[Words by Carmel O'Farrell]
Friday night of Umphrey’s McGee’s recent Chicago run was hands down the best show of the three-night run. There was great fluidity to how they played that night, yet they were still tight and ready to give their hometown audience everything we were expecting and more… way more.
Umphrey’s execution was flawless right out of the gate. They began the show with a newer intro named “A Mild Sedative.” It blared over the loud speakers until the band finally took to their instruments and started playing along with the track. Once the energy of the room reached its boiling point, Umphrey’s launched into “Plunger.” This drum-laden version was full-frontal and spread wide open, which is the perfect recipe for success when it comes to Umphrey’s. The first song of the night eventually found itself in the middle of a Stew so many Umphrey’s fans yearn to experience live, it was raw improv intensity in the first song of the first set. Rage.
After a short rendition of the rarely played Umphrey’s original, “Passing,” the set leapt into “The Crooked One.” At one point during the song, Jefferson Waful’s lights encased the front of the stage with Olympic rings, inspiring the band to launch into a glorious, slow-paced progression that lasted over six minutes. “Cemetery Walk” was up next with its passive aggressive guitar riffs and screaming vocals. But by the time the song came to an end, keyboardist Joel Cummins had told a haunting tale about tragic love without saying a single word. The melody was so sweet, yet so sad. Finally, Jake Cinninger threw down some soulful guitar to help seal the song’s casket.
The shining star of this hometown run was probably the best “Comma Later” that Umphrey’s McGee has ever played. It is an amazing experience to watch this band strive for excellence and the tricky execution of a well-jammed “Comma Later” proved they were prepared for this special night. The heated jam was eventually cooled off by “Preamble” before Umphrey’s slid into a ghetto fabulous “Mantis Ghetts.” This special Cummins treatment made everyone bob their heads and bend their knees in unison. But the real “Mantis” eventually showed its cunning smile before jetting off into the mystic. Frantically trying to keep up, I found myself lost in a hectic maze only to be defeated by the song’s breakdown. The set ended on a high note from Cinninger, who turned his back on the audience as he lead us to the point of insanity.
I have to admit I actually welcomed the set break so I could have some time to digest what I had just witnessed that first set. I conserved energy and refueled my tank, because the second half of this rock show was bound to be just as impressive as the first.
A full bodied “All in Time” kicked off the next set of music with an exciting jam. It was followed by an extra special “Triple Wide” dedicated to the band’s friends and family at the Riviera that night. Once this dance jam began to take flight, half of Umphrey’s used wireless technology to sneak their instruments up to the opera boxes in the balcony so they could jam out right next to their biggest fan: Joel’s dad.
The night continued with a pretty standard version of “Hajimemashite.” But then, immediately after the first verse of “Haji,” Umphrey’s seamlessly transitioned into a powerful progression of “Glory.” These two songs meshed together perfectly, delivering a grand feeling of intensity that made my heart beam. Umphrey’s fell back and forth from “Haji” to “Glory” until the two songs finally married into one. To top it off, Waful’s majestic lights flooded my senses and overwhelmed my perceptions. It was a moment of grace like I had never experienced before. Pure Umphrey’s euphoria.
After an exaggerated introduction of each band member, Umphrey’s went into a suspicious “Prowler” that unfortunately ended just as it started to take off. Instead, the set quickly turned over into a ten minute “Intentions Clear” that eventually segued into Wang Chung’s “Dance Hall Days.” I am still perplexed why they chose to cover this song over some more heavy hitting covers they’ve notoriously slain. While I probably over-enjoyed the quick rendition of this 80′s classic, most of the folks around me seemed lost.
The second set ended with the after-party anthem: “Hangover.” This particular medley threw down portions of ZZ Top’s “La Grange” alongside a verse of Jimi Hendrix’s “Voodoo Child.” All this in the midst of a sassy freak show sing-along about depleted electrolytes and booty wax. In keeping with tradition, the patchwork delivery of this song and relevant subject matter solidified Umphrey’s fan/band connection.
Friday night’s encore capped off the evening with the Pink Floyd classic, “Comfortably Numb.” Cinninger flawlessly delivered an echoed first verse before Bayliss took over, producing a forceful sound that tipped the song into a perfect tension. Between each verse, Jake morphed into Jimmy Page for a solo that eventually reduced itself into chaos. Then, as if they were back for revenge, Umphrey’s realigned into the heavy build up of “1348.”
Overall, this Chicago run encapsulated everything that is wonderful about this band. Friday night was precise, yet relaxed, and something about it just felt special. When “Haji” met “Glory” is a moment I won’t soon forget and the disco dance party during “Comma Later” will likely go down in history as a game-changer for that song. While the rest of the run had its moments, nothing could top what went down that night.