<![CDATA[JBTV - The JBTV Blog]]>Wed, 27 May 2026 14:07:40 -0500Weebly<![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

]]><![CDATA[Live Review: Beartooth - opening for Bad Omens on their "Do You Feel Love Tour" along with fellow opener President]]>Wed, 04 Mar 2026 06:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-beartooth-opening-for-bad-omens-on-their-do-you-feel-love-tour-along-with-fellow-opener-president

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Allstate Arena - Chicago
Wednesday - March 4, 2026

Beartooth, the middle band on a bill with headliner Bad Omens, along with fellow opener President.
For this review, we're highlighting Beartooth, the only band of the three which approved photography.

As for Beartooth, led by lead vocalist Caleb Shomo, man has this band developed into a live act with punch and power and might.

To be expected of course, what with being the definition of "hard working everything" since 2012.
The last time I saw them was at Chicago Open Air back in 2019, and although technically playing in the middle of the day, in sunlight, they put on a memorable show for such a festival, short and concise set, nary a breather, a statement on a pummeling nature of hardcore punk, and yet blessed with intriguing melody.

Have to say since then, they've advanced the game with expanding musical ideas, a confident nature of putting on a great live performance along with striking visuals and lots of amped attitude and action.

The main floor crowd at the Allstate Arena certainly ate it up- and even on a weekday night in the suburbs of Chicago, the venue looked nearly sold out, even before the headliner Bad Omens took the stage.

They covered the gamut setlist wise, eleven songs in total, opening with "Might Love Myself", from their latest release "The Surface", from 2023.

A straight ahead metalcore-ish kind of song, to set the scene of amped up energy to come.
Bookended to their last song "Riptide", also from "The Surface", another song that packs a wallop, full on energy and catchy as all get out.

The mix of things for this band, courtesy of Caleb, is an honest portrayal of life and moods, set to a scene of brunt force metal/ rock, leading to an array of punched up attitudes and genres be damned qualifications, letting the listener know full well they know what they're writing about, conveyed with twists and turns of the unproblematic kind.

Hard to describe in detail unless you see them live, and get proof for yourself of course, but trust me when I say that nothing seems fake and dialed in with these guys, showing a level of music maturity where you come away from their set wondering "what are these guys going to do next?"
I love that about a band such as Beartooth, where you know a lot works, and yet what's under the table yet to be discovered followed by multiple pivots.
I believe with Caleb Shomo and Beartooth, anything and everything is accessible with these guys.

As for headliner Bad Omens- A definition of an ultra high end production, with metalcore attitudes as well, but also adding oomph with solid and dark electronica as well, setting a mood of forlorn darkness and beauty.
Opening with "Specter', a stand alone single from them released just last year, still embracing all things dark of course, but giving you the feeling that more's to come along this line.
The highlight for me is song number four- all in caps- "THE DEATH OF PEACE OF MIND", the title from their latest release back in 2022.

That song in particular captivates, especially with a live production of high quality graphics, followed by a tight knit performance conveying heavy hitter attitudes.
Like Beartooth, although in a shorter frame of time, they've punched forward with solid songwriting chops and a live touring budget to slay the masses, all the way to the back of the house, holding nothing back up through their encore with "Dethrone.

Most unfortunate I couldn't convey all this with my live photography.
Who am I to judge on approvals and such- but I'm obviously not some twenty or thirty year old winding my way through the twists and turns of music photography.
Trust me when I say I can easily capture and convey the moods of a band like Bad Omens, equal to any photographer the band decides to work with while on tour.
That- and the frustration of seeing dozens of cell phone photos on social media of the shitty kind, adding more to the unfortunate nature of not approving anyone.

Same holds true with openers President, a compelling and also anonymous band from the UK, who have built a solid following in such a short period of time, led by a guy with solid vocal chops and a commanding yet deliberately restrained stage presence.
A short and powerful set from them follows led by their vocalist "The President", with a lot of the crowd arriving early to catch their set, enthusiastic as all get out.
And like the headliner Bad Omens, no photographers allowed as well.
Great set- most unfortunate for them in not approving photography.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: Opeth - The Last Will and Testament - North American Tour Part 2, 2026 with Special Guest - Katatonia]]>Wed, 11 Feb 2026 06:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-opeth-the-last-will-and-testament-north-american-tour-part-2-2026-with-special-guest-katatonia

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Riviera Theatre - Chicago
Wednesday - February 11, 2026

Hail to the Swedes.
They know how to throw down "Metal", in all various shapes and forms.
And this double bill, with Opeth headlining, and support from Katatonia.
Opeth- since 1990.
Katatonia- since 1991.
Some 35 years or so of adventurous metal from the both of them.
So after doors opened at the Riviera Theatre, and taking outside photos of the Riviera marquee, I stood in the main lobby for a bit watching the crowd come in for tonight's show.
Was stunned at the variety of T shirts and long sleeves, let alone biker jackets with band logos of all shapes and sizes and variances of.
Bands such as Clutch, Paradise Lost, of course Motorhead, some Misfits, also Glenn Danzig, Camel, Mastodon, and Napalm Death.

And then the stunners, as if the above mentioned bands wasn't enough - Bad Bunny. Black Pink (Yes- the K Pop girl group). UB 40. Motley Crue. Morcheeba. The Cure's "The Head on the Door".
And then lastly cool prog shirts of yore, and particularly Yes- "Tales from Topographic Oceans", and even ELP proudly worn with "Pictures at an Exhibition".

Covering the gamut, I'd say, intellectuals who know a thing or two on anything "advanced metal", let alone prog in general, and also the adventurous and also the curious.
Love those types of conversations by the way, picking people's brains on their likes and/ or dislikes while killing time, and sharing thoughts and ideas to lead them to what I think is the cool stuff you should check out, or lend and ear to expand your horizons.

