Live Review: Stereophonics at The Vic Theatre • Chicago

Brassneck | April 2, 2025

Stereophonics

The Vic Theatre,

Chicago, IL

Sunday, March 30, 2025

Live review and photos by Jeff Elbel

Welsh rock heroes, Stereophonics reunited with a sold-out roomful of Chicago-based fans to close the weekend at the Vic Theatre. Sunday’s setlist was loaded with European hit singles and favorites of the band’s devoted local cult. In addition to singalong anthems like “Graffiti on the Train,” the band introduced a pair of new songs from the forthcoming album Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait. “Handbags and Gladrags,” “Bartender and The Thief,” and “A Thousand Trees” were among a few conspicuous absences during a nonetheless generous set spanning a 33-year career.

After an opening salvo of “Vegas Two Times,” “I Wanna Get Lost with You,” and “Do Ya Feel My Love,” frontman Kelly Jones rattled off a list of his favorite things about Chicago. He cited local jazz and the enduring blues of Muddy Waters and Howlin’ Wolf before throwing in deep dish pizza for good measure. Jones then led the willing crowd through the “ba ba ba” chorus of the sunny “Have a Nice Day.”

New single “There’s Always Gonna Be Something” stretched into a mesmerizing Stonesy vibe a la “You Can’t Always Get What You Want.” Atop mid-tempo power chords and Adam Zindani’s ringing arpeggios, Jones sang in his husky voice about struggling to deal with seasons of uncertainty. “There’s always gonna be something,” he sang with relatable resignation. “So what’s it gonna be today?”

When the band dove into the outsized emotion of “Just Looking,” it was clear that the audience was fully on the band’s side. Bassist Richard Jones got the crowd clapping while fans sang the arena-sized chorus at top volume.

Jones moved to piano to sing the intimate “Boy on a Bike,” introducing the song with fond memories of innocent childhood joy.

The song’s elated coda featured a stirring trumpet solo from multi-instrumentalist Tony Kirkham. Urgent rocker “Superman” followed with a surging shift of energy.

Additional highlights included the soulful “Maybe Tomorrow,” led by Jones on acoustic guitar. “Maybe tomorrow I’ll find my way home,” sang the crowd and band in unison. Scattered expatriates in the room waved Welsh flags, matched by the red dragon sitting atop Jones’ amplifier.

“Traffic” was a soothing song for frustrating circumstances, with Jones’ picturesque guesses about the lives of those around him during a crowded drive. The song was reminiscent of Travis’s gentle but intense fare. The song’s chorus echoed a familiar Stereophonics theme about belonging.

“Mr. and Mrs. Smith” featured a thundering solo from Jamie Morrison, his mop of curly hair flailing with the beat.

When sitting to play a ukulele for “I Wouldn’t Believe Your Radio,” Jones told a story about touring with David Bowie. Not wanting to inconvenience their hero while on the road, Jones said the band would soundcheck with snippets of songs. The singer described one night when Bowie watched from the wings as the band prepared. Afterward, the singer said Bowie threw his arm over Jones’ shoulder and said, “You know, if you extended a few of those songs, you might be fucking awesome.”

The troubled and yearning new song “Seems Like You Don’t Know Me” unfolded with Morrison’s motorik beat and clouds of keyboards, reminiscent of Don Henley’s “The Boys of Summer.” “My back’s against the wall,” repeated Jones as the singer crescendoed.

Zindani played muscular Telecaster leads against Jones’ acoustic guitar during the waltz-time “Fly Like an Eagle.” The song’s chorus of “everything’s gonna be all right” repeated as a reassuring mantra for troubled times.

The main set concluded with brash and driving rocker “C’est la Vie” and the skyfaring anthem “Local Boy in the Photograph,” bringing the audience to a fever pitch.

The band encored with the heavy swing of the melancholy and bitter yet riveting “Mr. Writer” and the soaring ballad “Hurry Up and Wait.” The show concluded on an ecstatic note with the anthemic “Dakota” and full-throated accompaniment by the assembled Vic Theatre choir. The band departed on a high note. In truth, however, Stereophonics’ connection to its audience is such that most of the set was greeted with the type of fervent response and participation reserved in many other band’s performances for moments like this.