Chicago Blues Festival, Millennium Park – Chicago, June 7, 2026

Chicago Blues Festival

June 7, 2026

Review: Linda Cain

Photos: Dianne Bruce Dunklau

Taj Mahal/ photo: Dianne Bruce Dunklau

Chicago Blues Festival

June 7 , 2026

Taj Mahal & The Phantom Blues Band, Chris Cain, Sue Foley, Women in Blues Tribute to Mama Yancey & Big Mama Thornton

 And now we find ourselves on Sunday the last day of Chicago Blues Festival 2026.

After two days in Millennium Park and the Ramova Theater events on Thursday (which the fans were still raving about) the question on the floor was: How can you top all of that?

WOMEN IN BLUES TRIBUTE to MAMA YANCEY & BIG MAMA THORNTON

The answer came in the opening set on the Pritzker Stage with the debut of Women in Blues Tribute to Mama Yancey and Big Mama Thornton. What a sight it was to see six of Chicago’s top female blues singers, all seated and lined up across the huge stage:

Katherine Davis, Nora Jean Wallace, Melody Angel, Deitra Farr, Mary Lane and Lynne Jordan, all backed my Lynne’s stellar band The Shivers.

And on stage right of them was blues piano queen Lee Kanehira pounding and tickling the upright piano in the manner of Mama Estelle Yancey and her husband Jimmy Yancey.

The couple performed and recorded together in the 1930s-‘50s, a career highlighted by a concert at Carnegie Hall in 1948.

Lynne Jordan, dressed in colorful tie-dye attire and beaded African jewelry, acted as the emcee as she told the audience about blues singer Mama Yancey’s life and music, which continues to influence blues artists today.

Photo: Lynne Jordan

Nora Jean kicked off with a lively, hip-shakin’ version of an early version of “C.C. Rider” that got us warmed up. Her gritty vocals were the epitome of the blues.

Pianist Lee Kanehira accompanied singer Katherine Davis for “How Long Blues,” as Lynne Jordan harmonized from the far side of the stage. Katherine’s longtime piano partner, the masterful Erwin Helfer, who is now retired, recorded with Yancey when she was in her 80s. Katherine specializes in singing historical blues styles.

Next was Deitra’s turn for one of Yancey’s most famous songs “Palette on the Floor,” performed as a breezy shuffle,  accented by the swingin’ horn section and a sax solo by Mike Jackson, plus a guitar build up by Ric Hall that had the crowd cheering.  “Gonna get up in the morning/ Cook you a red hot meal.” Deitra slapped out the beat on her leg, and sang out with her rich, smoky voice as she egged on her bandmates.

Photo: Deitra Farr

 Deitra was a personal friend of Yancey’s, who lived most of her life in Chicago and performed for the first ever Chicago Blues Festival in 1984.

Katherine Davis, accompanied by only Lee on piano, spoke about Yancey’s songwriting skills and how those songs influenced blues music through the ages. The singer wrung emotion from every word of the slow, sad blues tune “4 O’Clock Blues,” about a woman with an empty bed and a missing lover. Lee played a sad piano solo that matched the mood.

Photo: Katherine Davis

For Katherine’s next number, the tempo shifted to an upbeat swingin’ boogie for “Every Day of the Week,” with Mama’s racy lyrics about her sugar bowl and jelly roll with a different man for every day of the week. Ric Hall, Lee Kanehira and Mike Jackson each turned in vibrant solos that got the audience cheering.

Photo: Lynne Jordan

The emcee now took a turn, and Lynne thrilled us with her powerful, octave scaling vocals and sassy stage personae for the timeless classic “Trouble in Mind.” Lynne ordered a guitar solo from Ric Hall and Kenny blew his trumpet for her too, as the band crescendo-ed for the big finish.

