The Chicks mark anniversary of Taking the Long Way with sold-out Beacon Theatre shows

At New York’s Beacon Theatre the country trio played the second of three sold-out concerts, marking two decades since a public Iraq-war protest that led to industry blacklisting and celebrating their uncompromising album Taking the Long Way. The performance came as the US formally completed its withdrawal of troops from Iraq last month, a conflict that still frames the band’s most controversial moment.

Protest, punishment and a long view

The Chicks returned to the Beacon Theatre in New York for the second of three sold-out performances, using the occasion to revisit and celebrate Taking the Long Way and the defiant stance that accompanied it. The concert was shaped by the memory of a remark that in March 2003 — eight days before the US invasion of Iraq — lead singer Natalie Maines told a London audience she was “ashamed” that then-president George W. Bush hailed from the band’s home state of Texas. That comment triggered a swift and punitive backlash within parts of the country music establishment.

The backdrop of a distant war

The evening’s resonance was heightened by the recent formal completion of the US troop withdrawal from Iraq, described by the band’s show as the close of a 23-year chapter of conflict. For many in the audience, the Beacon show reopened memories of the intense response to the band’s criticism — including CD-burning protests, radio blacklisting and threats — and prompted reflection on how those events shaped both the group’s career and public debate about dissent in the arts.

Music and message on stage

Musically, the trio’s trademark close harmonies and polished arrangements remained at the centre of the performance, with material from Taking the Long Way given prominent space. The night balanced musical precision with a sense of hard-won vindication: songs and stage moments carried the weight of history without reducing the concert to a retrospective. Fans packed the theatre to hear the group’s distinctive sound while also acknowledging the political and cultural disputes that once overshadowed it.

A measure of change

Two decades after the controversy, the packed run at the Beacon illustrated how the band’s place in popular music has evolved. What began as a moment of acute backlash has become, for many attendees, part of a longer story about artistic independence and the public consequences of speaking out. The performances combined celebration of an album and craft with the quiet acknowledgement that the cost of dissent can linger long after headlines fade.