Even in the post-Lane Staley era, Alice in Chains continues to establish themselves as one of the best and most durable bands from the Seattle grunge explosion. Now, with singer William DuVall taking the reigns, the band takes on a new identity while at the same time staying true to form. Though DuVall’s voice is similar to Staley’s, he offers a completely different presence – a presence that has not only been accepted by hard core Alice in Chains fans, but one that also works with the band’s chemistry. DuVall is not just a replacement singer, he is now Alice in Chains, and he proved that last weekend as the band headlined Charter One Pavilion in downtown Chicago with the support of The Deftones and Mastodon.

Opening with “Them Bones”, Alice in Chains was off to a thunderous start. Guitarist and founder (along with Staley), Jerry Cantrell, blasted away with low, gut-grabbing tones that seemingly shook the ground. Though an outdoor arena with Lake Michigan on one side and skyscrapers on the other may not have been as ideal as the Riviera or Aragon Ballroom, the band made it work quite well. A set containing roving spotlights faced out from the smoke-filled stage with rings of blinking lights appearing around the beams on occasion. Cantrell and DuVall switched back and forth from center stage to a microphone stand placed on a riser adjacent to Sean Kinney manning the drums, as leads vocals occasionally changed and just for the sake of variety.

Alice in Chains is a fantastic live act. DuVall and Cantrell’s harmonies were warm and haunting. Overall, the sound of the band was dominant, precise, trancelike and forceful when it needed to be, while their presence was dark and commanding. Like any band with so many great songs in their repertoire, they couldn’t play every song demanded by the fans, but it was a fully satisfying set nonetheless. Included in their Chicago performance was “Acid Bubble” and “Check My Brain” from their latest release When Black Gives Way to Blue a handful of songs from Dirt such as “Dam That River”, “Angry Chair” and “Rooster”. The band also played “Again”, but did suffer technical difficulties during the first half of the song as DuVall’s microphone failed to work. Finally, they ended with encores “Man in the Box” and “Would?”.

The Alice in Chains age with DuVall has begun and, with no disrespect to the late, great Layne Staley, it is apparent it will be a good one.

Shonen Knife, the all-female pop-punk band from Osaka, Japan, is still going strong. With their new release, Free Time, the band is heavily touring the world including a stop in Chicago at Schuba’s on September 21^st – a show not to be missed. Naoko Yamono, Knife’s only original member since their inception in 1981, brings along with her a new lineup whose raw energy and vibrancy rivals any version of the band to date. One of Kurt Cobain’s favorite acts, Shonen Knife has always been known for their entertaining live show, simplistic lyrics and a distinct garage-punk guitar sound – a formula that has given the band an incredibly loyal cult following throughout the years that continues to grow.

Buzz: Tell me about your latest release, Free Time.

Naoko: Free Time is very powerful pop rock album. We recorded last year and released Japanese version in January this year.  In North America, we've just released English lyrics version.

Buzz: Shonen Knife has been together for nearly 30 years. How is touring different today as opposed to the early-mid 80?s?

Naoko: We started to play overseas from 1989. We had just one show in L.A. Then in 1991, we played at 4 cities in U.S. In early-mid 80's we just played in Japan and we've never had a long tour until 1993. Anyway, our shows in early-mid 80's were primitive.  We didn't move so much on stage and the tempo of the songs were a little slow. Today, we improved a little and we can - do ROCK on stage. I got used to the tour. I know how to pack my bag.

Buzz: How has your music changed throughout the years?

Naoko: Early Shonen Knife songs were more simple than today. Arrangements were simple, too.  My musical skill is a little bit improved, I think but basic spirit is always the same.

Buzz: Along with KISS and The Beatles, you’ve also had many punk/new wave influences when you first began. Are there any bands out there today that inspire you?

Naoko: I mainly like 70's American rock and 70's British hard rock. Judas Priest, Black Sabbath, Doobie Brothers, Chicago, Strawberry Alarm Clock… Recently I saw Big Elf and Coheed and Cambria at a music festival in Japan. They were so nice. Their music style is 70's that's why I like them. Ah, Brandt Bjork is nice, too.

Buzz: What are your best memories from working with Kurt Cobain?

Naoko: Kurt wanted to play our song "Twist Barbie" at Nirvana's secret gig and he asked me guitar chords. I taught him and we played the guitar together.

Buzz: What is your favorite thing about playing live?

Naoko: I like to see our fans. When I see our audience smiling during our show, I'm so happy.

