Umphrey’s McGee

Like any good jam band, local favorites Umphrey’s McGee defy genres. Whether the song is straight-up rock, contains jazz influences, or is a little more folksy, it’s gonna be played masterfully. There’s a reason the band’s been kicking around since 1997 and it’s largely due to their ability to sound fresh, even with their latest release Death by Stereo featuring a mix of new songs and older jams they’ve been road testing live. The new album starts off with “Miami Virtue,” a song that’s sure to give you a good kick in the head, and ends with live staple “Hajimemashite” — which finally earns a well-deserved album appearance. But, as everyone knows, their live show is all that matters. Hit up their performance for some smooth grooves and a dedication to natural, cliché-free musical expression that will have you head banging and hippie twirling simultaneously. (Saturday, 8:30-10, Red Bull Stage) –text: Lisa Mrock

Umphrey’s McGee

Umphrey’s McGee is not your traditional jam band. Sure, they would check most of the boxes on a jam band checklist: long musical interludes between singing, loose song structure, and the requisite twirling fans in long, flowing skirts. Where the band diverges from its patchouli-scented counterparts is in its rock-based influences and precision in their musical diversions. The band seems to draw more from the Frank Zappa school of improvisation than Phish University. Umphrey’s is now based out of Chicago but the 4-piece met in college at Notre Dame, where half of its members majored in music. This gives their improvisational rock songs seemingly more structure (even the ones that approach the 15-minute mark) while the chorus seems to take a backseat to giving every musical moment some purpose. Rarely, if ever, are two Umphrey’s sets the same. They are a band best experienced live and, yes, in a flowing outfit of some kind. (Saturday, 8:30-10, North Stage) –text: Cara Slingerland

The Features, The Raconteurs, the Tragically Hip, Umphrey’s McGee

THE FEATURES
The Features would make horrible real estate agents. The business keys in on “location, location, location,” and this Tennessee quartet lacks all three. Tennessee’s reputation is built on Elvis, Sun Studios, Isaac Hayes’ ‘70s neo-funk and Dixieland’s deep roots. Recently it’s been home to the dirty South’s hip hop army and a handful of jangle pop outfits. So playing keys-driven, brooding guitar rock sounds as odd as…well…a group of guys in Tennessee playing keys-driven, brooding guitar rock. Yet despite their geographical shortcomings, The Features have even worse timing. The band’s disco-hinting self-titled EP came a few years before “angular dance punk” was used to describe every backbeat, and their debut LP broke just long enough after the Kaiser Chiefs and the Dead 60s to be dubbed a knockoff. But it’s a blessing that the band seems best — or only — suited to play brilliantly sassy rock ’n’ roll. Guys in skinny jeans aren’t cut out to sell houses anyway. (Appearing with The Raconteurs at the Riviera on Dec. 30 and 31) –text: Derek Wright

THE RACONTEURS
For as giddy as fans of The White Stripes, Brendan Benson and The Greenhornes were upon creation of The Raconteurs, V2 Records’ executives were probably more excited. Why? Because all three acts’ catalogues — as well as this quartet that combines Jack White and Benson with two Greenhornes — are on the label. The cross-promotions virtually wrote themselves. It’s just too bad the band’s direction isn’t as clearly defined as its marketing. The quartet is less a “supergroup” than it is old friends who finally got around to recording together. That adds some familiarity and warmth to the band’s debut, as opposed to sounding like vanity patchwork by new acquaintances. But that camaraderie means there is a degree of loyalty to one another, and it sounds like a conscious effort not to overshadow anyone. So brilliant harmonies are combined equally with bluesy guitars and proto rhythms. But this identity-less sound is like a chef who wants each spice to be tasted distinctly — while good, in the end it’s just confusing. (Appearing with The Features at the Riviera on Dec. 30 and 31) – text: Derek Wright–photo: Autumn de Wilde

THE TRAGICALLY HIP
So if you’re thinking about going to one of those all-you-can-drink-for-some-flat-fee-at-a-bar-that’s-just-okay thingie for New Year’s Eve, this blurb’s for you. Canada’s 20-plus year rock ‘n’ roll veterans the Tragically Hip are bringing their ever-evolving stadium sound to the House of Blues this NYE. Over the years, as the band has managed to continually re-invent its sound and frontman Gordon Downie’s lyrics continue to become more cryptic, it’s notable that their power chord choruses deliver twice the punch due to the intricate — sometimes even weird — melody of the verses. That also means they kick a whole lot of ass live. Crowds in Chicago typically come out in force for these guys, so consider moving on this now. I mean, if you’re gonna drink well booze and tap domestic, you might as well have a better soundtrack to your NYE than “Auld Lang Syne”, right? (Appearing at House of Blues on Dec. 31) –text: Tim Ryan

