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Feature Thu Jan 21 2010

The Tunnel Musicians of Chicago

Where there are people, there is music. It makes us feel the things we need to when we don't already. It enhances them when we do. It carries us backward and pushes us forward. It can be found in every known culture and has been performed in public since the time of antiquity. It should come as no surprise to find it being performed just a few steps beneath the ground. After all, there are fantastic acoustics and 24-hour audiences to be found in the tunnels below.

The tunnel musicians of Chicago can be heard amid the roar of trains. Depending who you ask, there are only four performance-permitted stops: Jackson and Lake on the Red Line, and Jackson and Washington on the Blue. Some will tell you about these four. Some will tell you there are only three. I'll tell you what time already has: where there are people, there is music.

I recently spent three nights walking through the tunnels for a closer listen. These are the sounds, and the people I heard.



I was walking through the Red Line tunnel at Grand when I met Lonnie. Lonnie plays the soprano sax. He stands tall and slender and speaks in a mellow tone, with both his voice and his sax. When he gets the urge, Lonnie performs in Chicago's tunnels.

We begin to talk. I ask if this is something he does for enjoyment and he replies simply, "It's got to be." He says it's his way of finding himself and giving himself back.

When I ask if he's from Chicago he stops for a moment to think. "In a way," he eventually answers. He goes on to explain that he comes from a large and musical family, split mostly between Chicago and New York. He's from both. When he's on Eastern Time, Lonnie can be found performing in the New York City Subway.

It's not the money that brings him down here. He tells me he's already rich; that being rich is a state of mind; a choice. He says his ability to play music makes him rich. If it wasn't that it would be something else. But it is that, and he shares it. It's the part of himself that he gives back. It's a musical reminder that our problems don't define us. They don't dictate our state of mind. Or at least they don't have to. It's a choice.

He breaks away from our conversation several times to play for the people he sees. At one point, he stops talking mid-sentence to play a love song for a young couple he spots in the distance. The conversation resumes. The playing resumes. And so it goes until the conversation reaches its end; and there's only the playing left.

Before I step back on the train, Lonnie tells me he sees a lot of dead people walking through the tunnels. I ask him if he has anything he'd like to say to them. "Feel alive," he says. The playing resumes. The train doors close.



I walked off the train and onto the Lake Red Line platform. This is where I met Martial. Martial sings and plays guitar. He plays many instruments actually. But on this day he plays an acoustic guitar. As I walk closer I hear him singing in Spanish. As time passes I hear him singing in English. He does both beautifully.

Martial is originally from Cuba. Near Havana. He's lived all over the U.S. for about 20 years. Most of his family lives in Chicago. It's the place he keeps coming back to. He tells me that, in Cuba, street performing is one of the only real ways to earn your own money. That is to say, private money. Some Cubans make their living this way. For Martial, it's a way to do something he loves when money is short and rent is due.

I ask him how he got started playing music, and what it meant to him at the time. He tells me it came naturally, that his father and much of his family were musicians. Artists. He shares with me something his grandfather shared with him — "Whatever you can find to do with your hands will keep you from starving to death...A man who cannot speak, if he can use his hands, can make something...You have a lot of gifts, so use them all."

Martial began playing seriously when he was 15. But his love for the guitar began even earlier. As a child, everyone in his family had to play an instrument. They didn't own many and had to choose each day from the ones they did. Martial always chose the guitar. He would sometimes sleep with it at night to make sure he didn't lose it in the morning.

I ask him why he continues to play music, and what it means to him now. He tells me it's no longer a matter of catharsis. It goes beyond that. "It's just like conversation with a good friend," he says. "You don't call your friend up because you need therapy, you call your friend up because you like your friend."

Martial is sharp. We talk about how things are and how they could be better. He tells me we need a new idea. He says we need an inventor. He says all great inventions come from the need to alleviate a burden. There have been so many burdens, so many inventions. We just need a new one.

