Displaying items by tag: Chicago

Returning to the Auditorium Theatre after a long 20-year absence is Hubbard Street Dance Chicago with its 40th Anniversary Spring Series. This edition spotlights Spanish born Resident Choreographer Alejandro Cerrudo, who joined Hubbard Street Dance Chicago in 2005, and was named Choreographic Fellow in 2008 and became the company’s first Resident Choreographer in 2009. He’s a recipient of multiple awards, including prestigious Rudolf Nureyev Prize for New Dance.

The show is a progression of Cerrudo’s works, from old to new. It has a pleasant start with his earliest piece, Lickety Split, originally performed in 2006 at the Harris Theater as part of the Inside/Out Choreographic workshop. Celebrating athletic femininity and confident masculinity and set to music by renowned songwriter Devendra Banhart, Lickety Split is about modern love and romantic relationships. It’s very beautiful and has well balanced energies.
But then something completely unexpected happens. The spotlight is on a balcony where a captivating, extravagantly dressed and coiffed female (Rena Butler) is seated, casually talking to the audience about the nature of reality. She is smoking a pipe, while blowing our minds with [Alan Watts’] philosophical concepts. Amazing.

And so the drama begins. More new age philosophy is injected into the show when David Schultz walks out on stage, wearing a cane and delivering another serving of food for thought. The following piece, Off Screen, though highly theatrical, doesn’t take itself too seriously. Inspired entirely by film, it makes lighthearted mockery of Italian musicals and romantic European movies. The music is comprised of 16 passages from various movie scores. Off Screen features seven dancers layering gorgeous fluid movements as if in a dream, their dancing defying gravity and somehow helping to get across the spiritual points introduced earlier. Off Screen was Cerrudo’s third work created for Hubbard Street back in 2009.

After the intermission, it’s the energetic Silent Ghost that originally premiered in 2015 at the Aspen Santa Fe ballet. It feels tribal yet romantic, despite the monochromatic costumes.

The grand finale of the evening is the world premiere of Out of Your Mind. This piece brings everything together: the mysterious monologues earlier in the show, the flow and progression of the pieces, the dreamy dancing. What makes it futuristic is the pulsating energy, and the shapes and configurations of the dancers. At some point, orderly chaos ensues on stage, dancers moving in waves [and somehow particles]. Set to the soundtrack of the soothing voice of the contemporary philosopher Alan Watts, it’s a breathtakingly beautiful and uplifting experience. The piece was inspired by Alan Watts’ lectures called “Out of Your Mind”; Cerrudo borrowed the music that was used in the audio of the lectures and used it in this piece. I’d say contemplating God possibly never looked more spectacular.

Women Laughing Alone with Salad from Theater Wit is a funny mess. Based on the popular meme of stock photos of women who always seem to be having the time of their lives while eating a bowl of tasteless raw vegetables, the play tries to satirize this concept. The concept being that only stringently healthy and active women can be happy, and the only happy women are stringently healthy and active. As if the hysterical laughing accompanying the salad in the photo will trick us into loving the most boring meal known to humankind.

The best scene might have been when the four person cast did exactly what it says on the tin: they smiled and laughed and eventually full-out boogied while eating salad. The satire here was on point, and I loved the straight-up mocking of ridiculous advertisements aimed toward women. Look at how much FUN we're having depriving ourselves of any carbohydrates - a thing our bodies *need*, by the way!

As far as the actual storyline goes, it was, like the lettuce confetti that rained down onstage at one point, all over the place. Many things were trying to be said, I think, but the play never makes a clear point. Nobody learns anything, characters or audience. The audience is led to believe that all skinny women are annoying and bulimic and "real" women are confident in their voluptuousness, until the rug is pulled out from under us and we learn that, surprise, the "real" woman is a slave to salad, too.

There were a lot of elements that, on the surface, give this play an edge: nudity, a threesome scene, an Oedipal complex, some gender-swapped roles, which were entertaining, but to me seemed like folderol distracting from the fact that the story was haphazard.

