2003-04-01 Annie Lennox - Bare - Shubert Theatre - Chicago - The USA

Information

Artist : Annie Lennox

Date : 2003-04-01

Tour Name : Bare

Country : The USA

Town : Chicago

Venue : Shubert Theatre

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Chicago Rock ReviewROCK REVIEW, ANNIE LENNOX AT THE SHUBERT -- 'Who's that girl', Annie Lennox sang midway through her sold-out concert Tuesday night at the Schubert Theatre as photos of herself appeared on a large screen behind the Scottish singer. The question was especially apt given Lennox's performance. Europop diva, streetwise neo-soul singer, hard rock queen: Lennox took on all these roles during her show. Ever since the early '80s, when she appeared in a man's suit and a butch haircut in the Eurythmic's breakthrough video for 'Sweet Dreams Are Made of This', Lennox has mixed musical styles and played with persona, especially gender roles. These techniques are in the British tradition of David Bowie and Bryan Ferry, to whom she's deeply indebted. But when all rolled together in a 90-minute set they frequently obscured Lennox's personality and voice. It's very likely that Lennox relied on so many affects and effects which included a literal smokescreen during the first part of her set out of uncertainty. Tuesday night's show was only the fourth of her first-ever tour as a solo artist, and came to build anticipation for the June release of 'Bare', her first record of self-penned songs since her 1992 solo debut, 'Diva'.

Songs from "Diva" made up most of the first half of the set, but it was as much about the elaborate, high-contrast light show and Lennox's flamboyantly theatrical poses and gestures than the music itself. A five-man band played disco beats, chiming guitar, and synthesizer fanfares on hits including 'Little Bird' and 'Walking on Broken Glass', and three backing singers added gospel-style choruses, but Lennox's own voice frequently got lost amid the over-aggressive arrangements.

Still, it was nothing compared to the bombast at the end of the show. While the sci-fi cabaret of 'Sweet Dreams Are Made of This' was a high-concept hoot, the rocked-up versions of Eurythmics hits 'Would I Lie To You?' and 'Missionary Man' found Lennox straining to keep up with the firestorm guitar. Given that she's obviously lost about half an octave off her range, Lennox should stop this overexertion before she harms her voice further. Besides, her most powerful singing came on quieter songs that showcased her clear, cool alto.

Even better was an acoustic set midway through the show, when Lennox brought the lights up and let her guard down. After admitting her own insecurity about her piano playing, she accompanied herself with thick jazz chords on a gorgeous re-invention of 'Here Comes the Rain Again'. She also headed into India. Arie territory with an acoustic guitar funk rendition of 'You Have Placed A Chill On My Heart'.

Encouragingly, her new material played to Lennox's strengths, particularly a pleading ballad and a heated Latin funk number. That kind of spontaneity and naturalness was welcome in performance that was often studied and showy, and raised hopes that as Lennox becomes more comfortable with being a solo performer she'll truly bare herself in her songs."
Daily JournalWHO'S THAT GIRL? LENNOX'S RETURN TO CHICAGO A BLAST -- When Annie Lennox showed up at the Shubert Theatre last night, it was nothing short of historical, marking her first touring trip through town since going solo 10 years ago. The monumental event sold out in a matter of minutes, and it's easy to see why, considering the hit-making history Lennox and partner Dave Stewart starting in 1981 as The Eurythmics. The group is undisputedly one of the most seminal synth-pop bands in history with an almost endless chart run of singles. Despite the group's string of successes from 1981-89, the pair opted to part ways by the turn of the decade with each member moving into solo terrain. Even though Stewart was the first to unveil his personal offerings, Lennox's individualistic revelations drew much more attention, starting with her 1992 debut 'Diva' and 1995's covers project 'Medusa'. After each release, it would have made sense for Lennox to include America on her touring trail, but aside from some one-offs in the States, her focus stayed overseas. That travel pattern didn't change after a brief reunion of The Eurythmics in 1999 for their 'Peace' album and tour, on which they also spent little time on State-based stages, once again failing to visit Chicago.

Thankfully, that streak was finally broken Tuesday night as Lennox geared up for the release of 'Bare' (her first solo project in eight years), while treating fans to a much deserved flashback to solo efforts and Stewart collaborations that they've patiently waited for. "I've never done a solo tour before, but so far it's been going great," Lennox told the crowd moments into the show. "This is my fourth date, I've got 18 all together, and I'm honored to have you all along for the ride."

What a ride it was indeed, staring with transfixing renditions of 'Money Can't Buy It' and 'Legend in My Living Room', followed by the early solo hit 'Little Bird'. On them and the 18 that followed, Lennox's vocals were colossal, her performance magnetic, and her five-piece band with three backing vocalists nothing short of compelling. From fellow smashes 'No More I Love Yous' and 'Walking on Broken Glass' to debuts of 'Honestly' and 'Pavement Cracks', Lennox's pipes were at their booming best. She moved from the the temperamental ballad 'Cold', to the galloping spurts of 'Who's That Girl', to the gospel tinged euphoria of 'You Put a Chill in My Heart'. Lennox showed her skills as a songwriter, stripping down the dance beats of Eurythmics' classics 'Here Comes the Rain Again' and 'Sisters Are Doin' It For Themselves', rearranging them as piano-based performances. Based on the standing ovations after each selection, the crowd obviously liked what it heard and would've probably welcomed several more piano-only selections, though her band's return to the stage was welcomed and worthwhile.

