Dressed in a green suit jacket, Andrew Bird waltzed onto the stage of the Fourth Presbyterian Church and slotted his violin into the crook of his neck. Chin tilted up, Bird squinted and set his mouth in a serious line as he began to play. The artist, an Illinois native, is best known for his unique manipulation of the violin and his uncanny ability to whistle while producing violin sounds you didn’t think were possible. Gezelligheid, which translates roughly to “coziness” from Dutch, is Bird’s annual multi-day holiday performance at Fourth Presbyterian Church. Drawing on tons of music produced over his multi-decade career, Bird tweaks the set list for every performance, making each one, each year, a unique event.

In a seamless transition, he changed his grip on the violin, holding it like a ukulele with the bow hanging between the knuckles of his right hand. Plucking at the instrument, he opened with “Mormon House Party,” an upbeat instrumental piece notable for its staccato notes. Never losing his concentration, Bird tapped buttons with his feet to loop his instrumentals. This allowed him to layer violin, glockenspiel (a metal xylophone-like instrument), and crisp whistled notes, making the piece progressively more complex. As the piece evolved, it took on a life of its own, and, with increasing improvisation, departed from the version recorded in his 2022 album, Inside Problems. Bird filled the church, with its lofty arches and multi-story ceiling, with such waves of music that it seemed impossible that they came from one man.

Fourth Presbyterian Church, an ivy-covered building with stone turrets located proudly on Chicago’s Magnificent Mile, is a concert venue unlike any other. With the chandeliers dimmed, the audience’s attention was drawn to the colored lights of the stage. The audience was packed into the pews, heads facing an altar upon which Andrew Bird stood, small against the towering stained-glass windows behind him. Even with one’s attention focused on the altar-stage, the space had a peaceful feeling that complemented and accentuated Bird’s instrumentals.

For Bird’s next song, he was joined by the “indispensable” Alan Hampton, who played a number of string instruments, including an upright bass and guitar. “Oh No” opened with an airy violin melody, followed by Bird’s addition of a catchy whistling tune and Hampton’s steady vocal “bum bum bum.” Bird is famous for his whistling, which is soulful and strong despite the fact that he often whistles with his neck crooked to hold his violin in place. I was struck by the quality of the sound he produced in that position, but also by the acoustics of the church and the excellence of the sound setup. As some songs picked up in intensity, the gramophone-like speakers on stage would spin, casting and bending music around the room. The audience could hear every scrape of a finger across a string, and the balance between the whistling, vocals, and instruments was perfect.

As the concert reached a climax, Bird invited the opening act—vocalist Margaret Glaspy and guitarist Julian Lage—to help him bring the show to a close. Glaspy joined Bird in the duet “Left Handed Kisses,” which opened with an almost country guitar riff. Glaspy’s vocals were resonant and rough, contrasting with Bird’s light violin and whimsical whistle.

With a quick flick of his bow, Bird began the song every Chicagoan had been waiting for, “Pulaski at Night,” an ode to the city’s beauty and bittersweet nature. A steady glockenspiel melody rang out. Bird alternated calming violin with poetic vocals until all the elements came together: upbeat undertones, flowing strings, and soothing singing. As the artists took their bows, they were met with a well-deserved standing ovation. Bird’s Gezelligheid performance was truly special and uplifting, and undoubtedly the most beautiful performance I’ve ever seen.