<![CDATA[JBTV - The JBTV Blog]]>Mon, 05 Oct 2026 16:41:21 -0500Weebly<![CDATA[Live Review: Ministry with Acid Bath & Windhand]]>Sat, 03 Oct 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-ministry-with-acid-bath-windhand

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Salt Shed - Chicago
Saturday - October 3, 2026

Ministry with Acid Bath and Windhand.
A trifecta of wonders, all three bands.
Have to start of course with headliner Ministry, bringing along an eleven song setlist that pummels, from opener "Reload" to closer "Just One Fix".

And to open the show introduction wise, photographer Paul Elledge, who designed the cover for Ministry's "Filth Pig" (and who's also the man on the cover of the album), walking in calmly stage right to center mic, ready willing and able to introduce Ministry for the evening.
Looks the part, plays the part, down to suit and tie, and most of all, raw red meat on the top of his head, bleeding down to his shirt collar.

And let's not forget the distinct and compact miniature American flag in his right hand.
Done to perfection, all of the above, in relation to the actual album Cover dating back to 1996.
Not the first time that this was done in Chicago- the last time being at the Aragon Ballroom back in March of 2024.

No matter- it's pertinent and poignant.
This show and tour is rather limited in regards to dates, considered a one off of sorts, with a select few festival dates through September and early October, with Chicago being one of the lucky stops along the way, before more incoming dates for next year, revolving around the pending (and frothing at the bit) release of "Hate to Go- Take Out or Delivery" on October 30th.
That being said, this show is a celebration of sorts with the album "Filth Pig", some six songs total throughout, starting with opener "Reload", bringing the heavy and heavier, emphasis on solid drums, courtesy of Pepe Clarke, along with the might of guitars from Cesar Soto and Monte Pittman, and of course punishing bass from Paul D'Amour.

And Al on mandolin to open "Reload" as well- how they got that that mandolin into the mix at soundcheck is way beyond my paygrade.
As for "Filth PIg" in general, the album speaks to Al wanting (and insisting) to branch out and pivot away from sampled everything, forming a basis on songs on the might of a four piece or five piece, more in the vein of heavier bands like Anthrax or whomever, not necessarily thrash in particular, but just a more punishing vibe with solid construction around guitars and bass and drums.
Performed live, Filth Pig still rules, with "Crumbs", "Dead Guy", "Lava" being front and center and headbanging, and then song number seven with "Useless", and bringing out Paul Barker for lead vocals, along with backup vocals from the Filth Chicks".

So gratifying, seeing Al and Paul at song's end, with a comforting hug and genuine smiles.
Such is the Ministry family, centered around Al of course, but coming in full circle as of late, getting up there with age as the rest of us, mellowing a bit, and making amends to the musicians of yore who matter the most in all past glories of Ministry.
More than anything, this is what made the show at The Salt Shed just so memorable and all encompassing.

And of course the political visuals, skewering on constant the man in charge and making it known just how laughable and awful our current situation is.

Al's body language throughout the early songs in the set speak volumes to this, the looney tune swirls of hand gestures around his head as emphasis of judgement, or the look of a poor child, contorted center stage directly in front of me, knees bent a bit, looking like he wants to apologize for the visuals, and yet- "don't blame me- I'm only the messenger " kinda vibe.

And we're better for it coming from Al, since he knows as well as anybody how to intelligently make his position known with nary any room for debate.

Al speaks for us in so many ways, having the platform of course to make his position(s) known, and understand a bit the consequences with the current state of affairs.
His songs and angst reflect it , from the deeply personal and consequential actions of closer "Just One Fix" to the political.
His band is all in, support thereof.

Al's all in, pacing like a guy who's got a lot on his mind, playing the part, conducting the part throughout.
So memorable, the latest incarnation of Ministry and what they entail.
Makes you froth at the bit for October 30th and the release of "Hate to Go- Take Out or Delivery", followed by next year's slate of shows which is supposedly his last major tour, over and done with.
No matter- lets relish in what we just witnessed on a Saturday night in Chicago at The Salt Shed.
Definition of a damn good time.

And the same hold true with Acid Bath, opening right before Ministry's set, eleven songs in total, audience all in, band's all in.

Their set was so powerful, like atmospheric and well thought out sludge metal, but encompassing other elements as well, most of all with melodic singing and songwriting, followed by moody and yet striking lighting and visuals, making things that much more immersive and unforgiving.
They have a history, Acid Bath, dating back to 1991, and yet disbanding I think around 1997, and now (thank God), resurrected from 2024 to the present day...

Their sound, their might, their fury- all intact, with Dax Riggs on lead vocals, all inconspicuous and yet cool, and Pierre Duet and Edison Sanchez on guitars, along with Shane Wesley on bass and Zack Simmons on drums.
Talk about these guys capturing their sound and elevating everything throughout- Their set ruled definitive.

As for Windhand, opening the show with their version of sludgy doom as well- so refreshing to see a female lead vocalist mixing it up with sonic onslaughts to the stratosphere- amazing, singing over the furiousness of this band, just so damn convincing and determined to flush things out according to all songs throughout.

The lighting for them as well, setting the mood and display of striking vertical beauty reflecting on the atmosphere and overall aesthetic.

For the openers equal to the headliner Ministry- all worthy of attention and further investigation.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: The Black Queen - Fever Daydream 10th Anniversary Tour]]>Tue, 22 Sep 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-the-black-queen-fever-daydream-10th-anniversary-tour

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Subterranean - Chicago
Tuesday - September 22, 2026

Bummer that I missed the go around with The Black Queen on their "Fever Daydream 10th Anniversary Tour" back in May of this year because of prior commitments, which just kept gnawing at me, especially with the raves about the show from close friends who were there at the Bottom Lounge in Chicago.

And also sponsored and presented by the Cold Waves team made it even more so, knowing full well how Jason Novak procures and produces such amazing shows, like over and over.
Wouldn't you know it, a sigh of relief with the announcement a couple of months after with another limited go around in the states, and even more cozier and intimate venues, which I find amazing in itself.
"Up close and personal?"
You got it!

Subterranean in Chicago in the heart of Wicker Park- provides.

And even on a Tuesday night, The Black Queen faithful are here in droves.

"Fever Daydream" by The Black Queen, originally released back in January of 2016, came in like a breath of fresh air, a hard to classify sound that blends dark electronica, twisted and churning guitars, and added oomph from the likes of Greg Puciato, with vocals that blend all sorts of keen insights and emotional gut wringing.

The many moods of Fever Daydream are ever evident, and made more so with a flip of the script, not following the procession in order of songs from the original release, like re-branding things to fit a mold of consequential thought, and make things sound anew.

Refreshing in my opinion, opening with "Non- Consent", a track that was originally song number five on the album, and then the wallop with "Ice to Never', which is song number two, and then flipping the script, with "Secret Scream" followed by "the End Where We Start", and on and on.

it works, challenging themselves with different perspectives on their body of work, not following a running order that stays close to the lane, making things refreshing throughout the proceedings.

Another reflection on all of this- It's the Black Queen's rules- are you along for the ride or not?
Also, I hate the word "supergroup" when mentioned in reviews or descriptions of this particular band, and others as well.

Let it be said that when solid band members of popular groups decide to pivot and be adventurous and broaden their horizons, it's more or less like anybody that's up and comers, except for the pedigree of history rearing its ugly head, followed by your own perceptions on what they should sound like, prior to any kind of investigation.

Enough already.

Like the reversals of their setlists, their songs their pivots, their own take on things.

Bouncing away from that, and this band succeeds performing live, no matter the size of the real estate stage wise, guitarist Danny Lohner pacing about on constant, alongside multitasker Steven Alexander, and of course Greg Puciato and Chris Pennie delivering the onslaught with fervent glee.
Everyone locked in obviously, making do with limited aesthetics lighting and PA wise, fitting in comfortably to whatever tiny venue they're about to perform in, setting the moods throughout with dark hues of color, mostly backlit, with the occasional white background light to provide emphasis on arrangements and amped up attitude.

Hubba hubba I tell ya.

More than pleased and satisfied to right the ship of longing since last May to the present day.
Seriously, what are the chances of witnessing such a cool band in such small and intimate venues?
Even the definitive answers to that question are mind boggling, amazing, and just genuinely more that satisfying.

The Black Queen to the present day- A must see.
A must see to get your ass to go see.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Riot Fest 2026 - Day Three Photo Highlights]]>Sun, 20 Sep 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/riot-fest-2026-day-three-photo-highlights

Writing by Fiza Javid
Photography by Bobby Talamine

Sunday - September 20, 2026
Douglass Park - Chicago

Welcome back to day three of Riot Fest 2026 - hands down, always the hardest day to cover, and not because of all the steps we got in the last two days. Saying goodbye to Riot Fest every year is usually a signal to the end of summer. But hey, when better to usher in Spooky Season with some of our favorite rock artists here at JBTV?

Needless to say, the torrential downpour had a massive effect on the grounds. A sea of mud swept the the grounds and was enough to send your feet sinking at least to your ankles. This was not for the faint of heart - which also proved just how dedicated the fanbases were to risk literal trench feet for their favorite artists!

But to move on.... bring on the clowns! Day three had both Pennywise and Insane Clown Posse, while the overall need to release some rage reared is rockin head with Pierce the Veil among the list closing out the festival. Still, we couldn't be more excited for Alanis Morissette, Cartel, Sincere Engineer, Patti Smith, etc.,etc.

Pop punk and indie was another lingering theme of the day, with The Format, Cartel, Mom Jeans, etc so many incredible acts that made it seem like the rain didn't even exist. Still with the trek, we were only able to catch so much.

Some of Bobby's incredible photo highlights included: Elvis Costello, Patti Smith and Her Band, Pretty Girls Make Graves, The Beths, Pennywise, The Format, William Shatner (holy cow!), and Mom Jeans.

I must say that it was worth it. To be able to see an entire audience of people risk a mud bath in high heels, to crowd surf anyway, to dance and mosh pit and continue to feel inexplicable joy about their experience seeing their favorite artists - Chicago has one of the more harcore fans on the planet.

You are so loved Riot Fest, and we already cannot wait to be back next year.

From the heart of the windy city, keep on rockin and a rollin' - Fiza Javid at JBTV Music Television.

]]><![CDATA[Riot Fest 2026 - Day Two Photo Highlights]]>Sat, 19 Sep 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/riot-fest-2026-day-two-photo-highlights

Writing by Fiza Javid
Photography by Bobby Talamine

Saturday - September 19, 2026
Douglass Park - Chicago

Bobby and I woke up, dusted the dirt off our shoes and set out for day two of Riot Fest 2026.
JBTV Alumni Twenty-One Pilots marveled the crowd with their major hits, and that is a tough act to follow, but day two initially sparked us all up with insane overlapping favorites from Afroman & Nas playing the same time as Tool?! Please help us, we initially thought, as we love them all. The day two schedule also had Morrissey, Gogol Bordello, Sugar, Pup, Less than Jake, Social Distortion, etc, etc.

Still, in a major shift of events, particularly in Chicago fashion, and an honest Riot Fest first, the rain came down on the parade causing the festival to cut short. As a result, we lost Afroman, had an incredible Tool set at 6PM.

And I must say, as an honorable mention, after many festival-goers dispersed, Riot Fest was treated to an absolutely mind blowing set from Nas, into the night. From "I Can" to "If I Ruled the World" holy bananas.

Speaking of bananas, here are some of the photo highlights from day two - Yard Act, Melt-Banana, Angine de Poitrine, Less than Jake, ASAVA and more. See for yourself:

Some more power players, these acts really brought their A game: Public Image LTD, Sugar, Nobro Morrissey, and Tool.

While I quickly caught the end of Gogol Bordello's "Start Wearing Purple" and managed to squeeze in a crowd surf, I had to catch Morrissey before that.

