Gogol Bordello & Debauche, Riviera Theatre, Chicago, Illinois

I first saw Gogol Bordello at a festival in 2008, then a second time a few months later at the 9:30 Club in Washington DC. Despite loving both performances and to this day considering them to be one of the best live acts touring today, I had not seen them in over seven years and still didn’t get tickets in advance. I don’t know what I was thinking. I always planned to but was hoping to find someone interested in going with me. I didn’t push anyone too hard because it was on a Wednesday night, and not having to wake up early the morning following their show would definitely be preferable. I didn’t end up getting a ticket and the show ended up selling out in the days preceding.

So upon arriving, I migrated up and down the long line of guests waiting to enter the venue. Towards the back of the line, I found a guy with an extra ticket that he was willing to part with for face value. Like lead singer Eugene Hütz, he and his friends were Ukranian. Actually, he claimed to be from the same area as Hütz, and spoke of Gogol Bordello song lyrics that reference places in his old neighborhood.

I split off as I entered the venue and headed to my usual Metro spot on the far left, finding a group of short people to stand behind. I arrived around 9:30 while Debauche was still opening up the show. On their website, they describe themselves as “a Russian Mafia Band that plays great Punk Rock Hooligan Russian Street Songs.” They were the perfect pair for Gogol Bordello, maintaining a similar gypsy punk vibe. They was also a bit of a circus aspect to their performance, including a belly dancer with a tambourine and an upright bassist that played while standing on his instrument. And he wasn’t a slight man. I’m not sure where the rest of the band called home, but the lead singer was the squirrely, but tough looking guy who spoke with a Slavic accent. I certainly wouldn’t have been surprised if he was indeed part of the Russian Mafia. They were quite good, though not nearly as rambunctious as Gogol Bordello.

Between sets, a bouncer and guest came crashing to the floor in front of where I was standing, as the bouncer attempted to wrestle the guest to the ground and the incredulous guest demanded an explanation. I never found out what he was accused of but after a minute or two, the pair headed towards the back. Their shenanigans opened up a large hole and I found myself only a couple rows from the stage, though off to the far side still.

Gogol Bordello plays punk rock with traditional Romani (the actual name for “gypsy,” which refers to a traditionally nomadic ethnic group, living mostly in Europe and the Americas and originating from the northern regions of the Indian subcontinent) sounds and instruments. In accordance with the band’s target demographic, there was an unusually large number of punks and Eastern Europeans in attendance (including many instance in which both categories applied to the same person). There were many people speaking what sounded like Slavic languages around me. A group of such girls tried to wedge themselves in front of the guy standing next to me. His comment, “I’m not sure they know that it’s a punk show. When they figure it out, I doubt they’ll keep standing there.”

It was almost 10:30 by the time Gogol Bordello took the stage. Their performance soon proved to be just as I remembered it, a massive amount of energy and a grand time. Shortly after it began, the mosh pit started. I was on the outside of it, but it wasn’t too long before I threw myself into the mix, then headed more or less front and center. Through much of the show I was dead center and only a few bodies from the front. The only people in front of me were clinging onto the railing or the person in front of them for dear life. The pit was a blast, and as I hoped everyone was friendly and respectful – stopping to find lost shoes, elbows down, immediately helping anyone who fell to their feet. Everyone around me had broad smiles spread across their sweaty faces. As close as I was, with all the moving, it was a bit hard to get decent, unshaky pictures. At some point, the acrobatic bassist from the previous band joined us in the pit.

Hütz and his band were working just as hard on stage. He started with a jacket but soon started stripping layers. It wasn’t looking before he was shirtless. From my vantage point, it was easy to see the sweat pouring down his face the same as with the crowd. The band hails from all of the world – Ukraine, Russia, Belarus, China/Scotland, Ethiopia, Ecuador, and the US. The many members play a variety of modern and traditional instruments. Often the entire band except the drummer would come to the front of the stage to play, sing, and dance.

It wasn’t long until people started crowd surfing, which I never really mind. However, what really did get under my skin was that the bouncers didn’t “catch” people, and allow them to come over the railing in a controlled and safe fashion. Instead, the bouncers would literally push or shove the people back into the crowd when they came towards them, yelling that we should put the person down. There are a few problems with this. First, crowd surfing is fine when done in a controlled way. However, pushing surfers back to the crowd is dangerous. It creates an abrupt change in the surfer’s direction, not only forcing the people holding them to do so longer than they planned but also throwing them off balance. The only people that I saw fall did so after a bouncer pushed them back into the crowd. Next, those of us underneath the person don’t have specific individual control where they’re going. All we can really do is hope to keep the person up, thus keeping them safe. Yelling at us to put them down or send them another direction isn’t really effective. Last, don’t invite Gogol Bordello to play your club, then act surprised when people start crowd surfacing.

