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It's been two years since the California band, Incubus, charmed Chicagoan's with a stellar performance on the scenic Charter One stage. For anybody who attended in 2009, the set was amazing - complete with a great light set, killer vocals, instrumental perfection, and an ensued misty rain that only enhanced the experience further. Fast forward to 2011 and Incubus is back with a new album, If Not Now, When? , and they are ready to grace the stage yet again for another incredible show. The set will include classic Incubus songs, as well as new material for hungry Chicago fans. Opening for Incubus is Tom Morello, former vocalist of Rage Against the Machine, making this show one worth catching. Everything kicks off at 7:30PM on Sunday, August 21st, 2011.

Tickets are still on sale for both general admission and the seating area, so grab yours before it's too late and I'll see you there!

Check Incubus out at www.enjoyincubus.com

Last night Foals, along with openers Freelance Whales and The Naked and Famous, played to a sold out crowd surprisingly composed of the largest group of non-hipsters Wrigleyville has probably seen in years.

The Naked and Famous, playing their first show in Chicago, started off a little stiff but okay.  As time went by the more confusing it got about what kind of music this band wanted to play.  The Freelance Whales started off fun but after a few songs, the crowd was just not feeling their heavier material.  Their niche is definitely within the upbeat tunes.

Foals were met with roars and even a few squees from the audience.  The band’s lead singer, Yannis Philippakis, sounds a lot like Coldplay’s lead singer, Chris Martin as do both bands hail from the United Kingdom.  That’s where the similarities between the two bands end though.  This band is not like one that you’d hear on the radio but trust me, that’s a good thing.  It’s not so different that you hear it and hate it immediately because it’s out of your musical comfort zone but their music is diverse and a friendly way to prove that there is still good music being made out there.  They definitely know how to get the crowd moving with great energy and upbeat music.  Even the men in the crowd danced a bit.  Not the head bobbing that we are used to, but actual dancing to the beat!  The crowd sure needed tunes like “Total Life Forever” and “Afterglow” to make them put their iPhones down and they got it with Foals.

Be sure to check out the band at www.foals.co.uk .

If any musical is the precursor to the rock opera, it's 1967's very own Hair. I saw elements of Rent, Godspell, and Jesus Christ Superstar, among others, embedded within the music, choreography, and even the costumes. This show is great fun but with serious things to say. Written and set in the late sixties, Hair speaks to every issue of the time: the emergence of the hippie culture, freedom of sexuality, the generational gap between young adults and their parents, the prevelance of androgynous young men growing their hair long, and most importantly, the Vietnam War. Yet, the messages are still more than relevant today.

Act One opens with the show's most famous tune, "Age of Aquarius," then takes the audience through a sort of roll call of the characters, who address and speak to (and sometimes dance with) the audience. We learn about the male characters' rage and fear over being drafted and watch them scheme and worry over getting out of it. But the upbeat songs and energetic people moving around onstage allow you to put the misery on the backburner for awhile and enjoy celebrating "Peace! Flowers! Freedom! Happiness!" with the colorful members of the fringe culture.

I found that I liked the cast even before I saw them, reading through their bios in my program. Nobody had boastful lists of reginal or touring credits, but rather tidbit philosophies on life (on karma, Zen, art), shout outs to family and friends, and -- a cute touch -- their astrological signs. This cast was young, enthusiastic, and a very strong ensemble. And brave. I've never once gone to the theatre and seen any actor, let alone an entire cast, stand unabashedly nude before the audience. If you happen to get bored with all the peace and love, just hang on, because that'll wake you right up.

Some of my favorite aspects of the show included three white girls singing about how much they love "Black Boys" followed by three black girls singing about how much they love "White Boys," the prayer of "Sodomy" (and cunnilingus, and fellatio, and masturbation...), the beautiful, shirtless hippie men (abs!), and Claude's profound defense to his parents of his opposition to the war, "I Got Life."