Opeth- they fit nicely into that conversation when it comes to their stylized type of music (encompassing many genres obviously) - not easily categorized, that's for sure.
And how refreshing is that, branching away from the likes of death metal, or progressive death metal, to the present day of literally incorporating everything into their sound and structure, and yet still keeping true to the mighty and thunderous riffs of yore, followed by the occasional blood curdling death growls.

All done of course with style, and a fervent ambition to stay true to melody on top of melody.
So in between sets, and the guitar checks, viewed a couple roadies from Opeth adorned with cool men's hats- what looked liked fedoras.

Must be in keeping with the theme on this tour, leader Mikael Akerfeldt of course wearing what looks like a floppy wide brimmed hat that you would see maybe a David Crosby or a Steve Winwood would wear back in the day, circa mid sixties to early seventies, or even anyone from Jethro Tull, "Living the Past" and before.

A homage to a wonderful time, anything "music" related? You'd have to ask Mikael direct.
Certainly he digs it, the hat, and how he treats it when changing guitars between songs.
And if you observe closely, starting with opener "Paragraph 1", from Opeth's latest, "The Last Will and Testament", and particularly the keyboard flourishes and interludes. you hear the sounds of the seventies in particular, not too far astray from Pink Floyd, Supertramp, The Moody Blues, or even Stevie Wonder.

Talk about the feel goods in appreciation.
So let it be known that Mikael's vision, song structure, songwriting in particular- he's just so advanced, ready willing and able to incorporate all those lush sounds and ideas out of his head to pen and paper, let alone share his ideas with his bandmates, Fredrik Akesson in particular, to expand on said ideas and make things whole.

Case in point- touring on their latest release " The Last Will and Testament", and man, how that album since its release back in November of 2024 just gets better and better after repeated listens.
And performed live, a juggernaut of excitement, what with the sorrowful imagery depicting the storyline of the album- the reading of a patriarchal family, and all of their shocking family secrets.
Three songs in total from "The Last Will and Testament", structured throughout their set with thought in mind, bookended with nuggets galore reflecting on the theme of sorrowful discovery and all sorts of anguish- songs like "Godhead's Lament" from "Still Life", "The Devil's Orchard from "Heritage", or even the encore , the main title from their album "Deliverance", from back in 2002.

And for added surprise, added humor as things unfold towards the end of their set- a cover from Napalm Death, "You Suffer", all four seconds of it, before ripping into "The Grand Conjuration".
Covering the gamut, all things Opeth, witnessing yet again from them just how tight a band they are, covering a vast terrain of power, of tenderness, thick atmospheres laying the groundwork of never ending ideas and interludes.

Opeth are just so damned unique in all things upper IQ interpretation and imagination, knowing full well that even the songs presented from way back in the day to the present- nothing dated whatsoever, immersing yourself and welcoming you into their beautiful and dark world.
Such was their show on a mid week night in Chicago.

Much applause to special guests Katatonia as well, also unique in incorporating straight ahead rock and metal elements, sure, but also laying the solid groundwork in moody instrumentation, which also includes moody lighting to reflect the overall atmospheric vibe, with the occasional blinding flashes of white strobes.

All of it done with class of course, considering the band has been around for quite awhile as well, led by vocalist Jonas Renkse, who also dabbles in the band's art direction.

Sebastian Svalland, along with fellow guitarist Nico Elgstrand certainly know how to flesh out Katatonia's overall might and sound performing live, trailblazing through opener "Thrice", and leading straight into "Soil's Song" for a one/ two punch of instrumental glory, adding of course, like Opeth. a wild array of atmospheric sounds to exponential and gratifying effect.

9 songs in total from their set, and what seemed like over in a flash.

Such dark and formidable variations of metal with these guys, encompassing a night's worth of satisfaction from two bands that know how to marry sorrowful imagery with mastery, setting a scene of total audio and visual immersion.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: Lord of the Lost - Dark Winter Tour 2026 with the Birthday Massacre & Wednesday 13]]>Sat, 31 Jan 2026 06:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-lord-of-the-lost-dark-winter-tour-2026-with-the-birthday-massacre-wednesday-13

Concord Music Hall Chicago
Saturday - January 31, 2026

Lord of the Lost, led by Chris "The Lord" Harms, along with a bevy of fine and talented musicians to puff up their sound to mighty levels of enjoyment.
These guys know how to rock, they know how to put on a show and engage with their audience.
Truly no letup in sight, and although a punctual set, some 14 songs total with nary a breather.
And talk about fun, all things high energy, and exuding an honesty, all of these guys, like true Europeans, where there's no sense of showboating, or anything lackadaisical or dialed in as far as the eye can see.

I bring this up because the last time I saw them play live was at Riot Fest 2024, in the blazing sun mid afternoon, and even though a hinderance (kind of) in regards to stage lighting being buried with a bright sun out, their set was amazing, and downright memorable.
We did an interview with them on that day, with Jerry Bryant of JBTV, and all of the guys from Lord Of the Lost, Chris in particular, just so cordial and chill and welcoming.
A solid interview with them, followed by a solid performance to the Riot Fest faithful leaves you wanting more.

And so we advance forward some two years later, and here we are on their current "Dark Winter Tour" of North America and Canada, with The Birthday Massacre in tow, along with Wednesday 13.
All three bands uniquely different, sure, but with magnetic stage presences and their ability to capture a crowd no matter their set time limits.

Talk about popular, Lord of the Lost and that merch line.
In all my years of photographing at Concord, have never seen anything close to that massive crowd waiting patiently in line to purchase shirts and other memorabilia.
From the second floor the line went, to the stairs, down two flights of stairs onto the back of the main floor.

That should tell you lots in regards to fandom and praise.
Chris Harms has certainly identified how to reach an audience, how to expand on attracting an audience, and make things memorable show wise in regards to appearance, stage aesthetics and lighting.