I appreciated the bravery of the actors and playwright Sheila Callaghan for taking the leap -- the acting was well-done and the script did shine through occasionally with some great, funny lines -- but this play was anything but salad: Big, flashy empty calories. Fun to eat, but with little nutritional value.

Women Laughing Alone With Salad is playing at Theater Wit through April 29th. Tickets at TheaterWit.org.

*Extended through May 2nd!

Benny Golson is one of the last great tenor saxophone players of his generation. To say he has been around would be an understatement of sizable proportions. He also likes to talk…a lot…about the good old days of Jazz.
Benny is eighty-nine years old, but still plays a horn very well. He comes from the Be Bop school. A legend in his own time, Golson has played with the best of that generation and still is one of the best. Jazz barely exists today like it did in the golden era. Musicians study the art form, but I am not sure they live it as they once did. Being a musician requires a bit of sacrifice to say the least, which was especially true in the early days of Jazz. You played music because that’s what you did.

Golson introduced each number at Jazz Showcase with a somewhat extensive monologue. Nobody seemed bothered by this. In fact, it was quite charming. Each story topped the previous with an absolute sense of sweetness in their general theme. I personally enjoyed his talking as much as his playing. This well-versed man with his amazing vocabulary is living proof of the intelligence that dwells in the musical mind.

But what about the music? The music lived up to the legend. Having an amazing band assured victory in his pursuits. The Benny Golson Quartet was comprised of seasoned veterans. They even did a number without Golson and held their own as a fantastic trio.

Mike Kocour really stood out on Thelonius Monk’s “Epistrophy”. He was on piano and owned that song as far as I am concerned. Monk’s music is eclectic to say the least and Kocour did it justice. Larry Gray played upright bass and delivered some amazingly musical solos. Drummer George Fludas is one solid player who shined like a diamond on “Blues March,” a Golson composition.

Golson touching introduction of “I Remember Clifford” brought me to tears. Clifford Brown was killed in a car accident at the age of twenty-five. This song is Benny’s tribute to a fallen friend and a highly talented trumpet player. The Jazz community was very close knit back in those days. This was essentially an extended family that went beyond the musicians to the fans as well. Actually, that seems to exist, just in much smaller numbers than before.

We all need to do our part in supporting live music and I am not talking about stadium shows either. Without knocking any form of music, I'll just say that going to see music played in a small club like Jazz Showcase is witnessing a creative process in action. There are no video screens or rehearsed dance numbers. All you get is music at its genesis or at a continually evolving level of communication. The other thing you get is to witness are the human expressions of emotion. Joy, sadness and every other possible state of mind are shared with the audience. Cherish these moment while they are still available.

I remember first hearing Joanne Shaw Taylor somewhere around three years ago. A guitar player, her sound falls in the vein of Stevie Ray Vaughan. And though Taylor played a solid set at City Winery this past weekend in support of her latest release “Wild,” I don’t know if I’ll be in line for a second helping.

The first issue I had in this particular performance was in her vocals. Unquestionably, Taylor’s voice comes with a decent tone, but honestly, I couldn’t understand a word she sang. There was no articulation to her singing whatsoever. Despite the fact that she was perfectly on pitch, she could have been singing anything. As a concert goer who is not very familiar with her music and had never seen her perform live before, I had no idea what the songs were about. Her songs sounded original overall and there was a cover by The Hoax thrown into the set, but it would have been difficult to differentiate one from the other if not familiar with the latter.

My second issue was in the material itself. There was nothing to remember at all. Nothing. Nada. Maybe I am being a bit harsh? I’m not. There were literally no songs to speak of to take home afterwards. The set was filled with riffs that seemed like ideas that could have gone somewhere with a little more effort – but instead they just lie dormant. Maybe hire a writer?

Not being able to understand the lyrics certainly played part in this.

