Allstate Arena-Rosemont, IL
May 15, 2009
Pictures Courtesy of CJ Piper
Review By Anthony Kuzminski
A third of the way into Keith Urban’s recent Chicago stop, he glided off stage during a guitar solo at the end of an electrified version of “You’re My Better Half” and made his way through the crowd to the soundboard. At the back of the arena, Urban stood on a platform and welcomed those in the cheap seats with an infectious smile and his charming Australian accent, "Who's got the best seats now?” He then strummed his guitar and launched into a stripped down version of his 2006 hit “Once In A Lifetime”. The song featured only Urban’s pining electric guitar and a bit of rhythm from drummer Chris McHugh, but it was an intimate moment often missing from arena shows that the audience relished. Keith Urban is one of the premier live performers on the road at this moment in time. In my humble opinion, he may be the best arena performer today. The crowd sung along to every word of the song encompassing the arena with a tender glow often only found in clubs. However, Keith Urban has a way to breaching barriers in his art providing everyone with not just an evening of entertainment but an illuminating experience that transcends beyond his music.
Opening with “Hit the Ground Running”, Urban did just that as he and his six piece band (led by a four guitar front line attack) tore through a twenty-song set that stretched over two-hours. Dressed in jeans, a short-sleeve shirt and a stylish new haircut, Urban’s appearance is much like his shows; no nonsense. That’s not to say that Urban doesn’t bring the necessary elements to bring his shows into the 21st Century. The songs were accentuated by sprawling stage that looks as if it is erected from the ground with sections that veered directly into the crowd. It provided an open atmosphere with no security gates making the mental distance between band and fan almost non-existent. Urban is a superstar, but he approaches his shows with a fearlessness rarely seen in concerts anymore as he tries to make the audience feel like an integral part of the show. The stage backdrop consisted of five high definition split screens which shifted throughout the evening (sometimes hovering over the band) and displayed everything from lush landscapes to a kaleidoscope of colors to childhood photo’s of the band members. Urban’s stages are continually inventive without being obstructive and always allowing his music to not just breathe but be the focal point of the show.
Fan favorites including the fist pumping “Days Go By”, the alluring “Stupid Boy” and the southern blues of “Where The Blacktop Ends” hooked the crowd early with a heady rush of adrenaline. The material from Defying Gravity ranged from impressive (“Kiss the Girl” and “Sweet Thing”) to monotonous (“Standing Right In Front of You”). During a mid-set three song section the show appeared to lose momentum, that is until “Til Summer Comes Around” where Urban unleashed a breathtaking guitar solo that reminds one of why Urban isn’t your run-of-the-mill country or rock star. He’s the rare musician whose lead guitar fireworks are equal to his front man charisma. He’s more fluid than most performers half his age and yet never fails to nail his solos. Watching his fingers maneuver across those frets was like watching him write poetry. “If I Ever Could Love” is a stark revelation of commitment and love proved to be languid in concert. I had overlooked the song on the album and here in concert, it stands as the best of the new tracks, however, positioning it after the epic “Who Wouldn’t Want To Be Me” meant that it was lost in the emotional thick of the action. It should be performed earlier in the set where it would stand out more. If there is one quibble I had from this tour is that the new material doesn’t quite stand up to the deep cuts fro his last few records. On previous tours when he performed “Shine”, “Faster Car” and “Used to the Pain”, they stood side by side with his biggest hits and were indistinguishable to the uninitiated in concert. As the tour progresses, it would be nice to see Urban take some chances with this material; rearrange these songs and maneuver them into a more cohesive section of the show so there is no loss of momentum and give them the necessary bite they deserve.
The final section of the show featured one hit after another. Even the ill conceived positioning of the ballads didn’t matter because of the emotion poured into the performances. The aching “Raining On Sunday” found the band joining Urban midway through (on the last tour this was an acoustic solo performance) while “Tonight I Wanna Cry” was reworked in a remarkable acoustic arrangement. The rest of the rockers infused the crowd with enough adrenaline to fuel the roars for the remainder of the show. “I Told You So”, “You Look Good In My Shirt” and “Better Life” walloped the crowd into a frenzied state that lasted well after the house lights went on. Urban and his backing band flex their muscle on a wide variety of instruments and a vast array of musical instrumentation that matches the E Street Band in terms of defiance, dedication, substance and soul. They know Urban and his music like the back of their hand and they don’t just accompany Urban, they elevate his music to new heights in concert. It is one thing to have a set of accomplished musicians backing you up, but what Urban has is a band who compliments his material in ways I am not sure if he even deemed possible.
Every night Keith Urban hits the stage with a fluidity that is rare to witness these days. Even on nights with static set lists, he finds a way to crawl beneath the surface, get under your skin and elevate your mind, body and soul. Some acts feel that by changing a set daily does this and others feel that by only performing their biggest hits will accomplish this. However, what is needed is a purpose and mission; both of which he has. His paramount songs are infused with unbridled enthusiasm that is impossible to deny. When one leaves the arena after a Keith Urban show they have a feeling of joy through the emotional, spiritual and physical release his concerts provide. For those two-plus hours on stage, anything seems possible and life’s problems wash away. As the band shred through their set ending “Somebody Like You” Urban reminds us that when he connects with the pitch he doesn’t just hit a homerun, but the ball soars to heights that reach far into the sky and out of the park.