Much like Tobias Forge and his crew in all things Ghost, and all matters of heavy and dark and melodic metal, they share similarities, with all manner of unforgettable performance chops, with Chris in particular compelling as all get out with that magnetic baritone of his,
And even going into song four of the evening "Prison", and needing a cup of tea.
Have to maintain that voice, that's for sure, upper register intact, roaming the stage to menace a bit, and then menace some more.

Have to say their set at Concord on a Saturday night, just so respectful and downright entertaining, even bringing out Wednesday 13 for adding oomph vocally with the song "I Hate People", which is an anthem of sorts that sticks with you, not in jest and fun and with a crappy attitude that's fake, but just the opposite- a message of honesty, and getting your shit together and your facts straight, on anything and everything.

That's my takeaways from hearing that song performed live, and like most of Lord's set, all songs are punctual, full of life and grit and theatrical pizzaz.
After Lord of the Lost's set on a Saturday night in Chicago, you leave the Concord feeling good out into the cold night, refreshed as all get out with what you just witnessed.
This band- they are that good.
The Birthday Massacre, led by Michael Rainbow and lead singer Sara "Chibi" Taylor also have a way with knowing how to entertain, what with Chibi working the stage and feeding off of the crowd with call and response like over and over.

The band, all in from many vantage points while witnessing their set, rather lengthy as well as the headliner, with some 17 songs in total.
Lots of theatrics from The Birthday Massacre as well performing live, with an aura of mystery wrapped in a dark cloak of longing, all songs coming off strikingly personable, strikingly relatable.
I felt their set overall, like Lord's set, deeply honest and spot on, both in arrangements and also attitude.

Everything about these Canadians- just so underrated.
Like The Lord of the Lost, they know how to entertain, how to engage their audience and attract an audience with witty and crafty songs.
And as for opener Wednesday 13....
Still so theatrical, a larger than life kind of performer, fearless as always, blessed with maniacal energy and a stage presence that's meant to frighten, with vocal chops that snarl and blessed with a horror punk attitude.

Everything set wise, a no holds barred slash and burn way to entertain, not knowing the unpredictable nature of a guy like Wednesday 13, brandishing his mic stand up high like it's a sword to slay the masses kind of guy, let alone the face paint makeup which although carnivalesque, still looks menacing and convincing and approach with caution all at once.
My kind of guy to document like over and over.
If anything, we need more of Wednesday 13, not less.
All three bands for the evening's enjoyment, relatable and unforgettable.
A mighty fine time, the definition of fun fun fun.

Bobby Talamine - JBTV Music Television Chicago

]]><![CDATA[Live Review: HAYLA - Fall '25 Tour]]>Sat, 06 Dec 2025 06:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-hayla-fall-25-tour

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Outset Chicago
Saturday - December 6, 2025

The electronic dance music chanteuse HAYLA, with a spellbinding performance at Chicago's Outset over this past weekend-
Lots to say about that, especially the simplicity and overall feel of her energetic performance.
First- HAYLA's vocal range.

Through the roof.
No breaks and watered down slow motion chops.
Just the opposite.
More on that later.

Arriving a bit early on Elston Avenue out front of Outset, the timing was perfect for watching the load in for HAYLA.

Lots and lots and lots of load in boxes, mostly what looked like from a reputable music equipment / event rental company, and with lots of leg work for the staff of Outset- multiple trips back and forth from the van, including large piping, from what I assumed (to be correct) for her majestic black folding and rippled curtain backdrop which encompasses the entire length of the stage.
Besides what looked like an assortment of subwoofer PA, lots and lots of sophisticated lighting being loaded in as well.

All of this is signs of a well procured show, laying out in detail in advance on her needs to accomplish a memorable performance, even if it's in a intimate venue such as Outset with a capacity of around 800.
She's toured and performed with some accomplished musicians in the EDM genre, such as Deadmau5, Kaskade, Kygo, John Summit, along with a recent release partnering up with Nelly Furtado and their collaboration "Faded".

HAYLA's setlist encompassed most of these songs, and to be all honest, they can be hit or miss in the wrong hands, or if the touring budget doesn't allow for a PA to provide equality in the mix to not sound dated or understated.
In the wrong hands this could be a mighty risk prone to failure.

Waiting outside of Outset before the doors opened, I could hear her soundcheck, and checking levels on an assortment of songs with her backing tracks, which went on for about 40 or so minutes.
Stunned by the wallop of the PA, even from just outside the venue.
So now I know full well that HAYLA means business on this tour, some 19 songs total in her set including encore.

And Hayla's stage presence- accomplished, sophisticated, confident throughout.
For a seasoned photographer such as me, a dream in regards to the lighting and silhouettes when she roamed the stage, breathtaking use of floor strobes, floor horizontal tube lighting the length of the stage under her backdrop, and sophisticated vertical strobe lighting stage right and stage left.
All of this polish just exudes confidence in HAYLA's performance, enhancing the majestic feel of her songs, especially her opening salvo of songs, starting with "Freefall", which truly shows off her range and vocal powers, followed by "Shiver" (John Summit cover), and the wallop and command from "I Found You" ( Sub Focus cover).

The packed house in attendance- just eating it up from the main floor, from what I witnessed side stage and from the pit was a jovial dance party rolling on into the early hours of a Sunday morning.
A modicum of escapism, true, disengaging from the daily grind of this and that to some extent, sure, but Chicago in particular, especially when it comes to dignified EDM of all shapes and sizes- they know how to throw down.

And HAYLA, front and center for a bit between songs, certainly felt this as well, all smiles, joining in on the fun, reciprocating the love and feels of a downright honest and appreciative audience.
And HAYLA belongs.

The fact that her set and some of her songs have a feel of a darker side of things, also adds to her mystique and overall vibe, like she looks like she could fit in nicely and dance the night away at DJ Scary Lady Sarah's Nocturna goth/ darkwave / industrial dance parties, equal to singing lighter fare as well.

The fact that you can't truly define her music catalog let pin her down in any genre, let alone performance attire just adds to her mystique, her mystery, like the world is open to a wide range of ideas, let alone further musical collaborations.