Now it was time for the Big Mama Thornton tribute. Lynne told us about Willie Mae Thornton’s life and career, as Melody Angel, the youngest of the singers, strapped on her purple and white Fender Strat for “My Heavy Load.” Melody and the band built the drama, as she furiously played rhythm guitar and screamed and shouted “Why do I have to worry?! She played a stinging solo and leaped in the air to finish her tune, as the photographers in the pit clicked away and the fans went wild.

Photo: Melody Angel

Melody then played a rockin’ version of Big Mama’s “Won’t You Be My Chauffer” with an energetic guitar solo accented by the big bold sound of the horn section, as her powerful voice rang out and the fans cheered her on. Melody moved to the front of the stage and jumped up for the big finish, as the audience and photographers showed their love.

Nora Jean kept the excitement going with her rendition of “I Smell A Rat”, as she got down to business,  telling off her man  with her bold, commanding voice and finger pointing. The band had to work hard to keep up with Nora; she was on fire!

The honor of singing “Little Red Rooster” went to Mary Lane, who is “90 years young.” Emcee Lynne introduced Mary and asked her, “How do you stay so young?” Mary replied, “I have a young man.” Everyone laughed and applauded approvingly.

Photo: Mary Lane

Mary grew up in the cotton fields down South and became part of Chicago’s booming blues scene when she moved up North. Mary was born in the blues and she sang “Rooster” with impeccable timing, rhythm and nuance. Ric Hall’s guitar mimicked the appropriate sounds for a rooster and a hound. Mary ended the song on a well-timed stop. The audience cheered and gave the high-spirited blues mama a standing ovation!

Nora Jean took to the mic, with an intro by Shivers keyboardist Raymond Glower, for the Big Mama classic “Ball and Chain” which was famously covered by Janis Joplin. It was an earth-shakin’ treatment that began slowly and built up to full-tilt. Nora Jean owned it, as she pointed , shouted and testified about how it feels, that ball and chain. Her deep gritty voice gave way to high pitched wails that raised a few goosebumps and blew us away.

Photo: Nora Jean

Melody Angel wasted no time to strap on her guitar and fiercely belt out: “You ain’t nuthin’ but a hound dog!” and the rockin’ beat got us dancing for the final number -- Big Mama’s biggest hit, which also helped launch Elvis Presley’s career. One by one, the ladies took turns singing a verse. Lynne introduced the Shivers, while they played quietly and the ladies chanted “hound dog” in time. On keys: Raymond Glower, tenor sax: Mike Jackson, trumpet: Kenny Anderson, trombone: Johnny Cotton, bass: Ted Fullerton, guitar: Ric Hall (on loan from Buddy Guy’s band), plus piano: Lee Kanehira (Cash Box Kings).

Melody hit the mic again to sing the final verse, the ladies sang out and got us clapping in time for the big finale as the fans hooted and howled.

The camaraderie, joy and humor these fabulous Chicago blues women shared on stage for this very special tribute was palpable. It was, as emcee Lynne described, “a diva sisterhood.”

SUE FOLEY

The Women in Blues tribute was a tough act to follow, but Sue Foley was up to the task.

Sue Foley holds a doctorate in musicology and she knows her music history – especially blues styles and female guitarists. Her originals and covers reflect her influences and knowledge of Chicago and Texas old school styles. She doesn’t use effects pedals and prefers to create the sound she wants with her fingers and hands.

She has been honored with a record number of Canadian JUNO and Maple Blues Music awards, and she has five consecutive Blues Music Awards from the Memphis Blues Foundation.

Sue was nominated for a Grammy for her most recent release One Guitar Woman, a solo acoustic tribute to influential female guitarists throughout history.

Photo: Arjuna Contreras (drums), Sue Foley (guitar), Jon Penner (bass), Reo Casey (guitar, keys)

She and her three-piece backing band – longtime bass player Jon Penner, drummer Arjuna Contreras, and keyboard/guitarist Reo Casey -- opened with an instrumental. The Texas retro-style tune displayed Sue’s dazzling guitar technique as she stroked, plucked, slid and rubbed up and down the fretboard of her beloved Pinky – a paisley pink Telecaster that is her signature guitar. Pinky’s Blues is also the name of her award-winning album from 2021; Pinky’s image graces the cover of her brand new book Guitar Women.