The show had advertised that the band would be playing their seminal album, Gypsy Punks: Underdog World Strike (2005). From what I could find of the setlist, it looks like they might have played it out of order. They also made no mention of it during the show, though as lively as the performance was, Hütz didn’t really talk to the audience much. It was a bit before midnight when they finished their main set, with Hütz sitting on a drum held up by those in the front couple rows. At that point, I broke for the door. A staffer mentioned on my way out that that the band would have another 4 songs or so to play. Dripping with sweat and exhausted, I replied something like “look at me, you don’t think I got my money’s worth.” It was awesome, but I was spent and it was a weeknight.

Setlist:
Sally
Never Young
Not a Crime
Immigrant Punk
Avenue B
Oh No
Dogs Were Barking
Mishto!
60 Revolutions
Illumination
Think Locally, Fuck Globally
Underdog World Strike
Santa Marinella
Start Wearing Purple
Wonderlust King
Undestructable
Pala Tute
Ultimate
Alcohol
Baro Foro

CHVRCHES & Potty Mouth, Riviera Theatre, Chicago, Illinois

We arrived at the sold out show before any music had started. Despite bouncers ushering us towards the rear areas, within a just a few minutes we were able to scoot though the crowd, down the last set of stairs onto the rear of the main floor. There was still quite a bit of room on the far side. Shortly after we arrived opening act Potty Mouth, an all-female garage rock band from Western Massachusetts, began their set.

CHVRCHES took the stage a bit before 9:30. They’re fronted by Lauren Mayberry with the instrumentation provided by Iain Cook and Martin Doherty or synthesizers/keyboards. One of the guys sings lead vocals on a song or two as well. Their brand of indie pop is often very high energy, and the style of their show fit their music with ample lights and LED panels choreographed to illuminate in time with the music. I did a lot of bouncing up and down in place, but it was pretty close quarters where we were standing so I couldn’t move around too much.

Their mix of songs included the live debut of “High Enough to Carry You Over” and many of their best songs from both of their albums. It was definitely one of the better shows that I’ve seen so far this year. Lauren also had some funny musings, which I partially attribute to her Scottish heritage. Mind you, it was nothing approaching the hilarity of Frightened Rabbit’s Scot Hutchinson, but honest and entertaining little tidbits between songs, a few of which I’ll paraphrase below that stood out in particular:

• “It’s a CHVRCHES Rule to never look each other in the eye [during a performance], but over the last six months or so, Iain keeps getting closer and closer to breaking it.“
• “I steal an HBO password, or I did for a long time. Now I have my own because I have a US address. It wasn’t that I was unwilling to pay before, but [HBO’s attitude was] ‘hey we’re like fuck you you’re British.’” 
• “I had a dream I was dating Justin Bieber. Nothing sexy, he was just upset and I had to console him. So it was really just all the baggage.”
• [After noting the cancelation of the Donald Trump rally at UIC that evening] “He used prime time television to tell everyone he’s got a big dick so it’s alright.”

Setlist:
Never Ending Circles
We Sink
Keep You on My Side

Make Them Gold
Empty Threat
Tether
Playing Dead
Science/Visions
Gun
Bury It
High Enough to Carry You Over
Under the Tide
Recover
Leave a Trace
Clearest Blue
Encore:
Afterglow
The Mother We Share

Daughter, Metro, Chicago, Illinois

It was my second time seeing English indie rock/folk band Daughter. The first time was two years ago when they opened up for The National. At the time, I had already heard and really enjoyed their debut album, If You Leave (2013), but I was really looking forward to seeing their headlining show. It’s just a lot different seeing a band as an opening act surrounded by a lot of disengaged people, as compared to being surrounded by their fans. They’ve also since released a second album, Not to Disappear (2016), the quality of which rivals the first.

We didn’t arrive at Metro particularly early, but slid up into our normal spot off to the far left, and we were already out from underneath the balcony when the show started about 9pm. As the evening went on, we scooched closer to the stage. The band consists of Elena Tonra (lead vocals, guitar), Igor Haefeli (keys, guitar, bass, occasional vocals), and Remi Aguilella (drums). They were also joined by a touring keyboardist. They’re pretty quiet, and didn’t add any on-stage theatrics to the performance beside a few stage lights. Nor are any of the band members particularly animated or engaged with the audience. With a setlist that consisted of an equal mix of songs from the first and second albums, plus one from The Wild Youth EP (2011), the show was kind of just watching a live rendition of a greatest hits record. But since I really like both those records, I was satisfied.

