Review & Photos by Greg Hamil
The chilly air on North Main Street in Rockford, IL crackled with anticipation. Inside the Coronado Theatre, however, it was a warm, timeless world of Spanish architecture and velvet seating. On November 13, 2025, Chicago, the rock and roll band with horns, brought their 58th year tour to this historic gem. The night would turn out to be not only a concert, but a masterclass in musical endurance.
The Coronado Theatre itself played a crucial role in the show. Built in 1927, it’s Moorish-inspired interior, complete with twinkling constellations painted on the ceiling provided a suitably grand setting for Chicago’s expansive sound. The theatre’s famed acoustics were perfectly suited to the precise arrangements that are the hallmark of Chicago. As the lights dimmed, the crowd erupted in appreciation for the living, breathing musicianship that was about to unfold.
The stage setup was classic Chicago. Drums and percussion (Ramon “Ray” Yslas & Walfredo Reyes Jr.) anchoring the rear, keyboards (Loren Gold & Carlos Murguia) flanking them on both sides. The three-piece brass section (trumpeter Lee Loughnane, trombonist James Pankow, and saxophonist Ray Hermann) were front and center, ready for battle. Eric Baines on bass and Tony Obrohta on guitar flanked them, with vocalist Neil Donell meandering amongst them all.
They opened with the dramatic pairing of “Introduction” and “Dialogue (Part 1 & 2).” From the first blast of Loughnane’s trumpet, the sound was immaculate. Sudden tempo shifts and unusual time signatures ruled the night. Neil Donell, displayed remarkable range and power,
The instrumental centerpiece of the first act was, predictably, “Questions 67 & 68.” The interplay between the horns and the band—especially the signature, searing trombone lines provided by founding member James Pankow—was breathtaking. Pankow, still a towering presence, remains the emotional and harmonic architect of the brass sound, his solo on this track moving from a bluesy moan to a roaring declaration that brought the audience to its feet for the first of many standing ovations. This first segment was a definitive statement: Chicago is not merely a jukebox of hits; they are a functioning, world-class ensemble capable of playing music that demands technical brilliance.
“Colour My World” always a fan favorite, was handled with delicate grace. The brass section stepped back, allowing the keyboards and guitars to dominate the texture, culminating in Ray Herrmann’s gorgeous, restrained saxophone solo—a moment of pure, melodic clarity that hushed the theater.
The mood shifted dramatically for the second half of the show, marking the band’s transition into the softer, more universally beloved pop era that defined the late ’70s and 1980s. This is where Chicago solidified its reputation as the masters of the melodic rock ballad, and the performance leaned heavily into the emotional resonance of these chart-topping songs.
Then came the run of blockbuster hits that define the band’s middle period. Starting with “Look Away”, the vocal duel between Neil Donell and Eric Bains, brought the entire theatre to its feet. “If You Leave Me Now,” perhaps the quintessential Chicago ballad, was sung beautifully by Donell, who navigated the high, sustained notes with ease, demonstrating why the current lineup maintains such a high vocal standard. This was followed by the anthemic “Hard Habit to Break” and the universally recognized “You’re the Inspiration.”
For many, these tracks are the sound of their lives, and the Coronado was transformed into a massive, sing-along karaoke session. What was particularly impressive, however, was how the band managed to inject fresh energy into these familiar tunes. Even in the land of soft-rock giants, Chicago’s core instrumental identity shines through, reminding the audience that every pop song they ever recorded was rooted in serious musicianship.
Chicago closed out the show with a flurry of high-octane songs, designed to send everyone home buzzing. Starting with the party anthem “Old Days”, followed by “Saturday in the Park”. The entire band was moving, and the horn section, now backlit in vibrant greens and blues, sounded as sharp as they had all night.
The pinnacle of the set that every person in the theatre had been waiting for, was “25 or 6 to 4.” This track is the ultimate demonstration of Chicago’s power, combining the raw energy of hard rock with the sophistication of jazz orchestration. Loughnane, Pankow, and Herrmann played their iconic riff with blinding force. In an extended version of the classic jam, each member took a moment to shine: the bass player laid down a funky, driving solo, the keyboards offered a complex, improvisational run, and then, the moment of truth—the final, soaring brass run that closes the song. It was flawless, note-perfect, and deafeningly powerful, a perfect cacophony of rock and brass that left the audience in stunned ecstasy.
Chicago’s performance at the Coronado Performance Center was a stunning success, serving as a powerful testament to the band’s place in music history. They are now an institution, a living museum of classic American rock and roll. Yet, this show felt far from museum-quality. It was a performance infused with genuine energy, fueled by a setlist that flawlessly balanced complexity with accessibility, instrumental mastery with pop perfection.
Setlist: Introduction – Dialogue (Part I & II) – Questions 67 & 68 – Alive Again – Call on Me – (I’ve Been) Searchin’ So Long – Mongonucleosis – Make Me Smile/So Much To Say, So Much to Give/Anxiety’s Moment/West Virginia Fantasies/Colour My World – To Be Free – Now More Than Ever – Old Days – Does Anybody Really Know What Time It Is? – Look Away – You’re Not Alone – Hard Habit To Break – You’re the Inspiration – Beginnings – (Your Love Keeps Liftin Me) Higher and Higher – I’m a Man – Just You ‘n’ Me – Hard to Say I’m Sorry/Get Away – Saturday In The Park – Feelin’ Stronger Every Day – Free – 25 or 6 to 4