For me, more than anything else besides what I witnessed performance wise, I'm now a huge fan.
You can tell clearly she has the smarts let alone songwriting accomplishments to further expound on whatever avenue she show chooses, confidence and willingness to take risks are intact.

Yes-
That was some memorable show at Outset on a late Saturday evening in Chicago.
Can't wait to see what HAYLA will do next.

Bobby Talamine - JBTV Music Television Chicago

HAYLA, Bobby Talamine, JBTV Music Television, Fiza Javid, Jerry Bryant, Live Music, Chicago, Holiday Season, Thanksgiving, Christmas

]]><![CDATA[Live Review: Martin Atkins Presents Killing Joke's Extremeties - Live for the First Time in 33 Years -Show Number One]]>Fri, 28 Nov 2025 06:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-martin-atkins-presents-killing-jokes-extremeties-live-for-the-first-time-in-33-years-show-number-one

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Reggie's - Chicago
Friday - November 28, 2025

Martin Atkins and all things Killing Joke.
Killing Joke- It's complicated.
Martin Atkins presenting Extremeties at Reggie's- equally complicated.
Usually when there's an announcement of a tribute show, whether it be a band or an artist in particular, there's the opinion of certain groups to "prove it', or even worse, the title of a show, or who's involved has a feeling of being stigmatized and not worth your time.

For me, I got onboard with this early on, when it was announced, back in mid May or so, witnessing a band practice in its infancy, with I think four band members present, two that would be in the current incarnation, one who left, and one that came in to fill in and flesh out things.
Even then, the kernels were present, the nuggets had pop and fire, in a mellow- ish kinda format.
Still, the excitement of possibilities of this whole shebang coming to fruition in a live setting seemed promising.

What holds up through all of this, from May to Thanksgiving weekend at Reggie's is of course Martin Atkins, and the wherewithal to stand solid and true to the mighty beats and rhythms of Killing Joke's "Extremties, Dirt and Various Repressed Emotions", released back in the fall of 1990.
And also, who'll Martin get to contribute to the full on sound, the juggernaut sound of an album that still to the presents day possesses gifts of the disturbing kind, the relevant kind, the urgent kind.
And as the months kept rolling along prior to Reggie's with rehearsals at Martin's Post Punk and Industrial Museum (PPIM for short), he kept tweaking the sound and contributions depending on song, and asking pertinent questions to fellow bandmates of what was in his head music wise, instrument wise.
First off the vocals.

How to proceed with front and center to carry the urgency of the message.
Well now, why not share in the vocals? What works, what doesn't?
Why not three?

Enter Randy Blythe, a guy with vocal chops and stage presence galore, and an attitude that fits the mold of a Jaz Coleman, lead singer of Killing Joke.
Why not add physical chops of sustained vocal wallops with Dirk Flanigan, a guy also up for the challenge.

Lastly, why not add a female vocalist, with a range that can scare the crap out of you, and the facial mannerisms of impending doom, the stage presence of impending doom, with none other than Tara Bush.

Tara Busch in particular- full of surprises and astonishing vocals, let alone her choice of attire- a mechanics overalls jumpsuit similar to what Jaz would wear, with the word "EXTREMETIES" in capital letters for brazen and awesome visibility.

Tara, prior to the shows at Reggie's, dialed down sort of low, more of a seeker and searcher in sound manipulations at rehearsals, crouched below on her vocal pedals, weeding through what to portray and present.
Even vocally prior to the shows, a modicum of restraint.

But live at Reggie's at Show Number One- a vocal firecracker, a vocal powerhouse, with a stage presence and mannerisms equal to the Jaz Coleman of yore.
Holy shamoley, does this presentation of Extremeties work on many many levels from what I witnessed, the three vocalists living proof of the chills set forth to the present in all mannerisms of Killing Joke brought to the present day, and then some, Randy in particular all in throughout with fright and glory, like lightning in a bottle.

Next question- the main ghost in the room- who'll enter the fray with guitar duties to match Geordie Walker from Killing Joke?

This, clearly one of the main components of the Killing Joke sound, it's trademark shrapnel and stunningly spirited sound and playing of a Geordie Walker.
Enter Mark Gemini Thwaite.
Mark, he's all in.
That fire engine/ cherry red Gibson ES Series Hallow Body guitar he used for the rehearsals and shows at Reggie's- stunning.
Mark's playing throughout the set- equally stunning.
The sound he crafted from his choice of Gibson Hallow Body- from the heavens in sustained power and might.

And Mark's demeanor- like Geordie Walker from back in the day, nothing flashy.
What works is standing stoically, stage right like Geordie at all Killing Joke shows, know your riffs upon riffs upon riffs, let the guitar do the talking, no need for extra fanfare.
A definitive yes in works and accomplishment.
And if you were to ask him point blank, Mark would tell you direct just how damn fun it is to make Geordie's sound come alive, to capture the sprawling spirit of an album that has might and grit and an unrivalled underbelly of rhythms and counter rhythms.
Hearing Mark play things out, from the opener "Money Is Not Our God" and trailblazing through the entire album to its ending with "Struggle:, and of course the five song encore- you just didn't want this show to end.

The Killing Joke catalog, overall, to the present day, still resonates, still holds you captive.
Literally, like all of it.
And like Killing Joke of the past, to the present day, the urgencies of the messages in lyric writing, equal to the uppercut punches from the band, still sound like boot stomping cement blocks of power and might.

Martin Atkins and his walloping drum playing and overall sound- age be damned.
Like the other members of Killing Joke from the back in the day, you can't skimp on this aspect of the overall sound.
The power and rhythms to the power of Killing Joke's sound has to be present, no letup whatsoever, or people will notice.
Like Tara Busch at band rehearsals prior- yes, he let loose when necessary, to keep other band members in check.