Buzz: What are your thoughts about American fans?

Naoko: So nice, kind, they understand Shonen Knife very well.

Buzz: What is the biggest difference about being in an all female band in the U.S.
compared to Japan?

Naoko: I can't see any differences but the musical styles are different. Japanese bands usually sing in Japanese.  Naturally, the melody line became Japanese style, which is suitable with Japanese language.

Buzz: What kind of advice would you offer to young female musicians?

Naoko: Keep on Rockin'!

Buzz: What stand out to you as the band’s greatest achievement, whether it be on a
social level or musical?

 
Naoko: It's too difficult question.  Musical.

Thanks Arigato.    

Grass Widow, the surf-punk trio from San Francisco, has rapidly been making their mark on the music scene with their distinctive sound that can be heard on their latest release, Past Time on Kill Rock Stars records. Made up of three talented women, Hannah Lew, Lillian Maring and Raven Mahon, the band shares the spotlight equally distributing lead vocals, harmonies, songwriting duties and even interview face time. The band is an amalgamation of garage, post-punk and upbeat surf rock complimented by flowing vocals and a positive, fun attitude.

Make a note to catch this up and coming band. Grass Widow will be playing two shows in Chicago on September 23^rd at The University of Chicago (daytime show, 4:45pm) and at Crown Liquors at 9pm.

Buzz - How has the Past Time tour been going so far?

Raven - We're beginning the tour with a record release show in San Francisco, which we're really proud of. We took a lot of time designing an event that could incorporate music and film and include a lot of people in our community. We put together a choir of 30 ladies of all ages to sing on a few of the songs and have a string section that will play the parts recorded on the album. We’ve had the opportunity to make some music videos and employ the talents of our friends, so we'll be showing those at the beginning of the night. Oddball films, a 16mm film archive in SF is putting together some shorts to project between the sets.

Buzz - Being a three-piece all girl band, what is the band chemistry like on and off the stage?

Raven - Regardless of gender, bands contain special kinds of relationships; it's beyond just being friends or even a family. In this case, we have a very egalitarian philosophy of collaboration, especially in the process of songwriting, which includes a lot of time spent on discussing the content and subject matter of the lyrics. We've come to learn a lot about each other through this process. We also sort of feel like business-partners, which isn't exactly fun, but educating ourselves about the fine print of the music industry and doing as much as we can ourselves, is really important. It’s nice to work with people like the folks at Kill Rock Stars, who have politics we agree with and a work ethic we share. Aside from that, we're really good friends, we respect and trust each other.

Hannah - It can be challenging getting along with any three people when you are all together 24/7, but I think I have the best two people possible to share this experience with. Musically, we get the most out of each other and I feel like I express myself to the most of my ability without hesitation. Sometimes writing with complete equality can be difficult or take a long time because we are really taking all angles into account, but in the end we have songs that we all feel equally invested in and it is worth all the critical thinking.

Buzz - What is it that you like most about being on the road?

Hannah - We have a really great community here in SF and my family lives here too, so sometimes it feels silly to ever leave, but it's always good to challenge ourselves and interact with people in different places.

Lillian - It's exciting to share what we make with people outside of our local sphere of friends and musicians. Especially visiting places where it isn't the norm for bands to be socially or politically innovative, or to be women. It reconnects us to the intention of our project in a unique way.

Buzz - Is there anything you hate about touring?

Raven - It's hard to be away from family and friends. I really love my work, too, and I often wish I could clone myself.

Hannah - I don't like being away from San Francisco for more than a week, but I'm glad to have this project to keep me traveling out there in the world, or I might just stay in SF and be a homebody. I get a lot of care and support from my boyfriend, Andrew, and I miss him a lot when we're gone. Every time we get home from tour, I'm always glad to be coming home to San Francisco.

Buzz - Tell me about your new record, Past Time.

Hannah - This album is really a chronicle of a year that had many challenges for us. Each song is sort of another attempt at trying to formulate some kind of narration amidst the grief. In the end I feel like we were able to synthesize these difficult feelings and create something outside of our grief. In dealing with grief, you can never really land on anything and I think this album has that feeling. There is no easy pop song to rest on because we never got to rest that year. 

Buzz - How did you enjoy the process of making the new record?

Raven - It was really fun to make the record. We recorded it in two sessions at our friend Alex Yusimov's studio in Portland, and both times were essentially holed up in a basement for 2 weeks straight, but we took long breaks to make food and mess around and see bad movies to wipe the slate clean before we'd head back down. Alex's studio, The Pool, it's called, is strictly analogue, so it was pretty involved. At times all 4 of us had our hands on the board, adjusting levels simultaneously.

