Associated Press

LONDRES (AP) — Sarah Mullally fue confirmada el miércoles como arzobispa de Canterbury, convirtiéndose en la primera mujer en liderar la Iglesia anglicana.

La Comunión Anglicana mundial, que incluye a la Iglesia episcopal en Estados Unidos, no tiene un líder formal, pero tradicionalmente se ha considerado al arzobispo como su líder espiritual.

Mullally, de 63 años, una enfermera oncológica convertida en clériga, asumió oficialmente las responsabilidades de su nuevo cargo mientras los jueces presidían una ceremonia legal que confirmaba su nombramiento, el cual fue anunciado hace casi cuatro meses.

El llamado servicio de Confirmación de Elección marca un hito importante para la Iglesia anglicana, que ordenó a sus primeras sacerdotisas en 1994 y a su primera obispa en 2015. La Iglesia tiene sus raíces en el siglo XVI, cuando la iglesia inglesa se separó de la Iglesia católica romana durante el reinado del rey Enrique VIII.

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Esta historia fue traducida del inglés por un editor de AP con la ayuda de una herramienta de inteligencia artificial generativa.

https://www.chicagotribune.com/2026/01/28/sarah-mullally-es-confirmada-como-arzobispa-de-canterbury-1ra-mujer-en-liderar-la-iglesia-anglicana/ 

A third round of “No Kings” protests is coming this spring, with organizers saying they are planning their largest demonstrations yet across the United States to oppose what they describe as authoritarianism under President Donald Trump.

Previous rallies have drawn millions of people, and organizers said they expect even greater numbers on March 28 in the wake of Trump’s immigration crackdown in Minneapolis, where violent clashes have led to the death of two people.

Veterans, unions and health care workers remember Alex Pretti as ‘hero’ at vigil

“We expect this to be the largest protest in American history,” Ezra Levin, co-executive director of the nonprofit Indivisible, told The Associated Press ahead of Wednesday’s announcement. He predicted that as many as 9 million people will turn out.

“No Kings” protests, which are organized by a constellation of groups around the country, have been a focal point for outrage over Trump’s attempts to consolidate and expand his power.

“This is in large part a response to a combination of the heinous attacks on our democracy and communities coming from the regime, and a sense that nobody’s coming to save us,” Levin said.

Last year, Trump said he felt attendees were “not representative of the people of our country,” and he insisted that “I’m not a king.”

‘No Kings’ shifts focus after Minneapolis deaths

The latest round of protests had been in the works before the crackdown in Minneapolis. However, the killing of two people by federal agents in recent weeks has refocused plans.

Levin said they want to show “support for Minnesota and immigrant communities all over” and oppose “the secret police force that is murdering Americans and infringing on their basic constitutional rights.”

“And what we know is, the only way to defend those rights is to exercise them, and you do that in nonviolent but forceful ways, and that’s what I expect to see in ‘No Kings’ three,” Levin said.

Trump has broadly defended his aggressive deportation campaign and blamed local officials for refusing to cooperate. However, he’s more recently signaled a shift in response to bipartisan concern over the killing of Alex Pretti in Minneapolis on Saturday.

Previous ‘No Kings’ protests have drawn millions across the US

In June, the first “No Kings” rallies were organized in nearly 2,000 locations nationwide, including cities, towns and community spaces. Those protests followed unrest over federal immigration raids and Trump’s deployment of the National Guard and Marines to Los Angeles, where tensions escalated with protesters blocking a freeway and setting vehicles on fire.

Activists and politicians call for abolition of ICE at Chicago protest following fatal shooting of Alex Pretti

They were organized also in large part to protest a military parade in the nation’s capital that marked the Army’s 250th anniversary and coincided with Trump’s birthday. “No Kings” organizers at the time called the parade a “coronation” that was symbolic of what they characterized as Trump’s growing authoritarian overreach.

In response, some conservative politicians condemned the protests as “Hate America” rallies.

During a second round of protests in October, organizers said demonstrations were held in about 2,700 cities and towns across the country. At the time, Levin pointed to Trump’s sweeping immigration crackdown, his unprecedented promises to use federal power to influence midterm elections, restrictions on press freedom and retribution against political opponents, steps he said cumulatively represented a direct threat to constitutionally protected rights.

