Photos by Andy Argyrakis

Practically everything Evanescence ever released since bursting out of the alternative rock gates in 2003 is characterized by Amy Lee’s chilling vocals, her soul-baring songwriting and arrangements that are as epic as they are spine-chilling. But when the group dropped the chart-topping “Synthesis,” its fourth studio album and first after an excruciatingly long six years, those elements catapulted to an entirely fresh level when a bunch of older tracks and a couple of entirely new tunes were framed around lush orchestrations and rumbling electronica.

Switching between the piano and the center stage, Lee nailed about 90 minutes’ worth of notes with her ridiculously pure range sounding spectacular in the attentive setting (and without the distractions that come with seeing Evanescence at a cramped club or massive festival).

Taking a page out of that recording’s playbook, the core of Evanescence was beefed up by a sizeable local symphony when the corresponding tour sold out the ornate Chicago Theatre. “It’s nice to sit down and listen to music once in a while,” Lee told the seated yet transfixed audience before quickly adding with a grin “just once in a while.”

In other words, Evanescence will likely be back to the traditional band format in the not too distant future, ensuring those who obtained a ticket were treated to a rare, riveting and possibly once-in-a-lifetime opportunity. Switching between the piano and the center stage, Lee nailed about 90 minutes’ worth of notes with her ridiculously pure range sounding spectacular in the attentive setting (and without the distractions that frequently come from a cramped club or massive festival).

That extensive wall of sound made the tracks from Evanescence’s 17 million copy-selling debut “Fallen” right up through today have no time stamp on them whatsoever. In fact, the breakout hit “Bring Me To Life” (performed surprisingly early) appeared completely revitalized, while “Imaginary” was wrapped in a wondrous, dream-like state and “Hi-Lo” had the intimacy and beauty to fully express the emotional pendulum of a broken relationship.

Prior to “My Immortal,” Lee transferred its ownership to her listeners, and later, gave a plea to “stop hating yourself” when introducing “Good Enough.” Now 35, the singer seemed to be in quite a positive place, sounding especially confident on the solo selection “Speak To Me” (and seemingly pinching herself over the “dream come true” of mounting an orchestral concert in general), though it was her gifts combined with the rest of Evanescence and the multitude of guests that elevated “Imperfection” and “Weight Of The World” to be amongst the brightest, boldest moments in this extraordinary experiment.

Click here for more photos of Evanescence at the Chicago Theatre.

For additional information on Evanescence, visit Evanescence.com.

Upcoming concert highlights at the Chicago Theatre include Pentatonix (Dec. 3-5); Lindsey Stirling (Dec. 6); Celtic Thunder (Dec. 7); Dave Koz & Friends (Dec. 9); Spoon (Dec. 10); St. Vincent (Jan. 12); Tedeschi Trucks Band (Jan. 25-27) and 2Cellos (Jan. 28). For additional details, visit TheChicagoTheatre.com.

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