Hannah - We love recording at The Pool. We basically just moved into Alex's house both times and just lost our minds working so hard. It's easy to get into the zone there. Alex knows everyone in Portland, so if we need a sitar guitar or a string trio or anything weird he can figure that stuff out.

Lillian - Like Hannah said before, it was an unrestful year when we were writing those songs, but when we went up to Portland to record them we'd have a little departure from the regular. It was a welcome break to be able to focus on the music without distraction of our personal lives.

Buzz - What is the main message Grass Widow would like to send to their fans?

Raven - That music can be cathartic and therapeutic if it's honest and can be invaluable, in that sense, for both the musicians and the listeners. Everyone who has the slightest inclination should start a band and support local music scenes (especially low-cost, all ages venues).

Hannah - Don't be afraid to do your own thing. Be yourself and play music with people you love. Recently we played a show in China and I thought a lot about how we have the luxury of being able to do things ourselves here in the states, which is very empowering. I would say- go past what you think is possible and make your own rules because you can! 

Buzz - If you could choose, what other artist(s) would Grass Widow like to collaborate with, if ever?

Raven - It would be fun to do a film score.

Hannah - It's been really fun rehearsing with the choir and string trio for our record release show and I'd like to collaborate with them more.

Buzz - What was it like coming up in the San Francisco music scene?

Raven - I love San Francisco. I feel like it has influenced - in overt and more discreet ways - a lot of aspects of the music we make and the way we exist as a band. Although all-ages venues have had a tough time here, there has always been a supportive and active underground music scene that doesn't rely on myspace or the Internet to exist.

Hannah - Yeah, we are so lucky to live here. There's no formula or dominant style that any bands are trying to emulate here-just a lot of really good bands that support each other a lot. We have a pretty good thing going on right now. I grew up here and have watched the city go through many phases and have felt my place change a lot through all of those eras, but this one is the best. We have a lot of love here.

Lillian - I started playing music in Olympia, Washington and there's a homegrown vibe to the scene there. This may have changed in the last few years but the shows I went to then were always in houses, rarely a legit venue or bar. It was all very intimate. After moving to San Francisco I learned how that kind of community survives in a city. A sense of kinship is important to us; it makes every show worth playing. I feel fortunate to have found that here.

Buzz - What songs on your new release mean the most to you and what about them grab you?

Hannah - Each song on this album is important to us and was a product of a very strong feeling.

Lillian - The album defines a search for meaning in a seemingly endless tunnel of chaos. Each song is a step toward wholeness. 'Give Me Shapes' stands out to me because it describes a process of creating structure where none exists, and that was a prominent theme for us during that time.                   

The “Hottest Show on Earth” returned to the Chicago area last weekend at the First Midwest Bank Amphitheatre in Tinley Park, with KISS reminding everyone what made them the rock gods that they are. Though the band received strong support from The Envy and The Academy Is, they didn’t need it. Despite the fact that KISS has been rocking the world for over 37 years, Paul Stanley (a.k.a. “The Lover”) and Gene Simmons (a.k.a. “The Demon”) still carried out the showmanship that made them one of the most famous acts in rock and roll history. With newer members Tommy Thayer and Eric Singer taking on the identities of “The Spaceman” and “The Cat”, this full-on rock show gave fans the chance to experience KISS as though they were still in their height of popularity – in fact this show may have been bigger.

From the opening number, “Modern Day Delilah” off their latest release Sonic Boom, when Simmons, Stanley and Thayer were airlifted over the towering drum set and placed at the front of the stage, it seemed as though the band incorporated something in each song that made the crowd think, “Holy Shit”. Whether a flurry of explosions, giant bursts of fire, or segments of the stage rising to propel a band member, nearly each song was a spectacle in its own unusual way. But not to be overshadowed by the incredible stage effects, was, of course, the music. In a set that lasted two hours and ten minutes, KISS included such songs as “Detroit Rock City”, “Love Gun”, “Calling Dr. Love”, “Firehouse”, “Black Diamond” and “Say Yeah”, also from their latest album.

KISS pulled out all the stops. Tommy Thayer shot fireworks from his guitar ala Ace Frehley and Gene Simmons breathed fire. Not long after, blood oozed from Simmons’ mouth during a haunting bass piece just before he was carried over 50 feet high, above the stage lights, to perform “I Love it Loud”.