In fact, the ensemble's presence was much more appropriate for animated cuts like 'Bring You Down' and 'Wonderful', plus an especially heady take on 'Would I Lie To You?'. While the last guitar blast and synthesizer splash from 'Would I Lie To You?' closed the main part of the show, a barrage of familiar favorites followed during the encore. First was 'Sweet Dreams (Are Made of This)' featuring reduced synthesizer action in favor of electric guitar, proceeded by the stimulating roars of both 'Missionary Man' and 'I Need a Man'. While they could have easily ended the evening, Lennox opted to return yet one more time offering up a final moment of inquisitive introspection. She quietly coaxed the crowd to several verses worth of questions on the solo staple 'Why?' putting particular emphasis on the track's final bridge letting it soar with bird-like beauty.

Hopefully, this run of dates is only a warm up for Lennox's time spent in America, as perhaps this summer's official unveiling of 'Bare' will provoke a more extensive itinerary. In the meantime, those gathered will cherish the memories from this
Chicago Sun-TimesANNIE LENNOX HAS SOUL UNDER CONTROL IN SATISFYING SHOW -- Annie Lennox's concert Tuesday night at the Shubert Theatre proved the adage that absence makes the heart grow fonder. In response to the singer's highly theatrical performance, concert-goers screamed declarations of their loyalty: 'Viva la diva!' 'We waited so long!' 'It's all about you, girl!'

These hungry fans hadn't heard any new music from Lennox since the Eurythmics' 1999 reunion album, 'Peace'. The singer's last solo album, 'Medusa', was a 1995 collection of covers. Thus far, her only solo album of original material is her debut, 'Diva', which was released 11 long years ago. Midway through her set, Len-nox, 48, told the audience, 'I've never done a solo tour before. I'm a bit of a slow developer'. The occasion for this maiden voyage is to promote the solo album 'Bare', which will be released by Clive Davis' J Records on June 10. Lennox has endured a divorce and its emotional fallout during the last few years, and the material she debuted Tuesday had an understandably dark mood. During the song 'Pavement Cracks', she lamented, 'Where is my comfort zone, a simple place to call my own?'

Other new songs, such as 'Wonderful', '1,000 Beautiful Things' and 'Honestly', featured the musical style that Lennox has frequently explored throughout her career: a mixture of detached European cool and soulful American R&B. Particularly effective was the funky groove of 'Bitter Pill', anchored by Paul Turner's buoyant bass line. Looking svelte in form-fitting black trousers, a black scarf and matching stocking cap, Lennox sang moving versions of songs from her own albums, as well as many Eurythmics hits from the '80s. Lennox spent much of the evening bounding around the stage like a robotic aerobics instructor. For many artists, running through old hits in concert becomes a chore, a necessary evil. Lennox has prevented this type of albatross by altering the tempos, arrangements and instrumentation of the original versions. 'Here Comes the Rain Again' was imaginatively reworked as slow ballad, with Lennox sitting at a baby grand piano, accompanied solely by Bernie Smith on electric keyboards. 'Sisters Are Doin' It for Themselves' was stripped down to focus on harmonies built by Lennox and her three backing vocalists. An unplugged 'Who's That Girl?' centered on piano, acoustic guitar and acoustic bass. These reinterpretations were successful and rewarding, but Lennox is wise enough to realize that many fans want to hear the songs played just as they sound on the CD. Hence, her encore versions of 'Sweet Dreams (Are Made of This)' and 'Missionary Man' were relatively straightforward, with just a pinch of hard-rock crunch. A surprisingly satisfying take on Neil Young's 'Don't Let It Bring You Down'--which is included on 'Medusa'--proved that a female, Scottish singer can do justice to a classic from a male, Canadian songwriter.

The stage design was simple and elegant. Before the show started, the screen projected this message: 'Welcome'. During a slight delay as crew members brought a piano onstage, the single word on the screen was 'Pause'. As fans filed out of the Shubert, one final message was projected: 'Pray for Peace'. (Bobby Reed, Chicago Sun-Times)
Chicago Tribune"ROCK REVIEW, ANNIE LENNOX AT THE SHUBERT -- 'Who's that girl', Annie Lennox sang midway through her sold-out concert Tuesday night at the Schubert Theatre as photos of herself appeared on a large screen behind the Scottish singer. The question was especially apt given Lennox's performance. Europop diva, streetwise neo-soul singer, hard rock queen: Lennox took on all these roles during her show. Ever since the early '80s, when she appeared in a man's suit and a butch haircut in the Eurythmic's breakthrough video for 'Sweet Dreams Are Made of This', Lennox has mixed musical styles and played with persona, especially gender roles. These techniques are in the British tradition of David Bowie and Bryan Ferry, to whom she's deeply indebted. But when all rolled together in a 90-minute set they frequently obscured Lennox's personality and voice. It's very likely that Lennox relied on so many affects and effects which included a literal smokescreen during the first part of her set out of uncertainty. Tuesday night's show was only the fourth of her first-ever tour as a solo artist, and came to build anticipation for the June release of 'Bare', her first record of self-penned songs since her 1992 solo debut, 'Diva'.