Morrissey's set was shifted to 5:10 p.m. and reduced to 50 minutes. He packed in an impressive amount of Smiths and solo material, including “How Soon Is Now,” “Every Day Is Like Sunday,” “Billy Budd,” and “First of the Gang to Die.” He also joked about the impending apocalypse. Truly was a showman and looked absolutely incredible.

Tool was a mystical phenomenon. They went on around 6:05 p.m. and still delivered an hour shorter set, sure, but once they opened with “Stinkfist” and hit “Rosetta Stoned,” “The Grudge,” “Jambi,” “Pneuma,” “Ænema,” and “Crawl Away,” it might as well have been a mind trip for the entire day. None of us expected the shift in mood as the weirdest part must have been seeing Tool’s normally dark, immersive visual experience happening in daylight. Still, with the gloom of the clouds and the impending storm, not know when the torrential downpour would happen, the vibe was just right. Not to mention, Tool may be the unspoken mascot of Spooky season being upon us, but that is just me.... either way Maynard delivered a powerful echo to a mystified crowd and we were absolutely left craving for more.

Here's to a joyfully rainy tomorrow, rockin' out for one more hurrah, Riot Fest 2026!

Fiza Javid - JBTV Music Television

]]><![CDATA[Riot Fest 2026 - Day One Photo Highlights]]>Fri, 18 Sep 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/riot-fest-2026-day-one-photo-highlights

Writing by Fiza Javid
Photography by Bobby Talamine

Friday - September 18, 2026
Douglass Park - Chicago

Riot Fest 2026 returned to Douglass Park, the heart of rock n roll, here in Chicago. I joined Bobby as we trekked the fields and discussed all the incredible acts, we were so excited to see on day one. From All-American Rejects, to Rise Against; from Santigold, to Pixies. From Violet Grohl to Iggy Pop and Alkaline Trio, Gwar, 3oh!3, Bayside, Sex Pistols... with so much overlapping talent as well. If only we could be 5 places at once!

While everyone is truly an accolade at one of the best festivals in Chicago, JBTV had the opportunity to photograph some major power players. Here are some of the highlights: Cardinals, Violet Grohl, 3oh!3, Tricky, Bratmobile, Division Minuscula and more.

Gotta talk about the women who stole the show - Riotgrrrl's very on Bratmobile, they were feisty and unapologetic, and an ultimate compliment to Violet Grohl's touch as a a newcomer to the festival.

3OH!3 brought the ultimate comic energy, MySpace, Beavis & Butthead nostalgia which complimented their carefree spirit. It was an absolute party.

Other major highlights: Sex Pistols featuring Frank Carter, Mariachi El Bronx, The Paradox, JMSN, Glixen & Gwar.

Sex Pistols screaming "Are you awake yet Chicago?" in Sid Vicious fashion, what a major blast from the past and the ultimate equalizer of day one.

Absolutely honorable mentions: Teen Mortgage and Twenty One Pilots. How could we ever forgot Josh Dun climbing the latter to the highest drum stage setup in Riot Fest history! Plus they covered Milky Chance and Cher!? Teen Mortgage had the crowd in a rampage as their one-liner declarations against fascism finally gave the crowd the punk elements we needed, plus lots of crowd surfing and circle pits.

What an incredibly strong start to one of the most memorable days of Riot Fest in recent years.

See you tomorrow! Fiza Javid - JBTV Music Television

]]><![CDATA[Live Review: Bikini Kill with Ganser]]>Mon, 14 Sep 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-bikini-kill-with-ganser

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Salt Shed - Chicago
Monday - September 14, 2026

Righteous Riot Grrrl's y'all!
Age is not a consequence; attitude and an independent punk rock mood prevails.
A heavy duty set by the looks of things, this tour of North America, whether it be festival related, or theatre related.

Some 24 songs (including encore) in total.
They cover the gamut opening with a ditty from 1993- "New Radio" a statement amongst statements, a song with sparks and all out fun aplenty, short and sweet, yet energized to the present day.
So, this says lots of what's ahead, short and concise barnburners rolling along, a simple stage setup in regard to aesthetics, not much need for stage props and fancy this / fancy that, except for fashion choices, Kathleen Hanna in particular.

Conservative looking with a "Betsy Homemaker" kinda dress, like the kind when you get a middle aged, had kids, yet you like to bake apple pies and whatnot.
But also, you add a sparkly square mid chest, all decked out with pizazz, like you're out of the ordinary, mischievous, and daring as all get out.

The conflicts in presentation are brash and telling, like Bikini Kill's catalog.
The gravitas is that they maintain decorum, are bonded for life, and relish in still playing live, switching instruments, when necessary, share honest banter with the crowd, fierce in what they convey, and adore the faithful in attendance, girls aplenty.

So, it's a definitive communal experience, emphasis clearly on the songs and letting loose, still instigating when push comes to shove, and always having a damn good time.
How can you not like a band that's bootstrapped from the ground up from back in the day, making a name for themselves through a persistent underground network, connecting with like-minded females who feel their angst and dismay, not just political, but gender as well, like any kind of promotion whatsoever that's male related means they take a pass, on repeat.
And also, so damn encouraging, like a rallying cry across the country for other females to take a stab at what they're doing, pursue your interests to the tenth degree, there's more room at the dinner table if you're so inclined, get on the bus and sing your hearts out.
That above paragraph, for a guy like me, I relish in my thoughts and actions even before they hit the stage, grateful for Kathleen, Tobi, Kathi and Sara still around, and taking their shenanigans once again on the road.

All songs, down to the obvious choice for their encore, "Rebel Girl", hit on all cylinders, and most of all, some serious deep cuts pervade, such as "Outta Me", let alone the love for "Alien She", and even "Jigsaw Youth".
Rocking loud and fierce, elder rock gals making statements.
Now how cool is that?
Hope the pictures with Bikini Kill for this review reflect the overall vibe of high energy fun.

And as for openers Ganser....Chicago's very own, and equally compelling, but with a different twist in singing and songwriting.
The yin and yang of the twofer for the evening, Alicia Gaines in particular, confident as ever with taking over lead vocals now for the past couple of years, let alone commanding as always anything bass related.
And their detached yet cool vibe, Alicia having a sophisticated fashion sense that's equally compelling in overall mood and demeanor.
Brian Cundiff on drums, along with Alicia, the two original members of Ganser- they work hard, deeply devoted to singing/ songwriting and constantly adhering to self promotion, let alone pivoting, like in Alicia's case the artwork and graphics in anything they put out for release, so sophisticated in design and aesthetic.
The definition of "independent"? Look no further than Ganser, now back to a four-piece performing live, with Dove on guitar, and Kassi on keys to flesh out the many moods as well.

Their latest release, "Animal Hospital", along with their current single "Futuretripping" are adding luster to their catalog, advancing on identity with elegant (and detached) melodies, a complex woven dreamscape of sorts, worthy of deep dives and repeated listening.
For a Monday night in Chicago, all things Ganser, escapism at its finest.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Exclusive Interview with Aim High]]>Wed, 02 Sep 2026 16:33:48 GMThttps://www.jbtvmusic.com/the-jbtv-blog/exclusive-interview-with-aim-highInterview by: Aiden Michaels

Question: What makes Aim High, Aim High?

Answer: Aim High has always been an organic mix of everything I (Calebjustcaleb) love about
music; & every part of what that looks like from pop punk, emo, post-hardcore, hardcore, pop,
whatever people want to call it. I’ve never really cared about staying inside one genre. At the
end of the day, it’s a really personal project that I try to keep it as close to an “organic reflection
of myself” as I can.

Q: What does success at Riot Fest look like for Aim High?

A: Of course, we want to have the best set we can and prove we belong on stages of this size, at
the same time we can only be ourselves and hope people resonate with the music. If one
person walks away like “okay, I fw that” we technically did our job but we also ain’t “Aim High”
for no reason.

Q: Is there a particular artist on this year’s Riot Fest lineup that makes you think “Holy shit,
we’re playing the same festival as them?”

A: Trick question because I grew up off so many of these acts and it’s so surreal to actually be
sharing a stage with them. Probably multi-way tie between, Pierce the Veil, Nas, Alanis
Morissette, Taking Back Sunday, Tool, Rise Against, All American Rejects, Bright Eyes,
Descendants, Afroman… so many lolol

Q: What song are you most excited to play at Riot Fest?

A: Probably FLANNEL SZN because it’s getting that time.

Q. What Pop-Punk or Alternative bands have been the biggest inspirations to you?

A: Oh man, again, so many. From ones we’ve had the blessing to work with like Four Year
Strong, Belmont, Sleeping with Sirens to ones we haven’t worked with but still came up on &
inspired so much by; like The Story So Far, Blink, Fall Out Boy, Paramore. Sooooo many.]]><![CDATA[Exclusive Interview with LARGEMOUTH]]>Wed, 26 Aug 2026 17:03:44 GMThttps://www.jbtvmusic.com/the-jbtv-blog/exclusive-interview-with-largemouth

Interview by: Aiden Michaels

Question: How did LARGEMOUTH form as a band?

Answer: Oli and I have been playing music since we were very little. I was on and off the guitar
starting at about 6 or 7 and Oli has literally been playing since he popped out of the womb,
maybe before. He’s always had incredibly fast hands, so my dad thought to put some drumsticks
in em and the rest is kinda history for us two. But when my dad remarried, we met Jeremy he
was like super into fishing and he had never even played at all as far as we know. We would go
to the pond at the end of our block and catch bass and bluegill all summer while playing in our
garage at some point we all thought we should raise money for a bass guitar and surprise
Jeremy for his birthday and we did.

My dad eventually got us all lessons at Guitar Center, and I guess I started writing songs to you
know just deal with the things that were going on in life at the time. I remember we had a family
meeting in my dad’s room and we were all kinda saying that it actually looks like the three of us
brothers should be a real band. So, the next family party we had we performed our first ever
show right there in Oliver’s room. It sucked lol and I think we called ourselves the broken hi hats
or city funk or the faceless dogs or something. But it was fun and in kinda bonded us together in
something besides fishing so we stuck with it and eventually at another one of those family
meetings my dad said you guys should call yourselves LARGEMOUTH since you all love
fishing. And that was it.

Q: What defines LARGEMOUTH as a band?

A: I think our genre is just rock you know or alternative rock. It’s kinda the same philosophy that
pearl jam used to have you know yea we are pretty pop punk or power punk sometimes like a
few of the songs off of our first record For All I Care, but we have grungier stuff like Inside Joke
and Home, acoustic ballads like She Passes By, power anthems like Amoeba and Anarchy
super pop punk like Keep A Secret and even more Jazzy stuff like Dirty Friend or Cool it Down
to heavy Hardcore stuff like Under the Story. And a banger called Do You Love Yourself which is
not out yet. So it really is LARGEMOUTH -Music- if we had to describe it you know just what
we’d call good music.

Q: If you could describe your upcoming riot fest set in one sentence what would it be?

A: It’s gonna be a party the whole way through.

Q: If someone discovers you at riot fest what’s the first song they should listen to?

A: A song that we would recommend to new largemouth listeners is Dirty Friend because it
shows how much we’ve grown as artists from the small energetic punk feeling to intricate,
seasoned, and passionate musicians that we are proud to call ourselves today.

Q: Which artists/bands inspire your live sets?

A: There have been a lot of artists that have been so critical in influencing what the
LARGEMOUTH sound is today. Bands like Nirvana, Foo Fighters, Queen, Snot and System of a
Down have helped shaped a lot of our style. Front men like Kurt Cobain, Dave Grohl, Gerard
Way and Freddie Mercury and other artists from our own Side Street scene in Elgin INPO, Satin
Black, and Pure Intention and in the Scene we are a part of now in Chicago with Guttural
Skinblasted Carnotura and Nighthawk all of those different legends, big brother and sister
bands, groups of friends and especially Our close friends Diangelo and Oliver who have been
helping us shape a brand new sound as we speak. All those influences really have shaped us a
lot in what our stage presence looks like today or just gave us a stage and accepted us when
everyone else thought we were just kids.

