Martin Barre Band - Des Plaines Theater, Des Plaines. 9/6/2023

  by Lisa Torem

published: 3 / 7 / 2023

Guitarist Martin Barre was one of Jethro Tull’s most coveted sonic weapons. As a purveyor of Celtic roots and classical music, the 1989 Grammy winner for ‘Crest of the Knave’ injected class and historical culture into this progressive rock band’s extensive discography for 43 years. Barre has also worked with Paul McCartney, Joe Bonamassa and Gary Moore, among other prescient acts. But after exiting from his signature band in 2012, he focused on forming his own line-ups, while accelerating his songwriting pace – while he co-wrote ‘Minstrel in the Gallery’ with front man Ian Anderson and singularly wrote ‘Quatrain’ (‘Busting Out’), his songwriting significantly blossomed post-Tull. At Ron Onesti’s stunningly refurbished Des Plaines Theater, a stand-alone venue situated in an outlying suburb of Chicago proper, the entrepreneur grabbed the spotlight and introduced Barre as: “One of the finest gentlemen you’ll ever meet.” Then, 'Jethro Tull’s Martin Barre with Dan Crisp' performed the expansive, ‘A Brief History of Tull’ featuring Crisp, as vocalist and guitarist, bassist/keyboardist Alan Thomson and drummer Terl Bryant, who doubled on percussion. Once onstage, the Martin Barre Band paid tribute to the history of Barre’s former band, with a visual, weathered scroll of classic band milestones, a spectacular series of onscreen images, a breathtaking lightshow, and a generous ration of familiar repertoire. But the rest of the set list included Barre counter punches. While this rock royal apparently cherishes his past, he has, inextricably, moved on. For the first couple of numbers, the band took us on a wild, inflammatory ride. The cantankerous blues instrumental ‘Cats Squirrel’ ‘harkens back to John Peel Sessions of 1968 and appeared on debut Tull album, ‘This Was.’ Headed off by an astounding guitar riff, ‘Cat’s Squirrel,’ as a showpiece, was the perfect send-off. Crisp has a distinctive vocal throttle that brings back vivid memories of Anderson. His physical gestures also invited recollections of Anderson’s historically animated approach to performance. But despite any comparisons, Crisp projects his own style. The context of ‘Look into the Sun’ (‘Stand Up’) revolved around optimistic statements, the likes of, “the sun keeps on shining.” This subtle bluesy melody, when brushed against a series of intricate chord changes, created a mood of blissful peace. ‘Someday The Sun Won’t Shine For You’ (also from ‘This Was’) was a contrasting mood changer, pumped up with feverish blues harp. For the Bach-inspired ‘Bouree,’ Barre brought out his flute. Another Tull classic, ‘Sossity; You’re a Woman’ from ‘Benefit’ featured a compelling bass solo by Alex Thomson, whereas drummer Terl Bryant kicked out a 1960’s style tambourine. The electric keyboard added a lovely, but sobering shrift. I’d be remiss not to mention, Barre’s superb fingerstyle progression. Terl, however, pulled out all of the stops on ‘Back to The Family,’ another throwback to ‘Stand Up.’ Moving forward, Crisp didn’t stand on ceremony when exalting the sentiments of ‘Nothing To Say,’ amid a blaze of swirling yellow lights, and with a stunning display of twin guitars, courtesy of Crisp and Barre. In fact, the twin guitar works that Barre and Crisp displayed was, by all means, a highlight of Set 1. Barre and Crisp leaned in closely to perform 1971 ‘Aqualung’ marvel, ‘My God,’ while images of blood-red skies, intimidating clouds, crucifixes and shattered stained glass saturated the giant screen. Not surprisingly, ‘My God’ created a hush throughout the intimate theatre setting, with its turbulent bass line and powerhouse lyrics. More classic Tull commenced. ‘The Whistler’ from the dreamy ‘Songs of the Wood’ was outstanding. Prog-rock prototype ‘Black Satin Dancer’ served as a reprieve, with Barre’s incendiary, high-decibel solo work, the Northern Star. In the meantime, Terl kept close watch on the complicated tempo shifts. ‘War Child,’ which stems from Tull’s concept album released back in 1974, was the most whimsical selection of the night. Barre soldiered through a few technical problems earlier in the set, but finally came clean a couple of songs later: “All that went wrong is that I did not press a button,” he confessed humbly, as he walked downstage. He also admitted, “I have a soft spot for Chicago.” At a Holiday Inn, back in the day, he had marveled at the sight of “a whole sea of dead fish,” courtesy of Lake Michigan’s less-than-stellar eco-system. Regarding Set 2, three songs in, ‘Under Wraps’ quickly became my anima, as chocolate-y reds folded into the screen. Crisp’s vocals were especially warm. ‘Jack Frost and the Hooded Crow’ from ‘Broadsword’ was a reminder that smart lyrics still matter. ‘Protect and Survive’ brought Barre’s passion for classical guitar to the forefront. ‘Watching Me Watching You’ found Barre, guitar still slung over shoulder, tweeting on the infamous flute. I loved the solid build-up of the dynamics. For ‘Fallen On Hard Times,’ the onscreen circus featured dilapidated buildings, youth shouting from bullhorns and random smoke bombs. But when listening to the lyrics, I was reminded that this is a complex, inspirational tune: “milk and honey’s just around the bend.” ‘Slow Marching Band’ from Barre’s 2015 release ‘Back to Steel’ and ‘50 Years of Jethro Tull’ was another chestnut, lyrically and visually. This conventionally structured ballad upholds the plaintive tone of Irish classic, ‘Danny Boy,’ while paying tribute to the brave and the fallen - driving rock paired with a heartfelt melody. “And take pleasure in your leaving as the ferry sails and tears are dried.” Brassier than ever, Barre commented, “We’re going to play an encore whether you like it or not.” ‘Too Old to Rock and Roll’ and ‘Locomotive Breath’ cast the sonic dye. Barre’s echoing fills and final riffs triggered a standing ovation. While old-time fans may still get misty-eyed when hearing the original piano-driven version, the electric guitar rendition spun an alluring web. But as for the present day, The Martin Barre Band revitalized some of the greatest music ever written in a singular night. Plus, this septuagenarian statesman stands as a regal reminder that, you’re never “too old to rock ‘n’ roll.” In mid-November, Barre and company will grace Latin America with the Aqualung 50th Anniversary Tour, ending the jaunt with gigs in Guadalajara and Mexico City in December. Set List: Set One Look into The Sun Someday The Sun Won’t Shine Cat’s Squirrel We Used To Know Serenade To A Cuckoo Bouree Sossity Back To The Family Nothing To Say My God Thick As A Brick Passion Play Whistler inst. Black Satin Dancer Back Door Angels Warchild Sealion Set Two Acres Wild Jack Frost Under Wraps Protect and Survive Watching Me Fallen On Hard Times Slow Marching Band Encore Too Old To Rock & Roll Locomotive Breath Photos by Jim Summaria www.jimsummaria.com

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