The next tune, “Hurricane Girl,” was in a Chicago blues/Elmore James style song about a gal who is “a force of nature.” Sue and her band of aces, played with keen dynamics that lived up to the song’s tempest of a title.

As Sue tuned her guitar, she explained the theme of the next number, the title already revealed on her guitar strap: Ice Queen. The guitarist explained she is from Canada and knows about ice. Then she moved to Texas and was knocked out by Telecaster Master Albert Collins aka The Ice Man. Thus, her love for that guitar model. The Ice Queen, Sue reported seems “cool and detached” and can freeze you with a glance. But inside she’s really “soft and warm.” And after that, Sue let her fingers and Pinky do the talking as the fans cheered her on.

On “Southern Men”, which she adapted from an “old obscure Chicago blues song titled “Southern Women” and set to a surf rock beat. Sue laid down some slinky Link Wray style guitar and built a swampy and mysterious atmosphere, strangling the guitar neck and hitting the edge with the heel of her hand to get that special tone.

Then, she declared, it was “Time to boogie!” as the band launched into “Dallas Man” on which Reo left his keyboard to assist on guitar and some fans in back got up to dance and boogie.

The boogie dancing continued as the quartet kicked into even higher gear for Stevie Ray Vaughan’s “If The House is A Rockin’” that got us shakin’ it up and singing along.

Sue announced they wanted to play some Howlin’ Wolf “since we are in Chicago.” The fans yelled approval and they played a bouncy version of “Howlin’ For My Darlin’.” The band displayed its expert dynamics and Sue gifted us with a mesmerizing string bending solo and some simmering howls.

Next up was more boogie in a John Lee Hooker style for “I’ll Love You Better Than Your Other Girl” which featured a guitar jam with Reo. The fans yelled for more.

And she gave it to us with the surf-rockin’ “New Used Car”; the band even threw in a riff from “Tequila” by the Champs. The audience was up reelin’ and rockin’.

“We LOVE you Chicago,” Sue hollered, as they launched into their final number, the Little Junior Parker classic “Barefoot Rock,” also done by The Blasters. They pulled out all the stops for the big finish with Sue doing arm windmills and then playing behind her head, as second guitarist Reo did likewise, while they leaned into each other. The crowd went wild and gave them a standing ovation!

CHRIS CAIN

A guitarist’s guitarist, Chris Cain brought a different style of retro cool guitar blues to the Pritzker stage with his B.B. King, Albert King and Ray Charles influenced jazzy blues.

Although he was playing the blues, a joyful expression never left Chris’ beaming face the entire time he was playing guitar, and also on the keyboards. The man feels every note’s emotional expression!

The feeling was mutual among Chris’ backing band of veteran sidemen, who are masters in their own right: Greg Rahn on keys, Kevin Hayes on drums and Dewayne Pate on bass. The guitarist, throughout the show, was very generous with sharing the spotlight with his bandmates, especially Greg on keys. These are musicians who are well-versed in improvisational skills.

“I’m Chris Cain and I’ve come to play in your town!” the affable guitarist belted out for the first number, an upbeat, swingin’ jump blues tune that warmed us up.

The next song had to do with a greedy woman who is nice only as “Long As You Get What You Want.” Chris’ vocals and guitar were like a call and response, similar to the way B.B. King played. His use of technique and dynamics to bend notes and play melodies that tug at the heart strings is phenomenal.

And B.B. King was the reason Chris got into playing the guitar. He told a story about his dad giving him a guitar at age 8, then taking him to hear the King of the Blues in concert. Chris was instantly hooked!   He dedicated the tender love ballad “Darling You Know I Love You” to his main man. Chris’ vocals and guitar could easily be mistaken for B.B.’s.