And yet at the rehearsal at Reggie's, leading into Show Number One- a whole different animal in approach and overall wallop of a sound to push forth the Killing Joke ideals- to punish and punish some more, the message of the drums equal to the wordplay of a Jaz Coleman, equal to the mighty bass of a Raven, and even to a Geordie Walker.
Martin is the glue to making this all work.
After the encore, at the end of the iconic song "Eighties", the whole band on stage takes a turn to him, noting full well what they all had accomplished, a unified force of gratitude.
Witnessing that from the soundboard at Reggie's, and into the band taking a bow, forever etched in my brain in satisfaction and all the feel goods.
Still, now that the heavy hitters of a Killing joke sound are established, the distinct nuggets to add the might and sounds of Killing Joke can only add luster, and amplify everything, and everyone around them.

Justin Pearson and all things "BASS"- I mean Badass Bass.
The gut punch of his playing coming through that mix and being present, stunning from the main floor at Reggie's let alone stage presence with contorted twists and turns to turn the low end into a maniacal carnival ride of appeal throughout.
Another highlighted choice from the get go in establishing the synth sounds and electronica from Extremeties back in the day, although somewhat camouflaged towards the left of Martin's drumkit- there stood Orville Kline, all smiles, but intense at heart, ever equal in presenting the beats to trigger the rest of the herd to provide synergy throughout each and every song.
And with added luster, how about exquisite electric cello playing courtesy of Leyla Royale, who added a hefty and sustained low end strings to some arrangements, making the Killing Joke sound otherworldly, mystical.

For two songs, Will Washington added his unique trumpet playing sounds to the mix, one a muted trumpet, which had distinctive sounds of sadness, emotions running deep kind of sound, delicate and frail yet pertinent to overall vibe and chill and calm before the coming storms.
What an added bonus, from Martin's head during band practices to actual fruition, to take Killing Joke and making them sound otherworldly, courtesy of Will Washington's exquisite trumpet playing.
And lastly, a surprise to see none other than Geno Lenardo, guitarist extraordinaire come out during the encore stage left and provide some solid rhythm guitar to the mix.
Guitars on top of guitars in all manners of Killing Joke, making everything sound celebratory.
So this review, as you can see, more of an amalgamation of what was brought to the table band members wise, and what was at stake.

A "Cover Band"? Be damned.
A one off stigmatized kind of show in advance of actually being there and witnessing firsthand? Also emphatically be damned.
Herbert Spencer- and his quote of quotes, "contempt prior to investigation"- how apt.
Words to the wise- the dangers of forming conclusions without sufficient evidence.
A tried and true statement pertaining to Killing Joke and all of its ideals of brutal honesty and asking important questions, to get to the truth.
Same can be said for the Extremeties shows at Reggie's.
Nothing compares to what I witnessed, in presenting Killing Joke, at a timeframe back in 1990 with pivots of all kinds front and center, and solidly established to the present day.

Bobby Talamine - JBTV Music Television Chicago

Reggies, Martin Atkins, Killing Joke, Chicago Live Music, Thanksgiving Weekend, Randy Blythe, Tara Busch, Mark Gemini Thwaite, Will Washington, Leyla Royale, Dirk Flanigan, Justin Pearson, Geno Lenardo, Orville Kline

]]><![CDATA[Live Review: Steve Hackett: Genesis Greats, Lamb Highlights & Solo]]>Thu, 06 Nov 2025 06:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-steve-hackett-genesis-greats-lamb-highlights-solo

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Rialto Square Theatre - Joliet, IL
Thursday - November 6, 2025

Have to give Steve Hackett credits and props- lots and lots of props.
To successfully and meaningfully resurrect the magnificent catalog of Genesis, over and over again, like over a decade- just amazing.

This current tour, "Genesis Greats, Lamb Highlights & More", at the Rialto Square Theatre in Joliet, and still with the same band intact, except for Nick D'Virgilio on drums, replacing for the time being Craig Blundell.

Nick has solid chops, as is well needed in anything Genesis related, let alone Steve's solo material, "complex" of course being the order of the day.
He was a member in Spock's Beard, along with Big Big Train, and has done session work with Tears for Fears.

Along with Nick on drums, the longstanding bandmates with Steve are Roger King (keyboards), Nad Sylvan on vocals, Jonas Reingold on bass and backing vocals, and Rob Townsend (saxophone, flutes, and additional keyboards and samples).

Speaking of Jonas Reingold- his bass solo in particular- have to give him credit.
The solo- a huge nod to the mighty Jaco Pastorius, known for his work with Weather Report of course, let alone side by side with Joni Mitchell as well with some important albums.
Still, his solo, although dialed down and delicate, still vibrant with the theme of Jaco's, emphasizing fearless fret work with a nod and a wink to song snippets of yore. Very well done, especially in the Steve Hackett camp of all things.

So the musicians surrounding Steve, like all in, making this such a memorable show.
The evening- comprised of two sets along with encore.
The first set- Steve Hackett solo material, nine songs in total, dating back to Steve's first solo album back in 1975, to the present day.

All songs in the first set blended and bounded together nicely, opening with "People of the Smoke", from Steve's latest release, "The Circus and the Nightwale", back in 2024.
A song that covers all bases with Steve to the present day, gnarly with twists and turns of course, but still captivating, accentuated with the divine fretwork of Steve throughout.

So is much of Steve's solo material, particularly the ending to set one with "Shadow of the Hierophant", from Steve's first solo album "Voyage of the Acolyte" back in 1975.
That song in particular, although edited a bit down in length, still captivates and resonates, still builds and builds and builds with sonic overdrives of immeasurable beauty, like a guitar army coming down from the heavens to convey bursts of passionate English anguish followed by blissful peace of mind.
Yes, I know that last sentence speaks lots.

Still, no other way to capture in writing the meaning of it, hearing it performed live and in person.
Such a sonic onslaught of purpose and fortitude.

A brief twenty minute break, then off into set two, and all things Genesis.

Opening of course with "The Lamb Lies Down on Broadway", now over 50 years old...
Hard to comprehend that, considering just how fresh and clean and pertinent it still sounds to the present day, played with urgency, played with sonic might.