UMPHREY’S MCGEE
Following a 5-year-old tradition, Chicago’s favorite progressive rock/jam band, Umphrey’s McGee, will be performing in their hometown for three consecutive nights this New Year’s. They are currently touring for their latest album, Safety in Numbers, a collaborative expression of the rough year the group members have had, including the loss of a close friend who was killed by a drunk driver. Often compared to such jam bands as Phish and the Grateful Dead, they attribute their primary musical influences to The Beatles and Led Zeppelin. However, in their live shows there are no genre boundaries when it comes to playing covers; they have been known to cover songs by Metallica, Lionel Richie, and even Snoop Dogg. With an open-taping policy and a dedication to natural, cliché-free musical expression, they keep their live shows fresh through constant improvisation. (Appearing at the Aragon with North Mississippi Allstars on Dec. 29, with Los Lobos on Dec. 30 and with Taj Mahal on Dec. 31) –text: Ariel Sundel–photo: Danny Clinch

Ryan Adams, Lady Sovereign, Mates of State, Jon McLaughlin, Umphrey’s McGee

RYAN ADAMS
Alt-country’s favorite punching bag went as quiet as a sleeper cell in 2006 after last year’s 3-album barrage that found Adams channeling The Dead (Cold Roses), paying homage to the honky-tonks (Jacksonville City Nights), and remembering his 20s with scatological tales best left for his shrink (29). Adams’ appeal and curse has always been his unparalleled ability to effortlessly mimic his idols (Dylan on Heartbreaker or The Stones on Gold) while pummeling listeners with a relentless and often sketchy output of music. For a guy that owes more apologies than a 12-stepper, an inspired set at Lollapalooza might put Adams back in the good graces of a fan base that’s always preferred a little bit of country with his rock and roll. And for those in attendance still holding grudges, you can always shout out a “Summer of 69″ request. No one’s going to kick you out of Grant Park for that, we think. (Friday, 4:30-5:30, Bud Light Stage) –text: Sean Foran–photo: Philip Andelman

LADY SOVEREIGN
Prior to winning over an intimate Empty Bottle crowd and entertaining thousands at this year’s Intonation Fest, the U.K.’s “mighty midget,” Lady Sovereign, faced a much more challenging and career-defining gig — rapping freestyle at the desk of the one and only Jay-Z. Whether Jay was blown away by her raw talent or was simply seeing dollar signs is anyone’s guess, but the meeting did result in a contract with Island/Def Jam for the young (not yet 21) femcee. To the uninformed, Lady Sov will likely be seen as the U.K. grime scene’s sole export, but something tells me she’ll be able to handle the pressure. On stage, Ms. Sovereign absolutely owns her bubbly grime beats, rocking the mic and working the crowd like a true soldier. Let’s just hope she’ll be able to hold it down when she tells all of Lollapalooza, no doubt her biggest crowd yet, to “DO SOMETHIN’ RANDOM!!” (Friday, 5:00-6:00, PlayStation Stage) –text: Mike Scales

MATES OF STATE
Husband and wife Jason Hammel and Kori Gardner formed Mates of State in 1997. In 2000, they released their debut, My Solo Project, featuring only drums, an organ and vocals — eschewing the use of guitars. Their lo-fi sensibilities have been centric on every album since, especially on their 2006 release Bring It Back. The duo approach love with reluctance and warmth. “Fraud in the ’80s” is their best track, with high-energy keyboards and infectious melodies. (Friday, 5:00-6:00, AMD Stage) –text: Garin Pirnia–photo: Terri Loewenthal

JON MCLAUGHLIN
Ben Folds, Billy Joel, Jon McLaughlin. This is what I’m hearing when I listen to Jon’s tracks on Myspace. Or maybe this is what he wants me to hear? Either way, it’s definitely some classically-influenced American piano rock. His voice is kind of a mix of John Mayer with a dash of Jack Johnson, backed by a Maroon 5-style band. Great Lollapalooza make-out tunes, but I’ll be in the beer line. (Friday, 4:15-5:00, BMI Stage) –text: Billy Kenefick

UMPHREY’S MCGEE
At a time when the term “jam band” is increasingly becoming one of derogation, Umphrey’s McGee manages to restore some dignity to those so described. Far from a fruitless effort to revisit the glory days of experimental rock, Anchor Drops, the band’s fifth studio release, demonstrates a sincere appreciation for the genre’s predecessors and an uncommon capacity to contribute meaningfully to its progression. The Midwestern sextet, fronted by singer/songwriter/guitarist Brendan Bayliss, combines a funk-metal sensibility with elements of jazz and a Zappa-like appreciation for the unknown — creating an uncompromisingly original sound with a peculiar air of familiarity. The 2002 addition of guitarist Jake Cinninger allows Umphrey’s to expand upon the twin guitar runs of Duane Allman and Dicky Betts. The virtuosic keyboarding of Joel Cummins adds an ethereal atmosphere, while the tri-layer rhythm section of Ryan Stasik (bass), Kris Myers (drums), and Andy Farag (percussion) roots the experience in a thick and textured underpinning. (Friday, 4:30-5:30, AT&T Stage) –text: Michael AlKaraki–photo: Michael Weintrob