The band went on with a six-song encore that kicked off with Eric Singer taking on former drummer Peter Criss’ ballad, “Beth”. While Singer stood center stage to sing, the other three members huddled to his right, quietly jamming in the background. KISS followed up with a couple more big hits before “I Was Made for Loving You” in which Paul Stanley glided across the audience on a cable and landed on a small platform with a microphone in order to perform to the people toward the rear of the arena. When Stanley returned to the stage, the band broke into “God Gave Rock ‘n’ Roll to You” as images from vintage KISS were displayed onto the jumbo projection screens. Finally, white confetti shot out from the stage, transforming the arena into a mega snow globe for the duration of the show, as the band jammed out to “Rock and Roll All Night” amidst thunderous explosions and high-flying stage theatrics – including an ascending drum riser.

KISS’ live show is not just a concert; it’s an experience – an experience that should be had by all rock and roll fans. Should KISS return anytime soon, make a point to catch this amazing show.      

For those who are not yet familiar with Katie Todd, you’re really missing out a very creative and intelligent songwriter, not to mention a highly entertaining and live show. Catchy songs, thoughtful lyrics and unique vocals coupled with an amazing band are the keys to success for any act and Katie Todd has them all. Over the weekend, fans were able to catch the band at the third annual Chickago Social in Andersonville, along with a handful of other performers including Sean Wiggins, Reyna Larson and international DJ, Lisa Pittman. The Pride event attracted Katie Todd loyals, the curious, music lovers in the gay community and anyone else in search of good musical performances.

Alone, Katie Todd quietly took the stage to open the show, headed to her keyboard and went into “This Time”, the full band joining her at just the right moment as the song began to hit its stride and take off. As the set continued, trumpet player, Steve Wright, an integral component to the overall Katie Todd sound, was able to showcase his skills, complimenting each song with just the right touch of horned flair, as well as delivering flowing backing vocals. Katie Todd’s cutesy but powerful vocals gracefully streamed over the band’s melodic instrumentation from each song to the next, perhaps most notably on favorites “Leave” and “Love Love Love You”.

Guitarist Ted Kezios is another reason the band gels so well. Ranging from subtle picking to aggressive rhythms, Kezios also displayed his signature sound in a handful of solos that had the crowd buzzing, especially in the band’s very original version of The Doors’ “People are Strange” where he flat out sizzled.

Despite playing with a relatively new rhythm section, Katie Todd pulled off a fantastic show without any hitches, leaving the crowd with yet another memorable performance that will certainly add to her large contingent of followers. For more information on Katie Todd’s music and upcoming shows, visit www.katietodd.com.  

"The Bad Boys from Boston” returned to Chicago with a flair and command that could only be associated with Aerosmith. This time taking stage at the Fist Midwest Bank Amphitheatre in Tinley Park, singer Steven Tyler and company delivered a thorough set of classics opening the show with “Same Old Song and Dance” immediately followed with “Train Kept A-Rollin’” and “Love in an Elevator”. The large set included three large projection screens – one on each side and one above the stage, overhead panels to enhance the band’s light show that were lowered and raised, and a catwalk that protruded out into the crowd about 30 or so rows from center stage.

The band’s musical performance was pinpoint precise, with guitarist Joe Perry effortlessly nailing each lick and solo, while Tyler, dressed in classic Aerosmith frontman attire, danced around like a thirty-year-old and utilized his vocal range to perfection. The show included staple elements from the repertoire of rock and roll essentials such as a booming drum solo in which Joey Kramer pounded the skins with his hands in a thumping symphony of blistering beats. Perry also dueled his Guitar Hero counterpart (appearing overhead on screen) ultimately defeating him thanks to masterful fingerwork in a series of tasty progressions.

In addition, the band found themselves defending a crowd member at one point. Tyler reprimanded house security after they pinned down a woman who merely ran up to toss a pink boa onto the stage when the band went into the song, “Pink”. “Leave the woman alone,” shouted the famous singer before continuing with, “Security must not get laid around here.”

Included in Aerosmith’s fun-filled set were favorites “Livin’ on the Edge”, “What it Takes”, “Rag Doll”, “Sweet Emotion”, “Cryin’” and a superb rendition of the Beatles’ “Come Together”. The band also integrated a couple more obscure numbers before finally ending the show with a bang, performing encores “Dream On” and “Walk this Way”.  