All manner of Lamb songs picked and chosen for this tour- sounding superb, lyrics still fascinating and sung, courtesy of Nad Sylvan, and the keyboard work of Roger King adding the necessary sonic oversight to the proceedings, all things "bass pedals" intact.

Can't overlook the woodwinds throughout as well, courtesy of Rob Townsend, and the steady backbeats from Nick as well.

The Lamb songs, they just have a sense of longing to them, like being with your best friends from the past, that you haven't seen in years and years.

"Fly on a Windshield", "Broadway Melody of 1974"- such was the case with the opening of set two, with three songs in particular from Lamb that still have a grip on you, like most of them do.
But still, hearing the song "it" performed live...that conveys so much to me.

"it", often overlooked unfortunately, especially in radio airplay over the decades since Lamb's release...why?

Who knows.

Maybe partly because it was buried as the last song on that double album, like a throwaway, or whatever, considering the dumbass minds of most radio programmers from the seventies and early eighties.
How unfortunate.

That song in particular, although a bit short in length, like a bit above four minutes- just so enlightening, so full of life and promise.

What a magnificent song, played live with a band that has the same grit and DNA as Steve.
And of course the mighty encore, encompassing the trailblazing "Firth of Fifth", mighty Steve guitar solo from the heavens intact.

Followed by a rambunctious drum solo from Nick, and ending with a wallop - "Los Endos / Slogans / Los Endos".
What and evening with Steve Hacket and band, songs they can dive in and sink their teeth into, leaving fans like me stunned,
All things Steve Hackett and anything Genesis revisited, with this band of his, never never gets old.

Bobby Talamine JBTV Music Television Chicago

Steve Hacket, Joliet, Illinois, Genesis, Live Music, Winter 2025, JBTV Music Television, Bobby Talamine, Jerry Bryant, Fiza Javid

]]><![CDATA[Live Review: Someoddpilot Records Showcase - Black Cross Hotel (Album Release Show)with Blood Lemon & Still Machine (Album Release Show)]]>Wed, 29 Oct 2025 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-someoddpilot-records-showcase-black-cross-hotel-album-release-showwith-blood-lemon-still-machine-album-release-show

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Empty Bottle - Chicago,
Wednesday - October 29, 2025

Now that's how you throw a Record Release Show-
A punctual and no rest for the wicked hour long set with Black Cross Hotel at the Empty Bottle, the first night of a short six date tour to introduce you to their latest release "Songs for Switches".

This band, an amalgam of band members from top tier bands such as Stabbing Westward, Atlas Moth, Minsk and more- carrying along the Chicago tradition of street toughness, with chops and more chops.
Like it states on their Instagram Homepage- "Industrial Strength Horror", as per definition.
And such was the showcase, headlining at the Bottle, a show with pulverizing four to the floor might, no letup in sight.

They actually held a preview a week prior on the 24th, a label party of sorts to introduce the Chicago masses to the album release "Songs for Switches", which comes out on the 31st, perfect timing, being halloween n' all.

Still, nothing like hearing these new nuggets live and in person, and loud. I mean LOUD.
The band, consisting of Marcus Eliopulos (Stabbing Westward) on guitar, Sanford Parker (Minsk, Corrections House) on bass, Mike Miczek (The Atlas Moth, Broken Hope) on drums, Andrew Ragin (The Atlas Moth) on synths, and Dee DeEmme (Whipped) on lead vocals- such a pairing, these mates, with knowledge up the kazoo to understand if anything, that songs matter, energy matters, live performance matters, the whole shebang better be damn good and to everyone's liking.
No bullshit kinda guys.

The songs relate to that, and in my opinion their introduction to their latest release reflects this as well.

Me, I was grinning from ear to ear throughout, from various perspectives on the main floor of the Bottle, impressed throughout their rather brief set, this being an album release showcase and all, dialed down to fit the confines of the tight corner where the main stage at the Bottle is settled real estate wise, but making use with what they've got, the Bottle itself having that attitude of "prove it, if you got the songs to sway the masses" kinda vibe.
And Black Cross Hotel did, like over and over and over.

It's a street tough venue, sure, with a history like Lounge Ax back in the day to tighten things up capacity wise, steeped in history, but blessed with a PA that can wallop, and a vibe pre Halloween that was immersed in Halloween with all manner of interior skulls and captivating delights.
True, their inspirations are horror related, amongst other fright night kinda things, embracing all manner of genres throughout, dark-wave, some punk attitude, a dash of metal, followed by dark metal, and even a taste or two of hair metal.

All manners from all of the above done with good taste and thought in mind, band members again coming from a history where they've experimented and have experienced trials and errors of accomplishing said goals, and now elevating everything to start anew, to start fresh and clean.
And let's not forget some industrial elements as well, with a punishing backbeat to add emphasis to song structure, let alone attitude.

A powerful and commanding presence, all things Black Cross Hotel.
A memorable showcase of sorts, with an album and songs worthy of your attention, and a live show that punches you in the gut, multiple times throughout

Blood Lemon, a concise power trio by the way of Boise and Seattle, not necessarily a release party for them per se, but a positive plus having them along for this short introductory tour.
Was blown away with their set as well, a subdued and lo fi charm throughout, sure, but in the undertones of everything, something sinister awaits.

Stunned by how every now and then, in the interplay of the band, you hear remnants of Black Sabbath, and subdued vibes of sludge, like storm clouds off in the distance- you see the lightning, but not hear the mighty bone shaking wallop of thunder.
Although it's there, lurking, just not so ever evident.
For a three piece, they slay.

Consisting of Melanie Radford (yes, that Melanie from Built to Spill) on bass and vocals, Lisa Simpson on guitar and vocals, and also Lindsey Lloyd on drums- they have created something special.
Their set, subdued and chilling as it was, delicate and yet immersed in dark undertones, like embracing the dark, the dark is comforting.