Furthermore, her guitar playing left much to be desired. Like I said, she can play the guitar, but having said that, she has yet to develop a style. He songs were mostly comprised of the most basic of Stevie Ray Vaughan licks. I also found her tone painful at times, like an icepick through the forehead. I know it is tough to find your own voice on your instrument today. It takes time. I feel she will find it, but it just isn’t there yet.

Lastly, her rhythm section was solid, but dynamically boring and just did enough to get the job done.

As critical as I am of her performance, the crowd didn’t seem to find much fault in her set and appeared to enjoy what she had to offer. I think with some better material, Taylor might have a chance to survive in the music industry. But without better songs, she will soon fall out of the game quickly. There is always plenty of work for dependable live music acts and I just don’t see her developing a much larger following without one or two memorable songs in the set.

Joanne has a lot of potential but needs more seasoning. Simply put, she needs more experience and some help in the writing department. If she can build on the little momentum she already has, she may have a chance of getting to the next level. Having said that, there are a million players out there capable of doing exactly what she is currently doing on stage. It will be interesting to see how she grows as an artist. Joanne Shaw Taylor is still very young and she has plenty of time to blossom into a serious artist. It just isn’t quite there yet. Give her some time.

Joanne Shaw Taylor setlist:

Mud, Honey
Outlaw Angel
Wrecking Ball
Tried, Tested & True
Jump That Train
Diamonds in the Dirt
Time Has Come
Bones (The Hoax cover)
No Reason to Stay
Tied & Bound
Kiss the Ground Goodbye
Going Home

When walking past the exterior of the unflattering storefront on Clark Street in Andersonville, a former laundromat, one wouldn’t give it a second glance. Perhaps a handful of classic magic posters littered around the entrance might cause pause for a brief second, but that’s about it. No marquee, no ostentatious logos, no windows to peer inside. Nothing but the words “The Magic Lounge” near its main door would suggest that maybe something is going on inside – something special.

Upon entering the laundromat – wait, it used to be a laundromat, yet a wall of washing machines are in use. All signs point to the place still being a laundromat - we see clothes freely spinning through the circular windows of each machine while an attendant holds up a pair of underwear and asks, “Are these yours? We’ve been trying to locate their owner.” But alas, suddenly a secret entrance opens and I can only compare the experience to the Wizard of Oz, when black and white becomes color.

Much like an old-timey speak easy, patrons are quickly transported from the unspectacular to the spectacular. Music is playing, the atmosphere is lively as people gather around a bar that centers around a magician performing close-up magic and challenging eager volunteers with bar bets for a free drink chip. This in itself is already something. Onlookers gaze down from a mezzanine above. We later learn these onlookers are club members – magicians only. Not long after an usher escorts us to a library, some of its contents authentic relics of a grand time when magicians like Harry Houdini, Harry Keller and Chin Ling amazed audience after audience. After a brief history lesson, the usher escorts a handful of people through another secret entrance. What we experience next is nothing short of astonishing, as we enter a vast theater laced in fine art deco finishes with high ceilings above the balcony, the floor accommodating multi-layered seating areas that surround a magnificent stage to host its magicians. No details are overlooked. Club employees are donned in clothing reminiscent of the 1920’s Jazz Era, the women in sparkling dress then men dapper with white shirts beneath vests or skinny ties and suit jackets. You can almost imagine Al Capone and friends walking in at any minute while instinctively looking for a hook to hang your fedora. The theater is appropriately named after Harry Blackstone, the famous magician who really put a stamp on “Chicago magic”, which we are reminded by the evening’s host is a real thing.

The Harry Blackstone Theater

The Magic Lounge is a time capsule. The multi-million-dollar facility is an homage to the once popular magic haunts that regularly entertained its Chicago patrons. Magic clubs that were once such a prevalent part of Chicago’s night-life since the early 1900’s, have slowly – and not so magically – disappeared.

“Chicago Magic Lounge brings back a style of magic unique to the Windy City, which once hosted over 15 bars, restaurants and lounges all dedicated to what would become known as ‘Chicago-Style Magic,’” said co-owner Joey Cranford.