Setlist:
How
Tomorrow
Numbers
Alone / With You
Amsterdam
Human
Doing the Right Thing
Shallows
Home
No Care
Winter
Smother
New Ways
Youth
Fossa

Sheila Jordan & Tynan, Green Mill & Uptown Lounge, Chicago, Illinois

Despite just returning from Milwaukee, it felt like time for a Chicago concert. Since nothing too enticing was coming up that weekend, we tried to find something low key. I had yet to see a performance at the Green Mill, a historic jazz club in Uptown on an opposite corner from the Riviera Theatre and the Aragon Ballroom, so decided it would be a good place to start. It consists of a bar and a small stage. Upon entry we were charged $20 and told that it would be a quiet show. This gave me pause, but I mistakenly still handed over my money. We cozied up to the bar as jazz singer Sheila Jordan’s set began.

Though I had never heard of her before, 87 year old Sheila Jordan is an accomplished session musician who has collaborated with an array of critically acclaimed artists such as Charlie Parker in addition to having a modest solo career. She was a pioneer of bebop and scat jazz singing with an upright bass as the only accompaniment, though this evening she was accompanied by a pianist as well as a bassist. On a different night, it would have been pretty interesting. But tonight, it unfortunately was not at all what we were looking for. As I was warned at the door, the show was really quiet and slow; every guest in the room was silent. We didn’t end up staying too long, only about four or so songs worth. During that time she played what I recognized as several jazz standards, though I couldn’t name the tunes.

We wandered across the street to the Upton Lounge for a much lively (and cheaper) performance by Tynan. Describing itself as “Chicagoland’s #1 Horn Driven Party Rock Band,” they specialize in Chicago-inspired jazz and funk tunes and mostly played covers. They were a great band to wander in on. We ended up talking to the manager and band leader, Tom Tynan, between sets. Tynan took his performances very seriously and both men seemed to be under the impression that we were there specifically to see them, rather than just happening upon the show. Though we had our fill and left before their second set, I would certainly keep an eye out for them in the future.

Bruce Springsteen, BMO Harris Bradley Center, Milwaukee, Wisconsin

I wasn’t planning for my fourth time seeing Bruce Springsteen & the E Street Band (plus once seeing him solo at an Obama rally) to be at the BMO Harris Bradley Center in Milwaukee. Rather, I was hoping to go to the United Center show. But when anything resembling a decent it sold out immediately, I resigned myself to the fact that I wouldn’t catch the Boss on this tour. I do love his music, and every one of his shows that I have seen, except for that Wrigley Field sound debacle, has been incredible.

However, it was only following his February show at the United Center that I learned that the reason that this tour would be called “The River Tour” was because Bruce would be playing his seminal album The River (1980) in its entirety. I kicked myself for not finding my way into his Chicago show. Fortunately, I was granted a reprieve. My two cousins, Pete and Paul, are even bigger Bruce fans that me. Even though they were both at the Chicago show, they were interested in driving up to Milwaukee to see it again. Count me in. Again all the best seats were taken, but many artists, especially Bruce, release extra tickets here and there as the show gets closer. We all kept an eye on tickets, and in the week or two before the show, some additional general admission floor tickets opened up. We didn’t arrive particularly early for the show, so we were towards the back of the floor, but it was still fine.

The E Street Band currently consists of nine musicians including their leader. Besides Bruce, the most famous members of the band are probably Steve Van Zandt (guitar) and Max Weinberg (drums) due to their work on The Sopranos and Tonight Show with Conan O'Brien, respectively. I still mostly think of Van Zandt as Silvio. Though I had heard plenty of Bruce Springsteen, I wasn’t familiar with the other members of the E Street Band until after I had seen The Sopranos. Jake Clemons is now a touring member of the band, having taken over for his late uncle Clarence Clemons, who died in 2011. During one segment of the show, a picture of Uncle Clarence was prominently featured on the arena jumbotron.

Without an opener, Bruce and his colleagues took the stage promptly at 8, leaving the lights on for their opening song, “Meet Me in the City.” Following that one warm up track, the lights came down and Bruce announced that he was going to “take us to The River.”