For those in need of a good dose of metal, the “Rockstar Energy Drink Uproar Festival” held at the First Midwest Bank Amphitheatre in Tinley Park, hosted enough heavy, brain-crunching music to please even the most dedicated and hardcore of fans. Held on two stages, it was metal mayhem for nearly an entire day from openers New Medicine to its power-packed finish with Avenged Sevenfold and Chicago’s own, Disturbed.

The second stage, or the Jagermeister Stage, had bands New Medicine, Hail The Villain and Airbourne set the tone for the festival with HELLYEAH rounding out the action with a loud and furious set before sending fans to the Rockstar Main Stage.

Kicking things off on the main stage was Halestorm, followed by Stone Sour, featuring Slipknot frontman Corey Taylor. Packing in as much music as possible in their 45 minute set, Stone Sour opened with “Mission Statement” then went into an inspired performance of “Reborn” before squeezing in seven more songs and ending with their death blow, “30/30 – 150”.

As good as all the bands performed, it was Avenged Sevenfold that stole the show. Sharing the top billing with Disturbed, the tour opted to put the latter in the final slot, though either could be justified in handling the marquis finale spot – and that is not a knock on Disturbed, who also kicked major ass.

Avenged Sevenfold’s set began with a man falling to his death, noose around his neck, where he remained hanging front center stage throughout their opening track “Nightmare” from their newest album, which carries the same name. The band immediately kept the adrenalin pumping in the crowd as they went into a charged presentation of “Critical Acclaim” that had Sevenfold’s energetic singer M. Shadows leading the arena with repeated fists in the air and chants – a show of strong command as the eager fans followed his every direction in unison. Shadows, whose vocals were spot on, then acknowledge the newbies in the crowd with the apropos “Welcome to the Family” while guitarists Sinister Gates continued to blaze away, wowing the most snobby of guitar critics.

At some point in Sevenfold’s set, Shadows also made mention of the band’s former drummer, James Sullivan, otherwise known as “The Rev”, who had passed away last December of 2009. M. Shadows told the crowd how much he misses his best friend of eighteen years while a jumbo image of Sullivan appeared on the backdrop of the stage where it remained for the next few songs. Shadows later acknowledged, and thanked, drummer Mike Portnoy – an inspiration of Sullivan’s - for filling in and helping the band move forward. Avenged Sevenfold’s set also included “Afterlife” and “Unholy Confessions” before ending on a high note with “Almost Easy”. From beginning to end, the band gelled incredibly well with Zachy Vengeance accompanying Gates with intricate guitar harmonies and bassist Johnny Christ and Portnoy providing a thunderous rhythm section, infusing each song with that precise punch that Sevenfold is known for. Once again, Avenged Sevenfold has proven that their live show just keeps getting better and better.

By the time Disturbed took to the stage, the fans were already more than satisfied with what the Rockstar Energy Drink Uproar Festival had to offer, just making the finale performance that much more enjoyable. Opening with “Voices”, frontman David Draiman led the charge of heavily-driven songs amidst a startling light show and pyrotechnics. The band went on to play such songs as “Meaning of Life”, Stricken”, “Fire”, their Genesis cover, “Land of Confusion”, along with a few songs from the new release, Asylum, and finally closed out with the hard-hitting “Down with the Sickness”, making it a very memorable homecoming.

*Avenged Sevonfold pictured (top) and Disturbed 

Stridulum is the new EP from Zola Jesus on Sacred Bones Records. Much like the voice of Nika Roza Danilova (also known as Zola Jesus), songs like “Night” and “I Can’t Stand” flow with a haunting darkness and dreamlike warmth, much in the vein of ZJ’s earlier material that included the very spellbinding “Clay Bodies”. With a sound described as anything from experimental to gothic rock, the 21-year-old artist based out of Phoenix, Arizona certainly seems headed to break new ground with a uniqueness of her own.

Fresh from performing at SXSW, Zola Jesus is currently touring, which includes a Chicago date on June 27^th at Schuba’s, before heading to the west coast followed by dates in Europe.       

Buzz - You have a very unique sound. Did it come naturally for you and how would you describe it?

Nika - I can't explain it, the sound is whatever comes out of me. Sometimes it's one thing; sometimes it's the other. It's schizophrenic and idiosyncratic. That's the best I can do to describe it.

Buzz - I can hear a bit of PJ Harvey in your sound. Is she one of your influences?

Nika – No

Buzz - Who would be musicians that inspire you?

Nika - The Residents, Tina Turner, Throbbing Gristle, Stockhausen

Buzz - You come from Phoenix. What is the music scene like there?

