If your ears need a rest, we hear you. Chicago hosted an astonishing number of concerts in 2025.
There was no shortage of events that lured fans from the city, the Midwest and places further afield. On that list: Lollapalooza, Riot Fest, Lyrical Lemonade Summer Smash, Beyoncé, Lady Gaga, K-pop stars Stray Kids and Paul McCartney. The last joined a surprising number of septuagenarian and octogenarian legends — Robert Plant, Paul Simon, Patti Smith, Neil Young, and the principal members of AC/DC and Kraftwerk included — who turned in memorable performances during the twilight of their careers.
Bummers and busts happened, but the disappointments help put into perspective the very good and the remarkable.
Jason Isbell at the Auditorium Theatre, Feb. 15
With his skills and accomplishments with an amplified band well-documented, Jason Isbell executed the equivalent of a 180-degree reversal at his first-ever local solo appearance. Seated for the duration, the Alabama native mesmerized with a handful of acoustic guitars, descriptive storytelling and, in what emerged as a pleasant revelation, spotlit vocals whose command and expressiveness matched that of his virtuosic six-string abilities. The bare-bones intimacy and pin-drop quiet acoustics reinforced Isbell’s standing as one of the finest songwriters of his generation. His no-frills presentation and willingness to take risks — he played seven songs from his then-unreleased “Foxes in the Snow” LP for an audience unfamiliar with nearly all of them — served as reminders that spectacle doesn’t always carry the day.
Jack White at Salt Shed, April 10
You could tell Jack White was feeling it at the first of a sold-out two-night stand at Salt Shed before he played a note. He began by greeting the crowd like dearly missed friends before throwing himself into high-voltage songs as if he’d recently discovered the menacing thrills that come with plugging instruments into loud amplifiers and stomping on effects pedals. White and his formidable three-piece backing band served everything raw. Gleeful disrupters, they shredded scripts and torched boundaries. They pulled apart and reconstructed solo fare, White Stripes favorites and cover tunes. Unable to stand still, White increased the energy with animated movements and man-of-a-thousand-voices declarations. The guerilla-style ambush implied rock ‘n’ roll’s vocabulary still has room to expand.
Beyoncé at Soldier Field, May 15
Less than two years removed from her blockbuster “Renaissance” shows at the same stadium, what would Beyoncé do for an encore? Go bigger, of course. All the while challenging common assumptions about identity and music. The lion’s share of her “Cowboy Carter” extravaganza unfolded as an intelligent reckoning of American history, culture and language. As much a reclamation of whitewashed history and assertion of long-overdue recognition as a joyous concert that seamlessly blurred lines between genres, it established new standards for visual symbolism in the larger pop sphere. For all the instantly sharable appeal of the snazzy costumes, choreographed routines and mechanical bulls, Beyoncé’s outsized confidence and defiant attitude left the deepest impressions. Backed by an ace band and dance squadron, this was the global superstar gone maverick — a rebel with a cause.
Paul Simon at Symphony Center, May 21
Few aspects of Paul Simon’s opening of a three-night stand work on paper. A singer whose once-harmonious voice showed clear signs of thinness and frailty. A first set devoted to a start-to-finish interpretation of the recent “Seven Psalms,” the least commercially successful album of Simon’s career. The decision to bypass classics for deep cuts. Yet practically every moment captivated. Simon chased mystery with the intrepidness of a youthful voyager. Ruminating on mortality, faith, doubt and home, he revealed how little we really control or know. And his acoustic hymns and calm deliveries landed with a quiet, reflective beauty on a par with Zen meditation. Part soothing balm and part spiritual exploration, Simon’s “conversation” doubled as an unspoken dialogue we often have with ourselves and the universe.
Kendrick Lamar at Soldier Field, June 6
Kendrick Lamar started the year with five Grammy Awards and the most-watched Super Bowl halftime show in history. When his record-shattering Grand National Tour pulled into Soldier Field in June, Lamar justified the acclaim and attention. To quote hip hop pioneers Eric B. and Rakim, he “let the rhythm hit ‘em.” Leveraging extraordinary focus, diction and phrasing, Lamar let words to bob and weave, jab and pummel. His broad storytelling arc spanned an array of emotions, and his vocal dynamics mirrored the smooth hydraulics of the 1987 Buick GNX coupe that functioned as a central prop. Even the inadvisable decision to interweave his program with that of co-headliner SZA couldn’t derail the primacy of a rapper who just might be the GOAT in his field.