Chris turned the next solo over to Greg Rahn, who stole the show with his keyboard prowess. Chris patiently stood back, embracing his guitar and letting Greg’s music flow over him. Chris returned to finish the sad song about his darlin’ who left him for another man.

“Down at Dino’s,” is an old favorite about the characters at a bar. It started with a tasty piano solo by Greg while a thumpin’ bass from Dewayne kicked in and Chris told the story on his guitar.

“I Got Off Cheap,” is a humorous song with a driving beat about telling a no good woman to hit the road, rather than letting her continue to pick his wallet while “Drinkin’ Tanqueray/Watchin’ Dr. Phil.”  Chris’ solos included too many styles to count.

Ray Charles was the inspiration for the next song where Chris laid down his Gibson and sat behind the Nord keyboard to join forces with Greg on organ for a sad, slow blues, “What’s Gonna Become of Me,” that touched the heart. Chris is every bit an ace on the keys as he is on guitar and the fans cheered him on.

Photo: Chris Cain & Greg Rahn

Seated almost shoulder to shoulder, Chris and Greg then launched into Stevie Wonder’s classic “Livin’ For the City” as the bass and drums laid down a Motown groove. Both Dewayne and Kevin got to demonstrate their chops when Chris gave them each a solo. Everyone on stage was clearly a virtuoso.

Photo: Dewayne Pate

Chris graciously thanked the fans and his label Alligator records as he strapped on his guitar. He dedicated the next number to Albert King, and his singing and playing was very much in that classic blues style, with soaring string bending notes and slides up and down the guitar neck. The song displayed several tempo changes, stops and dynamic displays of quiet passages that build to tremendous crescendos.

Photo: Kevin Hayes

“I Paid My Baby Hush Money,” changed the vibe to another humorous song about a flawed relationship that featured more great solos as the fans cheered.

For the final number, Chris and the band played a bouncy, driving Chicago Blues shuffle, reminiscent of Lonnie Brooks, titled “I’ve Been Drinkin’ Straight Tequila.”  The band jammed away as Chris and Greg played a furious guitar and organ duet that wrapped up their set. The audience cheered and gave them a well-deserved standing ovation.

TAJ MAHAL AND THE PHANTOM BLUES BAND

The audience was pumped up for the headliner and final act for Chicago Blues Fest 2026. When 84 year-old Taj shuffled out from the wings to make his way to his” throne” on stage, the fans shouted, applauded and rose to their feet!

It was a fitting welcome for an artist who has been making delightfully eclectic music for over 60 years with over 60 albums to his credit, five Grammys and many more honors. Plus he just released a new album titled Time. To call him a genius would not be an overstatement. The New York born and raised artist grew up in a culturally rich urban environment which nourished him as he explored American roots music tracing it back to African and Caribbean folk traditions.

Taj has performed for millions of fans all over the world, introducing them to his own unique blend of blues, R&B, folk, country, jazz and world music.

The Phantom Band included a stellar, all-star lineup: bassist Larry Fulcher (who played the previous night with Ruthie Foster), Jim Pugh on keys, Johnny Lee Schell on guitar, Joe Sublett on tenor sax, Les Lovett on trumpet and drummer Tony Dee (from Trinidad).

Photo: Joe Sublett & Les Lovett

Taj switched instruments from song to song: resonator guitar, acoustic guitar, ukulele, harmonica, percussion and more. His powerful, gruff voice could deliver any style of song with perfect rhythm and phrasing. He also told us that we are part of the performance and encouraged audience participation. He chatted with fans between songs, teasing some of them about their age for knowing his older tunes. Between songs, fans shouted out requests.

The first tune, “7-11” was a swinging instrumental, originally by the Gone All Stars, that featured Taj on resonator guitar, a tasty organ solo by Pugh, topped off by Sublett’s sax solo and a trumpet solo by Lovett.