He brings it home with the James Brown lyric — "Man made electric light, to take us out of the dark." I resurface for the night as Martial sings another song.



It was a Friday night. Elvis' birthday. I'd been moving through the Blue Line tunnel for hours when I paused at the Monroe stop. It's where I met Joseph. Joseph plays guitar and sings. His voice and his guitar are identical: weathered on the surface but soulful and sonorous everywhere else. There's a small audience in the tunnel. I watch as he appears to soothe many of them.

Joseph's lived in Chicago since 1992. He's been playing in the tunnels just as long. He performs on his own and with his group, Connection. I ask him if he plays any other instruments and he names a small band's worth.

He tells me music is like medicine to him. It has been since he was seven or eight. Maybe longer. When I ask what did it for him he fires back quickly, "Elvis Presley." I tell him it's Elvis' birthday and he instantly lights up. Just as quickly he begins playing "Hound Dog."

I ask him what else he knows. He says he knows a lot. I ask him if he knows any Sam Cooke. He does. He waits for the trains to pass then plays "A Change Is Gonna Come." With enough focus, one can tune out the drunken woman singing along, and hear a man singing with equal parts pain and hope. The pain alone is gargantuan.

Joseph came to Chicago from Miami, where he was a drug dealer. He tells me he's spent maybe ten years of his life in jail, including a single five-year sentence. He grew weary of that life and came here to start a new one. He says he's made some mistakes here as well, but that all ended with an awakening in Stateville. "I didn't get arrested," he tells me. "I got rescued."

He tells me how he walked down to the trains one day and saw a man performing. Something in him clicked. He knew it was what he wanted to do. He quit his job and has been performing in the tunnels ever since. He earns his living doing it. I ask him if there's a lesson he's learned, a lesson that others can learn from his experiences. He says softly and intensely, "Leave your mark." The conversation comes to an end.

The tunnel is now almost empty except for a few cops, and us. If you ask the cops, they will tell you Monroe is not a performance-permitted stop. Joseph and I board the same train. As my stop nears I ask him if he plans to call it a night. "Oh no," he says. "I'm going to Grand. Hopefully there's more people there."

Where there are people, there is music.


All photos by Brian Leli.

This feature is supported in part by a Community News Matters grant from The Chicago Community Trust and the John S. and James L. Knight Foundation.

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Jeff / January 21, 2010 11:42 AM

Great write up, Brian. These musicians go unnoticed everyday, and their stories are most often shocking, inspiring and amazing.

Michelle / January 21, 2010 12:09 PM

Beautiful - thank you!

Laurie / January 21, 2010 1:00 PM

This is a great write up. It's a shame that these guys are almost "invisible" but are such talented human beings. Thanks for bringing them to life!

Chris / January 21, 2010 4:21 PM

Excellent, excellent. Thank you for the intimacy of this piece and for the sound quality of those recordings. I catch Joseph fairly often at the Jackson blue line stop - I'll have to request his cover of "Change is Gonna Come" sometime soon.

Craig / January 22, 2010 11:04 PM

Bravo. The recordings make it magnificent.

Andy Keil / January 26, 2010 11:32 AM

What did you record with, that's not the mic on a 5dmkII is it?

Brian / January 26, 2010 1:49 PM

Hey Andy - Actually, I picked up an Olympus LS-10 like you recommended. And I'm very happy with it. Thanks!

J / January 26, 2010 8:50 PM

Joseph is great. Love his singing. You missed the best guy down there, though - the bigger dude who plays clarinet. AMAZING. I've come close to passing through Washington or Jackson on my commute and getting off just to hear him play.

Lee / January 28, 2010 7:30 PM

If you like these musicians, you should check out this cool Chicago non-profit that promotes street musicians: .

rachel / January 31, 2010 6:26 AM

Great post and great photos. Greetings from Italy!

Dave Hampton / February 3, 2010 3:00 PM

Excellent story!
These folks are full-time in delivering that essential message: music.
Hats off to them.
They've made me miss a few trains in my time here.