It’s main stage (yes, there is another stage – the private back-room, 40-seat “654 Club” for those who don’t want the magic to end – literally) will host some of Chicago’s most talented and colorful magicians such as Luis Carreon, Dennis Watkins, Bill Weimer and Lee Benzaquin and also bring in top performers from around the world such as was the case on opening night with superstar mentalist/wizard of sorts Max Maven. the shows are as interactive as they are mind-bending. Yours truly was even called onstage to volunteer for the great Mr. Maven. The venue will also host live music fitting to its atmosphere.

While having a bite and/or pre-show drinks (try the “Sleight of Hand”) prior to the evening’s main show, magicians circle the seating area entertaining each table with close-up magic. The club’s unique air of mystery, suspense and nostalgia is something that cannot be found at any other establishment in Chicago. And why Andersonville as opposed to a downtown location? Simple. Magic Lounge owners wanted to bring the gift of magic back to Chicago, therefore opting for a neighborhood location over an area that caters more to tourists.

Magician Bill Weimer entertains in the Performance Bar

Whether just going to hang out at the bar, attending a show in the main theater, catching an act in the more intimate 654 Club – or all of the above – a distinctively rich experience awaits you.

Live entertainment will be performed seven days a week. Monday and Tuesday evenings will welcome musical performances on the mainstage, Wednesday evenings will host David Parr’s “Cabinet of Curiosities” and Thursdays through Saturdays will offer the mainstage magic shows. A family-friendly show will be offered on Sunday afternoons. Depending on the show and ticket package, theater admissions range anywhere from $10-$55, though you can always stop in for a cocktail at the performance bar.

The Magic Lounge is an exciting scene that exudes the perfect combination of class, fun and awe. If its February 22nd grand opening is any indication of things to come, it will undoubtedly become a staple in Chicago entertainment for years to come.

For more information including performance schedules, cocktail options and pricing, visit www.chicagomagiclounge.com. 5050 N. Clark Street. 

Be amazed.

“No woman ever died for love” says Despina in Mozart’s charming little opera ‘Cosi fan tutte’. There may not be any deaths from love but, maybe a few tickled funny bones in this revival going on now at the Lyric Opera of Chicago. Originally conceived by John Cox about ten years ago, this version of ‘Cosi fan tutte’ moves the setting to WWI, or 1914. This seasons’ production is largely the same with direction by Bruno Ravella.

‘Cosi fan tutte’ is a lighter work by opera standards. It’s basically a rom-com sung in Italian. Written in 1790, Mozart would only see this opera performed five times in his life, as he died the following year. Mozart operas are typically upbeat with plenty of repeated phrasing. There’s no shortage of beauty pouring out of the pit conducted by James Gaffigan. This is a very accessible piece in both music and performances.

The plot is fairly uncomplicated. Two men Ferrando (Andrew Stenson) and Guglielmo (Joshua Hopkins) question the fidelity of their fiances Fiordiligi (Ana Maria Martinez) and Dorabella (Marianne Crebassa). With the help of Don Alfonso (Alessandro Corbelli) and sexy maid Despina (Elena Tsallagova), the two men pretend to go off to war. They return to their future wives in disguise and each attempts to seduce the other’s fiancé. If it sounds familiar, it is. This opera is loosely inspired by Shakespeare’s ‘Twelfth Night’.

Few people attend an opera for the dramatic chops of the performers. Opera is about beautiful music first and foremost. That said, these two fantastic sopranos are also gifted comedic actresses. The over-the-top emotions of these two characters makes for some really great physical humor. The projected dialogue is almost as ridiculous as the plot itself. Martinez takes up the pious role, making her seduction all the more fun to watch. Crebassa is the goofball and her performance radiates joy even as she’s cheating on her fiance. Though, it’s really Tsallagova who runs away with the laughs in her performance as Despina. This is also her US debut. A talent we’ll hopefully see more of in coming seasons.