The River is Bruce Springsteen’s firth album and the only double album of his career to date. Like his previous work, one of the central themes of the album was working-class life, though songs featured on the album included a purposely paradoxical mix range from party jams to intensely emotional ballads. The album also marked Bruce’s first top ten hit song, "Hungry Heart." Bruce worked his way through the album’s other songs including "The Ties That Bind," "Out in the Street" as we kept finding ourselves working our way closer to the stage.

The title track, “The River” has always been one of my favorite of his songs. The song is a fairly precise description of the early working class life of Bruce’s sister and her husband. The song narrates life from the husband’s point of view. It begins when he is a carefree teenager from a blue collar family. When his girlfriend gets pregnant, he gets a job and starts a family much sooner than he anticipated. A tough economy makes work scare, and his new family finds it difficult to make ends meet. The dreams he had for the future slowly die, and the reality of everyday life sets in. He doesn’t begrudge his wife or family, just wants a better life for them. He still tries to go back to ‘The River,’ which is referred as a real place where he spent wonderful days and nights with his wife before they were married. He keeps trying to go down to The River to replenish his soul but finds it dry. His dreams are tough to keep alive. The song is beautiful but heartbreaking, with a haunting harmonica interlude between each verse. As Bruce would explain on stage: the album was an important one. It solidified his music career. Though it spoke of where he came from, it shaped who he would become and what he would be about. From there, the album continued with songs like "Stolen Car" before it finally came to a close with a “Wreck on the Highway."

Even after playing a full double album, the legendary E Street band wasn’t done. They added an extra seven songs to the main set, including a few big hits. I was particularly pleased to get to hear “Lonesome Day” and “The Rising.” I was also glad to hear “Because the Night.” Over the years, I’ve heard many artists play that song, but now I had finally heard it performed by both Bruce Springsteen and Patti Smith – the man who wrote it and the woman who made it famous. The lights came on again, as is customary for The Boss’ encores, and he launched into another five songs, reeling in audience request signs along the way.

Setlist:
Meet Me in the City
The Ties That Bind
Sherry Darling
Jackson Cage
Two Hearts
Independence Day
Hungry Heart
Out in the Street
Crush on You
You Can Look (But You Better Not Touch)
I Wanna Marry You
The River
Point Blank
Cadillac Ranch
I'm a Rocker
Fade Away
Stolen Car
Ramrod
The Price You Pay
Drive All Night
Wreck on the Highway
Badlands
No Surrender
Lonesome Day
Because the Night [Patti Smith cover]
Jungleland
The Rising
Thunder Road
Encore:
Born to Run
Dancing in the Dark
Rosalita (Come Out Tonight)
Tenth Avenue Freeze-Out
Shout [Isley Brothers cover]

AC/DC, United Center, Chicago, Illinois

Last year’s comeback tour proved to be the biggest tour that AC/DC has ever done. According to Pollstar, AC/DC was also the best-selling live act for 2015, selling more tickets than any other touring artist in the world last year. Following closely behind was Taylor Swift. Though other hugely successful, multi decade acts like U2 and the Rolling Stones also toured in 2015, they were both pretty far behind. AC/DC’s Rock or Bust World Tour would return to Chicago, though now moving indoors to the United Center.

The show itself proved nearly identical to their show the previous year at Wrigley Field. Walking into the venue, I was greeted with the same mass of fans donned with red devil horns. Though we were in a smaller venue, our seats were further away. However, we did have an elevated view that looked down on the stage. While the view was quite good, the sound left a bit to be desired, particularly in the beginning. The vocals were muffled and the instruments sound tinny. After a couple songs, it seemed to improve though. I’m not sure if the soundboard engineer tweaked something or my ears just adjusted.

The same large stage was assembled on the floor. The band’s space was also completely barren, making it look even larger. A runway extending out into the audience towards a second small stage was also added. However, for most of the show, the smaller stage sat unused a couple feet lower than the main stage. While lead singer Brian Johnson and lead guitarist Angus Young would walk out onto the platform, they didn’t step down onto the smaller stage.

The show kicked off with the same introductory earth/moon/train video, though I now noticed that Rosie was a featured character. She was probably there before, I just didn’t recognize her significance. Like before, it was the Brian and Angus show. Brian in his newsboy cap; Angus in his schoolboy uniform which he shed throughout the show. Angus’ long hair but balding head, skinny frame, and pale skin made him look a bit like Golem. Brian and Angus were the only ones that wandered the empty stage. Chris Slade’s drum kit was kept to the very back of the stage; Cliff Williams (bass) and Stevie Young (rhythm guitar) stood right next to it. The latter pair ventured away from the kit to a pair of mics for backing vocals only when necessary. I assume they had to place the mics further away from the drums, otherwise I bet they would have just stayed at the very back the entire time. The show was deceptively loud. It didn’t feel the need to

insert my earplugs, but my ears were ringing as I left the venue.

