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OPTREDEN CHICAGO - EXCEL LONDON - 31-07-2008 - 21:00-23:00 UUR

Op donderdag 31 juli 2008 gaf Chicago zijn laatste concert van de Europa-tour-2008 in London. Eerder waren er optredens in Duitsland (Stuttgart, Hamburg en Berlijn), Zweden (Stockholm), Denemarken (Horsens), Zwitzerland (Zürich), Noorwegen (Oslo), Monaco (Monte Carlo), Frankrijk (Parijs), Italie (Lucca) en Zweden (Stockholm).
Gespeeld werd er tijdens de British International Motor Show in de Excel. Vanaf 21.00 uur speelde er elke avond in de Honda-Venue een andere groep. Donderdag was Chicago aan de beurt.
Walter Parazaider en James Pankow waren niet aanwezig en werden goed vervangen door
Ray Herrmann op Sax en Nick Lane op Trombone, hoewel het samenspel met Lee Loughnane af en toe niet klopte.
Tijdens dit optreden werden vooral "oude" nummers gespeeld. Veel nummers van Chicago Transit Authority, Chicago II en Chicago III waren te horen. Van Chicago XXX werd er niets ten gehore gebracht! Wel de titelsong "Stone of Sisyphus" van Chicago´s "verloren" album met dezelfde naam. Nu uitgebracht als Chicago XXXII;  Stone of Sisyphus. De fans vonden het allemaal prima en hadden een echte "ouderwetse" Chicago avond.

De aankondiging van het Chicago concert op de site van de British International Motor Show :


Starting out in 1967, Chicago's members exploded the conventions of what rock music could or should be. The result was a ground breaking new form. Early fans included Jimi Hendrix and Janis Joplin who took the group out on their respective tours. Chicago's achievements include 21 Top 10 singles, 5 consecutive Number One albums,
5 Number One Singles, 13 Platinum albums and 5 Gold Singles.

Chicago perform at The Motor Show Music Festival as part of their latest world tour. The band are also in the process of releasing the long awaited album Stone of Sisyphus which will feature bonus tracks and new liner notes.







Commentaar uit de Engelse krant

From August 4, 2008
Chicogo at Excel, E16


The banner told you that you were at the British International Motor Show Music Festival. Given, however, that this amounted to a helipad framed by three modestly proportioned grandstands and a stage, the word “festival” may have been pushing it a bit.

Previous evenings had paid host to the likes of Jools Holland and Deep Purple. On paper, an appearance here by the soft-rock titans Chicago seemed to have a lot going for it - at least it did while that paper neglected to mention that their best-known frontman, Peter Cetera, left the band some two decades ago.

Still, lest the bad news prompt revolt among those who had come to hear the 1976 überhit If You Leave Me Now, the band's de facto Cetera, Jason Scheff, bravely stepped up to the plate and sang it early on. Elsewhere though, there was little to suggest that they missed Cetera a jot. “In the early 1980s, we saw some big changes in the band, and that was a good thing for us,” declared the keyboard player Robert Lamm, stopping just short of adding, “because we were sick of having to plod through Peter's poxy power ballads night after night”. Instead, the eight musicians on stage played two slightly inferior power ballads - I Don't Wanna Live Without Your Love and Look Away - penned by the orange-faced, grey-haired keyboard player Bill Champlin.

Their attempts to convince the half-empty “venue” that post-Cetera life was a blast were rather more plausible during a succession of unloveable, brassy rockers which located a point of intersection between jazz, rock and R&B. Some, such as Questions 67 and 68 and Dialogue, dated back to the group's early years, when lyrics such as “Don't it make you angry the way war is dragging on?” made them briefly fashionable among countercultural circles.

That said, you suspected that in an exhibition space that had been made over to look like the inside of Jeremy Clarkson's head, ticket holders didn't care to be reminded about Chicago's credible history, less still about their recently released concept album Stone of Sisyphus. Nevertheless, when they finally got round to playing that album's title track, its resemblance to a sort of prog-rock version of Phil Collins's Sussudio seemed to strike a chord with people who had spent a humid afternoon perving at the new generation of Vauxhall Zafiras.

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