Album Reviews
Movies
Concert Reviews

Top 10
Resources
Contact Us

As the line extended several blocks past the Vic Theatre in below freezing temperatures on a cold December Sunday in Chicago, I heard one chilled concertgoer say to a nearby patron, “I wish they could have had this concert on the original date.” That fan was referring to the fateful day the nation changed forever, September 11, 2001, which just so happens to be the original date Lifehouse’s latest leg of their "No Name Face" tour was supposed to touch down in the windy city.

Although the country has picked up as many pieces possible since the tragic attack, Lifehouse brought additional words of encouragement to those seeking solace in this messed up world. Clearly vocalist Jason Wade had the same sentiments as that anxious fan when he greeted the audience with appreciation for their patience. “We wish we could’ve played in Chicago on September 11th,” he said after the band’s opening rendition of their latest single “Sick Cycle Carousel.” “Thanks for making it out here on a Sunday night even though it took us so long to come back.” It was that brief comment that turned out to be Wade’s one and only throughout the evening, as he let his lyrics do the rest of the talking.

Lifehouse is known for their blend of alternative and modern rock with an influential hint of Pearl Jam and Creed. Like faith based mainstread rockers Creed, the group incorporates spirituality into their lyrics, which for the believer can be apparent, but for the uninterested be interpreted in another manner. Regardless of one’s beliefs, songs like “Unknown,” “Only One,” “Breathing,” and “Hanging By a Moment” were laden with enough inspirational euphemisms to make attendees get a feeling of introspective peace. 

Those tracks combined a hard-hitting message with equally catchy hooks Sunday night, although they could’ve made an even more flavorful statement if Wade took greater charge of his role as Lifehouse’s front man. He’s improved minimally from the group’s last major appearance in town opening for Matchbox Twenty in March, simply standing within the immediate radius of his microphone stand and often closing his eyes to avoid contact with fans. Perhaps the aforementioned rockers, or the acoustic ballad “Trying” could have made a bolder connection with some more entertaining movements from Wade. 

Regardless of his persona, there was no denying the electricity behind the band’s rhythmic crescendos during “Everything.” The mysterious lines “You are the strength that keeps me walking/ You are the hope that keeps me trusting/ You are the life to my soul/ You are my purpose/ You are everything” perhaps refer to the band’s faith in a Higher Power or hope in their tangible relationships here on earth. Lifehouse also displayed the stylistically similar “Take Me Away,” which held attendees interest thanks primarily to its building momentum. The group was able to carry that enthusiasm into their encores of “Quasimodo” and “Simon.” Although not dealing specifically with a matter of faith, the latter spoke loudly to the mostly teenage crowd telling the story of a person who grew up as an ostracized adolescent. Wade loudly emphasized with the often ostracized character during his chants “And I have felt the same/ As you, I’ve felt the same.”

In a period when all Americans are feeling the same thing, regardless of age, race, and even religion, it was those words that took on a new meaning as Lifehouse closed their set. Now if only Wade would take some stage presence lessons from Eddie Vedder or Scott Stapp, then Lifehouse would be guaranteed to stay in business for quite some time to come.