The setlist was mostly the same as well. It included one extra song, “Got Some Rock & Roll Thunder,” swapped “Baptism by Fire” out for “Givin' the Dog a Bone,” and reversed the order of “Sin City” and “You Shook Me All Night Long.” The show also including all the same props and accompanying aspects including a large bell that descends to open up “Hell’s Bells,” the flashing lyrics of “You Shook Me All Night Long,” the inflatable Rosie, and cannons during “For Those About to Rock (We Salute You).” The main set again closed with “Let There Be Rock” followed by an extended Angus guitar solo on the now active second stage, which raised into the air as explosions of confetti rained down around him. Again, it was particularly notable in that his long guitar solo isn’t just lacking any vocals but any other instrumentation whatsoever – just one schoolboy man and his guitar.

Setlist:
Intro
Rock or Bust
Shoot to Thrill
Hell Ain't a Bad Place to Be
Back in Black
Got Some Rock & Roll Thunder
Dirty Deeds Done Dirt Cheap
Thunderstruck
High Voltage
Rock 'n' Roll Train
Hells Bells
Givin' the Dog a Bone
Sin City
You Shook Me All Night Long
Shot Down in Flames
Have a Drink on Me
T.N.T.
Whole Lotta Rosie
Let There Be Rock
Encore:
Highway to Hell
For Those About to Rock (We Salute You)

Martin Courtney & EZTV, Schuba’s, Chicago, Illinois

We arrived in time for opening act EZTV’s set. I don’t have much to say about them. I didn’t find their set that interesting, and they seemed either nervous or uninterested. They just didn’t really grab my attention, and I found my mind wandering to other things throughout their set.


Martin Courtney, is the frontman of the indie rock band Real Estate. Last year, he released a solo album, Many Moons (2015), which was well received by critics. I knew and liked Real Estate, though hadn’t heard any of Courtney’s solo album. However, Matt had won a pair of tickets for the evening’s show and invited me at the last minute. I agreed based on my moderate appreciation for Real Estate.  The room was quite full, though it couldn’t have been sold out if they were giving away tickets. Both Real Estate and Curtney’s solo music are mellow, better as background music than something with which I would particularly engage. His solo music has more of a surf rock vibe than I remember coming from Real Estate. And while I didn’t specifically know any of the songs, I liked the overall sound. It was a short show however, I assume because he just has the one album. The encore consisted of a couple covers. Even though the first was a very well done version of Neil Young’s “Harvest Moon,” I didn’t stick I left for the second.

Probable Setlist:
Northern Highway
Little Blue
Focus
Awake
Airport Bar
Asleep
Many Moons
Foto
Before We Begin
Vestiges
Encore:
Harvest Moon [Neil Young cover]
Major Leagues [Pavement cover] [think it might have been Television cover though]

Guster & Rhett Miller, Vic Theatre, Chicago, Illinois

We arrived well after the doors opened but with enough time to get down towards the front and find a place towards the back of the pit without having to cut in front of anyone. The opening act was Rhett Miller, lead singer of the Old 97s, an alternative country band that I just became familiar with last year. Not recognizing his name, I didn’t realize what we were in store for until after I was in the building. It was a nice surprise to be familiar with quite a few of the opening act’s songs. I think he even played a few hits that I the Old 97s skipped last year at Thalia Hall. I still thinks he looks a bit like the third London brother, though he’s less pretty up close. However, considering I haven’t seen a movie featuring either of them in a couple of decades, they probably don’t look all that good up close either.

Between sets and as Guster was taking the stage, we gradually shuffled a little closer to the middle, though we were never that far from the back railing. Tonight’s performance would be my ninth time seeing Guster, the only bands that I have seen more are my perennial favorites Phish and Dave Matthew Band. Until I actually counted it up, I didn’t realize that it was so many. While I always like seeing Guster, I never set out to see them many times or even realized just how many. It just seems that they’re often in town, have reasonable ticket prices at good venues, and I can usually find a friend interested in going.

Guster now has five members. In addition to the original three –Ryan Miller, Adam Gardner, and Brian “Thundergod” Rosenworcel – multi-instrumentalist Luke Reynolds joined the band in 2010. They also are touring with an additional drummer/pianist. I’m not sure who he is.