Songs from "Diva" made up most of the first half of the set, but it was as much about the elaborate, high-contrast light show and Lennox's flamboyantly theatrical poses and gestures than the music itself. A five-man band played disco beats, chiming guitar, and synthesizer fanfares on hits including 'Little Bird' and 'Walking on Broken Glass', and three backing singers added gospel-style choruses, but Lennox's own voice frequently got lost amid the over-aggressive arrangements.

Still, it was nothing compared to the bombast at the end of the show. While the sci-fi cabaret of 'Sweet Dreams Are Made of This' was a high-concept hoot, the rocked-up versions of Eurythmics hits 'Would I Lie To You?' and 'Missionary Man' found Lennox straining to keep up with the firestorm guitar. Given that she's obviously lost about half an octave off her range, Lennox should stop this overexertion before she harms her voice further. Besides, her most powerful singing came on quieter songs that showcased her clear, cool alto.

Even better was an acoustic set midway through the show, when Lennox brought the lights up and let her guard down. After admitting her own insecurity about her piano playing, she accompanied herself with thick jazz chords on a gorgeous re-invention of 'Here Comes the Rain Again'. She also headed into India. Arie territory with an acoustic guitar funk rendition of 'You Have Placed A Chill On My Heart'.

Encouragingly, her new material played to Lennox's strengths, particularly a pleading ballad and a heated Latin funk number. That kind of spontaneity and naturalness was welcome in performance that was often studied and showy, and raised hopes that as Lennox becomes more comfortable with being a solo performer she'll truly bare herself in her songs." (K. McKeough, Chicago Tribune)
Alameda TimesTOWARD the end of her sold-out Wednesday night show at San
Francisco's Orpheum Theatre, Annie Lennox wailed through the
song "I Need a Man."
She may sing about needing a man, but it's clear she doesn't
need one.
Twenty years ago, she needed Dave Stewart to crank out top-40
hits as the Eurythmics. But when that sweet duet turned sour in
1989 (there was a brief reunion in'99), Lennox struck out on her
own, proving it was her voice more than Stewart's musical
wizardry that fueled the hits.
At Wednesday's show, the final stop in her first solo North
American tour, the 48-year-old Scottish diva unfurled a
crowd-pleasing array of Eurythmics tunes along with cuts from
her two solo albums, "Diva" (1992) and "Medusa" (1995) as well
as her upcoming album, "Bare," to be released next month.
Gone are the days of outrageous fashions and hair colors. Lithe
Lennox, now a fashionable, impeccably styled platinum blonde,
puts on a straightforward rock 'n' roll show for grown-ups.
Working with a sharp five-piece band, she can cut loose and
strut, as she did on the joyous "Walking on Broken Glass," and
she can really rock, as she did on "Legend in My Living Room,"
"Missionary Man" and "Would I Lie to You?"
But her very best moments were those in which her strong, rich
voice filled the Orpheum and thrilled her adoring fans.
From "Diva," a warmed-up "Cold," a soaring "Little Bird" and a
soulful "Why" combined the best elements of classic torch,
straightforward pop and burnished R&B.
"You Have Placed a Chill in My Heart" and "No More I Love Yous,"
while both excellent on record, became dynamic, theatrical
pieces on stage as quirky Lennox played out her own internal
drama.
The nearly two-hour show's highlight was a brief acoustic set
that had Lennox accompanying herself on "Here Comes the
Rain Again," arguably one of the best pop songs to survive
the'80s.
The set continued with a gospel-tinged "Sisters Are Doin' It for
Themselves," which Lennox originally sang with Aretha Franklin.
It took Lennox's three back-up vocalists, Carol Kenyon, Beverly
Skeete and Claudia Fontaine, to make up for one Aretha, but they
did some admirable roof raising.
Shrouded in swirling stage smoke and lacerated by colored
lights, Lennox performed four cuts from her new album. The
general tone of the songs is somber, although "Pavement
Cracks" has some bounce to it, and "Wonderful" pulses with
erotic hopefulness.
"Bitter Pill" and "1000 Beautiful Things" both showcase the luster
of the Lennox voice and its subtle power to transform from cool
and metallic to fiery and emotional in the course of a single
verse.
Of course Lennnox sang "Sweet Dreams," a massive
Eurythmics hit from 1983, but the distant, electronic feel of the
original was replaced by the voice of a vital, impassioned
woman, who, all on her own, has the power to make adults in
their 30s and 40s scream like they were teenagers.

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