]]><![CDATA[Live Review: Jimmy Eat World - Bleed American 25th Anniversary Tour with The Get Up Kids & Sunny Day Real Estate]]>Thu, 20 Aug 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-jimmy-eat-world-bleed-american-25th-anniversary-tour-with-the-get-up-kids-sunny-day-real-estate

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Chicago, IL - Huntington Bank Pavilion
Thursday - August 20, 2026

A makeup show of sorts with Jimmy Eat World, originally scheduled back in June of this year, but wouldn't you know it, thunder and lightning prior to show time and forecasted for later in the evening put a halt to things.
No matter.
A make-up date with Jimmy Eat World with Sunny Day Real Estate and also The Get Up Kids is mighty fine by me.

A tour with Jimmy Eat World to celebrate the 25th anniversary of Bleed American.
Released officially in July of 2021.
Let that sink in for a minute.
Time is just zipping by.

That album for Jimmy Eat World was (and is) a game changer, what with their backs against the wall with the corporate higher ups, inner turbulence matching outer turbulence to create, and create some more.

Bands like Jimmy Eat World, especially back in the early 2000's, critics alike were not aligned in trying to label the band, pigeonhole the band, and justify the band, as weird as that sounds.
If you dug deep, had the patience and fortitude to give a solid listen, especially with Bleed American, you'd uncover nuggets galore, with songwriting craftsmanship that encompassed multiple genres of music, from the wicked full on, along with the essence of all things power pop.
On top of that, their hearts were in the right place to proceed and let things pan out.
And here we are, 25 years later, and the essence of Bleed American (especially performed live) still sounds fresh and clean, enthusiasm and energy intact, from band to devoted audience, devoted audience to band.

That pit rail for the first five songs in regard to photographing, seemed like each and every person knew the words to each and every song, singing along in tandem at full throat throttle.
And even before the show, when the gates opened...the amount of people wearing varying degrees of Jimmy Eat World Shirts was amazing in itself, in my purview and observance, not one was identical.
That in itself is amazing.

As for the band-
All in, obviously.

Lots of smiles within the band, lots and lots of full on electric energy, with a set construction that encompassed moving parts to provide depth depending on opening songs, with a more intimate club like feel, what with drummer Zach Lind stage right/ audience left, equal to the other members up front, to his left bass player Rick Burch, followed by of course Jim Adkins, and Tom Linton.
All lined up nice and tidy, to get warmed up songs one through four, from opener "Clarity' to "Your New Aesthetic", to "Blister", and then "Lucky Denver Mint".
The first four- a nice salvo of energetic melodic charm and angst, before the set change, with nary a letup in sight whatsoever, to open the stage big time, leading into all things Bleed American, and the title song.

Of course, the might of their power pop ensues, especially when song number seven comes forth, that being all things "The Middle", and talk about a song that never gets old, bouncy rhythms still intact, and hooks and backbeats galore that pack a wallop throughout.
You can tell that the infectious melodies and song structures are communal, each band member providing their take on things, reliving that entire album as if it was recorded anew days ago, everything, I mean everything sounding so muscular, packing a punch.

Here's the main takeaway.
There was no letup in sight.

Could be lots of reasons- the makeup date maybe.
Coming to the end of the summer transition.
The fact that Jimmy Eat World adore Chicago.
Maybe all of the above.
Certainly, for this band, Jimmy Eat World have proven over and over that they're a band with lasting power, with a boatload of songs that make that point loud and clear.
Jimmy Eat World equals making statements.

Openers Sunny Day Real Estate, a different vibe than Jimmy Eat World, what with their sonic atmospherics just exquisite throughout, reflected in the overall atmosphere and demeanor of the crowd, all chill, all observant, taking it all in as solid listeners.
Their set was breezy, melodic as all get out, a modicum of restraint for the slow builds of anthemic delight.
The whole band, epic in the feels, hypnotic in approach and surrounded of course with killer melodies.
Love this band,
So great to hear them live.

And The Get Up Kids opened the show.
Catchy power pop songs throughout their set as well.
No need for anything fancy and histrionics- this band knows a thing or two as well, playing off each other with distinct flare and vision, even with the sun kind of still out.

A well-crafted and curated show, that's for sure.
Three bands with a distinctive touch and different approach to their catalogs and craft, all three still uniquely intact in their own ways, and yet comparable in beings a band's band- all three.
That in itself makes for a rewarding and memorable evening.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Lollapalooza 2026 - Photo Highlights Day Four]]>Sun, 02 Aug 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/lollapalooza-2026-photo-highlights-day-four

Writing by Fiza Javid
Photography by Bobby Talamine

Grant Park - Chicago
Sunday - August 2, 2026

We wrapped up Lollapalooza 2026 with a full day of great sets, starting with Squirrel Flower, New Constellations, and Adela. From there, we caught Dombresky, MUNA, JADE, Duke Dumont, Hot Mulligan, Turnstile, AESA, and finished the weekend with an awesome headlining set from Tate McRae.

Day Four had a little bit of everything, and we were there from the first set to the last, capturing some of our favorite moments of the weekend.

The day kicked off with Squirrel Flower, followed by New Constellations and Adela, who got things rolling early. Dombresky had the crowd dancing all over the park, while MUNA brought great energy and plenty of singalong moments. JADE looked right at home on stage, and Duke Dumont kept the party going into the evening.

Hot Mulligan brought the loud guitars and nonstop energy, while Turnstile delivered one of the wildest sets of the weekend. Between the crowd surfers, constant movement, and the band’s intensity, there was always something happening in front of the camera. AESA kept the excitement rolling and set the stage for the final performance of the weekend.

The biggest photo highlights of Day Four belonged to Tate McRae.
Her performance mixed big pop songs with nonstop choreography that made every moment feel camera-ready.
One of the coolest parts of the set was when her dancers lifted her into the air during one of the routines, adding another memorable visual to an already impressive show.
Even while dancing almost the entire set, Tate never lost her energy and kept the crowd locked in from start to finish. She was the perfect choice to close out Lollapalooza 2026 and a great way to end an unforgettable weekend.

Thanks for following along with JBTV Music Television all weekend. We had an amazing time capturing these moments, and we can’t wait to do it all again next year.

Cheers - Fiza Javid - JBTV Music Television

]]><![CDATA[Lollapalooza 2026 - Photo Highlights Day Three]]>Sat, 01 Aug 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/lollapalooza-2026-photo-highlights-day-three

Writing by Fiza Javid
Photography by Bobby Talamine

Grant Park - Chicago
Saturday - August 1, 2026

Day Three Photo Highlights: Die Spitz, Wolf Alice, Leon Thomas, Whethan, Max Styler, Frost Children, Ethel Cain, Geese, bbno$, and Jennie.

Day Three's photo highlights kept the momentum rolling with another incredible lineup and plenty of unforgettable moments behind the lens. From high-energy rock sets to massive pop production, every stop around Grant Park offered something different to capture.

Die Spitz kicked things off with a fast, chaotic set that was full of movement and attitude, making for some of the day's most energetic shots. Wolf Alice followed with a performance that balanced dreamy atmospheres with heavy guitar moments, creating some beautiful lighting and stage visuals. Leon Thomas brought effortless style and smooth vocals, giving us plenty of cool, laid-back portraits before the energy shifted over to Whethan, who had the crowd dancing from start to finish.

Max Styler kept the party going at Perry's with booming beats and nonstop movement, while Frost Children embraced their colorful, hyperpop chaos with a set that was just as fun to photograph as it was to watch. Ethel Cain completely changed the pace, delivering a hauntingly beautiful performance filled with dramatic lighting and emotional moments that translated perfectly through the camera. Geese turned things back up with an unpredictable rock set packed with personality, and bbno$ closed out the stretch with his signature mix of humor, crowd interaction, and infectious energy that had everyone smiling.

Saving the biggest highlight for last—Jennie.

She was the perfect way to wrap up Day Three. The second she stepped on stage, the energy shifted. The crowd erupted, every phone shot into the air, and it felt like everyone knew they were about to witness one of the standout performances of the weekend.

Jennie looked completely at home on the main stage, moving effortlessly through every song with polished choreography, undeniable confidence, and the kind of charisma that keeps your camera glued to her. Every few seconds there was another shot worth capturing—a perfectly timed dance break, dramatic lighting, a huge smile to the crowd, she made photographing her set an absolute blast because there truly wasn't a bad moment to capture.

Day Three gave us another amazing gallery from start to finish, but Jennie was the perfect exclamation point to end it and one of the biggest photo highlights of Lollapalooza 2026.

We don't want this party to stop and thankfully we have another day to go! Cheers as always, Fiza Javid - JBTV Music Television

]]><![CDATA[Lollapalooza 2026 - Photo Highlights Day Two]]>Fri, 31 Jul 2026 13:58:40 GMThttps://www.jbtvmusic.com/the-jbtv-blog/lollapalooza-2026-photo-highlights-day-two

Writing by Fiza Javid
Photography by Bobby Talamine

Grant Park - Chicago
Friday - July 31, 2026

Day Two at Lollapalooza brought another great mix of rising artists, fun performances, and plenty of memorable photo moments across Grant Park.

The day featured sets from Avello, Claire Rosinkranz, HorsegiirL, Not for Radio, PARTYOF2, Slayyyter, and The Army, The Navy, with each artist bringing their own style and energy to the stage. From intimate performances to colorful productions and high-energy crowd interactions, there was no shortage of standout shots throughout the day:

The biggest highlight belonged to Zara Larsson, who closed out our Day Two gallery in style. Her set had everything you’d want to photograph—big vocals, nonstop energy, sharp choreography, and a crowd that was with her every step of the way. Every song brought another great photo opportunity, making her performance the clear visual standout of the day.

Day Two was another reminder of what makes Lollapalooza so much fun to cover: discovering new favorites, capturing artists at their best, and documenting the energy that makes the festival special.

I'm sweating, I'm stoked, the electricity through all this rain is hyper-sonic. Lolla day two was remarkably exciting. Every act brought a level of originality, athleticism, body and pure joy.

The party doesn't stop here. Until tomorrow - Fiza Javid - JBTV Music Television

]]><![CDATA[Lollapalooza 2026 - Photo Highlights Day One]]>Thu, 30 Jul 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/lollapalooza-2026-photo-highlights-day-one

Writing by Fiza Javid
Photography by Bobby Talamine

Grant Park - Chicago
Thursday - July 30, 2026

Day One of Lollapalooza 2026 delivered an outstanding mix of rising stars, high-energy performances, and unforgettable moments. From the opening sets to the evening headliners, there was no shortage of incredible scenes to capture.

The day featured performances by Asha Banks, Bad Nerves, Kingfishr, Between Friends, Eva Vandal, Boys Noize, 5 Seconds of Summer, Boris Brejcha, Chalk, Empire of the Sun, and Wet Leg, with each artist bringing their own unique energy to the festival.

Empire of the Sun provided one of the day’s most visually spectacular performances, while Boris Brejcha’s signature production and Boys Noize’s electrifying set offered plenty of dramatic lighting and atmosphere. 5 Seconds of Summer and Between Friends kept the crowds engaged with energetic performances, and Asha Banks, Bad Nerves, Kingfishr, Eva Vandal, and Chalk each delivered memorable moments throughout the day.

The standout image from Day One features Rhian Teasdale of Wet Leg, whose commanding stage presence and expressive performance made for a fitting highlight to close out the gallery.

Enjoy this collection of my favorite images from an unforgettable opening day at Lollapalooza 2026.

Remarkable day one - the sun is shining on Chicago, and the party ensues, and JBTV cannot wait for day two!