Not to say that the band may agree with that statement, but I stood there in front of them, their entire set, thinking these things, like all throughout, that subdued dark this and that- that dark is good, dark is plentiful.

Hard to grasp and understand this of course unless you're there, seen them live, listened to their music in general.

The subtleties work on many levels, no need for more explaining.
They've captured something, like mini short films of walking into deserted towns in the middle of the night, lit by a full moon.
Have to hear more from these ladies, they are that good.

And openers Still Machine, also along for the ride with an album release showcase as well, with a post punk pedigree that encases their songs, done with a polish and flair, especially performed live.
Simple and lush arrangements, strong sense of melody pervades with these guys.
The band, consisting of Ray Dybzinski on guitar and vocals, Jason Goldberg on bass and vocals, and also Matt Martin on drums and percussion and backing vocals- they're onto something with their brand of music- hope to hear more from them soon.

Bobby Talamine - JBTV Music Television Chicago

Black Cross Hotel, Blood Lemon, Still Machine, Empty Bottle, Halloween, Spooky Season, Bobby Talamine, Fiza Javid, Jerry Bryant, JBTV Music Television, Chicago Live Music

]]><![CDATA[Live Review: Judas Priest & Alice Cooper]]>Sun, 05 Oct 2025 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-judas-priest-alice-cooper

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Credit Union 1 Ampitheatre - Tinley Park IL
Sunday - October 5, 2025

Judas Priest and Alice Cooper.
Two full sets.
Such a glorious Sunday night outside of Chicago in Tinley Park, at the Credit Union 1 Ampitheatre.
With headliner Judas Priest, nothing left for chance whatsoever.
This kind of speed metal/ heavy metal (whatever) demands it.
No bullshit.
Not much time for small talk.

The union and meeting of the minds begins with the opening snippet of a theme song from the mighty Black Sabbath in all things "War Pigs", what with the refrain good and loud, sung by all- "Just like witches at black masses... Oh Lord yeah!!"
Then- off to the races into Judas with "All Guns Blazing", which by all intent and purposes is all guns blazing and then some.
The fierceness and fortitude by all on hand, Rob Halford on lead vocals, Ian Hill on bass, Richie Faulkner on guitars, Andy Sneap also on guitars, and Scott Travis on drums- these guys, they pummel as one.

There's fun of course, courtesy of Rob Halford, making note of all musicians on hand, giving kudos and props and plugs to them all, up close, swaying to the beat, bowing in admiration to the mighty riffs let loose depending on song and of course timing noted to statement and mighty guitar riffs and heavy bass interludes.

These ideals hold truth to the power and might of metal, all kinds of metal, and the strength within, age of course be damned.
Rob is 74.
Let that sink in for a minute.
He hasn't lost touch with his upper register whatsoever, blanketing the crowd with his stunning array of vocal mannerisms, fitting that he knows the proper techniques to let loose when necessary, all decked in dark yet sparkly metal jacket and black everything.
If anything, he's slowed down a bit to get from point A to point B, usually in a counterclockwise motion, sometimes arms outstretched to match the mighty beats and riffs, but nevertheless ALL IN, All SONGS.
How long can this go?
Who's to say.

That setlist of there's was fourteen songs including encore, nary a letup throughout.
Makes you appreciate the here and now, witnessing yet again an over the top electric and downright riveting performance from Rob and his mates.
Most of their set consisted of songs of yore (as well as it should), especially from "Painkiller", released in 1990, an album just so over the top for its time, bone crushing and uncompromising, diabolical riffs wise, with Rob's incendiary vocals just adding luster to the "what the fuck did I just Hear? Must repeat if I can withstand the bludgeoning".

"Painkiller" was ever evident throughout, opening with "All Guns Blazing" like I stated above, followed by the gnarly and riff heavy master "Hell Patrol", along with Night Crawler", and of course the blistering song "Painkiller".
Their set, their mood, their demeanor, all things Judas Priest- startling statements from the metal overlords, metal kings by definition and intact, unrelenting and uncompromising, triumphant as all get out in approach and overall mood that the songs demand, and the mates of Judas Priest better be prepared for.
Amazing when you think of it.
Gobsmacked that that level of musicianship still holds true with Judas Priest, no weaknesses, no spare parts, just a whiplash snakepit from beginning to end.
Long live Judas Priest in all their glory, such is what I witnessed yet again from them to the present day.

And as for Alice Cooper-
Just so damned compelling as well, songs and setlist still intact, theatricality still polished and clean, a man who certainly knows how to put on a show, one song after another blending into each other as one, 21 songs, yes, 21 songs in total throughout.
Again, a guy who's up there in age at 77- yes- 77 years old, and still all in as the demented ringleader in all things "Alice Cooper', reveling in the underground of nightmare culture, embracing the macabre from within.

An actor who's all in, a ringleader who's all in, a purveyor of nightmare culture with the props and aesthetics to prove it, followed by a band that withstands the heat, and can also punish at a moment's notice, courtesy of guitar maestro Nita Strauss, who can slay riff wise with the best of 'em.
The whole band gels to the Alice catalog of deep reveals, especially so when it comes to the anthems that hold heft and might, such as "I'm Eighteen", "Feed My Frankenstein", "Poison", and of course "School's Out".

Cool that with "School's Out" in particular, Alice had the smarts to add Pink Floyd's "Another Brick in the Wall, Pt. 2", with its equally compelling lyrical refrains of angst and beat downs.
The whole set with Alice, vocals and menacing drawls still intact of course, but the songs come hard and fast, horror showmanship still a sight to behold, even when not headlining, theatrical sightlines still a sight to behold.
That the giant backstage LED backdrop was crisp and clean, highlighting Alice and certain musicians depending on song, framed in an amalgamation of taste and panache with the occasional skeletons, or graveyard accoutrements just added to the "All In" structure of things, especially since we're in the month of October.