On social media, both Trump and the official White House account mocked the protests, posting computer-generated images of the president wearing a crown.

The big protest days are headline-grabbing moments, but Levin said groups like his are determined to keep up steady trainings and intermediate-level organizing in hopes of growing sustainable resistance to the Trump administration’s actions.

“This isn’t about Democrats versus Republicans. This is about do we have a democracy at all, and what are we going to tell our kids and our grandkids about what we did in this moment?” Levin said. “I think that demands the kind of persistent engagement. ”

https://www.chicagotribune.com/2026/01/28/no-kings-protests-march-28/ 

Drake Maye got the tough coaching he wanted and thrived.

The 23-year-old is one victory away from being the youngest quarterback in NFL history to win a Super Bowl. He’s grateful to have coach Mike Vrabel and offensive coordinator Josh McDaniels in New England.

The Patriots went from 4-13 under coach Jerod Mayo in Maye’s rookie season to 14-3. They won their 12th AFC championship game and will seek a record seventh Super Bowl title when they face the Seattle Seahawks on Feb. 8 in Santa Clara, Calif.

Column: An undesirable Super Bowl matchup comes at the end of a super NFL season

“Coach McDaniels and Coach Vrabel coming in, they’ve been awesome,” Maye told The Associated Press. “Two coaches that have made a huge impact on not only us as a team, but my personal play and personal life outside of football.

“One of the biggest things about them is they coach me hard, but they care about me as a person and they want the best for me. They coach me hard each and every day. And it’s not always about football, it’s about life and leadership and things that go a long way playing my position at quarterback.

“And from there, (QBs coach) Ashton Grant in the quarterback room, as well the quarterbacks in the room, man, we’ve got a great group. I’m just fortunate enough to have great players around me.”

The supporting cast includes wide receiver Stefon Diggs, running backs TreVeyon Henderson and Rhamondre Stevenson and tight end Hunter Henry.

Selected No. 3 in the 2024 draft behind Caleb Williams and Jayden Daniels, Maye started 12 games as a rookie and was 3-9. He threw for 2,276 yards with 15 touchdowns and 10 interceptions on a team that lacked talent and direction.

Vrabel, McDaniels and Grant came in and quickly unlocked his potential. Maye threw for 4,394 yards with 31 touchdowns and only eight picks this season, becoming a finalist for the NFL MVP and Offensive Player of the Year awards. He led the league in completion rate (72%) and passer rating (113.5) and also rushed for 450 yards and four touchdowns, earning second-team All-Pro honors.

“Having the experience from last year, I’m fortunate enough my rookie season to get some starts and play meaningful football and just understand what the league is like, what it’s about, what the defenses are like, kind of running the offense, running the show,” Maye said.

“Playing quarterback in this league at this level is tough. It takes a lot. And I think knowing that our job playing quarterback is one of the toughest jobs in sports, but also it’s one of the most rewarding. And just feeling that and translating that in my Year 2 and learning a new offense.”

Tom Brady, Kurt Warner, Russell Wilson and Ben Roethlisberger won Super Bowls in their second NFL seasons. Joe Burrow, Brock Purdy, Colin Kaepernick and Dan Marino got there and lost.

Marino is the youngest to start the game. Roethlisberger is the youngest to win it.

Maye’s only other trip to the Super Bowl also was at Levi’s Stadium, home of the San Francisco 49ers. Ten years ago, he was a fan in the crowd cheering for Cam Newton and the Carolina Panthers against Peyton Manning and the Denver Broncos.

Patriots quarterback Drake Maye runs against th Broncos during the second half of the AFC championship game Sunday, Jan. 25, 2026, in Denver. (AP Photo/Garrett W. Ellwood)

Denver dominated in a 24-10 win. Fittingly, Maye became the first quarterback to lead the Patriots to a road win over the Broncos in the playoffs.

“It’s full circle,” he said. “My dad, when I was maybe in seventh grade, said if the Panthers made it, we were going to go. It was heartbreaking, they lost to the Broncos.

“But, no, it was a good experience for a kid my age who loved football, loved quarterbacks. That was Peyton’s last game. What a Hall of Fame career he had. Pretty cool to be full circle, going back here 10 years later, and it’s just a special moment for this whole team.”