Until tomorrow - Fiza Javid - JBTV Music Television

]]><![CDATA[Live Review: The Human League - Generations US Tour 2026 with Soft Cell & Alison Moyet]]>Tue, 23 Jun 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-the-human-league-generations-us-tour-2026-with-soft-cell-alison-moyet

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Chicago Theatre
Tuesday - June 23, 2026

The Human League, making statements of the "Synth" kind.
Refreshing, how the show started with Rob Barton on electronic percussion providing the necessary and persistent beats to "The Sound of the Crowd", and the slow build to establish the overall mood of the festivities, followed by Nick Banks and Ben Smith entering stage right and stage left with their strapped on Keytars - (An electronic keyboard synthesizer which look like and is held like a guitar).
This show is all things pop electronica, with a stage set that was minimal and yet so striking, lighting hues perfect for a Vegas style production, a giant LED screen with crisp visuals and graphics like you're at a sophisticated EDM concert, along with a minimal (yet useful) four step riser from stage left to stage right, with Rob Barton in the middle.

Elegant, especially with opening "The Sound of the Crowd", from the mighty "Dare", an album released back in 1981, and still holds truth to power to the present day.
Once the intro to "the Sound of the Crowd" is established, time to go full throttle with Philip Oakey on lead vocals, dressed in a wicked black leather ish looking jacket with brazenly puffy shoulders- the look of menacing cool while he paces the stage, followed by Joanne Catherall and Susan Ann Sulley on co lead vocals, both dressed in fabulous dresses of the sparkling kind.
This is gonna be party, a dance party even if you're in reserved seating, even on a work night, a Tuesday night be damned.

Like all of the album "Dare", the songs still hold sway and command your attention, proving their relevance and addictive beats, brandished and set anew ripping through the current day on a slipstream of synthesizer coolness.
For me, hearing the song "Seconds" from "Dare", established all I needed to know and love about synth beats, and how they can magically hold sway and your attention, on repeat.
That song captivates, and when performed live with a mighty PA, it's a banger.
5 songs in on the setlist, and the crowd at The Chicago Theatre was jamming.

But still, going back to song number two, also from "Dare", and all things "Mirror Man"- another song which is such a precise and whimsically cool pop nugget sing along, like all of their hits of yore.
This show- it's not a nostalgia act whatsoever, the band is all in, the three main players all in, all songs, captivating as all get out, enjoying themselves and this tour obviously, and so damn infectious.
To hear "Lebanon" from "Hysteria" was also a pleasant surprise, even though political to a degree, still artfully succinct in all manners of The Human League weave of singing/ songwriting that manages your attention while you move to the beat.

The other nuggets, such as "Love Action (I Believe in Love)", and of course the mighty "Human" in particular- you're transported back to its release 1986, innocent times, wonderful times, and still just sounds so damn good, what with Joanne and Susan making the song move along in its delicate and dreamlike state.

The encore held surprises as well, what with "Being Boiled"- a song way ahead of its time- dating back to 1978, immersed in cool electronica even for its time, still catchy and witty and ultra cool.
Such was the show on a Tuesday night, all songs attention grabbers, all songs making you move to the beat, presented in such a way that wasn't schmaltzy whatsoever, so well thought out from a production point of view, let alone attire and overall presence, and with Philip just a delight to witness throughout, blessed with such a deep and magical baritone that captivates.
Embraced in loving flamboyance, not alone whatsoever in celebratory stance.

Same holds true with Marc Almond and Soft Cell, still a treat to see him tour more since last year, when he opened for Simple Minds.

He's another guy who knows a thing or two in the look of all things "daring", blessed with a vocal range and demeanor that is cabaret, but still somewhat aloof and menacing at the same time.
You can't keep your eyes off him, even when he's in a mellow mood, not as high energy as he once was, the allure of clubland decadence peeking through the curtains still holding its allure that lies within.
So fearless all things Soft Cell, and particularly their first release from back in the fall of 1981, with "Non- Stop Erotic Cabaret".

Of course "Tainted Love / Where Did Our Love Go" front and center, held to end for their set, which still sounds fresh to the present day.
The opener "Memorabilia" set the mood for their set, the LED screen with a brazen and catchy graphic of "Soft Cell" in all its neon glory, the beats still moody as all get out.
With Phil Larsen filling in for David Ball, who passed away in the fall of 2026, the look and feel of Soft Cell live keeps the party going, along with backup singers Kelly Barnes and Bryan Chambers who provide added luster to the Soft Cell canon, freeing up Marc Almond to convey more chops with attitude.

Even with restraint to some extent, Marc still hold the power to command within, his voice and range still solidly intact, dark sunglasses for added detachment and personified cool, the songs the added luster of beats still sounding fresh and clean.

Alison Moyet, equally adept in the changes of the musical landscape- her songs still hold sway, including her choices from Yazoo, such as "Nobody's Diary", "Midnight", and of course "Situation" and "Don't Go".

Songs from the early eighties that still have power into 2026, what with Alison's razor sharp vocals and a heart as big as her voice.
Even her solo material, particularly "Changeling" and "Love Resurrection" hold truth to power, blessed with a solid backing band, and cool yet moody stage lighting throughout her set.
What a way to open the show, all three acts so unique in their own right, yet sharing in the wonderful world of synths galore, blessed with songwriting chops that are clearly not dated, all three with heavy hitter setlists in tow, making for such a wonderful and oh so memorable evening.

As this entourage of coolness starts heading east to New York and Boston and Philadelphia, and other dates- a must see.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: Warm Love Cool Dreams Music and Arts Festival Day Two]]>Sun, 24 May 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-warm-love-cool-dreams-music-and-arts-festival-day-two

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Salt Shed - Chicago
Sunday - May 24, 2026

Day Two from the grounds of Salt Shed Chicago.
By now you know the drill of what Warm Love Cool Dreams is all about-
A well thought out and curated festival, from the artists and bands bookings wise, to also the "Oddball Market", interspersed throughout the grounds of Salt Shed as well.
And as for Day Two, comprehensive and unique in regards to music tastes and proceedings.
Courtney Barnett.
Whitney.
Toro y Moi.
Nourished by Time.
Moin.
Being Dead.
Tobacco City.

Starting with the headliners and working our way from there-
Courtney Barnett can do no wrong.
Chicago loves and adores Courtney Barnett.
Arriving from stage right, Fender Stratocaster held high, all smiles, followed by her band, equally all smiles.
The applause and excitement when settling in, so heartening.
So let's go!

Opening with "Stay in Your Lane", from her latest release "Creature of Habit", a song that emphasizes rollicking rhythms from bass and drums, to set the mood of fun fun fun.
And then onto "City Looks Pretty" (how apt)- and looking around from the pit as a photographer to the fairgrounds and patrons- all smiles, blessed with enthusiasm on this Memorial Day weekend, enjoying the scenery, enjoying Courtney Barnett.

Then into song three, and BOOM! All things "Avant Gardener".
If ever there was song that fits the mold of raptured storytelling, it's certainly this.
Opening lyrics: "I sleep in late, another day. Oh, what a wonder, oh, what a waste".
Her take on things, living from day to day, and the anxiety and trepidation from within, anxiety and guilt to start the day, whether to stay in bed, or get up off your ass and proceed to whatever,
Who can't relate to that opening sequence of events, and the emotions within? And of course it goes downhill from there, roaming the house, interior and exterior, as well as surroundings.

Sung in such a way with Courtney expounding like she's living this filmography in her head like it was yesterday, in real time, and not having a clear idea of how to proceed.
Exceptional artistry to convey this in such crazy detail, even to the present day, as if now you're an actor, the words mean still that much to you, even though life experiences have clearly changed.
Stuff like this, this is what makes Courtney so unique, so gifted.
And it's song number three for crying out loud, clearly a song headed for an encore, some 21 or so songs in.

With Courtney and her band, lots and lots to get to of course, every song proceeding forth just so damn listenable and outright brazen at times, conveying over and over guilt of all things, along with guilt with attitude.

It's like she's still proving herself performance wise, with a chip on her shoulder, keeping with her thematic storytelling along with maintaining her indie cred, most likely procuring more songs which can be added just in observing that insanity alone.

New songs, older songs..it clearly doesn't matter, as long as she keeps with the theme of a stellar band backing her up, a three piece in total of all things- with Bones Sloane on bass, along with Dave Mudie on drums.
And they're tight, tight as all get out.

This is the cool thing about Courtney- to the present day, she's still just so adventurous, and downright meaningful, blessed with intricate and morbidly funny storytelling, followed by a keen sense of rollicking melodies to amp up the funny/ crazy.

Whitney- Julien Ehrlich on vocals and of course drums front and center, along with his partner Max Kakacek on guitar- the mood downright chill, with moody orange lighting throughout, conveying a style and attitude of old school country/ folk vaudeville, thematic in scope in relation to the songs, songs written in such a way to convey the days of analog, like vignettes from the sixties and early seventies in scope and feel.

Not easy to accomplish and grasp, depending on who you're talking to, some getting it, some of course not grasping it.
I for one totally dig this way of presenting their music, downright chill and all consuming, consummate singing and songwriting the order of the day.

And having Julien's drumkit front and center, with Max to his immediate right....loved the interaction between the two of them, during instrumental breaks, Julien was looking to his right on constant, a reassurance with Max that things are all good.

Even after the first three songs from the pit to the back of the house by the soundboard, even there, their set was lovingly thought out, conveying mood to melody and lyrical bliss.
And also packed for their set on the main floor, all songs, before exiting to the fairgrounds for Courtney Barnett.
So reassuring to see that as well, everybody there in support of such a cool Chicago band making a name for themselves.

Toro y Moi- a force of nature (and all things tech) unto himself.
Strapped all in with Go Pros and mini video cameras of all sorts, on his strapped vest, along with his synths and keyboards, and also surrounding stage and fellow musicians, like you're witnessing multiple perspectives from all sorts of angles when performing live, the LED screen in real time to the going's on.

The fairgrounds crowd is all in as well, swaying and moving to the beats in stationary space, like everyone all in on the chill vibe throughout, Toro y Moi presenting song after song as a close knit package, the band equally amping up everything, that being the usage of live drums to add punch to the songs with a different energy and attitude.
Like to see how Toro pivots when performing live- this new version of things has a compelling take on his songs, adventurous, that's for sure.

Nourished by Time- Nourished by Time slayed.
They held the audience captive throughout their set.
Clearly one of the highlights from Day number Two, Marcus Elliot Brown just so sincere and full hearted, downright honest to the core in attitude and conveyance of such exquisite songs and songwriting.
My pictures- from what was conveyed on the backdrop LED screen to Marcus as well, was doing my best to mesh the two, since what was crafted graphically was well immersed into the songs that Marcus was singing and expressions wise.
Just so captivating, their entire set, coming off elusive and yet so full of wonderment and genius melody.
Such was their entire set, a moving experience.

Moin - Their set was delayed a bit waiting for the proper cymbals to attach to the drumkit, and still, worth the wait.
Another set that captivates, from beginning to end, a set of songs that builds and builds, and builds some more.
All in these bandmates, not relinquishing the samples and let them go to waste throughout- that guy built songcraft that slashed through the proceedings, equal to the crash and burn from drummer Valentina Magaletti.
All foretold, the band propels their instrumentals with a chilled fury, if there is such a term, and also each and every song was just so damn listenable, even though again, all band members come off as just so relaxed.
That set of theirs- wicked and fun, that's for sure.

Being Dead- For a three piece, snarky fun, with a bit of joking attitude throughout, barebones and cool rock n' roll throughout, songs speeding along at a fervent pace, their set over before you know it.
Could've go on for longer in my opinion, their set polished and full of energy.

Tobacco City- Great way to start the day, the country folk displays so well crafted, even in the shared female / male singing songwriting.
If there was a word to convey their set, that accentuates the positives, it's "Nostalgia". But not meant to diminish anything whatsoever- on the contrary.
Their songs, sung in such a way that you feel and understand the beauty of simple storytelling, blessed with musicians who have that same sense of charm and likes, down to the emphasis on pedal steel guitar adding to the beautiful moods that lie within.

