Concert Review

Shemekia Copeland
June 12, 2011 @ Chicago Blues Festival

Eddy "The Chief" Clearwater
June 12, 2011 @ Chicago Blues Festival

Michael Burks
June 12, 2011 @ Chicago Blues Festival

Rick Estrin
June 12, 2011 @ Chicago Blues Festival

Wayne Baker Brooks and Lonnie Brooks
June 12, 2011 @ Chicago Blues Festival

40th Anniversary Celebration of Alligator Records finale
June 12, 2011 @ Chicago Blues Festival

Mud Morganfield Band
June 12, 2011 @ Chicago Blues Festival

John Primer
June 12, 2011 @ Chicago Blues Festival
By Dave Miller

The final day of the Chicago Blues Festival featured a historical passing of the torch. Shemekia Copeland was crowned the “Queen of the Blues” by Cookie Taylor Threatt, the daughter of the late Koko Taylor.

Late in Copeland’s set, Threatt, along with Marie Dixon, the widow of Willie Dixon, and one of Jimmy Reed’s daughters, surprised Copeland when they strolled onstage. Threatt grabbed a microphone and addressed the crowd, lauding Copeland and placing the 32-year-old's talents among the blues greats. Then Threatt pulled an emotional stunner. Out came a tiara from a bag. It was the crown that Taylor received in 1975 when she was crowned the “Queen of the Blues.” The women placed it on the head of Copeland, whose idol was Taylor. Copeland tried her best to keep herself together emotionally as soon as she realized what was happening. The crowd erupted. “I know my mother and your father and my mother are rejoicing now as you take your crown,” Threatt said. “Shemekia Copeland is not “the new” or “the next” but ‘The Queen of the Blues.’ ” “Long live the queen!” a fan shouted.

The surprise came at a perfect time. Copeland had just performed a goosebump-inducing version of “Ghetto Child,” which she dedicated to her dad, the late blues great Johnny Copeland. His daughter walked away from the microphone and sang the song at the edge of the stage, her unamplified voice wailing across the Petrillo Music Shell pavilion seats to the Grant Park lawn. It was something to see someone attempt that, much less pull it off, in a big outdoor venue. It was one of the best concert moments I’ve witnessed, and a testament to the power of her voice.

Copeland’s compact set showcased her vocal versatility from the belting of the rollicking “Dirty Water” to the torchlight sultriness of “Salt in My Wounds” to the sexual romp of “Big Lovin’ Woman” to the mysterious simmering of “Never Goin’ Back to Memphis” to the growlin’ Koko Taylor tribute “Has Anyone Seen My Man?” Copeland’s band is worthy of her talent. Her guitarist for 13 years, Arthur Neilson, sturdy shreds hold up against Copeland’s strong voice. A second guitarist, Willie Scanlon, has been added to beef up the band’s sound, giving it a headlining fullness.

A powerful and celebratory version of “It’s 2 A.M.” closed the set with Copeland’s head spinning after bestowed the crown. “I don’t know what’s happening,” she said to herself before launching into the closer.

A celebration of Alligator Records’ 40th Anniversary followed with the Lonnie Brooks Band serving as the house band. Lonnie’s son, Wayne Baker Brooks, opened the set with two numbers including “It Don’t Work Like That” where he exhibited the loud, electric blues that define the label. A tomtom beat brought out Eddy “The Chief” Clearwater, who demonstrated the hard-driving soul of West Side blues on "A Good Leavin' Alone" and "Come Up The Hard Way." Michael “Iron Man” Burks showed the tough, muscular playing that earned him his nickname on "Strange Feeling" and "Beggin' Biz." Guitar-dominated blues took a break for Rick Estrin and his dancing harmonica bursts on "Take It Slow" and "You Can't Come Back."

Then came Lonnie Brooks, who’s recorded for the Chicago label for decades all the while keeping his native Louisiana drawl. WXRT blues champion Tom Marker met Brooks at center stage to read a proclamation by Chicago mayor Rahm Emanuel declaring it “Lonnie Brooks Day.” A proclamation honoring Alligator Records founder Bruce Iglauer was also read. A fun and fierce player, Brooks enjoyed himself and played off his son during much of his appearance, which featured “Watchdog” and “You’re Using Me.” Ronnie Baker Brooks upped the family affair when he joined his dad and brother. Everyone, including Copeland, returned to the stage for a Brooks-led “Sweet Home Chicago.” The blues staple has been beaten to death, but it came alive as the musicians onstage sang it with familial solidarity to end the festival on a high note.

Earlier in the day, Mud Morganfield, the son of Muddy Waters, not only resembled his dad physically, but in his singing, too. He looked resplendent dressed in lavender from top to bottom from his suit to his tie to even his shoes. He played some heartfelt originals backed by a six-piece band, which included guitarist Billy Flynn, drummer Kenny Smith and Harmonica Hinds, before closing with “Got My Mojo Workin’” in tribute to his dad. The tribute continued in unspoken fashion when John Primer and The Real Deal Blues Band included a rousing version of “Mannish Boy” that charged the crowd. Primer played with panache while shooting off fireworks with his guitar.

Shemekia Copeland's setlist:

Dirty Water
Givin’ Up You
Salt in My Wounds
Big Lovin’ Woman
Never Goin’ Back to Memphis
Has Anyone Seen My Man?
Pie in the Sky
Ghetto Child
It’s 2 A.M.

Start: 6:01 p.m. Finish: 7:05 p.m.
Totals: Nine songs, one hour and four minutes