Nika - I don't know. I didn't grow up there. I grew up in Northern Wisconsin, and the music scene was dead and bastardized.

Buzz - What is the story behind “Clay Bodies”? It is such a haunting song.

Nika - There is no story, really. It was a song I wrote for The Spoils... it was written during a troubling period of my life.

Buzz - What do you like about being on the road?

Nika - Visiting new places, being pulled away from comfort zones and familiarity... it makes you see things differently.

Buzz - What will you be working on next?

Nika - My next record, and some other projects I hope to find time for.

Buzz - How have you been received overseas? Do they get you as much as they do here?

Nika - My overseas fans are very supportive and really very incredible. I feel very fortunate.

Buzz - Your vocals are very strong. I read that you took opera lessons. Is that true?

Nika – Yes

Buzz - What can someone who has never seen Nika Jesus expect at one of your shows?

Nika - Passion is all I can account for.

jun 17 - Toronto, ON - Sneaky Dees (NXNE)
jun 18 - Toronto, ON - The Garrison (NXNE)
jun 19 - Brooklyn, NY - Glasslands Gallery (w/ EFFI BRIEST, Nice Face)
jun 25 - Minneapolis, MN - 7th Street Entry (w/ Dada Trash Collage, Jabon)
jun 26 - Madison, WI - The Frequency (w/ Dada Trash Collage, Jabon)
jun 27 - Chicago, IL - Schubas (w/ Dada Trash Collage, Jabon)
jul 03 - Des Moines, IA - 80/35 Festival
jul 09 - New York, NY - South Street Seaport (w/ Bear in Heaven)
jul 13 - New York, NY - Terminal 5 (w/ Wolf Parade)
jul 17 - Milwaukee, WI - Radio Summer Camp (w/ Wolf Parade)
jul 24 - Seattle, WA - Capital Hill Block Part
jul 25 - Portland, OR - Holocene (w/ Pete Swanson, Slaves)
jul 30 - Oakland, CA - Fox Theatre (w/ Wolf Parade)
jul 31 - Los Angeles, CA - Wiltern Theater (w/ Wolf Parade)
aug 01 - Los Angeles, CA - The Echo - Part Time Punks
sep 06 - Glasgow, UK - O2 ABC (w/ Fever Ray)
sep 08 - London, UK - Brixton Academy (w/ Fever Ray)
sep 09 - Paris, FR - La Cigale (w/ Fever Ray)

They might have become men over the past several years, but we still know them as New Kids on the Block, or more recently, NKOTB. Call them what you want, but they are back and, yielding to cliché, better than ever. Currently on their Casi-NO Tour the one-time mega popular boy band recently returned to Chicago where they played three sold out dates at The Venue, located in the Horseshoe Casino, in Hammond, Indiana. Though the actual venue is plenty large enough to accommodate big-name acts – and does with regularity – I half expected the New Kids’ set to be scaled down with minimal props and lighting. However, that was not the case at all. A large riser took center stage while a wall of lights that would constantly change per beat stood as the backdrop. The show was big, and the band was jammin’, thanks to a Chicago-based drummer and a guitarist who looked like he’d fit in better with Slayer.  

Jordan Knight, Donny Wahlberg and Joey McIntyre took turns singing the leads just as they have always done, only this time with more mature and seasoned vocals. They would later take turns performing their own solo numbers in which Joey sang a steamy rendition of the Eurythmics’ “Sweet Dreams”. Danny Wood and Jonathan Knight contributed with perfectly tuned harmonies and backing vocals to round out the New Kids’ sound, while also busting some very impressive moves.

NKOTB did not disappoint the crowd that was mostly comprised of 25 to 35-year-old women, playing a set that included “The Right Stuff”, “Step By Step”, “Full Service”, “Favorite Girl” and their ever so popular ballad, “I’ll Be Loving You”. The dancing was well choreographed and even better – youthful and fun. The boys also played an acoustic set with Danny taking on the guitar in which “Please Don’t Go Girl” set the mood along with the soft, light-filled curtain that fell behind them.

One concert highlight was when all five New Kids’ walked through the crowd, still singing and waving their arms through the air. Once in the swarm of fans, the five separated, making themselves accessible to most of the main level while Donny took it up a notch and headed closer to the rear of the venue where he balanced on a seat with the help of a few eager helpers.

The night finally came to a close, but not before NKOTB performed one of their top hits, “Hangin’ Tough”, ending the show on a high note and sending the fans home asking when the tour would hit Chicago again.