The 34th Annual Chicago Blues Festival managed to piss off people before it even started.
The first development was the move from the fossilized Petrillo Music Shell to the shiny Pritzker Pavilion in Millennium Park—a few blocks north. Then the announcement of rapper Rhymefest on the main stage on opening night had Blues purists shrieking sacrilege while throwing them into a frenzied tizzy. This town likes to pride itself as ground zero for the blues, and messing with tradition is tantamount to high treason.
I did not get to attend most of the festival this year, but I did manage to see the promised heresy of Rhymefest's set on June 9. Truth be told, Che "Rhymefest" Smith's performance was exactly the kind of thrilling, unexpected event that this particular festival needed. Where the city attempted to freshen and revitalize the festival so that it would appeal to a younger more diverse audience, Rhymefest managed to do just that by combining hip-hop, rap, gospel, gutbucket soul and blues in a seamless mix which satisfied everyone in attendance.
All of Rhymefest's accomplishments ( recording artist, entrepreneur, aldermanic candidate, spokesperson, Oscar-winning composer ) didn't mean diddly to the packed crowd he faced on opening night, but clearly he didn't care. As soon as he put one foot on the Pritzker stage, he took command and swiftly stunned the audience with a positively pulverizing rip through "Trapped in Heaven." With co-vocalist Russell Pike Jr. beside him, the duo rapped/sang through a set that touched on the spiritual ( "Walk with Me Jesus," "Jesus Walks" ) with the urbane ( "Mr. Officer," "City has Fallen" ).
Then the show veered toward the unexpected when iconic harpist Billy Branch ( ironically, one of the purists who decried Rhymefest's appearance in the line-up ) joined him for a blistering collaboration on "Bullett." After all the fire generated during that set, Rhymefest and Pike closed with a heaven-bound version of "Glory" that left what could only be called an aroma of orgasmic uplift in the air.
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On June 12, Escort vocalist Adeline Michele projected nothing but glee when she got on the tiny stage at the Empty Bottle, looked out at the packed house, and through a mile wide smile yelled, "This is gonna be FUN!!!"
Of course, it didn't hurt that Eugene Cho ( on keys ), Dan Balis ( on bass and guitar ) and James Oslo ( drums ) were right there with her, or that this band has defied technology and made a name for itself by bringing back old-school disco. Escort is actually a 17-member New York collective ( including dancers ), but for this gig the four of them made quite the hip-shaking racket in ( of all places ) that dinky little punk club that usually inspires a different type of dancing.
What sets Escort's disco music apart from club music is the warmth and depth of Belis and Michele's swooping bass lines ( she plays guitar as well ) and her upfront playfulness. ( Think of Cory Daye having a really good day. ) Floor stompers like "Bright New Life," "All Through the Night" and "Body Talk" are built atop melodies and bass lines equally ( not exactly the case with either disco or club music ) while Michele's vocals are mixed up front along with an eclectic mix of effects giving it and her a cool bracing shimmer.
If the music was not irresistible enough, it got to be downright goofy when Belis, Cho and Michele would throw in choreographed bits ( on "Cocaine Blues" they wobbled like bobbleheads ) or Michele would crack herself up as she clowned around like a discofied Norma Desmond on amyl nitrate.
I hate to say it, but seeing and dancing to Escort live was a hellava lot more fun than all those nights I spent at The Warehouse back in the day.
Heads up: Queer country pioneers Lavender Country play a 2 p.m. show at SPACE on Sunday, Sept. 24. Tickets are already on sale.