Music can and should stop you in your tracks, make you forget what you were doing, shake things up, soothe you, remind you, move you... that's the whole point.

Music has become an almost tangible force in my life.
While I can only claim to be a fair-weather tunnel musician with a decent day job I should probably stick with, I do love the acoustics, getting lost in making music, and truly enjoy whenever other people seem to enjoy listening.

So, when things warm up a little, you'll find me on the occasional weekend afternoon on violin in the Oak St. (or Ohio St.) Beach tunnel under Lake Shore Drive.

There'll never be enough music.

Anne / June 7, 2010 2:45 PM

Joe is a wonderful musician. Joe knew about playing on the street and in the tunnels street long before he came to Chicago though, as he was part of the very popular New York Trio called the "Chosen" who many will remember from the 80's in Washington Square. I met him there and was his girlfried from 1982 to 1995 on and off. He never really had jobs for any length of time other than playing music. He worked Day labor when he got to Chicago, went down into the tunnels, made $90 the first day and that was the end of the day labor. !! I wish him love and success. I will always love Joe Ellison.

Friend of Martial / November 19, 2010 4:39 PM

Great artical Brian. However, Martial was born in this country, so he would never have told you he's been here 20 years. He must have said he has been back from the Navy for over 20 years. Also, his family in Cuba is mainly near Montivideo, not Havana. Great artical just the same. Martial is truly a musician who loves music...all kinds of music. So thanks for taking the time to write this.

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Feature Thu Dec 31 2015

Our Final Transmission Days

By The Gapers Block Transmission Staff

Transmission staffers share their most cherished memories and moments while writing for Gapers Block.

Read this feature »


  Chicago Music Media

Alarm Magazine
Big Rock Candy Mountain
Boxx Magazine
Brooklyn Vegan Chicago
Can You See The Sunset From The Southside
Chicago Reader Music
Chicagoist Arts & Events
Chicago Music Guide
Chicago Singles Club
Country Music Chicago
Cream Team
Dark Jive
The Deli Chicago
Jim DeRogatis
Fake Shore Drive
Gowhere Hip Hop
The Hood Internet
Jaded in Chicago
Largehearted Boy
Little White Earbuds
Live Fix Blog
Live Music Blog
Loud Loop Press
Oh My Rockness
Pop 'stache
Pop Matters
Resident Advisor
Sound Opinions
Sun-Times Music Blog
Theft Liable to Prosecution
Tribune Music
UR Chicago
Victim Of Time
WFMU's Beware of the Blog
Windy City Rock


Abbey Pub
Andy's Jazz Club
Aragon Ballroom
Auditorium Theatre
Beat Kitchen
Bottom Lounge
Buddy Guy's Legends
The Burlington
California Clipper
Concord Music Hall
Congress Theater
Cubby Bear
Double Door
Elbo Room
Empty Bottle
Green Mill
The Hideout
Honky Tonk BBQ
House of Blues
Kingston Mines
Lincoln Hall
Logan Square Auditorium
Mayne Stage
The Mutiny
Old Town School of Folk Music
Park West
The Promontory
Red Line Tap
Reggie's Rock Club & Music Joint
The Riviera
Thalia Hall
The Shrine
Symphony Center
Tonic Room
Uncommon Ground
The Vic
The Whistler

  Labels, Promoters
  & Shops:

Alligator Records
Beverly Records
Bloodshot Records
Dave's Records
Delmark Records
Drag City
Dusty Groove
Flameshovel Records
Groove Distribution
He Who Corrupts
Jam Productions
Jazz Record Mart
Kranky Records
Laurie's Planet of Sound
Minty Fresh
Numero Group
mP Shows
Permanent Records
Reckless Records
Smog Veil Records
Southport & Northport Records
Thick Records
Thrill Jockey Records Touch & Go/Quarterstick Records
Victory Records

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Transmission is the music section of Gapers Block. It aims to highlight Chicago music in its many varied forms, as well as cover touring acts performing in the city. More...
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