Overall, I was pretty pleased with the setlist, which contained a good mix of old and new songs, including five from both Keep It Together (2003) and their latest Evermotion (2015), four from both Lost & Gone Forever (1999), three from both Ganging Up On the Sun (2006) and Easy Wonderful (2010), and one from both Parachute (1995) and Goldfly (1997). They also played a pair of covers, "Nothing But Flowers [Talking Heads]" which they've been playing for many years and has even appeared on their release Guster on Ice: Live from Portland, Maine (2004). While I don’t have a strong emotional connection with their newer music the way I do with their older songs, there are still many that I like. I suspected that I was one of the few in the audience, at least on the floor, familiar with their older stuff. I was one of only a few people on the floor who knew to clap during a notable moment in “All the Way Up to Heaven,” a previously common fan response. They also played “Airport Song,” which was a pleasant surprise. I was under the impression that they didn’t often play that song anymore, so I didn’t bother to bring any ping pong balls. Fortunately, other audience members did have me covered for that one. I was also really happy that they played “Parachute.” At one point in the show, Ryan provided with audience with a choice of three songs. Earlier in the show, he had stepped into the crowd to sing while precariously perched atop a fan’s shoulders. Ryan admitted he agreed when the fan told him that they had “had a moment,” and the fan was allowed to be the deciding vote between the shouts for the three songs. He accidently announced “Parachute” as one of the songs though, which is what the fan decided on. I was very pleased to hear the title track of their debut album, as they don’t frequently play much from it anymore. I wondered if I had ever heard that song live before. Unlike Phish and Dave shows, it’s much hard to run stats of previous Guster setlists. I certainly don’t have recordings of each either.

The end of the show included their standard fake encore, during which they just step to the side of the stage with a clueless look, then pretend to be surprised when they’re invited back. At the end of this first encore, Brian stepped to the mic to cover George Michael’s “Careless Whisper.” After actually leaving the stage, they returned for an actual encore, “Jesus on the Radio,” as I’ve seen them do several times before. I feel their whole encore shtick has become a bit disingenuous. Though I’ll admit that I liked being in the know.

Setlsit:
What You Wish For
(Nothing But) Flowers [Talking Heads cover]
Hercules
Doin' It By Myself
Homecoming King
All the Way Up to Heaven
Architects & Engineers
Parachute
Kid Dreams
Manifest Destiny
Airport Song
Ruby Falls
Gangway
Come Downstairs and Say Hello
Amsterdam
Never Coming Down
Ramona
Satellite
Barrel of a Gun
Encore 1:
Long Night
Do You Love Me
Happier
Careless Whisper [George Michael cover]
Encore 2:
Jesus on the Radio

Tedeschi Trucks Band, Chicago Theatre, Chicago, Illinois

The Tedeschi Trucks Band is the named for its two founding members, Susan Tedeschi and Derek Trucks. Both were successful musicians in on their own prior to meeting. Tedeschi formed the Susan Tedeschi Band in the early 90s and released a number of records throughout the following years. Derek Trucks is the
nephew of Butch Trucks, drummer and founding member of The Allman Brothers Band. Trucks was a guitar prodigy by the age of eleven and had played with musicians such as Bob Dylan and Stephen Stills by the time he was twenty. By this time, he was also a frequent guest performer in his uncle’s band. By the late 90s, he had formed his own band, The Derek Trucks Band, and a few years later had also joined the Allmans as a full member. Tedeschi and Trucks married in 2001 and formed a band bearing both their names in 2010, though they had collaborated on and off for a number of years prior.

The Tedeschi Trucks Band carries on the legacy of The Allman Brothers Band, following the latter’s dissolution in 2014. Tedeschi sings and plays rhythm guitar; Trucks plays lead guitar. Rounding out the band is a large group of talented musicians including a bassist, three brass players, three backup vocalists, keyboards, and a pair of drummers. Opening act Leon Russell also joined them onstage on his grand piano for a few songs as well. At one point in the show, one of the backup singers took over on lead vocals, and Tedeschi stood with the other backup singers. I thought it was pretty cool that even though the band bears her name, she had the grace and lack of ego to step entirely out of the spotlight. She later left the stage for Derek to do an extended jam.

Unsurprisingly, the crowd was older and nearly everyone sat throughout the show. My back was bothering me, and I stood in the aisle in front of my seat before the show started. I was also waiting for my friend to return from the bathroom so I didn’t make my rowmates get up twice. As soon as the lights came down, but before the band was even on stage, I start getting booed to sit down. This was an audience that was committed to sitting, or at least I thought. Really, it was probably just one woman in my section, as she again started yelling that I wasn’t sitting low enough in my chair. Frankly, it gave me great pleasure when all the people between us told her to shut up before I had a chance. There was one section in the middle in which a bunch of people were standing. While a couple of the people behind weren’t happy about it, it was too many people to guilt them all.