Review By Anthony Kuzminski
A third of the way into Keith Urban’s recent Chicago stop, he glided off stage during a guitar solo at the end of an electrified version of “You’re My Better Half” and made his way through the crowd to the soundboard. At the back of the arena, Urban stood on a platform and welcomed those in the cheap seats with an infectious smile and his charming Australian accent, "Who's got the best seats now?” He then strummed his guitar and launched into a stripped down version of his 2006 hit “Once In A Lifetime”. The song featured only Urban’s pining electric guitar and a bit of rhythm from drummer Chris McHugh, but it was an intimate moment often missing from arena shows that the audience relished. Keith Urban is one of the premier live performers on the road at this moment in time. In my humble opinion, he may be the best arena performer today. The crowd sung along to every word of the song encompassing the arena with a tender glow often only found in clubs. However, Keith Urban has a way to breaching barriers in his art providing everyone with not just an evening of entertainment but an illuminating experience that transcends beyond his music.
Opening with “Hit the Ground Running”, Urban did just that as he and his six piece band (led by a four guitar front line attack) tore through a twenty-song set that stretched over two-hours. Dressed in jeans, a short-sleeve shirt and a stylish new haircut, Urban’s appearance is much like his shows; no nonsense. That’s not to say that Urban doesn’t bring the necessary elements to bring his shows into the 21st Century. The songs were accentuated by sprawling stage that looks as if it is erected from the ground with sections that veered directly into the crowd. It provided an open atmosphere with no security gates making the mental distance between band and fan almost non-existent. Urban is a superstar, but he approaches his shows with a fearlessness rarely seen in concerts anymore as he tries to make the audience feel like an integral part of the show. The stage backdrop consisted of five high definition split screens which shifted throughout the evening (sometimes hovering over the band) and displayed everything from lush landscapes to a kaleidoscope of colors to childhood photo’s of the band members. Urban’s stages are continually inventive without being obstructive and always allowing his music to not just breathe but be the focal point of the show.
Fan favorites including the fist pumping “Days Go By”, the alluring “Stupid Boy” and the southern blues of “Where The Blacktop Ends” hooked the crowd early with a heady rush of adrenaline. The material from Defying Gravity ranged from impressive (“Kiss the Girl” and “Sweet Thing”) to monotonous (“Standing Right In Front of You”). During a mid-set three song section the show appeared to lose momentum, that is until “Til Summer Comes Around” where Urban unleashed a breathtaking guitar solo that reminds one of why Urban isn’t your run-of-the-mill country or rock star. He’s the rare musician whose lead guitar fireworks are equal to his front man charisma. He’s more fluid than most performers half his age and yet never fails to nail his solos. Watching his fingers maneuver across those frets was like watching him write poetry. “If I Ever Could Love” is a stark revelation of commitment and love proved to be languid in concert. I had overlooked the song on the album and here in concert, it stands as the best of the new tracks, however, positioning it after the epic “Who Wouldn’t Want To Be Me” meant that it was lost in the emotional thick of the action. It should be performed earlier in the set where it would stand out more. If there is one quibble I had from this tour is that the new material doesn’t quite stand up to the deep cuts fro his last few records. On previous tours when he performed “Shine”, “Faster Car” and “Used to the Pain”, they stood side by side with his biggest hits and were indistinguishable to the uninitiated in concert. As the tour progresses, it would be nice to see Urban take some chances with this material; rearrange these songs and maneuver them into a more cohesive section of the show so there is no loss of momentum and give them the necessary bite they deserve.
The final section of the show featured one hit after another. Even the ill conceived positioning of the ballads didn’t matter because of the emotion poured into the performances. The aching “Raining On Sunday” found the band joining Urban midway through (on the last tour this was an acoustic solo performance) while “Tonight I Wanna Cry” was reworked in a remarkable acoustic arrangement. The rest of the rockers infused the crowd with enough adrenaline to fuel the roars for the remainder of the show. “I Told You So”, “You Look Good In My Shirt” and “Better Life” walloped the crowd into a frenzied state that lasted well after the house lights went on. Urban and his backing band flex their muscle on a wide variety of instruments and a vast array of musical instrumentation that matches the E Street Band in terms of defiance, dedication, substance and soul. They know Urban and his music like the back of their hand and they don’t just accompany Urban, they elevate his music to new heights in concert. It is one thing to have a set of accomplished musicians backing you up, but what Urban has is a band who compliments his material in ways I am not sure if he even deemed possible.
Every night Keith Urban hits the stage with a fluidity that is rare to witness these days. Even on nights with static set lists, he finds a way to crawl beneath the surface, get under your skin and elevate your mind, body and soul. Some acts feel that by changing a set daily does this and others feel that by only performing their biggest hits will accomplish this. However, what is needed is a purpose and mission; both of which he has. His paramount songs are infused with unbridled enthusiasm that is impossible to deny. When one leaves the arena after a Keith Urban show they have a feeling of joy through the emotional, spiritual and physical release his concerts provide. For those two-plus hours on stage, anything seems possible and life’s problems wash away. As the band shred through their set ending “Somebody Like You” Urban reminds us that when he connects with the pitch he doesn’t just hit a homerun, but the ball soars to heights that reach far into the sky and out of the park.
Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network and his daily writings can be read at The Screen Door and can be contacted at thescreendoor AT gmail DOT com.
