstage, he played several songs on his own.

Stevens didn't speak a word until almost halfway through his main set, when he shared a story about watching Bring It On 2 on his tour bus. The movie led him to consider that we all need more cheerleaders/positive reinforcement in our adult lives, from ourselves and others. I was surprised how deep his speaking voice was compared to his singing voice. A was also a bit surprised by his ample use of the filler “like,” especially considering that according to at least one source, those of us sitting in the audience are among the smartest fans around.

Though he opened the evening with “Redford (For Yia-Yia & Pappou)” from Michigan (2003), he followed it with nearly the entirety of Carrie & Lowell, though somewhat out of order. I wish I had spent a bit more time with the album before hearing it live. Before playing the last song on the album, “Blue Bucket of Gold” to close the main set, he played two songs from Seven Swans (2004) and one each from All Delighted People (2010), and The Age of Adz before returning to complete the album. With Carrie & Lowell complete, his encore included mostly songs from Illinois (2005), which was fitting considering the venue. This included what he said was his first time playing “Casimir Pulaski Day” on this tour. He had a false start on the chords and later had to be reminded of the words by one of the members in his band. He closed with the lustrous “Chicago” which finally brought the entire audience to its feet.

Setlist:
Redford (For Yia-Yia & Pappou)
Death With Dignity
Should Have Known Better
Drawn to the Blood
All of Me Wants All of You
Eugene
John My Beloved
The Only Thing
Fourth of July
No Shade in the Shadow of the Cross
Carrie & Lowell
The Owl and the Tanager
In the Devil's Territory
Futile Devices
Sister
Blue Bucket of Gold
Encore:
Concerning the UFO Sighting Near Highland, Illinois
Casimir Pulaski Day
The Dress Looks Nice on You
Chicago