Warm Love Cool Dreams from Day Two - Memorable, and then some, top to bottom.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: Warm Love Cool Dreams Music and Arts Festival - Day One]]>Sat, 23 May 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-warm-love-cool-dreams-music-and-arts-festival-day-one

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Salt Shed - Chicago
Saturday - May 23, 2026

The Jesus and Mary Chain
Pixel Grip
Tortoise
Mark William Lewis
Smerz
YHWH Nailgun
Kumo 99

Before getting to the bands....
This unique festival at the Salt Shed- Warm Love Cool Dreams- a festival that thinks outside of the box.
Knows how to pivot and expand, and think big.

The festival itself, through the team at Empty Bottle Presents, along with The Salt Shed- their explanation on things is more pertinent than anything I attempt to write up.

"The two day multi-genre festival will take over every corner of The Salt Shed for the first time in the venue's history, with stages indoors, outdoors on the fairgrounds and at Three Top Lounge.
Two days, three stages. Oddball market throughout the festival. Warm Love merchandise. Hell yes".
Some bits were edited, but you get the gist.

Have decided on separate writeups of the entire event, the first focusing on Day One from WLCD, if for anything not to drain out and bury the importance and curation of the bands within and selected for the two day event.
The focus of course is on music. Music of all shapes and sizes.

Headlining day One from the Fairgrounds stage is the one and only Reid brothers of The Jesus and Mary Chain, still the epitome of cool, music that still resonated to the present day, going back to "PsychoCandy: from back in 1985.
Jim Reid in particular, still the look at present of detached nonchalant elegance, not much need for fanfare and fuss, a stationary kind of guy, making use of his microphone chord with various twists and turns and feel of appeal.

Jim as a front man, hold the band in sway and discourse, followed by his older brother William Reid on guitar, no slouch in his own right, ever evident in front of his Orange amps stage left, with "JESUS" emblazoned on the speaker cabinets, and of course occasionally immersed is some serious fog.
Back in the heavy hitter fog days of live performance, circa 1982 through much of the 90's- The Jesus and Mary Chain were immersed in all sorts of serious fog, like Sisters of Mercy of course, immersed so deep you couldn't see them whatsoever, like the entire stage depending on venue, including the main floor.

Nothing like conveying attitude as well, letting the music do the talking, and performed LOUD.
So yes, some things have changed with age, let alone demeanor for both the Reid brothers.
All for the beauty of the glorious catalog that lies within.
And to start off their set with "Jamcod", from their latest release "Glasgow Eyes" from March of last year- that song captivates and kicks ass.
Their use of bits of electronica to convey mood over the drums/ bass/ guitar- such a velvet burst and rush to the senses sway and fell throughout.
Like most reviewers attempting to navigate that album, let alone the song- they hold court their way, the only way the Reid brothers should, staggering and swaggering as if they're still twenty year old, in defiance of everything.
Hard to top those mannerisms, even with the 19 song set.
Nothing's changed, outside of age.
Song 15 relishes with delight, that being "Just Like Honey" with an awesome assist from Catherine and Henrietta of the band Smerz, who had appeared onstage earlier in the afternoon.
"Darklands" as well, a song with its own groove and own liking, sophisticated chaos present, but done with twang and groove and fuzz, as you'd expect from J & MC on anything they attempt.
Their whole set conveys these moods, just in a subdued "older gent" state of mind.

Pixel Grip - Headlining the indoor stage at The Salt Shed- sexy and dark mood electronica pervades and captivates, courtesy of Rita Lukea front and center.
She commands.
She relishes your attention.
She hates anything boring.
Her demeanor on such a large stage as The Salt Shed- more room to roam and prowl when the mood strikes, amped up energy with her bandmates Jonathon Freund on synths and samples and keyboards, along with Tyler Ommen on drums.
They exude confidence, the three of them, ever expanding their scope and feel, taking risks like on constant, tech savvy as all get out, hard working, all in both in recordings, video productions and of course the candy ion top- LIVE PERFORMANCE.
Don't think they don't know this- been this way from when they started, making a name for themselves and definitive displays of rave live performance followed with punches to the gut when it came to mixing it up with their rabid fanbase.
Wise beyond their years, the three of them, highly anticipated from all things Warm Love Cool Dreams, co- headlining and all, and of course, slaying their entire set, making everything so damn memorable, from the pit to the grandstands in the back.
The giant LED screen backdrop as well, an immersive display of wicked graphics punching up the energy that lies within, led by Rita of course, blessed with confident attitude that builds and builds to the end. of their set.

Tortoise- What a surprise- not just in billing at Warm Love Cool Dreams, but also their live performance for this crowd on the fairgrounds, subdued and intricate instrumental elegance front and center, band members mixing it up depending on song, curiosity ever evident in music language between the band members such as drummer John McEntire, throwing out the occasional smile depending on intricate and timely drum fills.
Much of their set was immersed in this interaction, making a late afternoon time for their set that much more entertaining with the sun still out.
Tortoise.
Improvisation front and center.

Mark William Lewis- with his band at the Tree Top Lounge.
Had to navigate quickly from Smerz to catch some of his set, and from what I saw and heard- a laid back chill throughout, a nice diversion from both the mainstages, and strong songwriting chops, band all in for their set.

Smerz- Just a cool and chill and sophisticated Electronic duo from Norway, holding sway with their European charm and attitude, led by Catharina Stoltenberg and Henriette Motzfeldt.
For their set at like 5 ish in the late afternoon- packed on the main floor to witness them live.
Their presence and overall feel, not club music per say, but the feel is late night, at like 2am, and winding down from a night on the town, sophistication and songcraft lies within, a settling mood of wit and vulnerability, held between tradeoffs in vocals between Catharina and Henriette.
And it works, their entire set, aloofness and charm and laid back cool that doesn't come across fake whatsoever.

YHWH Nailgun- First thoughts from seeing them perform live- their lead singer Zack Borzone and his twisting and contorted motions of angst and appeal- up there with Model/ Actriz in captivation and holding you in sway, unpredictability can rear its ugly head at any minute, so you better damn well pay attention.
Raw energy from all of them, complex rhythms the order of the day.

Kumo 99 - What a way to start the day from the indoor stage at WLCD.
The coolest of electronic punk attitude and displays of pent up energy, led by Ami Komai on lead vocals and occasional samples, along with Nate Donmoyer on synths and electronica.
Their set- explosive and full propellant, a wicked display of energetic fun and attitude, Ami all in with detached persona, but blessed with attitude and demeanor to hold court and kick some ass.

Warm Love Cool Dreams from Salt Shed- an A+ ride throughout.
Day Two to follow soon, once I get my head on straight.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: Sleaford Mods North American Tour- "The Demise of Planet X"]]>Tue, 19 May 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-sleaford-mods-north-american-tour-the-demise-of-planet-x

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Lincoln Hall - Chicago
Tuesday - May 19, 2026

Sleaford Mods.
Simple as all get out.
Not much need for small talk and introductory hellos.
No- none of that.

We've got a shitload of songs to get to, minimal time to convey the angst and downright focused and necessary attitude to pick a fight with the unqualified (name the subject matter or position of power).
Jason Williamson on vocals, along with Andrew Fearn on all manners of programming- they're advanced storytellers, and getting more advanced with each and every release, each and every tour they embark on.

Minimalist minimalism makes do, thwarting the concept of anything complex and anything "show worthy", let alone "showboaty".

Yes, it's entertainment, but still, look beyond the scope of demeanor, and what you see is what you get.
Amazing, when you think of it, how they pivot and embrace the concept of going from city to city, with not much needed as far as luggage and carry ons, let alone load ins in any venue.
Saw them arrive at Lincoln Hall from their Uber, and it was just them, and a couple roller luggage bags and containers crossing the street and into the venue.
That was it- not much fuss.

Still, so damn relatable, so damn unique and profound, that's Jason and Andrew.
Opening their set with "The Unwrap", their last song from their latest release "The Demise of Planet X"- a song with spitfire attitude wordage wise, the slinky slinks starts a goin' with Jason spitting out the verbiage while he twists and turns sideways and this and that to Andrew's beats and samples, and what with Andrew now becoming more fearless as well, moving upper arms to the beats behind Jason, looking straight forward to the back of the house, the occasional shimmy thrown in for good measure.
The faithful on the main floor of Lincoln Hall, slowly but rest assuredly getting into their own versions of slinks and shimmies as the songs progressed, amped up attitude aplenty as the songs roll on, making the vibe and feel of Lincoln Hall into a house party of sorts, even on a working man's Tuesday night.
By the time of song number three of the evening, the dive bomb of wonderment with "Megaton", and Jason's contortions continue unabated, shrinking the mic stand down from five feet to three feet, bellowing out vocals and the occasional guttural shrieks for added attitude- the kind of song that could go on for longer than three or four minutes, the beats and vibe are that good, that much more life sustaining. and affirming.

All of "Demise of Planet X', just so damn ambitious and worthy of your time, especially when hearing them performed live, with piss and vinegar galore.

It's clear with the current state of affairs and going's on worldwide, dread and uncomfortability are literally everywhere, with no end in sight, newsroom subject matter more appalling from one day to the next.

Yes, Jason in particular notices this obviously, devising keenly and succinctly the profound angst and disgust, no room for compromises, deliver the chills, deliver the fight, over and over and over, a prescribed vitamin of sorts, not for feeling out of body, but for delivering a cathartic welp and snap to rattle your brain and realize you ain't alone.

This delivery from Jason for fucks sake- sorely needed.

Like I said- these guys are advanced.

Even for intimate venues such as Lincoln Hall, the songs overwhelm the senses, the wordage overwhelms the senses, conveying inventive ways to disperse of morbid and unsightly topics, and yet doing so with the slight of hand attitude, the occasional twists and turns of body language as a way to convey the push and pull of the uglier side of things, shaking it off the skin as if you're metamorphosing out the demons and ugliness of said topics at hand.
Riveting as all get out, witnessing live.

With Sleaford Mods and the release of "The Demise of Planet X', more songs added to these defiant times, played out almost in full, interspersed throughout their set.
What does that tell you about our current state of affairs?
Increasing paranoia pervades obviously, not just artistic and proving yourselves, coming up with ideas and snippets and sharing of songs and melodies, but also yet again, an equally important part- the wordage.

The essence of the songs from "Planet X', it's meaning for me, is this undeniable void of hopelessness, like you have a shitload of pertinent questions delivered on repeat in your mind, and you don't have any conscious answers.
It's like you're falling off a cliff with no parachute, just falling like Wile E. Coyote cartoons from back in the day, showing an elaborate and assuredly complex scheme to catch the roadrunner, failing miserably yet again, falling off the cliff slowly, eyes widened and accepting the inevitable carnage of what lies below.
Kinda like that, thinking of these songs from "Planet X" performed live, and Jason's demeanor upon delivery.
Have to say assuredly that the message of conveyance is subtle, yet tight and agitated from Jason, measured and laid out accordingly.
And it works.
You come into the venue with questions of anticipation, and you leave the venue thinking as well, certain songs and their power, like "Megaton" of course amongst many others, and the overall mood is "beats positive".
A show that's pure and honest, all things Sleaford Mods.
You truly root for these guys.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: Dark Lord Day at 3 Floyds Brewing 30th Anniversary with Napalm Death, in support - Municipal Waste, Gatecreeper, Midnight, Deadguy & Crypt Sermon]]>Sat, 16 May 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-dark-lord-at-3-floyds-brewing-30th-anniversary-with-napalm-death-in-support-municipal-waste-gatecreeper-midnight-deadguy-crypt-sermon

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

3 Floyds Brewing - Munster, Indiana
Saturday - May 16, 2026

Dark Lord Day at 3 Floyds Brewing- 30th Anniversary version in the books.
Year in/ year out one of the best curated metal festivals of its kind, with stellar acts literally from the openers to the headliners.
And of course have to mention the actual grounds of 3 Floyds, how the festival is laid out, what with of course the beer tents, some actual fun and games to win some cool prizes, and lastly the massive tent housing all of the festival goers in regards to the bands.
There's plenty of pictures provided from me roaming the grounds, catching plenty of people taking it all in, enjoying their stouts and lagers and unique blends crafted for this one of a kind event.
Feel free to roam the slide show at the bottom if you see your party of people and enjoy in the day's activities.

