Nektar - The Arcada, St. Charles, Illinois 7/31/26 (images and text by Mark Kadzielawa)

Nektar's concerts are always unpredictable. In many ways, they're just like the title of their latest album, Mission to Mars. The band always has an ace up its sleeve when it comes to song selection and visual presentation. This evening was no exception—in fact, it was exceptional. Adding even more significance to the night, this latest run of shows has been billed as Derek "Mo" Moore's farewell tour.

The band came out strong with "One Day Hi One Day Lo," immediately setting the tone for the evening. What became instantly apparent was the group's outstanding musicianship, complemented by stunning visuals that accompanied every song. The concert flowed seamlessly from one track to the next, with precise performances and captivating animations that allowed the audience's imagination to travel alongside the music.

Vocalist and guitarist Ryche Chlanda did a remarkable job bringing each song to life while capturing the unique mood of every performance. Chlanda is a masterful guitarist whose distinctive playing style commands attention and keeps the audience engaged throughout the show. Keyboardist Kendall Scott added tremendous depth and texture to every song, playing an essential role in shaping Nektar's sound. Maryann Castello provided additional vocals, adding warmth and harmony that beautifully complemented the music. The vocal interplay between Chlanda, Castello, and Moore was especially creative, giving the songs a rich and natural feel

The highlight of the first set was undoubtedly "SkyWriter." The song soared, much like the animated aircraft featured in the accompanying visuals. Nektar also surprised the audience with two selections from King Crimson's debut album. This was far from coincidental—Chlanda dedicated the performances to Ian McDonald, with whom he had developed a close friendship. "I Talk to the Wind" and "The Court of the Crimson King" served as a heartfelt tribute to both that friendship and the memory of the late McDonald.

After a brief intermission, Nektar returned with "Show Me the Way" and "King of Twilight." The band continued blending classic favorites with newer material, taking creative risks by extending songs through improvisation and spirited jamming. There may have been a few technical imperfections along the way, but that was beside the point. Everyone was there to celebrate the music, and the band's passion was undeniable. "Remember the Future Part 1" was another absolute highlight—a song that never fails to captivate. Nektar even debuted a brand-new composition that had only been rehearsed a handful of times and was still being developed lyrically. The evening concluded with "Good Day," which featured enthusiastic audience participation and sent everyone home on a high note.

Much of the attention throughout the night was focused on Derek "Mo" Moore, as this tour marks his farewell to extensive touring. Having recently turned 80, Moore showed absolutely no signs of slowing down. He played with remarkable energy and determination, and during "I'm on Fire" he made it clear just how much this music still means to him. Moore's unique bass playing was perfectly complemented by drummer Jay Dittamo, whose solid performance anchored the band throughout the evening. While Moore plans to reduce his touring schedule, he has indicated that he still intends to record new albums and perform occasional shows. The truth is, it's hard to imagine Nektar without Mo.

A Nektar concert is far more than just a live performance—it's a complete sensory experience. Alongside the exceptional musicianship, the visual presentation was nothing short of spectacular. At times, it was difficult to decide whether to focus on the band or the captivating story unfolding across the giant screen. It was an impressive production that truly has to be seen to be believed. Nektar remains one of the genuine survivors of rock's golden age, and they continue to prove that they still have plenty left to say.

Mark Kadzielawa

Ted Nugent - Des Plaines Theatre, Des Plaines, Illinois July 14, 2026

 

Ted Nugent comes out of the retirement to celebrate 250 years of America!  When Ted Nugent hit the stage, it felt as though not a minute had passed since his retirement. He was sharp, funny, full of energy, and still played a mean guitar. At 77 years old, that kind of youthful vitality is a rare gift, and Nugent had plenty of it to share with the audience.

When you see Ted Nugent, you get the good, the bad, and the ugly—the full package. Whatever you came to see, it's definitely there. Nugent projected an incredible level of enthusiasm, and his genuine passion radiated throughout the performance. There is a unique atmosphere whenever performers from the classic rock era take the stage. It simply can't be duplicated, which explains why those legendary artists continue to fill concert halls. Audiences want to reconnect with the music they grew up with and recognize just how distinctive the rock of the 1960s and 1970s truly was.