Obviously, the anti-war sentiments still ring true, but the part of the show where I really got chills, thinking of all the bullying and suicides that have taken place among the young gay community, was when a cast member dressed as an older woman (the embodiment of the conservative generation) turned to the audience and said, "I wish every mother and father in this theatre would go home tonight and tell their kids: 'BE FREE. Be whoever you are, and do whatever you want to do.'" Adding, "As long as you don't hurt anybody." As messages go, this is about as clear as it can get. 

I've known the music of Hair for years, but this was the first time I actually saw the show. It was wonderful to finally put a story and characters to the songs I love so much, and it was everything I'd imagined it would be. A celebration of being alive, of friends, of music, of freedom, of LOVE LOVE LOVE! However, it wasn't all flower-power optimism; by the end you will be left with a haunting reminder of the consequences of war. Not to fret, though. The cast continues the celebration by bouncing back up onstage for curtain call and a "Let the Sun Shine In" dance party with the audience, half of whom joined the cast onstage to dance and sing, some running down the aisles for their chance, some being somewhat reluctantly lead by hippie cast members. And good fun was had by all!

I wish I would have been around for the original Hair production, just to see what 21st-century changes had been made. Whether it's a direct reitterance of the 1967 production, I can't say, although I doubt that it is. No matter what, though, I can safely say that this revival stays faithful to the ideas and convictions of the sixties original and perpetuates them in a way we can relate to. I think everyone should go see it. I walked in with a question mark over my head in regards to what I was about to witness, and I walked out with flowers in my hair, an invitation to a Human Be-In ("Bring Your Own Pot!"), and "Let the Sun Shine In" thrumming through my head. The Hair revival is here until March 20th at the Ford Center/Oriental Theatre, so don't miss out on the peace, love, and astounding cultural significance.

There is something to be said in this era of huge concert productions, for a musician to fill a venue, show up with a band, and play. No huge frills, pyrotechnics, or costume changes, just two sets of solid material.

Natalie Merchant came back to Chicago after taking a seven year break, and took the stage as if that hiatus never even happened. Returning to the music scene with the amazing "Leave Your Sleep" 2 cd album, she still gave the same vibe she's so adept at, and that's making you feel like you're in the middle of an after dinner jam session in her living room. There was dancing, fun stories, joking with the crowd (even swiping a cell phone and taking her own pictures!) and all of those things that have you leaving the show with a smile on your face.

We even got a PowerPoint poetry lesson! Slides and Merchant's obvious knowledge and love of poetry prompted her to ask us, "Who says poetry isn't fun?".

Well, I still don't think it is. But it would be if Natalie Merchant became an English professor!

The music however, was the reason we were all there, and as usual, didn't disappoint. Backed by a folk/orchestral band of rotating musicians, Merchant stuck mostly to the "Leave Your Sleep" material, but we did get the favorites intertwined within the two sets. Some of the concertgoers were a little put off by so much focus being on "Leave Your Sleep", and I too would have liked to hear a bit more from "Ophelia" and "Motherland" but the journey the new music takes you on with it's ranging tempos and conceptual lyrics was better than listening to the songs we've known for years.

We did get songs like "Carnival" but reworked to have a fun Flamenco vibe to dress it up and make it shiny and new again. And "Eat For Two" was so haunting and beautiful in the way it was stripped down.

Merchant's voice is as great as it always has been, taking the tempo and genre changes of each song and bringing us right into the journey. Pitch perfect, haunting, and emotional it's no wonder that her music and fan base has remained solid even after a seven year absence.

You definitely came away from this show with a smile and bounce in your step, not even realizing an entire night just went by. Great show, and an amazing performance.

Sh-Sh-Shakin’ it at the House of Blues in Chicago this past week were fans grooving to the sounds of Rooney with guests Tally Hall and Crash Kings. This indie rock performance swept the fans off their feet for those who were there. The weather may have been a factor in the lack of crowd, but that didn’t stop any of the bands from doing what they love and they put on a good show. Don’t let these bands fool you with their short list of record releases because what they throw at you is musically talented.