AVONDALE — This summer, a unique musical experience unfolded on the waters of the North Branch of the Chicago River as the first-ever Great River Parade took place, captivating attendees without the need for tickets.
The extraordinary event featured nine bands performing from five decorated pontoon boats, all with the intent of celebrating the growth of musician Ben Kinsinger’s Secret River Shows over the past three years.
Kinsinger aimed to illuminate what he has created under the Belmont Avenue bridge, where bands, including his own group, Lawrence Tone, perform sets from a concrete pylon while fans gather below.
Realizing that a neglected area could be transformed into a vibrant community gathering space, Kinsinger was motivated to engage human energy to keep the area clean and lively.
“Since I’ve been doing shows, it’s been like this,” he shared on Saturday.
“The guy under the bridge, David over there, he helps out. The community extends to all who interact with this space.”
With the success of the Secret River Shows gaining traction and media attention, Kinsinger organized this city-sanctioned parade to further celebrate and expand the event’s popularity.
The parade featured elaborate performances aboard creatively adorned boats and on the concrete pylon where it all began.
Five large pontoons accompanied Kinsinger’s smaller raft, and despite a two-hour rain delay that forced a change in plans, the parade steered directly to its original location under the bridge rather than stopping at the initially planned sites of Richard Clark Park and the Wild Mile.
Once the rain cleared by 2:45 p.m., an enthusiastic group of kayakers surrounded the makeshift stage, bringing life back to the event.
Kinsinger embraced the title of “River King” as he navigated the small raft while local bands played acoustic sets, creating a whimsical atmosphere enhanced by his unique attire—a loose blouse, wide-brimmed sun hat, and a cycloptic eye mask.
The Belmont bridge, characterized by dynamic graffiti, became a prime gathering spot hoisted with a disco ball and a small grill sizzling hot dogs for the eager audience.
As the parade progressed, the first pontoon boat approached the pylon, dressed in flowing orange fabric and adorned with a seven-foot tall purple arch mimicking a monster’s mouth, seamlessly introducing the day’s surreal and gonzo theme.
Amidst this colorful spectacle, Kinsinger skillfully climbed the pylon’s ladder, while a woman in a flowing blue robe and golden headdress gracefully posed on a barge nearby.
The sounds of a purple harp, played by the artist known as Risa, intertwined with a remarkable sight: a six-foot-long hand and a colorful tube made of plastic bags swaying gently from the bridge above.
Sherry Wang, the artist performing on the barge, expressed her excitement by saying, “I come here to see how he [Kinsinger] uses his imagination to make this community.”
“It’s a free music kingdom. I feel the floating canvas of the whole environment, and it’s interactive with art and nature.”
Another float represented the band JFK Health World, which referenced a defunct children’s museum, featuring a large cylinder styled after a cyclonic separator adorned with multicolored tissue paper.
Artist Drew Reynolds described his creation as an artifact of Chicago’s industrial past, noting its sculptural nature reminiscent of old-time homecoming floats designed to foster community collaboration.
Diego Lucero, a member of the father-and-sons mariachi band Cielito Lindo, reminisced about visiting the underpass since 2020, when he first began spray painting graffiti there.
Accompanied by a party of red-and-white-clad clowns, his band embraced artistry, showcasing a rendition of Weezer’s “Island in the Sun” layered with mariachi horns and a Spanish verse.
Reflecting on building a sense of community, Lucero playfully suggested the audience might not yet have a fandom name but considered “the trolls” fitting since they were gathered beneath a bridge.
Closing out the celebration at the Belmont stop, the band Lawrence Tone savored snacks from a nearby tavern while preparing for their performance.
The band reminisced about how their concerts evolved from intimate acoustic sets to a production requiring generators for amplified sound.
Their diverse audience ranged from a motorcycle gang to joggers who stumbled upon the unconventional concert under the bridge.
While they appreciated their early intimate gatherings, flutist Eric Novack recognized the beauty in the growth they have experienced.
“It’s nice to just have the intimate, you just kind of wander in, like ‘What is this?’” Novack mused.
“Now it doesn’t have that mystique in the same way, but at the same time, it’s cool to have a s— ton of people. Loss of mystique is a natural part of progress.”
image source from：blockclubchicago
