Bon Iver, Chicago Theatre, Chicago

Before Justin Vernon, better known as Bon Iver, and his band even play a note, they receive a standing ovation. It is the first hint of the night that Vernon has perhaps transcended his nearly mythical reputation as “that guy who shut himself in a cabin and recorded an album.” Bon Iver’s new self-titled album marks a notable shift away from the irresistible stripped-down warmth of guitar and vocals that characterized ‘For Emma, Forever Ago’, Vernon’s much-loved 2008 debut. The new album features more complex and dense ambient landscapes, yet it still retains ‘For Emma’’s treasured intimacy and is just as stunning.

The musical shift on display between the two albums translates to the live experience of Bon Iver as well. To meet the broader needs of new album, Vernon has gathered a remarkable array of musicians, including a trombonist / percussionist / beatboxer, two guitarists / violinists, two drummers (with three kick drums), a trumpet / keyboardist, and a bassist / saxophonist. Colin Stetson was also a part of the band, notable for his unique technique on an instrument many people don’t even know exists - the bass saxophone.



With such an eclectic array of highly talented musicians at his disposal, Vernon works through the self-titled album in order up to ‘Wash’, excluding only ‘Michicant’, which is included later in the set. Each song’s live version was as jaw-dropping and resplendent as their album versions demand, setting the listeners in a daze early on.

Just as the audience begin to expect a full run-down of the new album, Vernon announces, “This is an old one.” The vast array of the band’s talent is then put to use on ‘Creature Fear’. The mellow tone of the trombone solo in front seems so natural that one wonders why it isn’t on the original recording. The verse comes in backed with subdued electric guitars and a drum pattern that could best be described as a folk-shuffle. When the chorus arrives, its power is overwhelming, with Vernon’s beautiful and earnest falsetto backed by a bold wash of unrelenting drums and guitars, the lights flicking on and off on every beat to create a complimentary visual effect. The song’s inseparable end segment, ‘Team’, begins with Vernon and the two other guitarists kneeling down and playing percussive sounds on their guitars while the drums pounded away. The song gradually swells and staggeringly climaxes into a full-band jam. It is arguably the highlight of the show, the rare virtuosic combination of raw emotional power and musical prowess that marks a truly memorable performance, and we’re only halfway into the set.

The band continues with a version of ‘Blood Bank’ that is refreshing in its electrified reworking. Then comes ‘Flume’, which begins with Vernon singing alone with his guitar and moving the audience with his earnestness as he cries, “Only love is all maroon…” Once the band comes in after the first chorus, the song manages to build while keeping the sincerity of Vernon alone. The band then exits the stage, leaving Vernon alone for the first time to perform ‘Re: Stacks’. The devotion and engrossment of the audience is clear as in the intimate silence of the gorgeous combination Vernon’s guitar and his voice lamenting, “This is boring me, this is paradise,” not a sound could be heard from any other point in the theatre.

The first set cruises on the strong note the preceding songs have promised, moving from the luscious ‘Calgary’ to a cover of Bjork’s ‘Who Is It’ (which has sideman Reggie Pace flawlessly beatboxing the entire time) and ‘Michicant’. It ends with ‘The Wolves (Act I and II)’ and Vernon urging the audience to join in the refrain “what might have been lost.” He successfully moves them dynamically with the band from whisper to scream.

As the break between first set and encore offers reflection, two things became clear. Firstly, Vernon is an excellent guitarist, as evidenced by his noodling between songs and his joking cry of “Let’s do a shuffle, guys!” followed by five seconds of an effortless standard riff. Secondly, instead of Colin Stetson being strictly a lead soloist on a song, he and other soloists were a colorful background detail, adding complexity as the rest of the band climaxes.

The encore begins with ‘Skinny Love’, which has Vernon sitting with a resonator guitar and his band surrounding him in a semicircle providing percussion by stomping and clapping. The strong echo of the audience singing along on the chorus must have been overwhelming to Vernon. Throughout the entire show he is very humble and engages with the audience’s random shouts, which included everything from “Nice outfit!” to “Nice abs!” (which Vernon, wearing a jacket and tie, deemed the best thing he ever heard at a concert).

The brass chorus featured in ‘For Emma’ moves many in the now-standing audience to dancing. The concert ends with ‘Beth/Rest’, the final song on the new album. It showcases Vernon’s powerful voice brilliantly and offers an appropriate sincere and sentimental note to end the show. As the song rises and ends, and as the lights turn on, the audience is still captivated. “That guy who shut himself in a cabin and recorded an album” doesn’t even begin to give Bon Iver justice.