“It’s so good to be back. Such a beautiful room and we are so happy to be back” Chris Thile screams to the Chicago Symphony Center among a cacophony of clapping.

And for the Punch Brothers, a room such as the Chicago Symphony Center seems only appropriate. The all-strings quintet is, in essence and aesthetic, a bluegrass band, but their sound has a range far beyond the classic bluegrass sound. A double-bass, a banjo, a guitar, and a fiddle, spearheaded by lead vocalist and prodigious mandolinist Chris Thile bring on a sound that brings together elements of indie, bluegrass, pop, rock, and classical, blended together to play an innovative and fresh take on the traditional sound expected from similar string groups.

A symphony center is one of the only places where such sound can be most appreciated. Sure, there and in a high-ceiling parlor of a Georgia town house.

Their concert opens with two of their most popular songs “Movement & Location” and “My Oh My”, high-intensity, fast-moving songs, featuring Chris Thile’s raw but highly accurate tenor. Both songs perfectly blend the two sides of the Punch Brothers’s iconic sound, poetic and inspiring vocals, with complex and moving instrumental breaks.

One of Punch Brothers’s distinguishing features is their outstanding musicality. Each of the members are true masters of their instruments, to the point where each instrument has become a true extension of themselves, moving beyond merely playing it, but instead crafting stories and conveying strong emotions without ever uttering a word. One of their instrumental may move you to tears as well as any of their lyrical songs.

Their set continues to “Watch ‘at Breakdown”, a five-minute instrumental piece. This one of the many pieces that highlight the sheer talent of each member, with each instrument having their own moment in the spotlight; from Chris Eldrige’s opening guitar solo, to Chris Thile’s own lightning-fast Mandolin breakdown. This song is also a great example of the Punch Brothers’s cohesion as a group. Each provides their own unique, intense addition to the song, yet all coming together in a sort of chaotic harmony.

Moving along to songs as “Three Dots and a Dash”, “This Girl”, and “Julep”, the Punch Brothers are able to keep over two-thousand people captivated, even if only five guys and two microphones exist on stage. The energy and emotion that each member puts in their craft allows them to not rely on any sort of gimmick or large spectacle to keep audiences on the edge of their seat. To a stage normally reserved for an entire symphony orchestra, the Punch Brothers almost seem to run out space for their enormous sound and energy.

Songs in their set, much like their own range as a group, varied in style and theme. From “Jumbo”, a song expressing views on the current presidential administration, to a cover of 19th century composer Claude Debussy’s piano suite “Passepied”, the Punch Brothers know how to bring a fresh take to whatever song their five instruments choose to play.

After the last song “It’s All Part of the Plan”, the band returned to the stage to perform two encore songs “Rye Whiskey” and “Familiarity” to round up this over two-hour set, bringing an end to one of the most talented and complex shows to hit the Chicago music scene. Chicago is eagerly waiting for you to come back to this “beautiful room”.