As for the bands, particularly Napalm Death, and all the rage that lies within- age doesn't matter apparently, along with the inevitable wear and tear.
No matter- Barney Greenway on vocals for Napalm- still cynical, still angry to the core. still menacing even when doing his best to keep up with the blast beats from Danny Herrera on drums.
Half the time, like a caged animal, roaming the stage in his counter clockwise demeanor, and by the looks of things as always, doing his best to shake out the noisy cobwebs of mental anguish that rear their ugly head song after song, with no letup in sight.

When the lineup was first announced a couple of months back, and seeing Napalm Death as the headliner, and having witnessed and photographed them multiple times over the years- even though you kinda know what to expect, you really don't know what to expect, what with unhinged anguish front and center with Barney, let alone the unleashing of the hounds from the band, starting with "Instinct of Survival" to light a match for the proceedings.

"Instinct of Survival" in particular- front and center for what's to come, all songs.
Like Roberts Rule of Order, the manual for any business like meeting for following policies and procedures, trying to keep in check what should be discussed- well Napalm Death laid down the law with "instinct", followed by "Strong Arm", followed by "Continuing War on Stupidity".
A one/ two/ three bludgeoning that's for sure, a manual of sorts to cut to the chase, cut out the crap, and simply devastate.

The band has been like this for years and years, unapologetic, forceful and brutal to the core, heavy hitters, these mates, even with bassist Shane Embury unfortunately out for this particular run of dates, with bassist Adam Clarkson filling in admirably, along with guitar shrapnel from Mitch Harris, and of course Danny Herrera behind the kit.

The explosive nature of these guys is still well intact, forceful and menacing.
And as for song number four- "Everyday Pox", and adding blistering sax leads from Bruce Lamont, who's one of the guys that makes sure the festival is running smoothly, year in/ year out.

The setlist- some 21 songs in total, a perilous rite of passage for all, whether for the uninitiated, or die hards like me.

I t doesn't matter if it's the first time or the twentieth time seeing them perform live- they still do there best to grab you by the throat, and never let up.
Such was there set to headline Dark Lord Day, extreme songs meant for a true metal festival that knows a thing or two to bring the heat and fright- all bands.

As for Municipal Waste- look beyond the name and what the fucks.
This band entertains, knows how to party.
Nothing predictable whatsoever,
Metal influences all over the place, I mean all over.

Melodic when push comes to shove, sure, but with a stage presence with distorted guitar riffs, followed by nasty backbeats that deliver the punish, but done in such a way that comes off nonchalant, like it's so damn easy, which of course it's anything but.
You can't keep your eyes off of them, even from the back of the stage, unhinged behavior comes and goes, down to two gals as well that come in back and forth from side stage guzzling heavy duty beer bongs, and of course high end jumps from both the lead singer Tony Foresta and anyone else ready willing and able.

Crazy show of course, unrelenting like Napalm but with a different message, that being letting go like the banshees that you are, and of course, don't give two fucks about anything.
A band that knows how to lay waste to the masses, "Waste" being intrinsically in their brand for a reason.

Municipal Waste- a brilliant blend of carnage for the uninitiated, the unexpected.

Gatecreeper- more laid back demeanor, but still a band that provides the overload of metal might, with a lead singer who's tense yet calm display has a sense of gnarly urgency,
It truly is a massive wall of sound that they produce, to the point of a decent sized mosh pit opened midway through their set, expanding outwards as the brute force might of the band continued to unfold, one bone crushing song after another.

Midnight - Another band that propels the angst going forward, a band with unhinged wildness at its core, wearing black masks and scarves, if for anything else, to slay the masses even further with unpredictable madness, if that's even humanly possible.

But their set- one of the highlights from Dark Lord, even on a hot Saturday in May at 3:30 in the afternoon.

Deadguy - Lots of intense screaming and breakneck vocals, delivered and on full display from Tim "Swinger" Singer, and with a band that punishes with extremely dark backbeats and forceful guitars on full onslaught.
Bands like Deadguy, this early in Dark Lords festival at 2:30 or so in the afternoon- this speaks volumes in regards to the curation of this festival, with Deadguy going for the jugular so early on in the day, unbridled angst for the 45 minute or so set.

Same for opener Crypt Sermon, who started the proceeding with a forceful throwdown that was worthy of your attention.

And so it goes for the thirtieth anniversary of this mighty Dark Lord Festival, ever defining yet again what it means to put on a festival of this type, and make it so damn memorable.

Here's to a mighty 31st year next May of 2027- I'm sure to be flamethrowing awesome as years past.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: Melody's Echo Chamber USA Tour 2026]]>Mon, 11 May 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-melodys-echo-chamber-usa-tour-2026

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Thalia Hall - Chicago
Monday - May 11, 2026

On a Monday night in Chicago, at Chicago's Thalia Hall, with Melody's Echo Chamber, at long last.
Much anticipated, this show, this tour.

A show of course that you expect to be complex, with multiple deep dives of this and that, from the older stuff to the most recent, all songs she attempts prior to investigation setlist wise to be lively.
Wasn't disappointed, that's for sure.
This rather brief tour of the states (eleven shoes total), and of course you make note of this prior, reveling in the joy of witnessing Melody Prochet perform live once again, in what has been a calamitous few years for her health wise, along with a few other important transitions geographically speaking.

So grateful to hear that most of all that is settled, getting to a place to hone her craft and her distinct capabilities to create something anew and put forth to all of us to behold.
Enter her latest release, "Unclouded", from back in December of 2025, which is the main theme of this tour setlist wise, and it's an ever evolving thematic album of sorts, beautiful songs beautifully written and fleshed out, with collaborations from Swedish producer Sven Wunder, and her appreciation with all sorts of musical tastes and ideas, with modern hip hop and a dose of R&B as well.
Up the ante on everything, elevated with assured vision and blessed with a backup band while touring to add the "oomph" in complexity throughout.

The setlist in particular at Thalia should tell you lots- the first six songs are all from "Unclouded", presented in a different order compared to the album, opening with the splendor of "Eyes Closed", a song compelled to put you in gentle dreamlike state, followed by "In the Stars", a song with such laidback swing and gentle interludes followed by sophisticated melodies countering everything and floating about.

Pure transcendence unfolds, the Thalia Hall faithful in attendance in hyper focused realms as well, even after the first three songs in the pit for me, and walking about the main floor and witnessing the goings on.

Chicago of course, blessed with enthusiasm in between songs as well, letting Melody know how much they are so into her music and especially the new album.
The whole set, particularly the older nuggets such as "Crystallized", which allowed for an extended play and jam cycle to sway and move you on your feet comes off splendid, seduction of course no longer alludes you, and you're all in, as much as the rest of the audience in attendance.
Everything seems to come across so effortlessly, song after mysterious and wonderous song, bordering on the spiritual to some extent, with two words entering my mind throughout, and that's "letting go".

Just let go and relax, take some deep breaths, don't rush anything.
Can't achieve any of that honestly, without some sort of conduit to assist in the elevated state of being, living in the moment.
Takes practice of course, even for a guy like me getting up there in age, and seeing things now a bit differently, a bit more clearly.
Melody is a rare artist with these capabilities, true to herself and her creative instincts, I'm sure asking the right questions both mentally along with outwordly to get to a space where you can share, and share alike.
So coming full circle, Melody with her accomplished band mates, her song selections and overall gentle and whimsical demeanor throughout her set, her choice of color palette in regards to stage lighting to set the mood, all of it works, all of it remains etched in your brain.
What a lovely evening at Thalia, songs percolating one after another after another.
This USA Tour with Melody- nine shows remain before ending up on the West Coast in Seattle.
Highly recommend you check her out.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: Cold Waves Presents SPACE ECHO - Failure. Baroness, ...And You Will Know Us By the Trail of Dead, Torche, Shiner, Spotlights, Ringo Death Star, Open Hand & Slow Mass]]>Sat, 02 May 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-cold-waves-presents-space-echo-failure-baroness-and-you-will-know-us-by-the-trail-of-dead-torche-shiner-spotlights-ringo-death-star-open-hand-slow-mass

Photography by Bobby Talamine
Writing and Editing by Fiza Javid

Radius - Chicago
Saturday - May 2, 2026

Space ECHO.
Music permeating all around.
Failure. Baroness, ...And You Will Know Us By the Trail of Dead, Torche, Shiner & Spotlights.

A new single-day festival-style event presented by Cold Waves, which as the website states "presents has built an evening of music featuring a plethora of forward-thinking acts with ties to Failure and the city of Chicago. BARONESS, ...AND YOU WILL KNOW US BY THE TRAIL OF DEAD, TORCHE and SHINER have all shared enduring bonds with Chicago, while SLOW MASS calls the city home. Rounding out the bill is SPOTLIGHTS (Ipecac Recordings artists and a recent fave of Deftones Chino Moreno) with Austin’s RINGO DEATH STAR and BLEARY EYED from Philadelphia bringing the bliss."

Space Echo felt more like a curated mini-festival than a typical concert—two stages, tightly packed lineup, and a crowd that skewed heavily toward alternative/metal/shoegaze diehards. The event was built around Failure and the 30th anniversary of Fantastic Planet, which gave the whole night a nostalgic but still heavy, forward-thinking tone.

The atmosphere balanced an intense, immersive sound (lots of reverb-heavy, spacey textures), but it still fest like an exclusive, mini festival pacing (quick turnovers, some overlap between acts)
The fans were dedicated with energy rather than casual crowd buzz. People were locked in.

There were 2 stages, with the main stage showcasing headliner FAILURE, the 2nd stage in Cermak Hall was showcased headliner Baroness.
There was minimal overlap between all bands from both venues.
Headliner FAILURE were in the main room, Radius.

First up I've gotta talk FAILURE.
Failure, who had a show stopping performance at JBTV, are still as unstoppable as ever. Opening with their new song "The Air's on Fire" and "Undone." "The Air's on Fire" which is a part of their highly anticipated new album "Location Lost" which was released on April 24, 2026! Naturally we would have loved to see "The Rising Skyline" with Hayley Williams, but we were treated to an incredible set through and through. From "Solar Eyes" to "Submarines," they closed their set with "Another Space Song"

They were the centerpiece of the night.

Their set leaned into Fantastic Planet material (as expected). Fans described it as tight, atmospheric, and emotionally heavy, with strong crowd engagement.

Best moments were the closing stretch (around 10:45–midnight set) felt like the emotional peak of the night, with fans fully locked in. Fantastic Planet material hit hardest—especially the spacey build-ups and sudden heavy drops, which got the biggest crowd reactions.
A standout moment was when the band leaned into extended instrumental passages—huge, immersive, almost hypnotic soundscapes that filled the room. Overall, the set felt less like a concert and more like a shared, atmospheric experience. I couldn't get enough even past midnight.

Baroness. Exceeding expectations, but I mean that they just take you by storm every time, they delivered one of the most energetic sets—big riffs, strong crowd response. They truly know how to provide a full metal release, which we also needed for the night. Tons of headbanging and an about energy release.

...And You Will Know Us by the Trail of Dead. Chaotic and intense, bringing a raw live edge.
But it was a controlled chaos. Their set brought unpredictable energy and noise explosions.
A standout was the drum-heavy climaxes, where intensity kept stacking instead of resolving.

Fans who knew them were all-in—this was one of the most intense, almost punk-like sets. Bring on more punk, always.

More honorable mentions because I honestly got lost in every single band enough that some sets don't need too many words.
Torche balanced heaviness with groove—very well received.