Maye hasn’t played his best in the playoffs. He has completed just 55.8% of his passes for 533 yards with four touchdowns and two interceptions and has lost three fumbles and been sacked 15 times in three games. He has used his legs effectively, rushing for 141 total yards and the team’s only touchdown in the 10-7 win over the Broncos on Sunday.

“That’s the great thing about Drake, his ability to extend plays and, if it’s not there, gain chunks,” Vrabel said. “He’s done that most of the year. Again, we’ll have to get a lot of things corrected, and we’ll have to play our best football game in two weeks if we want to finish as champions.”

https://www.chicagotribune.com/2026/01/28/new-england-patriots-drake-maye-super-bowl/ 

The Chicago Bulls are about to embark on a uniquely challenging gauntlet of their regular-season schedule.

Playing back-to-back games is a common occurrence in the NBA. But this week’s slate is remarkable because of a repetition of back-to-backs within the same week — with only one day of rest. The Bulls play the Pacers in Indiana on Wednesday, then return home to face the Miami Heat on Thursday before flying out to Miami for a back-to-back rematch on Saturday and Sunday.

It’s strange to play four games in five days. It’s even more strange to play the same team three times in that span, a level of high-speed repetitiveness that doesn’t even occur in the playoffs. This is an anomaly of the schedule created by the postponement of a Jan. 8 game against the Heat, which was delayed and ultimately moved due to excessive condensation on the court.

For the Bulls, this breakneck pace of play won’t slow down until the All-Star break begins on Feb. 12 — they are scheduled to play nine games in the 15 days before that reprieve.

“We’re trying to make good choices,” coach Billy Donovan said. “It’s not only that it’s four games in five days — it’s five games in seven, it’s six in nine. It just keeps going.”

For Donovan, the first aspect of tackling this cramped crossroads of the season is puzzling out the injury math. The Bulls don’t know if guards Josh Giddey and Coby White — who are coming off respective injuries that limited their availability in recent weeks — will be ready to play in all four games this week.

Chicago Bulls head coach Billy Donovan, center, reads a note during the first half of a game against the Los Angeles Lakers in Chicago, Monday, Jan. 26, 2026. (AP Photo/Nam Y. Huh)

White is almost back to his typical responsibilities as a starting guard after missing nearly half of the season with on-and-off calf injuries that became a problem last summer. The guard finally found his 3-point shooting rhythm in the last two weeks, knocking down an average of 5.2 per game at a 52% clip over the last five games.

“It’s been fun being able to play consecutive games, stacking games,” White said.

White’s visibly improved confidence and fitness on the court have given Donovan hope that he could play in at least three of the four games of this upcoming pair of back-to-backs. But after returning to the rotation last week following an 11-game absence with a hamstring strain, Giddey will be significantly less available.

Giddey’s minutes restriction has loosened from 24 to 28 minutes, but he is still coming off the bench and does not anticipate availability in a back-to-back this week. Both players planned to meet with the medical staff Tuesday to plan a more significant road map for the upcoming stretch of games.

The backcourt will be the main source of concern for load management, but the frontcourt poses its own dilemma — how to sustain a two-big lineup with only two available centers.

The Bulls stumbled onto a new preferred system this season by playing Jalen Smith at the four position, a look that has allowed the defense to shore up its rim protection without sacrificing 3-point shooting on the opposite end. Donovan felt so confident in the two-big look that he opted not to abandon it when center Zach Collins was sidelined with a toe sprain.

That places a notable burden on veteran center Nikola Vučević, whose playing time has crept close to 33 minutes per game over the last eight games. Vučević remains admirably resilient at age 35, but the Bulls are realistic about his ability to maintain this volume of minutes in a compacted week. The Bulls will be forced to steal rest for both centers this weekend, which could shift the responsibility onto forwards like Matas Buzelis.

Chicago Bulls guard Josh Giddey, left, drives to the basket past Los Angeles Lakers forward Jake LaRavia during the second half on Monday, Jan. 26, 2026, in Chicago. (AP Photo/Nam Y. Huh)

Ultimately, Donovan expects the medical team to pause after the first back-to-back games and reassess teamwide fitness before determining how to approach the two games in Miami.

This is more than just a packed section of the schedule. The team’s survival this week could serve as a much-needed springboard up the standings of the Eastern Conference, which is experiencing another year of extreme egalitarianism due to the injuries of key stars like Indiana’s Tyrese Haliburton and Milwaukee’s Giannis Antetokounmpo.

