The Chicago Blues Festival concluded its fourth day on a high note, even after experiencing a significant rain delay and a truncated performance schedule. With Mavis Staples as the main attraction, a sea of fans crowded into the Millennium Park garages to escape the storms.
As dark clouds loomed, Millennium Park officials urged concertgoers to find shelter or leave the premises, prompting most attendees to converge in the garages. Fans waited approximately an hour before the go-ahead was given to return to the festival.
The rain fell just as preparations for the Chess Records’ 75th anniversary celebration were being set up. Renowned as a cornerstone of Record Row in the 1950s, Chess Records launched a multitude of blues and R&B artists into the limelight. Janine Judge, the executive director of the Willie Dixon Blues Foundation, hosted the day’s festivities alongside Dixon’s daughter, Jacqueline.
The introduction highlighted several descendants from the Chess family, a nod that could have sufficed without the lengthy interlude of anecdotes and histories of Chess Records. The majority of the audience, already versed in the legendary history of Chess, came for the music rather than the stories. Nostalgic images of classic record labels like Checkers, Argo, Vee-Jay, and Cadet flooded the mind, recollecting fond memories of ’45s displayed in metal racks.
Unfortunately, the storytelling format delayed the musical acts, leaving C.J. Chenier and The Red Hot Louisiana Band with little time to perform.
The event saw the descendants of Muddy Waters, Chuck Berry, and Howlin’ Wolf singing along as they basked in the affectionate applause from the crowd. Mud Morganfield, resembling his legendary father Muddy Waters, paid tribute to his dad’s classic hits, including “Rolling Stone (Hoochie Coochie Man)” and “I Just Want to Make Love to You,” which was enhanced by Steve Bell’s harmonica.
Chicagoan Joe Barr showcased his soulful range with two standout songs. Known for his tributes to artists like Teddy Pendergrass, he delivered performances of The Dells’ “Oh What A Night” and Little Milton’s “We’re Gonna Make It” with a gravelly yet captivating vocal style.
Another engaging performer was Alonzo Jones, who brought the spirit of Howlin’ Wolf to life with his renditions of “Spoonful” and “Smokestack Lightning.” His dynamic stage presence, complete with a black cowboy hat and sleeveless vest, resonated with the audience’s energy.
Minnie Collier, now known as Reverend Minnie Collier, reimagined her hit “I Had a Talk with My Man Last Night” by changing “Man” to “God” due to a profound personal healing experience. Although her set introduced a more reverent pause, it felt like a revival, reminiscent of the old blues venues like Bucket O’ Blood, filled with stories and rich history.
Melvin Taylor, a talented guitarist from Maxwell Street, played a short but electrifying set. His speed and skill on the guitar highlighted his impressive musicianship, but delays meant that not much time was left for his performance.
Simbryt Dortch took the stage next, performing Fontella Bass’ timeless hit “Rescue Me,” where her voice echoed the soulful style of Bass herself.
The spotlight briefly turned to family talent as Chuck Berry’s son and grandson, Charles and Charley, delivered an upbeat rendition of “Johnny B. Goode,” complete with the iconic duckwalk. While this display of familial tribute was heartfelt, it drew criticism for prolonging the segment with excessive chatter and anecdotes, overshadowing the essence of the music.
Lurrie Bell and Frank Catalano took the stage before the much-anticipated Mavis Staples, delivering a set that combined soulful riffs with a rough edge brought by Steve Bell’s harmonica. The fusion of their sounds set the tone for Staples’ imminent performance.
As the rain subsided, fans flooded back into the park in anticipation of Mavis Staples’ set. Staples, known for her rich, soulful voice, has a significant legacy stemming from her time with The Staples Singers during the Civil Rights Movement. She delivered a powerful rendition of “Why? (Am I Treated So Bad)”—the favorite song of Dr. Martin Luther King Jr.
Her ability to elevate each song into a soulful hymn captivated the audience, bringing back memories from her heyday, much like the iconic dance sequences from the show Soul Train.
With her talented band and backup singers, including Kelly Hogan and Saundra Williams, Staples provided an unforgettable musical experience. Lead guitarist Rick Holmstrom, affectionately known as “Pops Jr.” by Staples, matched her energy with dazzling guitar solos blending R&B and gospel.
Staples, reflecting on her family’s legacy, shared meaningful moments during her performance, calling out to her father. As she led the crowd through songs like “Far Celestial Shore” and “Respect Yourself,” the audience responded with enthusiasm, joining in on the lyrics.
The performance transcended mere nostalgia—it served as a testament to shared values of love, justice, and unity within the community. Reflecting on days gone by, where hope and dreams were more abundant, members of the crowd shed tears as Staples’ music stirred profound emotions.
As Staples concluded her set, it was clear to all that she had not only celebrated her storied career but had also provided a healing message for the time—a reminder of the beauty found in community and music. The sentiments echoed through the crowd as attendees left, knowing that they had been part of something special.
A member of the press encapsulated the experience, stating, “This performance and music is the perfect time and the perfect place for what the world needs now.” Indeed, Mavis Staples remains the embodiment of genuine artistry, with her music vibrating in resonance with both history and hope. It was not just a performance; it was a moment that would linger in the hearts of many who were present to witness history in the making.
image source from：https://thirdcoastreview.com/music/2025/06/11/dispatch-rain-delay-and-a-musical-icon-welcomed-home-for-a-sweet-finale-to-the-chicago-blues-festival-2025