Shiner was a nostalgic favorite; longtime fans especially into this set. Super tight-knit and I could see a see of people mouthing along in transience.

The event leaned into a “space rock / analog warmth” aesthetic (very on-brand with the name).
Reports mention a massive analog-style sound system, giving the music a thick, immersive feel.
Sound quality overall: strong but loud and dense—great for fans, possibly overwhelming for casual listeners, but that doesn't matter. The exact fan base for this event was here and truly enjoying it all.

Spotlights. WHAT A SPOTLIGHT MOMENT. They truly delivered the shoegaze, atmospheric side as well beyond Failure. They played tracks like “The Alchemist” and “Learn to Breathe,” creating a thick, hypnotic wall of sound.

Ringo Death Star added dreamy, reverb-heavy textures that contrasted nicely with the heavier acts.

Ringo Death Star offered a dreamy, reverb-heavy guitar textures gave the night its “floating” moment, but a standout was the contrast with heavier bands—this felt like a reset for the ears,
with their layered, textured vocals offered a lo-fi feel that was phenomenal to witness.

And last but never least... Open Hand & Slow Mass.

Open Hand with the Post Hardcore vibes and Slow Mass which leaned toward Progressive. Both were such incredible openers that I needed to mention them last, because they truly rounded out the night.

Cold Waves doesn't miss, and SPACE ECHO overall set a new standard beyond what has become a traditional, outdoor music festival experience. To be at the heart of Radius, feeling the music bounce off the walls perfectly. I couldn't have dreamt of a more perfect night for (what has felt like a niche style) of music lover. We will need more of this.

Fiza Javid - JBTV Music Television

Failure. Baroness, And You Will Know Us By the Trail of Dead, Torche, Shiner, Spotlights, JBTV Music Television, Bobby Talamine, Fiza Javid, Jerry Bryant, Chicago Live Music

]]><![CDATA[Live Review: Puscifer- "The Normal Isn't Tour"]]>Sat, 25 Apr 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-puscifer-the-normal-isnt-tour

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Chicago Theatre
Saturday - April 25, 2026

With Puscifer at the Chicago Theatre this past Saturday-
The joke's on us, on multiple fronts.
Not in a bad way of course, but through all aspects of outlandish performing, outlandish costumes with the pair of Carina Round and Maynard James Keenan, the striking face paint and makeup, along with hair styles of choice.

Outlandish- for a reason.
Troubling times, we're living in, on all fronts, to the point of even if you make the attempt of staying on top of news coverage, you want to throw shit at the TV while your ears are burning with rage.
A lose/ lose, each and every attempt, and the powerlessness of it all.
Enter Puscifer, touring on the strengths of their latest release "Normal Isn't", the entire album on full display for all mankind the entire set, mostly though in the first segment of the show before their "Bangers and Mashups" video.

A one two punch to start, identical to the album, opening with "Thrust", with Carina and Maynard perched on the riser behind the band, leading into "Self Evident", which if you listen intently, sets off alarm bells on the current status (pick your poison)- there's just so much out of control fodder to pick and choose from in regards to writing material.
Crazy world/ crazy times, brought to you in living color through the likes and wherewithal of a band like Puscifer.

And so it goes through all of set one before the video intermission, with "Bad Wolf", and the of course "Normal Isn't", which of course, normal isn't.
The album , the song selections, of course a bit more aggressive, with Matt Mitchell featured prominently on electric guitar throughout, emphasizing the overall theme of dark times, unwelcoming times.

Occasionally barked out vocals are present with the duo of Carina and Maynard, and elements of electronica along with beats are pursued, the song "Pendulum' in particular.
Delights hold throughout, Carina having more opportunities to add luster and meaning to the proceedings, taking lead on the riveting "ImpetuoUs", but things get elevated clearly when they decide to vocal spar to convey certain points depending on song.
Overall, the new material from "Normal Isn't" has the feel of dark electronica, aloneness, isolation, and a litany of various fowl moods and surprises.

Even their older and established catalog has an eerie feel to the proceedings as well, like conveyed with a sense of dark and darker humor, "Bullet Train to Iowa" and "Conditions of My Parole" as examples.

So yes, the overall theme again is conveyed in dark and abstract tones, along with lots of sarcasm, along with pointed and true to core insults to whomever and whatever.
The kind of show with intellect and thought in mind, beyond the scope of the outlandish thematic schematic, like you better pay attention even though things are definitely nutty, and keep your head on a swivel.

Also, the kind of show with no solutions, just unrivaled angst, but done in a way where you will be thinking about what you just witnessed for some time after.
The fact that Maynard stays as busy as he is a wonder in and of itself, very much a guy like us wondering if we will ever get to the year 2028 unscathed with the way things are going currently.
One day at a time? Sure, I'm doing my best to do just that.

But I assume like Maynard- ask me this question twenty minutes from, my attitude might change.
Familiar disturbing thoughts with nothing to share communally has of course its own insulated reckoning, leaving you in discontent, but needing reassurance that you're not alone in the this decade of confusion, and getting a grasp (if you can) on the pomposity and monstrosity of it all, through the likes of Puscifer.
Again, deferring to Carina and Maynard and Matt- good luck with that.

I have to stop.
I find myself repeating myself.

But still, that show on Saturday with Puscifer... a delight to dwell a bit in the tormented escapism, and clearly not having no answers to anything, but we're all in for the ride along with the what the fucks.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: Slaughter to Prevail with Whitechapel and Attila]]>Mon, 20 Apr 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-slaughter-to-prevail-with-whitechapel-and-atilla

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Aragon Ballroom - Chicago
Monday - April 20, 2026

You know you're in for a bludgeoning if you've done your homework in regards to anything Slaughter to Prevail and also anything Whitechapel related.
Two bands that know a thing or two in regards to defining gargantuan onslaught, even on a Monday night in Chicago.

Fans got there super early of course, wishing for that coveted spot along the pit rails, even if three rows of people deep back from the rails.
The Aragon looked packed on the main floor, and the energy was elevated throughout.
Slaughter to Prevail, led by front man Alex Terrible- a guy who can easily roar into life like on constant, not much need for bells and whistles and deviations to get his message across either.
He's the type of guy running a marathon, not a 100 yard dash- he's in it show wise for the long haul, very much in focus, coinciding neatly with his training on bare knuckle fighting and matches.
No shirt from the get go, physique menacingly on display, covered in tattoos from his Adidas sweats upwards, and running shoes as well, emphasizing the correlation between his training of course, and pivoting that to the Slaughter to Prevail hitting all songs like a runaway freight train.
Brute force honesty on all counts I tell 'ya.

Opening with the punishing "Bonebreaker", from their second album "Kostolom", which is just as brutal to the present day as when it was released back in 2021.
But then again, anything "deathcore" related. expect nothing less.
This style of metal is meant to be punishing, unrelenting, and with the right minds, can find anything writing wise that's anger related to put pen to paper.
Such is the mind of Alex Terrible, and the current climate of what the fucks adding to the menacing realm of coping with the present day.

The setlist, some 14 songs in total including encore, mostly focuses on their latest release from last year- that being the album "Grizzly".

The kind of album with songs that can setoff circle pits of the momentous kind, over and over and over, to the point where multiple pits can swell and release from front of house to the back of the main floor.
An album that stays true its core values- high energy of course, and unrelenting punishment where if you're on the main floor for any of this, towards the eye of the moshpits, coming out unscathed is not noteworthy.

Coming out dinged a bit, bruised a bit, ears hurting, sweaty from head to toe, gnarly, stirred not shaken, limping from missing tennis shoes and boots and so on- well, consider it a badge of honor.
Not that this is what I encountered personally, but then I have two working eyeballs that can see clearly to watch the chaos unfold from the edges of the slams.
From song number two with "Banditos", through the third "Russian Grizzly in America" and marching forwards barely catching a breath- an ocean of punishing grooves, might equaling might, not time for catching a breath.

Slaughter to Prevail, the band itself is a beast, with a one/ two guitar punch with Jack Simmons on lead, along with Dmitry Mamedov, along with laying down the backbeat heavy throughout with Evgeny Novikov on the mighty drums, and of course heavy heavy bass from Mike Petrov.
All things total, a force of nature kind of band that brandishes crack the whip skull crushing riffs fronted by a lead singer who elevates the pounding to other insane levels.

All said and done- approaching the encore with "Demolisher"- well you drained even standing still or watching from the peripheries.
And yes- you're demolished.
Wouldn't expect anything less from a show like this, a band like this.

Same goes for the band Whitechapel in support.
Also in the deathcore realm (kinda), but also ever evolving like crazy, what with more progressive leanings front and center, and melodies coming out of nowhere that add profound twists and turns to almost each and every song from their setlist.

This band has "fright" and "trauma" embellished in their honest angst, led by a vocalist who can growl with the best of them in Phil Bozeman- but if you witness things closely like I did from the pit, the guttural howls end out with pain and punishment that's so damn riveting to witness live and up close.
It's like you witnessing this are all in on the pain of whatever, reliving it like it happened yesterday, whatever personal demons or trauma unfolded, or literally minutes ago.
That says something in regards to Phil and the band in total- the right minds unfolding while wrapped in mental body armor that is communal, all in, to uncover truths, followed by searing pain.
Even when not headlining for this tour, still capable of conveying all this with a little under an hour set speaks volumes in my opinion.

"Hymns in Dissonance", released back in March of 2025 is the centerpiece of all this of course, the band at this point, writing a concept album focusing on a demonic cult and its leader, encompassing the realms of the "Seven Deadly Sins".
Their whole damn set- a wrecking ball to unravel the mundane and conformity of it all (name the subject or whatever comes to mind involving complacency and such), and writhing and crawling to come out the other end.

That Whitechapel are able to convey this with such fright and honesty....sheesh.
Hard to recover when the headliner awaits in less than twenty minutes.
Their set of course- if one or two words to choose- frenzied, followed by unpredictable.
Brilliant- this band Whitechapel.

Opener Attila-
A deathcore kind of rapper, with a menacing stage presence fronted by Chris "Fronz" Fronzak- who's actual beats and breakdowns have tons of "oomph", tons of heavy.

]]><![CDATA[Live Review: Chameleons - Arctic Moon Tour 2026 with The Veldt]]>Fri, 10 Apr 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-chameleons-arctic-moon-tour-2026-with-the-veldt

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Lincoln Hall - Chicago
Friday - April 10, 2026

Much anticipation for this show with Chameleons on their "Arctic Moon North American Tour", what with the two principal players back in the fold together- that being of course Mark Burgess and Reg Smithies.

That they're a full band yet again, five players total, and having released a new album back in September of '25, "Arctic Moon", speaks wonderments as well.
When first on arrival with three heavy hitters back in the early eighties forward- that being "Script of the Bridge", followed by "What Does Anything Mean? Basically", and of course "Strange Times"- these three albums were game changers in my opinion.
The urgency of their message- Mark's anguished and siren calls on vocals, followed by the renegade guitar one/two punch with Reg Smithies and Dave Fielding, and the wallop of drums from John Lever- the stuff of legends.

Mass confusion followed in my opinion, being pigeonholed by a few dumb ass music critics in regards to labeling and categorizing the band, with the genre "goth" being used to match up with what all the fuss was about.

The short answer? Fuck no. Who cares with labelling anyway? The times back then were like the wild wild west back in the eighties, so many cool bands making their mark, plying their trade of originality, with a meeting of the minds to set forth the gauntlet of cool.
Another way to look at those three pivotal albums- Matt Sebastian of Slicing Up Eyeballs, a website catering the eighties underground, and with a show on Sunday nights on Sirius/Xm Satellite Radio called "Darkwave"-

Love Matt's show because his setlists are surprising, and downright exploratory at times.
The songs you know and love- you damn well know and love.
But when "Don't Fall" comes on, or "Up the Down Escalator", or "Soul in Isolation" in particular- to the present day- they still stop you in your tracks.
Nothing else like it, those nuggets- Nothing compares.
And labelling them goth?
Who's ass do I kick?