Next up was “Strut,” a jazzy song highlighted by Taj’s singing, scatting and playing resonator guitar.  “You can have my juicy lovin’/ don’t throw it in the deep blue sea,” he beckoned.

Taj switched to harmonica and as he introduced  “EZ Rider,” a song from his first solo album titled Taj Mahal.  “I’m going up the country, with my EZ Rider,” he sang very rhythmically, while playing a lively harp for this upbeat tune. Taj couldn’t help but dance in his chair to this fun tune.

The colorfully dressed bandleader grabbed his ukulele and introduced a song, “Wild About My Lovin’” from the new album, that was first recorded 100 years ago. Taj noted that the song was covered by the Jim Kweskin Jug Band and the Lovin’ Spoonful. “This is our version and we added a Carribean spice to it.” The song featured a lilting beat and swirling organ intro along with a Larry Fulcher bass line that got us boppin’ our bodies to the beat. “I’m wild about my lovin’/ I like to have my fun,” Taj growled to deliver the message. The fans were delighted and cheered.

“Are you with me?” Taj beckoned. “Statesboro Blues” got us dancing and smiling to this classic upbeat blues shuffle that many of us know from the Allman Brothers version. “Smoke that guitar” Taj ordered Johnny Lee Schell, who obliged with a killer solo that Duane Allman himself would have approved. “Wake up mama/Turn your lamp down low,” Taj belted it out and the crowd was up and dancing. Photo: Johnny Lee Schell

Taj treated us to a tune from the new album Time -- “You Put the Whammy on Me.” It was a hip shakin’ Latin flavored number that would fit well into Gloria Estefan’s repertoire. Taj sang: “You put the whammy on me” and got the fans to start up a call and response with him on the chorus. Taj hooted and whooped and put on his Howlin’ Wolf voice for good measure as he shook his beaded rattle. “When you shook that short, fat fanny/You put the whammy/ on me.” Taj used his various character voices to our amusement. The fans loved it!

It was such a catchy tune that you could hear audience members singing “You put the whammy on me” on the way out after the show.

Taj switched back to his dobro and clamped on his capo to play the familiar intro for “Queen Bee” one of his most beloved Island style tunes. Talk about feel good music! What a treat. “Rock me to my soul/ whoa whoa” he beckoned. Pugh rocked us with a swirling organ solo that washed over the crowd like waves on the beach. The fans shouted their love.

Photo: Jim Pugh

Taj switched back to his harp for another oldie. “This is the first blues tune I actually composed,” he noted, as he introduced “Going up to the Country, Paint  My Mailbox Blue”  performed in a laid back, traditional blues shuffle style.

Another song from the Taj archives was next – a fun, danceable tune that he co-wrote in 1969 with his bandmate,  the late great blues guitarist Jessie Ed Davis. “Further On Down The Road,” was soulful and melodic with a catchy bass line,  featuring Taj’s very percussive vocals.

Photo: Larry Fulcher

Taj talked about the opening sequence of the “Blues Brothers” film, and how Belushi and Aykroyd asked his permission to use his song “She Caught The Katy and Left Me a Mule to Ride.” Taj’s version had the fans up and dancing on this popular blues tune. “Crazy ‘bout that hard-headed woman of mine,” he sang.

Taj switched back to his dobro for another much requested song, “Corinna Corinna,” that had us singing along to this favorite tune.

And Taj had us singing along for his final number of the night, “Way Back Home,” a song about the delicious food served down South.  We were on our feet singing and swaying along to the pleasant melody and laid back rhythms.

Taj left the stage slowly, shuffling to the beat as the band played on and the drummer danced along beside him. The audience rose to cheer uproariously and give Taj and his Phantom Blues Band a well-deserved standing ovation.

It was a fitting finale to the last note of Chicago Blues Fest 2026.

To see more photos of Chicago Blues Festival 2026, visit our Chicago Blues Guide photo album collection on FB by clicking HERE

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