Their set consisted of five songs from Let Me Get By (2016), three from Made Up Mind (2013), one from Revelator (2011), one unknown song of theirs that I’m not quite sure where it came from, half a dozen covers, and an extended imrov jam. One of the covers was David Bowie’s “It Ain't Easy,” likely added to the setlist recently following the glam rock legend’s death less than two weeks prior. There were no songs in particular that I wanted to hear, but it was an overall enjoyable show with equal parts driving guitar and southern charm.

Setlist:
Laugh About It
Don't Know What It Means

The Letter [The Box Tops cover]
Made Up Mind
Darlin' Be Home Soon [The Lovin’ Spoonful cover] [with Leon Russell]
Sticks and Stones [Titus Turner cover] [with Leon Russell]
Idle Wind
Anyhow
I Want More
Within You Without You
Just As Strange
I Pity the Fool [Bobby “Blue” Bland cover]
Bound for Glory
Improvisation
The Storm
Encore:
It Ain't Easy [David Bowie cover]
I Cannot Make It [Sly & the Family Stone cover]

Wild Belle, Metro, Chicago, Illinois

Wild Belle was playing at Metro as part of Tomorrow Never Knows festival, an annual five night festival at several of Chicago’s most prominent independent music venues. I had attended the festival in 2014 for a night, and four nights in 2015 when there happened to be a bunch of acts that caught my eye. Unfortunately, though there were a few things I was moderately interested in this year, there wasn’t anything that was really pulling me to the festival. Nonetheless I hoped to go to at least one night to see something…anything. I settled on Wild Belle, who I had heard of but didn’t know well. The show was sold out, and I didn’t even have ticket. While having a few drinks before the show with some friends next door, I popped my head out to see if I could find a ticket. Before I finished my first pass, someone offered to sell me a ticket for half of face value. I guess he didn’t notice that there were others standing outside looking for a ticket. I would have paid face, someone else might have paid more.

I finished my drink next door, and shortly thereafter we wandered into Metro. Though we arrived during the opening act, a female guitarist/singer, her name escapes me and I didn’t see enough of it to warrant any type of description other than that I didn’t find it particularly engaging. We moved into position at our typical spot on the far left side towards the back, but out from underneath the overhang. Wild Belle is comprised of siblings Elliot and Natalie Bergman, who grew up in and around Chicago. She did most the singing, but didn’t play an instrument. He mostly stuck to backing vocals, but played a variety of instruments. He did take over lead vocals on at least one song. They were joined by five other musicians including a pair of back up vocalists.

I was anticipating upbeat indie pop, but both the band’s sound and the audience’s demeanor was a lot more subdued than I was anticipating. They remind me a bit of The Cardigans, the Swedish pop band from the 90’s with the hit “Lovefool.” Both bands had a light pop rock sound and are fronted by a pretty girl with platinum blonde hair. There just didn’t really seem to be any songs which the audience seemed really excited to hear. This was in contrast to a couple audience members that mentioned that that they were very excited for the show, and it would be one of the few concerts that they would likely attend all year. In the end, it was a pleasant show but didn’t particularly impress me.

Muse, United Center, Chicago, Illinois

I had seen Muse once before when they opened for U2 at Fed Ex Field. At the time, I had heard of them but wasn’t too familiar with their music. Nonetheless, I was very impressed with their performance. Following that concert, I started listening to them a bit more. However, I never connected that significantly with their music until the release of Drones (2015), which soon became my favorite album of 2015. I’m always drawn to concept albums, and the entirety of Drones tells a tale related to the dehumanization of modern warfare. The protagonist is brainwashed by society into becoming a drone, losing his humanity and doing horrific things without feeling anything. He eventually defects, revolts, and overcomes the system. The album effectively ties together themes of ecology, empathy, and war.

The best seats in the house went quickly, and though we were not able to get one of the very limited tickets for the GA section on the floor, we were able to get some seats in the 100 section towards one of the corners. The main stage was set up in the center of the venue with the band facing all directions. The stage was designed to provide as much of a 360 degree experience for the audience as possible. Perhaps they picked that trick up from U2. In addition, there was a pair of smaller stages on either end (approximately where the nets would be placed during a Hawks game) and a platform connecting them to the main stage. It would have been nice to have been a bit more towards the middle and lower, but overall they were pretty good seats. The whole show was quite a production, and like the U2 show the experience was crafted with the view from the seats in mind. Furthermore, being the middle of January and quite cold outside, it was nice to have a seat on which to rest your coat instead of having to carry it into GA.

