In an era where a musician’s every move at concerts is often recorded and uploaded to the Internet, the idea of testing out new songs from forthcoming albums has fallen out of favor. Most established artists stick with the familiar, sacrificing surprise in favor of maintaining an illusion of control over their work. Not Alabama Shakes.
On the third date of its tour Saturday at a sold-out Chicago Theatre, the group seemingly performed every track off its highly anticipated “Sound & Color” record, not slated for release until April 21. The bold decision—and gutsier 90-minute set—served notice Alabama Shakes is no longer the same quartet that made a name for itself with its 2012 debut and acclaimed live shows. Augmented by two instrumentalists and three backing vocalists, the band already looked ready to graduate to bigger venues. Challenging the audience with ambitious material steeped in texture, moodiness and nuance, it also sounded eager to jettison the soul-revivalist label occasionally linked to its reputation.
Energetic front woman/guitarist Brittany Howard remains Alabama Shakes’ guiding force. A lightning bolt of a singer who can move from whisper-quiet delicacy to rafter-rattling belting within one line, she conveyed a broader scope of emotion and more formidable vocal range than in years past. Tossing her head to and fro, she stewed and scolded, confessed and commanded, ached and agonized. Words took on the form of cries, whoops, pleas, quivers and shouts. Sometimes, the feelings proved so intense, Howard’s deliveries resembled prayers offered up to an imaginary higher power.
Akin to her unassuming band mates, Howard maximized each song’s potential by underlining the silences between the notes. Alabama Shakes let the music breathe and dynamic contrasts flourish, particularly on their new fare, none of which was introduced by name. Minimalist arrangements and patient tempos allowed the group ample opportunities to build momentum from various devices—snapped fingers, subtle bass lines, thumbed chords, tapped cymbals. Alabama Shakes let everything simmer, including Howard’s tonal blend of primal gospel, throaty R&B and smoky jazz.
While rooted in soul and blues, songs like the funky “Don’t Wanna Fight” and “Guess Who” shifted in unexpected directions. So did the back-and-forth “Gimme All Your Love” and streetwise “Shoegaze,” each examples of how added restraint increases the impact of big-payoff moments such an urgent chorus during a rave-up or explosive crescendo on a ballad.
“I still ain’t got what I want,” Howard howled on one of the standout new songs, knocking over the microphone stand in the process. Consider the declaration fair warning not to stand in her way.