Nugent moved effortlessly from song to song, always finding time to throw in a joke or share an anecdote about the track, the era in which it was written, or its subject matter. Having lived in the Chicago area for many years, he frequently name-checked local landmarks, shared personal stories, and even reminisced about his time at St. Viator High School. It all felt natural and added a personal touch to the evening.

One of the unexpected highlights of the show was a brief reunion with vocalist Bob Lehnert. Nugent and Lehnert both played with The Amboy Dukes during the 1960s, and together they performed spirited versions of the classic covers "Route 66" and "Last Time." Watching the two longtime musicians simply enjoy themselves on stage was one of the night's most memorable moments.

The Ted Nugent show felt like a party—or, as Nugent described it, a bonfire with good company and a guitar. He performed many of his classic hits alongside selections from his later career. A lifelong hunter, Nugent also paid a heartfelt tribute to Fred Bear with both a song and a visual presentation. Bear, the legendary American bowhunter and bow manufacturer, has long been one of Nugent's greatest inspirations.

The crowd erupted the moment Nugent launched into the opening chords of "Cat Scratch Fever." He followed it with "Stranglehold," keeping the energy at a fever pitch. The audience responded enthusiastically as Nugent delivered one memorable guitar lick after another. Players with his combination of technique, confidence, and stage presence are rare, and he more than lived up to his reputation. For the encore, he closed with "Great White Buffalo," another outstanding performance that showcased both his virtuosity and undeniable charisma.

Whether Nugent will continue performing after this brief tour remains to be seen. If this performance was any indication, he brought plenty of energy back with him and gave everything he had to the crowd. Whatever opinions people may have about Ted Nugent, there is little doubt that he approaches everything with passion. He remains an exceptional guitarist, an engaging performer, and someone who genuinely appreciates his audience.

Mark Kadzielawa

Gallery:

Bob Dylan – Huntington Bank Pavilion, Chicago, Illinois 7/8/26

At 85 years old, Bob Dylan remains remarkably active on the live circuit, and he continues to record new material. His albums are still highly regarded, and as a lyricist he has lost none of his wit or his keen, truthful observations of life. In fact, there is still no one who can express those truths quite as effectively as Dylan. That helps explain why large crowds continue to turn out whenever he performs.

When Dylan took the stage at Huntington Bank Pavilion, one thing became obvious almost immediately. Bob Dylan doesn't care about presentation, image, or the audience's perception of him. He simply wants the music to speak for itself. And that's exactly what the audience received. No greatest-hits parade, no flashy stage antics—just the music and Bob Dylan's uncompromising artistic vision.

Dylan performed the entire show seated behind an organ, wearing a hoodie pulled over his head. He appeared completely comfortable in that attire and never removed it throughout the evening. Considering how lyrically demanding his songs are, one might expect a teleprompter. Instead, Dylan occasionally turned pages in a notebook before each song began. He clearly had some assistance, but he never appeared dependent on it.

The songs themselves, many of them rearranged, often took on entirely different forms. Dylan has never been interested in faithfully recreating his recorded material, and it's fascinating to hear how these songs continue to evolve over the years. His voice is no longer what it once was, but he has learned to use what remains in a commanding and expressive way. In many respects, those lyrics gain new meaning when delivered through a voice that is deeper, rougher, and seasoned by experience.

The stage setup was refreshingly simple. A handful of lights surrounded the band, giving the performance the feeling of a gathering in someone's basement rather than a large outdoor venue. There was an undeniable charm to its understated presentation, creating an atmosphere that felt surprisingly intimate. Once again, the music remained the focal point. Dylan's band was outstanding—tight, expressive, and always willing to stretch out with tasteful solos that wove memorable melodies around Dylan's words. The venue also enforced a strict ban on photography and recording, allowing everyone to experience the performance without distractions.

The setlist is always an enigma when it comes to Bob Dylan. He has consistently proven to be both unpredictable and completely unconcerned with audience expectations. Once you accept that simple truth, every Dylan concert becomes an adventure. If you're fortunate, he just might perform your favorite song.