Nine Inch Nails at the United Center, Aug. 19
The fact that Nine Inch Nails felt more relevant at the opening of their two-night run at the United Center than during their ‘90s heyday is a credit to leader Trent Reznor’s vision — and sobering reflection of where we’ve headed as a society. No longer coming across as personal screeds, Reznor’s toxic songs spoke to systemic shifts in modern technology, communication, industry, wealth, health care and politics. In the same manner that novels such as George Orwell’s “1984” foresaw the future, Nine Inch Nails’ dystopian-minded setlist echoed present circumstances despite being almost entirely comprised of decades-old works. The band’s lean attack and chiaroscuro lighting underscored the stakes: What were once distressful warning signals had transformed into bleak truths.
Dua Lipa at the United Center, Sept. 5
Few entertainment realms are currently more competitive than contemporary pop. Dua Lipa separated herself from the pack when she spearheaded a disco-laden dance party at the United Center in September. Composed and disciplined, she represented a maturer, sleeker kind of female diva. Somebody unbeholden to fleeting trends or tawdry humor. Someone who regarded a strong vocal range as a primary asset and didn’t airbrush imperfections. A confident, charismatic personality who valued accessibility and sincerity, her celebrity status and gorgeous appearance be damned. Lipa’s black-tie soulfulness and finger-wagging playfulness dovetailed with her tasteful sense in fashion and lighting. With such fluid and harmonious execution, she set a high bar for herself to follow — and offered plenty of reasons to watch what she does next.
Lady Gaga at the United Center, Sept. 15
Because Lady Gaga craved a more intimate connection with her fanbase of “little monsters,” she hosted her Mayhem Ball in arenas instead of stadiums. The multi-hyphenate took full advantage of the smaller confines. Her all-out spectacular shattered the limits on what’s possible in a touring production, integrating grand theatricality, surrealist fantasy, gothic horror, lavish scenery, epic narratives and gripping music into a cohesive whole. It dazzled with imaginative costumes, cutting-edge props, on-point choreography and Gaga’s rich singing. It cleverly referenced a litany of literary, visual and operatic works. And it inspired deeper thinking with its mind-bending originality and relevance, especially via the ways it addressed fame, mustered bliss and challenged fear. If that weren’t enough, Gaga re-contextualized the meaning of select songs and rearranged others to magnificent effect. If you have an opportunity to attend this ball when it swings through parts of the U.S. early next year, book your ticket.
Robert Plant at the Vic Theatre, Nov. 12
Robert Plant remains the premier example of why following one’s creative muse begets more rewards and adventures than following the nostalgic reunion route. He could rake in millions per gig if he re-teamed with guitarist Jimmy Page under the Led Zeppelin banner. However, it’s unlikely he’d be as enthused or enthralled as he was delving into more than a century’s worth of “lost and found” music with his latest ensemble, Saving Grace. Demonstrating superb chemistry and ease, the collective of friends from the Welsh Borders whisked fans on sonic journeys to the United Kingdom, Africa and the Deep South. It cracked open the DNA of English ballads, psychedelic dirges, gospel traditionals, Zeppelin chestnuts and more. At 77, Plant, who sang with nuance and texture, remains insatiably curious about ideas and correlations. A lesson for us all.
Paul McCartney at the United Center, Nov. 24
Eight-plus years passed between Paul McCartney’s prior Chicago-area appearance and his two-show engagement before Thanksgiving. A long time for any musician, and a veritable eternity for a rock ‘n’ roller born in June 1942. If you didn’t know better, you’d have been hard-pressed to believe McCartney’s age, the way he acted and sounded at an unforgettable night at the United Center. Stamina? He bopped, sang, triggered bass lines, strummed guitar chords and banged piano keys for just shy of three hours. Warmth? He brought love, happiness and hope to a fractured world. Songs? Completely invested in their aims, he and his crackerjack band made close to three dozen Beatles, Wings and solo McCartney tunes fresh, addictive and timeless. Memories? He bonded disparate generations together through melodies, harmonies and sing-along hooks. If this happens to be Macca’s final Chicago trip, what a parting gift.
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Bob Gendron is a freelance critic.