The Bulls broke even back to .500 with Monday’s loss to the Los Angeles Lakers, but they still sit only 1 1/2 games back from the Heat and the Philadelphia 76ers for sixth in the conference. Winning even just two of their games against the Heat this weekend could launch the Bulls into outright playoff position — and give them a tiebreaker when end-of-season seeding gets more serious.

For White, the key to surviving this pivotal stretch rests on the team not getting ahead of itself.

“We just (have to) mentally just stay locked into what we’re doing,” White said.

The Bulls have already experienced the highs and lows of another underwhelming season — first with the joy of opening the season 4-1, then with the dismal crash back to reality in a seven-game losing streak that stretched from late November to the opening week of December.

After normalizing in recent weeks, the Bulls are back on an upward trajectory with most of their roster intact once again — but consistency can be difficult to maintain when games are played in rapid succession.

“We’ve had those stretches where we look really good and then we go through stretches where we don’t look as good,” Giddey said. “It’s a matter of getting back to who we are as a team, playing to that identity. When we do it we show that we can play with anybody in the league and it’s a matter of just finding it consistently.”

https://www.chicagotribune.com/2026/01/28/chicago-bulls-5-games-7-days/ 

Por JUSTIN SPIKE

BUDAPEST, Hungría (AP) — Las autoridades en Hungría presentaron cargos el miércoles contra el alcalde progresista de Budapest por su papel en la organización el año pasado de un evento del Orgullo LGBTQ+ en la capital que había sido prohibido.

Gergely Karácsony, quien ha liderado Budapest desde 2019, fue objeto de una investigación policial tras la marcha del 28 de junio que se llevó a cabo a pesar de una prohibición impuesta por el gobierno nacionalista conservador de Hungría.

El evento fue el más grande de su tipo en la historia del país, y sus organizadores afirmaron que unas 300.000 personas habían participado.

En un comunicado el miércoles, la Oficina del Fiscal Jefe de Budapest dijo que Karácsony había sido acusado de organizar la asamblea ilegal a pesar de una orden de prohibición. Se recomendó que enfrentara una multa sin necesidad de juicio.

Los fiscales dijeron que Karácsony había desafiado la orden policial que prohibía la marcha del Orgullo y “publicó repetidamente convocatorias públicas para participar en la asamblea, y luego lideró la asamblea”.

Un desafiante Karácsony dijo en un comunicado escrito que era un “acusado orgulloso”.

“Parece que en este país, este es el precio que pagas si defiendes tu propia libertad y la libertad de los demás”, escribió. “Si alguien piensa que puede prohibirme, disuadirme o impedirme a mí y a mi ciudad hacerlo, está gravemente equivocado”.

Karácsony no disputó la descripción de la fiscalía sobre su papel en la marcha, y escribió que “eso es exactamente lo que sucedió”.

“Nunca aceptaré, ni me resignaré a la idea de que en mi patria podría ser un crimen defender la libertad. Nunca toleraré esto, y a pesar de cada amenaza y cada castigo, lo combatiré, porque cuando las personas que quieren vivir, amar, ser felices son simplemente traicionadas por su propio país, traicionadas por su gobierno, la resistencia es un deber”, añadió.

El partido del primer ministro Viktor Orbán aprobó una controvertida ley anti-LGBTQ+ en marzo de 2025 que prohibió los eventos del Orgullo y permitió a las autoridades usar herramientas de reconocimiento facial para identificar a quienes asistían a los festejos.

El gobierno del líder populista ha insistido en que el Orgullo —que es una celebración de la visibilidad LGBTQ+ y la lucha por la igualdad de derechos— era una violación de los derechos de los niños al desarrollo moral y espiritual. Una enmienda constitucional el año pasado declaró que estos derechos tenían prioridad sobre otras protecciones fundamentales, incluido el derecho a reunirse pacíficamente.

El partido de Orbán ha aprobado otras legislaciones —incluida una ley de 2021 que prohíbe todo contenido que represente la homosexualidad a menores de 18 años— que grupos de derechos y políticos europeos han denunciado como represivas contra las minorías sexuales y comparadas con restricciones similares en Rusia.