That was certainly the case here, as this writer's longtime favorite, "Man in the Long Black Coat," made an appearance. Presented in a way that barely resembled the original recording, the song nevertheless retained all of its haunting beauty while creating an even deeper emotional impact. "Black Rider" was another unexpected highlight. Although one of Dylan's newer compositions, it already carries the weight of an instant classic. "Crossing the Rubicon" was equally impressive, further demonstrating the enduring strength of Rough and Rowdy Ways. "When I Paint My Masterpiece" and "It Ain't Me, Babe" provided welcome reminders of Dylan's classic catalog, but the evening largely focused on his more recent work. While some in the audience undoubtedly hoped for familiar favorites, Dylan remained steadfastly committed to his own artistic path.

Even at 85 years old, Bob Dylan remains a force to be reckoned with. He is an artist of unwavering integrity who has never compromised his vision, and this performance reinforced that fact once again. There is nothing artificial about Bob Dylan. In some ways, it almost felt as though he wasn't physically present, yet his presence was felt in every song. Perhaps that's exactly the way he wanted it.

Mark Kadzielawa

Yes – From a Page (Mercury)

 

From a Page is a long-lost Yes album documenting one of the band's most transitional periods, spanning roughly 2008 to 2011. While some of this material had previously surfaced and largely went unnoticed, this is the definitive release—expanded, thoughtfully remastered, and finally presented in a way that allows these recordings to be fully appreciated.

Keyboardist Oliver Wakeman oversaw the project and worked tirelessly to complete it, tying together every possible musical loose end. His struggles and the many challenges involved are extensively documented in the accompanying booklet, and in some cases, you have to read the story to believe it. Wakeman deserves enormous credit for bringing this project to life and allowing it to finally breathe.

From a Page features the lineup that—minus Wakeman—would later record Fly From Here with Trevor Horn producing. It offers a fascinating glimpse into where the band was heading musically and captures the creative spirit of Yes during that era. In fact, there's something about From a Page that feels more organic and cohesive than Fly From Here.

The most welcome addition is "Aliens," a song written by Chris Squire that eventually appeared on the Squackett album with Steve Hackett. It's a mysterious and ambitious composition that Squire often performed during his solo spot on the 2008 tour. Even then, it always sounded more like a Yes song than anything else.  And those Jules Verne inspired lyrics really dig deep too.

"Words on a Page" is an instant Yes classic, highlighted by an exceptional lead guitar performance from Steve Howe. "In the Moment" and "The Gift of Love" are equally strong, each possessing that unmistakable quality that has always defined the band's finest work. Benoît David delivers an excellent vocal performance throughout the album and deserves considerable credit for stepping into one of rock's most demanding roles while helping to keep the music of Yes alive during a challenging period.

The two CDs included in this set capture the essence of recording sessions that, until now, never fully came to fruition. Beautifully packaged in a box complete with a poster and a set of collectible cards, From a Page feels like much more than another archival release. It stands as a rewarding musical document and a genuine labor of love, giving these overlooked recordings the presentation they always deserved.

Mark Kadzielawa

Deep Purple – Splat! (Ear Music)

 

The promo sticker proclaims this record to be a masterpiece. While the album is excellent, "masterpiece" feels like an overstatement. If anything, the band plays it somewhat safe, but there are more than enough fireworks to keep listeners coming back for months. If =1 reinvented Deep Purple and successfully introduced Simon McBride as the band's new guitarist, Splat! feels more like another day at the office—but it's an office where things frequently catch on fire.

Splat! is a very solid record from a band that knows exactly how to rock. The performances are outstanding, the melodies are memorable, and the group has apparently mastered the art of coming up with delightfully tacky album titles. "Arrogant Boy" opens with a punch, immediately putting Deep Purple in full take-care-of-business mode. "Diablo" is where things really take off and is probably the album's standout track. The dialogue between Don Airey and Simon McBride is exhilarating, recalling the musical chemistry that made Deep Purple so dangerous in the early 1970s. "Guilt Trippin'" is another killer track, packed with classic Purple elements turned up to the max. It rocks hard. "Scriblin' Gib'rish" is simply a fun song, pairing a dark melodic foundation with clever lyrical wordplay. From beginning to end, Splat! delivers a thoroughly enjoyable 51-minute adventure.