As always, the set and costumes are sumptuous. Setting this piece in 1914 gives costume and set designer Robert Perdziola a lot to work with. It’s not terribly often you seen somewhat modern fashion at the Lyric. There are some lovely flapper-flavored looks going on. Nothing quite compares to the second act opening though. A background of venetian boats adorned with twinkling lights opens up to reveal the imposter suitors sailing in to claim their respective victories. The visual against the lovely Mozart music is one of the most arresting moments of the evening.

‘Cosi fan tutte’ is not an opera you’ll find on any before-you-die lists, but it’s an opera worth seeing. While it’s not the shortest show of Lyric’s season, clocking in at just under four hours, it’s definitely the easiest to get into. The music is for everyone, and will leave you feeling warm and tingly.

Through March 16th at Lyric Opera of Chicago. 20 N Wacker Drive. 312-827-5600

As the era of streaming entertainment and sweatpants-clad binge watching continues, you have to applaud those who attend the performing arts. It’s certainly not an easier medium to consume, but some would argue it’s much more rewarding. Unfortunately, ballet and opera are struggling to attract a millennial audience. 

The Joffrey Ballet, however, opened its Modern Masters to no lack of enthusiasm. The massive Auditorium Theater was packed with audiences of all ages. Modern Masters is a four-piece show featuring the works of four different choreographers including the popular George Balanchine. Modern Masters is presented as part of the Ashley Anniversary, celebrating Ashley Wheater’s 10th season as artistic director of the Joffrey. 

They begin with Balanchine’s ‘Four Temperaments’, a visual take on the ancient belief that the body is influenced by four humors. This piece is the most traditional and lengthy of the four. The costumes and staging are sparse. Music by Paul Hindemith is soft but stirring. 

After a brief intermission, they return with Myles Thatcher’s ‘Body of Your Dreams’. The energy picks up here. With colorful 80s-flavored workout inspired costumes, 'Body of Your Dreams' is a cheeky take on fitness. It's a little ironic for a stage full of perfectly sculpted dancers to slightly criticize the "perfect body" obsession. The steps are fun, and the music is catchy. 

Next is the world premiere of Nicolas Blanc's multi-part piece 'Beyond the Shore'. This one is more similar in style to Balanchine's. The staging is as sparse, but the choreography is visually stunning. Music by Mason Bates is intricate with a cinematic scope. Think John Williams. 

The final piece is the Chicago premiere of 'Glass Pieces' by legendary choreographer Jerome Robbins. This is the piece to come for. Ballet fans of Chicago have been waiting for this one. It's well worth the hype. The set and costumes are striking. Philip Glass' music really shines in this meticulously choreographed number. The dance begins chaotic and busy but comes full circle to inspire the movement of a busy city. Bright and thrilling, 'Glass Pieces' is the strongest of the four. 

Modern Masters is a perfect evening for those looking to touch their toe into the waters of modern dance. Tread without fear of boredom for this highly engrossing show. Joffrey has a great way of being accessible to all audiences despite familiarity with the art of dance. 

Through February 18th at Joffrey Ballet. 50 E Congress Parkway. 312-386-8905

There are fewer things in theatre more exciting the curtain going up on the first act of an opera. Often there’s no ceremony or pre-recorded note from management. The lights dim and the overture begins. How enchanting to take your first look at the sumptuous sets and costumes Lyric Opera has created for this production. Pilgrim-chic you might call it. Tradition and form make opera a unique theatrical experience. On a snowy Sunday afternoon, the curtain came up on Bellini’s ‘I Puritani’, signaling to its audience, get comfortable.

Eric Einhorn’s production of Bellini’s drama runs just under four hours with two intermissions. The first act is the longest at eighty minutes. ‘I Puritani’ concerns a Puritan hamlet in which a young princess Elvira (Albina Shagimuratova) chooses another suitor, Arturo, over the pre-arranged marriage to Riccardo (Anthony Clark Evans). Just before the wedding, Arturo obliges himself to save condemned Queen Enrichetta (Lauren Decker). While he’s smuggling her out of the country, word returns to Elvira that her fiancé has run off with another woman. She is devastated and the army pursues him.