Muse is comprised of Matt Bellamy on lead vocals, guitars, and keyboards/piano; Christopher Wolstenholme on bass and backing vocals; and Dominic Howard on drums. All have been with the band since its inception in 1994. Both Bellamy and Wolstenholme had wireless instruments and would step up to various microphones around the stage. They would also switch out instruments fairly frequently. Wolstenholme’s basses had a string of colored lights running up neck, so even in moments when the stage was dark, you could still see where he was. Both musicians would run around the stage with a lot of energy. Towards the end of the show, Ballamy sat down at the piano for a couple songs. Howard’s drum kit was situated in the center of the stage on an occasionally rotating platform. Once throughout the performance he left his kit to play a smaller kit on the runway. For the past decade their performances have also included Morgan Nicholls on keyboards. He was relegated to a mini orchestra pit directly behind Howard’s drums.

We arrived a bit before Muse took the stage. The drill sergeant track began the evening, with a video of that sergeant barking his orders of conformity and inhumanity. They opened with a few tracks from Drones, but then mixed it up with old and new songs throughout the show. Considering the concept nature of the album, I would have preferred a Drones set and another hits set.

The show featured some pretty impressive visuals and production, including multiple video segments and a rotating stage, which at times looked like one of the games from the film Tron or a helicopter landing pad. Perhaps the coolest element were large holographic hands with beams of light projecting down onto Bellamy and Wolstenholme on either side of the stage, as if controlling them like puppets. During “Starlight,” a dozen or more large black hullaballoons that floated and bounced across the audience. Nearly as soon as they were released, the balloons started exploding with confetti, one after another, such that after several minutes, they were gone. There were other clear balloons that were first on the ground, then above in the rafters but they were never utilized. Later, the crew released a large inflated zeppelin drone during “The Globalist” towards the end of the show that took a lap around the venue, ominously shining spotlights on the audience below. The encore involved more explosions of light and confetti from the stage.

The set included 22 songs, including four each from Absolution (2003) and Black Holes & Revelations (2006), three from The Resistance (2009), a pair from The 2nd Law (2012) and seven from Drones plus a pair of spoken word taped elements from drill sergeant and JFK that were incorporated into the show. The band didn’t take a proper encore break, rather they left the stage but video kept playing during a very brief encore break, essential keeping the show going.

Overall, the show was a lot more focused on visual production and creating an experience rather than the sound of the band. While Bellamy’s operatic voice and ability to sing vibrato and falsetto was used to great effect, sometimes the show didn’t seem to take full advantage of it. At times his voice seemed a bit strained and muffled. I’m not convinced that the entire performance was actually performed live anyway. For starters, the instrumentation was just so layered and full, it was hard to believe that it was all coming from four musicians. There were also moments which I wasn’t sure that Ballamy’s vocals matched his on stage performance. For example, he would often run the full length of the stages, but his voice didn’t reveal any additional effort. Perhaps the most egregious moment was when Bellamy tossed his guitar across the stage as one would throw dirty laundry into a hamper. The guitar crashed to the ground, and it even appeared that a piece broke off from it. I assumed that he would leave it there and pick up a new one from a tech. However, he picked it up and kept playing it! You’d think it at least be out of tune. How could the sound from that guitar possibly be coming out of the speakers? Apparently, Bellamy has a penchant for such antics. According to at least one online source, he holds the world record for breaking the most guitars in one tour – 140 on the 'Origin of Symmetry' tour in 2001. Despite this minor complaint, Muse still provided an overall incredible experience; truly a memorable spectacle.

Setlist:
(Drill Sergeant)
Psycho
Dead Inside
Interlude
Hysteria [AC/DC's 'Back in Black' riff outro]
Map of the Problematique ['Who Knows Who' riff outro]
The 2nd Law: Isolated System [Shortened]
The Handler
Resistance
Supermassive Black Hole [Jimi Hendrix's 'Voodoo Child' intro]
Prelude
Starlight
Apocalypse Please
Munich Jam
Madness
Undisclosed Desires
[JFK]
Reapers
Time Is Running Out
Uprising [Extended outro]
The Globalist
Drones
Encore:
Mercy
Knights of Cydonia [Ennio Morricone's 'Man with a Harmonica' intro]