___ Esta historia fue traducida del inglés por un editor de AP con la ayuda de una herramienta de inteligencia artificial generativa.

https://www.chicagotribune.com/2026/01/28/procesan-al-alcalde-progresista-de-budapest-por-organizar-un-evento-prohibido-del-orgullo/ 

Rebuilds are hard. A franchise has to be all-in because it can be a quick flip to success — or a dreadful path through obscurity.

The Florida Panthers hired general manager Bill Zito in 2020 to build a contender, and he decided to start almost from scratch. Trading for players such as Matthew Tkachuk and Sam Reinhart to add to captain Aleksander Barkov, the Panthers have become a modern dynasty, appearing in the last three Stanley Cup Finals and winning the last two.

They came into the United Center on Sunday and showed the Chicago Blackhawks the flair of an NHL champion. The Hawks aren’t close to that point yet, and it showed. The young team held its own until the third period, when Reinhart and company scored four unanswered goals for a 5-1 win.

Kyle Davidson officially became GM of the Hawks on March 1, 2022, (he was the interim GM for a few months prior) and started his own rebuild. Patrick Kane and Jonathan Toews were out, and it was up to others to return the Hawks to hockey royalty.

The process is going at a slower pace than Florida’s rebuild. With that comes losses — a lot of them.

“I’m pretty understanding of that, but you look at some of the best teams in the league, there’s some cold streaks there as well,” Davidson told the Tribune on Sunday. “It’s hard to break out of trends, good or bad, but seems like you’re either on a winning streak or you’re on a losing streak.

“Up and down the organization, we have good respect on (the fact) that sometimes these things are going to occur, especially when you introduce a lot of youth. It’s just making sure that you stop it as quickly as you can and rebound and try and get over those.”

The Hawks have been streaky in the 2025-26 season, with multiple stretches of “the Hawks are nasty again” mixed in with some patches of “the season’s over.” It hasn’t been all bad, a leap forward in itself for Davidson’s team.

“We’re really integrating a lot of young players into our lineup. They’re getting great experience,” Davidson said. “The most important thing is we’ve got young guys that are coming up, that are ready to play, and they’re learning how to be everyday contributors.”

At 21-23-9 through Tuesday, the Hawks sat just six points out of a playoff spot. They’re playing important games in late January, the first time Hawks fans have been able to say that in several years.

Coach Jeff Blashill said after a 2-0 win over the Winnipeg Jets on Jan. 19 that if his team wants to reach the postseason, “this is the way we have to do it,” referring to winning scrappy games like that one against Toews’ new team. It was the first time Blashill had made reference to the playoffs since his hiring in May, and Davidson is thinking the same way.

“The one good thing is that we’re playing meaningful games deeper into the season,” Davidson said. “That’s really important for everyone to keep pushing forward late into the year, and we’re certainly doing that. Rather than playing spoiler on someone else’s season, we can try and keep making ours positive.”

Blashill is upfront with his criticism of his players at times, but he also has been a supportive figure in the locker room through the tough times. He has made it clear how much he loves coaching this group and enjoys helping his players grow.

Blackhawks general manager Kyle Davidson, left, poses with new coach Jeff Blashill during an introductory news conference at the United Center on May 27, 2025. (Eileen T. Meslar/Chicago Tribune)

Davidson appreciates Blashill’s approach of criticism and growth. The two share a patient outlook, willing to go through the process.

“He’s someone that understands how you have to win in this league,” Davidson said, “but also understands where we are as an organization in our trajectory, in that we’re going to be building through the young players. He’s got perspective on both our path, but also how teams are successful in this league and how to get our players to get there.”

Speaking of young players, the Hawks have a long line of them. Prospects such as Anton Frondell, Marek Vanacker and Mason West are producing highlights for their junior and international teams, while the Hawks have 16 picks over the next two drafts.

It’s trade season in the NHL with the Feb. 6-24 Olympic break coming before the March 6 deadline. How active the Hawks will be is up in the air, but it sounds as if the goal is to give their future talent room to strive.

“The one thing for us, we’re going to keep giving young players opportunity, and that’s something that we’re committed to,” Davidson said. “I’m really excited about what our prospects are doing. They all seem to be either meeting or exceeding expectations.”

When that talent arrives, the Hawks could quickly lock the players up with a contract like they did with  Frank Nazar last offseason. That would depend on the player, though.