Yeah, that’s the plot. Nearly four hours to convey that relatively simple story along with Bellini’s beautiful score. This is why opera is special, because for four hours, we really don’t care what the plot is. For centuries opera was performed without the super script translations, leaving the audience to presume based on summaries in their playbills. Projected translations are used sparingly in this production of ‘I Puritani’ – maybe because the plot is so uncomplicated, they’re not necessary. In any case, they’re certainly not missed and would likely be distracting. What should be paid attention to are these beautiful singers and the gorgeous orchestra.

A significant difference between musical theatre and opera is that the leads are not expected to be great actors. Voice is most important in these roles, especially in Bellini’s works. He believed that a beautiful voice is what stirs audience emotions. He’s not wrong. Though, Russian soprano Albina Shagimuratova is a good actress. She’s not heard until the second scene, but her performance is easily the most accessible aspect of this production. Her heartbreak is palpable in voice and gesture regardless of language. Act II is worth the entire afternoon.

As always, the costumes and sets are overwhelmingly beautiful. Haunting imagery is captured by the large cast numbers and soaring melodies. ‘I Puritani’ may lose the attention of its audience during the lengthy solos, but will quickly recapture focus when the whole ensemble fills the stage. Just as exciting as the curtain going up, is the curtain coming down. Opera enthusiasts scream “brava” and beg for more curtain calls, a truly opera-specific tradition. In opera, the energy of the experience sustains the art itself.

Through February 28 at Lyric Opera of Chicago. 20 N Wacker Drive. 312-827-5600

In association with the Harris Theater for Music and Dance, The Cherry​​​​​ Orchard​​​​​ Festival​, ​​​​​a ​​​​​leading ​​​​​presenter ​​​​​of ​​​​​international ​​​​​artists, ​​​​theater companies ​​​​​and ​​​​​orchestras, ​​​​​presented ​​​​​the ​​​​​Chicago ​​​​​premiere​​​​​ of “Brodsky/Baryshnikov,” ​​​this past weekend. Chicago is one of three limited engagements of this production, including stops in Boston and Toronto earlier this year. This New Riga Theater and Baryshnikov Productions co-produced this piece, based on the poems of Russian Nobel Laureate Joseph Brodsky, which is performed in Russian by accomplished dancer and performer Mikael Baryshnikov. Inspired by the poetry of his long-time friend and with encouragement of director ​​​​​Alvis ​​​​​Hermanis, this entrancing play made its premier at the New Riga Theater, in Latvia on October 15th, 2010 and began its North American debut in 2016. We count ourselves lucky in Chicago, that the intimate setting of the Harris Theater is where “Brodsky/Baryshnikov” ​​ decided to make its premiere.
 
Commanding the stage against the backdrop of a moonlit sky and the haunting stillness of crickets in a still night (Jim Wilson’s “God’s Chorus of Crickets”), Baryshnikov enters through the rear doors of a train station vestibule. He is dressed in a dark suit, brown shoes and carrying a blue briefcase this character that enters the stage is a weary traveler, awaiting a slow arriving train.  Emptying a few of the contents in his bag, he prepares for his next leg of travel with an alarm clock, books of poetry and a bottle of Jameson.