What stands out most is just how much fun Deep Purple is having. The musical execution is superb, and Ian Gillan clearly relishes both his lyrics and the way he delivers them. His trademark sarcasm, wit, over-the-top sense of humor, and uniquely British eccentricity are woven throughout the album. Considering the advanced age of the band's core members, it's remarkable that they continue to produce records of this quality. Long may they continue.

Splat! doesn't reinvent Deep Purple or attempt to break new ground, but it further cements the legacy of one of rock's greatest bands. It's an engaging listen, full of unexpected twists and turns. Over the years, the band has also developed a gentler, more reflective side, and that dimension is very much present here. It provides a welcome balance to the heavier material and gives the album additional depth. Throughout Splat!, the joy of creating and playing music is unmistakable. As a listener, you can't help but share in that joy—and you'll want to return to it again and again.

Mark Kadzielawa

Suzi Quatro – Freedom (Chrysalis)

 

Suzi Quatro is a dynamo. She brings endless energy and rocks as hard as ever. One look at the front cover tells you you're in for a fast, exhilarating ride. Even at this stage of her career, Suzi shows no signs of slowing down. She's a rocker to the very end.

Freedom is an engaging listen from start to finish. Suzi changes the pace throughout the album, delivering a balanced collection of songs that are consistently catchy and stamped with her signature Quatro edge. The energy never fades, making it impossible not to sing, dance, and move along with the music.

Several tracks have genuine hit potential, though they will likely slip under the mainstream radar. Suzi Quatro has already enjoyed her time in the spotlight, and popular tastes have naturally shifted over the years. That doesn't diminish the strength of the material. Instead, Freedom reminds longtime fans that she's still making vibrant, powerful rock music and can out-rock artists half her age.

The album also offers some thoughtful retrospective moments, particularly on "Choose Yourself," where Suzi reflects on life's challenges and the wisdom she's gained along the way. As much as Freedom is a hard-rocking album, it's also a mature and introspective record. Having experienced both the highs and lows of life in and out of the spotlight, Suzi is more than qualified to share her perspective. The lyrical content gives the album added emotional depth and substance.

The record closes with a spirited cover of "Kick Out the Jams" by MC5, featuring special guest Alice Cooper. It's a fitting finale that brings everything back to Detroit, where Quatro, Cooper, and MC5 all began their musical journeys. If this turns out to be Suzi Quatro's final studio album, she'll be going out on a high note. But knowing Suzi, there's probably still another ace waiting up her sleeve.

Mark Kadzielawa

Yes - Aurora (InsideOut)

 

Aurora is the fourth Yes album with Jon Davison on vocals. At this point, Davison has clearly found his place within the band. He wrote or co-wrote the majority of the album's material, and his songwriting partnership with Steve Howe is particularly impressive. Many may question Yes's relevance in 2026, but Aurora possesses a genuine sense of harmony that makes those debates seem almost irrelevant.

Steve Howe is the only original member remaining, but the collective strength of this lineup of outstanding musicians makes the album work. The music flows naturally and is generally gentler than the Yes of earlier decades. What's missing is the unmistakable presence of Chris Squire—his aggressive playing style, distinctive phrasing, and endlessly creative approach to every song. Billy Sherwood does an excellent job on bass, but there was something uniquely natural in Squire's musical DNA that made him an essential part of the band's identity. Geoff Downes also performs admirably on keyboards, although he can never quite recreate the extraordinary musical dialogue that Howe shared with Rick Wakeman.

Aurora contains plenty of great moments and is an enjoyable album from beginning to end. The more you listen, the more you're drawn to the melodies hidden within each track. The songs are intricate and firmly rooted in the classic Yes tradition, enriched by layered vocal harmonies and orchestral arrangements performed by the Czech National Symphony Orchestra. The result is an ambitious, impressive production that's difficult not to admire.

While the title track stands out with its memorable chorus, it's "Countermovement" that ultimately steals the spotlight. It's a magnificent epic featuring multiple movements, adventurous arrangements, and a compelling sense of momentum. The album is remarkably balanced, and the individual performances are superb throughout. Aurora possesses that special quality longtime Yes fans recognize and appreciate, proving that the band's creative spirit remains very much intact.

Mark Kadzielawa