It's downright astonishingly awesome music- end of story.
So yeah, I have a right to be a bit amped seeing those two mates on stage yet again, touring the states, and by the looks of things cordial, and having fun.
We had the band in our JBTV Studio the day before for an interview with Jerry Bryant- and that was equally fun and of course entertaining.

Made a point with my pose photography to get in on a shot or two, of course inbetween Mark and Reg, simply for the elation of it all.
Those two guys mean the world to me, what their songs have done over the years to captivate, to relish and escape into.

And to the present day with the release of Arctic Moon, dialed down a bit, but the trademark / hallmark song-craft is still intact, forthcoming of coolness upon repeated listens.
Their setlist at Lincoln Hall reflected this as well, four songs from "Arctic Moon" selected for this night, and played live, chiming guitars and deep rooted bass and vox from Mark made statements.
"Lady Strange" in particular, song number two for the evening was crafty as all get out- so was "David Bowie Takes My Hand", and the closing song for the evening "Feels Like the End of the World".
So the new songs work on a different level with the weave of Chameleons, the setlist reflecting a strikingly awesome measure of energy and honesty, reflecting current moods politically, in relation to the urgency of their message and lyric writing from Mark in particular.

The tragedies earlier this year in Minneapolis, front and center before the band came on the stage, showing intimate pictures of Renee Good and Alex Pretti in particular...a solemn mood of acute awareness from the heart of the men in Chameleons, message heard loud and clear.
So yes, Chameleons have a beating heart, much like us, trying to navigate through an insane and cruel world at times, and through their gallant brand of music, playing live, even with a somewhat low key atmosphere at Lincoln Hall, still, that didn't matter.

Honesty, and respect to the mates in Chameleons, for two days of fun and merriment, both our JBTV interview with Jerry Bryant, followed by a most memorable show at Lincoln Hall.

The Veldt, the band that opened, and front and center stage with five (count'em. five) guitarists, followed of course with bass.

So six players front and center, with a chiming and glorious guitar sound stretched out to the masses, and adding oomph with drumming form Chameleons Todd Demma.
Talk about essential listening, each and every song, a little over a half hour's worth.
Worth mentioning the soulfulness of singer Daniel Chavis, and his vocal range coming in over that wall of guitar sound- not easy to do that, even when at soundcheck.
But it works man.

This band has also been around awhile obviously, what with Daniel name checking Jesus & The Mary Chain when they opened for them back in the day.
Cool that they're touring with Chameleons-a one two guitar punch with both bands, and also seeing both of them on an intimate level at Lincoln Hall.
Such was the show on a Friday night in Chicago- memorable as all get out.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: VOWWS - Opening for Lacuna Coil - "Sleepless Empire Tour"]]>Sun, 29 Mar 2026 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-vowws-opening-for-lacuna-coil-sleepless-empire-tour

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Concord Music Hall - Chicago
Sunday - March 29, 2026

VOWWS, that being Matt James and Rizz, touring on a different format altogether, that being choice of songs for their setlist, and also their immersion visually into hues of deep blues and deep reds, nothing striking as far as straight ahead visibility whatsoever- more like immersed into their stage setting at the Concord Music Hall main stage.

This of course let's their music do the talking, a mix of dark and gnarly synths and samples, same with Rizz and her choice of two mics, one hand held, one fixed on a stand directly in front of her.
To set the tone and go forth- Their set, albeit rather short since they were openers for Lacuna Coil, a dialed down affair, nothing extravagant, a simple setup, with Matt stage right, and Rizz behind an assortment of synths and samples.

The overall mood- dark, yes, and cinematic in scope and feel.
Yes, Matt and Kim can be menacing, what with an assortment of videos from back in the day to the present that twist and turn with heavy beats and whiplash jarring visuals, to emphasize and elevate all sorts of doom and gloom.

And yes, a guy like me , you anticipate things, especially since the time has finally arrived to document them performing live, and assuming astonishing capabilities to scare the shit out of the masses.

So you are surprised at their choice of songs and overall demeanor, all in a good way of course, with songs set in a dark electronica, moody as all get out along with their lighting choices, nothing fancy either in choice of attire, all business like, Matt in a dark suit, Rizz in a dark overcoat followed by a dark baseball cap.

And it works, what they convey, embracing a more subdued yet eerie tenderness throughout their set.
Keep in mind that this tour follows their latest release from back in the Fall of '25, "I'll Fill Your House With An Army", a set of songs that will do just that, enlisting the help from Billy Howerdel of A Perfect Circle for a production assist, followed by the release of two heavy hitter singles with "Blood's on Fire", with drumming from Josh Freese, followed by "Shudder", with guitar angst from Korn's Munky.
Songs that pack a wallop.

But for this set, the songs are not intrinsically like those singles, introducing only two songs from "I'll Fill Your House With An Army", that being "Hurt You" and "Pulls Me Apart".

And both those songs fit the overall mood and feel, restraint, sure, but approaching a more tranquil vibe, more vulnerable, more insecure in thoughts and feelings.

That Matt and Rizz embrace this throughout their set, choice of songs and chill attitude shows a refreshing side of them in what they you may perceive and present, and come away refreshed in how the night will proceed.

Rizz made it clear that this tour in particular, with Lacuna Coil along with Escape the Fate- they're touring with such nice people.
And she meant it wholeheartedly.

Matt even made a couple of lighthearted jokes, asking the crowd if they liked their drummer- that being the mighty Escape the Fate's drumkit that was planted center stage between Matt and Rizz.
So they're having fun by the looks of things, presenting their otherworldly and haunting mix of melodies to a crowd more geared for metal.

But the hushed quiet for their opening set, the main floor pretty much packed- by the looks of things the crowd dug their set.
Matt and Rizz show lots of heart, lots of grit, challenging themselves obviously, taking risks far behind cathartic and high energy release, more submersive. making the bleak sound beautiful.
How good was their set?

How often do you see a review where you highlight and write about the opening act?
The answer- rarely.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: Thalia Hall Free For All 2026 with Headliner Feeble Little Horse along with - Dan English, Squirrel Flower, Kaicrewsade, M.E.H., and Astrachan]]>Sat, 07 Mar 2026 06:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-thalia-hall-free-for-all-2026-with-headliner-feeble-little-horsealong-with-dan-english-squirrel-flower-kaicrewsade-meh-and-astrachan

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Saturday - March 7, 2026
Thalia Hall - Chicago

Thalia Hall's Free For All 2026, festive and entertaining as always, and this goes with the overall vibe beyond the musical acts, what with a "Sock Drop" before Feeble Little Horse's set, flinging Thalia Hall socks into the crowd, along with prizes for a quick basketball free throw shoot on the Thalia's main floor before Kaicrewsade's set, and even a cool drumline performance from Bandwith Chicago right after Astrachan's set, that went from the main floor, down the stairs, and out in front of Thalia's main entrance to add to the festivities.

All of the above, entertaining and downright fun.
As for the music side of things, even for an Open House such as this, with people constantly coming and going- stellar.
And packed.

Thalia Hall was filled to capacity literally the entire time of the event, with a line wrapped around the block to 18th street heading east that was the longest I've ever seen.
So let's get to the music side of things, starting with the headliner and going on from there.

Feeble Little Horse, from Pittsburgh.
A band wise beyond their years, punctuating songs and delicious songcraft from the likes of shoegaze, a bit of noise pop, definitive indie cred, along with a nonchalant way of going about things within and in a song, mostly with the lead vocal delivery from Lydia Slocum.

The beauty of this band lies within, on multiple fronts, you stand stunned at their deliberate and confident energy, hearing their galloping sounds swell to no end, all done with minimal energy to maintain their easy going vernacular.

And you think the obvious- just as riveting with this kind of full on energy with sonic swells of sound, with not much need for theatrical fanfare, outside of cool backlit lighting effects, all songs seemingly coming in and around three minutes or thereabouts.

Also equally compelling, what with no grandiose waste of times and convoluted solo this, solo that.
So their entire set, eleven songs in total all concise and clean.

Must see and hear more from this band, they are that good, that compelling, that entertaining.
So like their songs, I'll keep my review of them short and to the point, without boring you half to death with superlatives.

But anything Feeble Little Horse related- a must see. A must hear.

Squirrel Flower (Ella O'Connor Williams), live in the Tack Room on the main floor.
Was looking forward to her set as well, but navigating from Dan English's set down to the first floor's Tack Room- not easy with this crowd.

Once there, of course the Tack Room is packed, packed out into the main entrance hall.
Winding (and apologizing) my way through the crowd, to get to her as close as possible, crouching down on my knees on the concrete floor to not upset the audience already there in attendance.
And wouldn't you know it- tech issues with her piano stationed to her left, and by the looks of things, never resolved.

So Ella pivots to her trusty electric guitar to proceed.
And like most cabaret or underground music clubs, dimly lit.
And then the exquisite and oh so gentle and pertinent songs comes forth from Ella, followed by my noisy Nikon camera.

Oh dear god, I feel like I'm the loudest guy in the room, my Nikon unfortunately the center of unfortunate attention, literally four feet from Ella front and center.
So of course, minimal shots, minimal shooting.
Just enough to cover her show, equal to the chill and hyper aware atmosphere.
Ella's set, brilliant, so contemplative and deeply honest, sometimes dark, but still unforgettable in approach and stunningly profound sentiments.
Like Feeble Little Horse, a highlight from Thalia's free For All.

Dan English, from Thalia Hall's Main Room.
Talk about intricate songcraft, followed by like minded musicians accompanying Dan, throwing in instruments of the unlikely kind into the live mix, making it all work to astonishing effect for Dan's set.
The flute playing, not like Ian Anderson of Jethro Tull.
Just the opposite.

Gentle and touching, and the whimsical from within.
Or on the other end of the stage, a glockenspiel on top of the synths and keyboards, along with the occasional mini tuba to add some luster into the mix.
Along with Dan of course on lead guitar and vocal, a standout as always, making sure all of this works, experimenting with live sounds that are somewhat risky, yet when done right, downright memorable.
Had to leave his set to catch Squirrel Flower because of the unfortunate overlap- but still, Dan English- grateful I saw what I saw.

Kaicrewsade.
This West Side rapper/ jazzy hip hop artist (if their is such a term)- another artist on the bill that's wise beyond his years.
You want to know "advanced"?
Incorporating modal jazz, trio- ish jazz from the fifties kind of sounds into his samples, keen on melody, keen on delivery.
His set- could've gone on for hours in my opinion, chill, yet direct and menacing when feeling the need.
Nevertheless, he's got a lot to say obviously, keenly aware of his many moods and social strife, getting on with living, hyper aware of everything.
Blown away with his set, amazed at also how Thalia Hall at this point has booked an event that covers the gamut of genres and themes, and incorporating a guy like Kaicrewsade into the mix, and succeeding.

M.E.H. (Megan Hammond).
Also a performer willing to take risks, and truly succeeding.
Not easy in my opinion, anything neo soul related, and making it work in a live setting.
You have the leader of course, that being M.E.H. on lead vocals, but to truly make it work, you need a band.
A solid band to back you up.
And you better practice, practice lots, or else things can go flat, can go sour in an instant.
So M.E.H. succeeds.
Her set, powerhouse and soulful vocals throughout, the songs all strong and memorable, her band equally up for the challenge.
Such sincerity throughout with Megan Hammond.
Loved her set.

Astrachan.
Ben Astrachan- here's another guy with musical chops galore, opening the main floor festivities of Thalia's Free For All, playing to a decent sized crowd right off the bat, festive and entertaining, blending in some folk, along with sophisticated country into his mix of melodic rock n' roll.
Another performer that had me pay attention outside of my photography, his songwriting being that good.

Overall, the Thalia Hall Free For All delivered, and then some.
What an event, always looking forward to year in and year out.

Bobby Talamine - JBTV Music Television Chicago

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