“It’s probably more of a situational thing,” Davidson said. “It was something that we saw with Frank, where he ended the season so strongly. It was just something that we felt was advantageous to us long term and didn’t mean that something wouldn’t get done.”

With more new players coming, the Hawks want the younger core to build the team’s identity. But what exactly does Davidson want that to look like?

“It’s hard enough in the draft to find players that are just playing in the NHL, let alone play a very specific way,” Davidson said. “At the core of it, in the draft anyway, you’re always looking for players that are going to get to the NHL and be contributors.

“A player that works hard, but also a person and a professional that’s always trying to look to get better and improve themselves and improve the team through that. That’s how we go down the line on player acquisition stuff.”

Blackhawks center Connor Bedard takes a shot in the first period against the Jets on Jan. 19, 2026, at the United Center. (Chris Sweda/Chicago Tribune)

Connor Bedard is showing those traits while blossoming into a superstar. The 2023 No. 1 pick has 48 points (20 goals, 28 assists) in 39 games this season while wearing an alternate captain’s patch for the first time.

He’ll likely have the “C” on his Hawks sweater sooner than later. Davidson has been impressed by how Bedard has handled the pressure of stardom, as well as the disappointment of being left off Canada’s Olympic team.

“He’s really stepping up, maybe not necessarily a traditional vocal leadership, but a lead-by-example guy,” Davidson said. “I think that rubs off on on the rest of the team.

“As far as how he handled not making Team Canada out of the gate, it was very impressive. He’s someone that puts the ownership on himself. He doesn’t look to other people to for reasons why.”

The Hawks could be in an even better position had Bedard and Nazar not missed time because of injuries. Still, through 52 games, Davidson believes this season is a step in the correct direction.

“I don’t think there’s anything really that we’re missing or disappointed (with),” he said. “It’s all part of the process. We have taken a nice step this year, all in service to the long-term plan.”

https://www.chicagotribune.com/2026/01/28/chicago-blackhawks-kyle-davidson-interview/ 

America’s Most Expensive Home’s $40 Million Price Cut Shocks Luxury Market

Tyler Durden
Wed, 01/28/2026 – 06:55

https://www.zerohedge.com/personal-finance/americas-most-expensive-homes-40-million-price-cut-shocks-luxury-market 

During a dangerously cold night in Chicago’s South Loop, Buddy Guy’s Legends was on fire.

Friday night marked the 10th show of blues master George “Buddy” Guy’s annual January residency at his namesake venue.

“This is his house,” Buddy Guy’s son, Greg Guy, said. “When he goes on tour, he gets paid everywhere he go. He don’t get paid for playing here. He loves it.”

While the 89-year-old musician declared his retirement in 2024, Buddy Guy “Ain’t Done with the Blues” just yet, as the title his 2025 Grammy-nominated album suggests.

Since moving to Chicago in 1957, the Louisiana native has become a living legend known for his innovative guitar skills and transcendent blues music. He is one of the last surviving connections to the city’s electric blues era. His late friends and close collaborators have included B.B. King, Muddy Waters, Howlin’ Wolf and Junior Wells. His music and playing style have influenced rock icons like Jimi Hendrix, Eric Clapton and Stevie Ray Vaughan.

Though he no longer does long tours, Guy continues to return to Legends each January. His final (sold out) shows this year will be Thursday and Friday.

Fans braved the frigid temperatures and biting wind to see the bluesman, some traveling from out of state.

“I didn’t want to leave my house, but this was well worth it,” Chicago local Xandry Bullock, 25, said. “You can listen to recordings for the rest of your life. You can go to other shows that are influenced by this, but I mean, you can only see Buddy Guy here, this month, really. He only plays in January, so what a treat.”

Blues singer Laretha Weathersby, 64, opened the show with high energy and plenty of dancing. By halfway through her set, every seat in the house was filled, and the standing-room areas were packed shoulder to shoulder.

She performed original songs and covers, including “Proud Mary” by Tina and Ike Turner, which had the crowd clapping and singing along with her.

“We’re warming it up for the one and only Buddy Guy,” Weathersby said as she closed her set.

At 10 p.m., the band filed onto the stage. Moments later, Guy emerged from a door to the left, and the crowd erupted. Fans in the seated section stood to applaud alongside those in standing room until club staff asked them to sit back down.