Maybe it is the solitary sense of the character, alone at the station, or the eerie stillness of the night.  The haunting stillness continues to entrance you as Baryshnikov begins to mumble and whisper some of the poetry he is reading aloud. In this very personal interpretation of what can only be described as, an understanding of art and artist, could only have been done by a true friend. And it is done in a truly captivating fashion, even for those who don’t speak Russian.  As the English translations scroll across the awning of the train station, it almost seems unnecessary to focus your attention entirely on the poetry, as he expresses himself with interpretive dance, subtle facial nuances, and Japanese kabuki style movements. As Baryshnikov speaks, his voice washes over the once chatty and unsettled crowd, which has drawn them into silence to witness this internal conversation of men discussing life, aging, death, change and one’s own fatality amongst the flutter of butterfly wings, the ripples of water or the cries of one’s struggles. Nothing more so, emphasizes this exchange than about thirty minutes into the show when Baryshnikov begins to recite Brodsky’s poem “May 24, 1980” — a poem written on his fortieth birthday; the radio on the opposite bench starts to play. Brodsky’s voice fills the theater, overtaking that of Baryshnikov’s. It’s a somber reunion, to hear the voice of Brodsky reciting his poetry. 

The effect this conversation has on friends is eloquent and thought provoking. The images that Baryshnikov portrays defy the image we have of him, revealing a man of seventy-years-old. However, the control of his performance, the beauty in his grace, and the feeling emanating from each movement, has the audience reveling in the depth of the poetic arrangements and the emotions they evoke with such intensity that the audience leaves in quiet murmurs – we leave with pensive faces and contemplative stares.  This moving performance is one, not to miss, but to experience.

NRBQ is a fun band. “New Rhythm and Blues Quartet”. I find the name slightly misleading. When I think of R&B, I think of something completely different. This is more like old Rock and Roll with a little Vaudeville. They do have a bit of a cult following. I don’t think they ever had anything resembling a hit record but they do have a loyal fan base that keeps them existing as a working band stretching back to 1966.

Founding member Terry Adams keeps the torch burning as the last original cast member. The rest of the current band is just amazing. These guys are musical AND fun!!!!! It is possible. Their songs…well...I didn’t actually know one of them. I can see the reason why this band stays working. They are a live band. The songs themselves are good but unless you are one of the people that were walking around the club with NRBQ T Shirts, you would never know them at all.

This is show biz as they say. Hit records or not, these guys are fun band. They come out in pastel suits and goofy hats. A touch of that era of putting on a show. Some songs are tongue in cheek. That’s entertainment. These guys are also pretty solid musicians. They pulled their show at Fitzgerald’s in Berwyn off without a hitch.

Playing guitar and singing was Scott Ligon. I really thought he had a great voice. His harmonies with bassist Casey McDonough were straight of the book. Both of them did lead vocal duty along with Adams. Drummer John Perrin rounds out the band. There have been a lot of members through the years. Joey Spampinato and Al Anderson are legendary. Regardless of the lineup, the band lives on.

NRBQ’s set is diverse, including something for everyone, including many fan favorites including:

Keep This Love Goin'
Not Tonight, Hon
Little Floater
Dr. Howard, Dr. Fine, Dr. Howard
Don't Worry Baby
Boozoo, That's Who!
It's Not Too Late
Advice for Teenagers
It'll Be Alright
Daddy's Gonna Tell You No Lie
Wild Weekend
Ain't It All Right
Wacky Tobacky
RC Cola and a Moon Pie
Green Lights
Everybody's Out of Town
Get on the Right Track, Baby
Everyone Says I Love You
Chicken Hearted
Ridin' in My Car
I Want You Bad
Sleepless Nights
Honey Hush
Magnet
Dummy
Talk to Me
The Music Goes Round and Round
Get Rhythm
Me and the Boys
Do You Feel It?
Howard Johnson's Got His Ho-Jo Working

Now available on CD and Digital, NRBQ's new EP Happy Talk contains two originals and the Q’s spontaneous take on Roy Orbison’s “Only the Lonely,” along with the band’s years-in-the-making arrangement of Rogers & Hammerstein’s South Pacific tune “Happy Talk,” which serves as the EP’s title track.

NRBQ is the kind of a band tough to capture on a recording. This a club band. I am not sure they would ever do well in arenas. You don’t want to see Terry Adams make those faces on a forty-foot monitor…with that hat on……it just might be more than you can handle with a straight face…but seriously…NRBQ is a band worth seeing. Don’t watch the videos, go see the band.