Guy blew a kiss to the crowd and waved, wearing a salmon-colored suit, black fedora and black and white wingtip dress shoes. He sported a sunburst Fender Stratocaster and launched into “Damn Right, I’ve Got the Blues.”

When Guy finished the song, the room filled with cheers, whistles and applause. He followed with “Nine Below Zero,” originally recorded by Sonny Boy Williamson II. After singing the line “she done put me down for another man,” a few audience members chuckled.

“I didn’t write this (expletive) song, I’m just singing it,” Guy said, drawing laughter from the crowd.

Buddy Guy performs at Buddy Guy’s Legends on Jan. 23, 2026, in Chicago. (John J. Kim/Chicago Tribune)

He made similar jokes throughout the set, often paired with profanity and a cheeky grin. Each time he smiled, his gold-capped teeth gleamed under the lights.

Between songs, he told stories primarily about his childhood, moving to Chicago, and his family. He repeated a few stories, but the crowd didn’t seem to mind.

About an hour into the set, Guy stepped off the stage and into the crowd, guitar in hand. As he walked across the checkerboard floor, he stopped every few feet to jam, eventually pausing at the bar for a shot of Rémy Martin XO cognac before continuing on.

Midway through his lap around the venue, a staff member held out a microphone as Guy played and sang “Take Me to the River,” originally by Al Green.

“I feel like I should play all night,” Guy said.

“Yes!” several audience members shouted back.

Although his voice has aged, Guy shifted from powerful belting to soulful, raspy vibrato. He showcased his trademark guitar techniques, including strumming with a drumstick and rubbing the guitar against his body to create a squeaking sound. He took periodic breaks to blow his nose or sip cognac from a mug with his signature polka-dot pattern.

Guy later thanked his family as his daughter, Carlise Guy, and son, Greg Guy, joined him onstage. While Buddy tossed guitar picks into the crowd, Carlise sang lead vocals and Greg played guitar alongside the band. Together, they performed “Little by Little,” originally sung by Junior Wells.

For his final song, Guy performed Willie Dixon and Muddy Waters’ “I’m Your Hoochie Coochie Man,” slowly walking through the crowd one last time with a microphone. He paused to smile at fans and exchange playful comments.

“Give it up to my band and staff for putting up with me,” Guy said to the crowd. “Thank you very much, I love you.”

Buddy Guy performs, Jan. 23, 2026, at Buddy Guy’s Legends in Chicago. (John J. Kim/Chicago Tribune)

At 11:30 p.m., Guy wrapped up his 90-minute set and headed toward the entrance to meet fans, take photos and sign autographs.

Jordan Pryor, 31, said the sole reason she traveled from Tallahassee, Florida, was to see Guy perform. As a birthday gift, her godfather gave her a Fender guitar signed by Guy.

“This is the best day of my life,” Pryor said.

Other fans echoed her excitement, such as Chicago residents Paul and Libby Boulus.

“It’s one of the most influential musical moments in my life,” Paul Boulus said. “He’s a living legend. He also still just absolutely rips.”

The couple decided to come to the concert after watching Ryan Coogler’s Oscar-nominated film “Sinners,” where Guy appears in a small cameo at the end.

“We go to a lot of shows, music is our life,” Paul Boulus said. “This is one of the coolest things I’ve ever seen.”

https://www.chicagotribune.com/2026/01/28/buddy-guy-january-legends/ 

Playwright David Adjmi’s “Stereophonic” was one of the big hits of the 2024-25 Broadway season, “a three-hour dissection of ego, insecurity and the messy, messed-up gorgeousness of the creative process,” I wrote then in my review. Adjmi’s play, about a famous but fraught British band a bit like Fleetwood Mac making a studio album in California between the summers of 1976 and 1977, is now on its first national tour.

The show comes complete with original music by Will Butler, a former member of the rock band Arcade Fire, and begins performances Wednesday at the CIBC Theatre in Chicago.

Adjmi and Butler spoke about their show over Zoom from London and New York; our conversation has been edited for clarity and length.

Q: I hear the script is a little different for the tour?

Adjmi: One of the conditions of doing the tour was that I had to shorten it a little bit. Officially, it’s called the “Radio Edit.” That’s the name I came up with for the draft. It’s about 15 minutes shorter than what people saw on Broadway, so it’s not exactly the same text, but I am proud of the draft. It preserves the spirit and integrity of the piece.

Q: It is hard for me to imagine anyone else performing this show other than the original cast. But you’ve had a successful London production, and there no doubt are many people who can perform the show.

Adjmi: It’s a very hard show to cast. We took six or seven months to cast the show originally. It requires a very specific skill set. In many cases, we had to find people who could play these instruments and also act it. Eight times. In terms of what it asks from the actors, it is in the range of a John Cassavetes movie. London also was a brutal casting process, but in the end, we found the actors. But it’s not the kind of play anyone can be in.

Butler: The play is robust and it supports many interpretations. It has been delightful to see the show in Seattle in a giant house and also in a tiny house in London. You experience it differently in different houses. In some theaters, it seems cinematic and it others, grimy. The play stands up to both.

Q: I wrote when I first saw the show that it was about artistic collaboration and why collaborations have to end. Or why anything ends, really.

Adjmi: I wrote the play because I had had a very bad collaboration in the theater that was existential for me. It made me question if I could make things with people, or if my plays were too specific or that they didn’t invite the collaborative intimacy that some people asked for. I was also confused about relationships. Personal relationships. Familial relationships. So I think I wrote this play as a way of putting myself into a very uncomfortable situation, by proxy of the characters, to see how I could survive this weird half-life of relationships that don’t quite end but can’t really endure. I learned something I already knew, but that I hadn’t fully fully expressed to myself: Life is about duality, art is about duality and part of being a mature human being is about accepting that duality and learning to accept it.

Q: One of the band members becomes dictatorial. He messes up the collaboration by telling people what to do, no?

Adjmi: But he also has a vision. So the show explores the tension between, how do you pursue a vision and maybe it feels bad to some people that this one vision is dominating, but then the product ends up being incredible and everyone benefits from it? To me, that is very interesting. How do you operate as a collective when you have a mix of process and needs? We had that issue making the show,. Luckily, Daniel Aukin is a very collaborative director. And I think what Will and I did together was pretty deep in the end.

Butler: There are two different worlds of collaboration. One where you are trying to do a thing and people have a skill set and you put the thing together. But if you are doing something new, you are trying to get everyone to exceed their abilities, your own self included. You’re trying to go farther than what you know how to do. That’s really hard and exhausting. It’s the difference between going for a work-out run and running a race. … In the process of making this show, we were all trying to be a bit beyond what our abilities were and pull that out from other people. You do need someone to draw people out, to push. But if it’s a total wilderness …

Q: The songs in the show are meta, right? They are songs in a play with music. They are songs with a real-life referent and they are songs that are entirely fictional. They don’t function in the way that songs in a musical function, but also not in the way that songs written for an album function. So what really are these songs?

Butler: Everyone was done in the service of the play — what makes the characters more real, what makes the world of the play work. We all wanted the play to shine. Some of that was very granular work — changing a word here or making the perfect melody that will work for the same 20 seconds, three or four times. Some of it was more traditional songwriting: “Let’s write a song or try this song in this slot.” So there were three or four different modes. Write a song, write this one little crack in the world. The music does function as music usually does in a musical, in that it cracks the world open for a minute and then it seals back up again.

Q: Did you write other songs that got discarded in the, ahem, collaborative process?

Butler: There was a decent pile of things that were not used. But what we had in the end was pretty tight, pretty self-referential, even when it’s not explained. For my own sake, all of those threads had to be tied together.

Q: But what about your compositional mindset, beyond serving the play? What did this play lead you to compositionally?

Butler: I knew there were three singers and I knew they would be singing in three-part harmony. And three-part harmony sounds so 1976. It sounds like The Eagles,  post-Credence, post-Buffalo Springfield. One male and two female voices.  I didn’t really appreciate it compositionally until we set it on the actors and we saw how much character work that harmony was doing.

When they sing together really tight, you know why these people are in this room together. You know they are meant to be.

Jan. 27 to Feb. 8 at the CIBC Theatre, 18 W. Monroe St.; www.broadwayinchicago.com

Chris Jones is a Tribune critic.

cjones5@chicagotribune.com

https://www.chicagotribune.com/2026/01/28/stereophonic-tour-chicago/