That Alice and "Alice's Attic" can make these attempts with class over and over again, with over all mood never so never changing just leads to smiles from me, his enthusiasm and take of always putting on a memorable show, known to entertain and always entertain, mock horror excess unraveling like over and over.

These two sets from two mighty artists.....what a way to close out the summer season at the Credit Union 1 Ampitheatre.

Bobby Talamine - JBTV Music Television Chicago

Alice Cooper, Judas Priest, Tinley Park, Chicago Live Music, JBTV Music Television, Bobby Talamine, Jerry Bryant, Fiza Javid

]]><![CDATA[Live Review: Garbage - Happy Endings Tour with Starcrawler]]>Mon, 29 Sep 2025 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-garbage-happy-endings-tour-with-starcrawler

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Salt Shed - Chicago
Monday - September 29, 2025

If this is the last foray for the band Garbage, on their "Happy Endings Tour", they certainly know how to go out in style, band certainly intact, Shirley Manson still ever so commanding on lead vocals.

Opening with a song from their latest release- "Let All That We Imagine Be the Light", which came out this past May, that being "There's No Future in Optimism"-A song that makes a statement on the beat down attributed to hate, all kinds of hate, and the power of love and tenderness, and the willingness and fortitude to overcome.

Not an easy thing to get across without coming off even handed, let alone fake.
But Shirley's take with all of this spoke volumes, not just in lyric and songwriting, but also commanding visually.

There she is, center stage, not much need for theatrics, just wearing a dark leather jacket, hands in pockets at center mic, heavily strobed and backlit, looking like the badass she always is.
It says lots in my opinion, not opening with a classic hit from the Garbage catalog, but with a single from their latest release, also followed by another, the song "Hold", and by this time she's removed her jacket, and you can see she's wearing an oversized black t shirt with the words "LET GAZA LIVE" on the front, in capital letters, bold and clear for everyone to see.
So again, a farewell tour that also acts not like a farewell tour.
Garbage, all four of them, acting out per usual in the present day, even though it seems like this is their last major go round.
My opinion though- never say never.

That they've made clear that current touring conditions, especially on this scale, it ain't easy production wise, and also expensive, putting themselves in a position of if doing it right, is it feasible.
Clearly Garbage don't want the look and feel of a nostalgia act whatsoever, steadfastly independent and forward thinking, nothing lame and dialed in whatsoever, honest and true to the core.
Still, in my opinion, it wouldn't surprise me if down the road you see them perform occasional one offs, or limited dates, or anything festival this or festival that related.

Having said that, this show back on Monday night at The Salt Shed Chicago, a celebration of sorts, with Butch Vig providing the undeniable cool backbeats at his drumkit, and the yin and yang of Duke Erikson and Steve Marker on mighty fine guitars, and with the add of Nicole Fiorentino on bass to punch up the sound.

A lively and concise bunch I tell ya, emphasized yet again with the heart and soul of Shirley Manson front and center.

Older songs, such as "I Think I'm Paranoid", or "Push It" in particular, let alone the double whammy encore of "Stupid Girl" and "Only Happy When it Rains" certainly pack a tried and true wallop.
But so do the newer tunes off of "Let All That We Imagine Be the Light" as well.

Again, nothing dialed in songwriting with these guys, all roads lead to honest contributions on a level playing field to the present day, and also, most importantly, Shirley's command and resoluteness of not just putting on a memorable show, but making certain moments special, such as a snippet of the song "Parade", dedicated to a gentleman in the first row along the pit rail, who happened to be a survivor of the Pulse Nightclub shooting back in the summer of 2016.
That she took the time to not only recognize him, but to play a bit of that song for him speaks volumes in regards to Shirley, and where her heart is at, sincere as all get out.
And like virtually every show I've seen with Garbage, it has always been this way- just solid individuals all, honest to the core.

Such resilience as well to the present day, all things Garbage, a lot wiser of course, age having something to do with it, but also coming off so damn cool and unique, their songs sounding not dated and tired at all.

Have to say that even though they played Chicago on a Monday night of all things, it felt more like a weekend night throughout the show, no worries about the four more days of work ahead.
Fuck all that, playing on a Monday.
They came to play, and embrace their tried and true Chicago fans.
Such a memorable show throughout.

Same holds true with opener Starcrawler, who came out gritty and trailblazing, and ended some ten songs later grittier and trailblazing-er, albeit a bit sweaty, courtesy of the caged lions in Arrow de Wilde on front and center vocal, followed by the equally unhinged guitarist Henri Cash.
These two- they know how to put on a show, and relish in all things playing live and hellbent.
Have seen them multiple times by now, and their confidence and their demeanor, their unpredictable nature makes you not look away from the stage whatsoever, big venue, smaller venue when they headline- it doesn't matter.

A solid touring band by now, some ten years in.
And hardworking, doing their damned best making a name for themselves.

Shirley definitely made mention of it at the beginning of Garbage's set, stating just how convincing and riveting they are to see perform live, but just how cool they are as individuals offstage as well.

The urgency fo their songs, the wicked stature of Arrow and her stage antics, equally measured by Henri's as well on lead guitar, what with the sweaty Chuck Berry duck walk as a case in point- these two certainly know how to feed off each other performing live, that's for sure.
Starcrawler's set was equally compelling and damned fun to witness as well.
Just adore these guys performing live.

Such a splendid time at The Salt Shed Chicago on a Monday night.

Bobby Talamine - JBTV Music Television Chicago

Starcrawler, Garbage, The Salt Shed, Chicago, Live Music, Fall 2025, Bobby Talamine, Fiza Javid, Jerry Bryant, JBTV Music Television

]]><![CDATA[Riot Fest Day Three - IDLES, Soft Play, Lambrini Girls, DEHD, Inhaler & More]]>Sun, 21 Sep 2025 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/riot-fest-day-three-idles-soft-play-lambrini-girls-dehd-inhaler-more

Writing by Fiza Javid
Photography by Bobby Talamine

Douglass Park - Chicago
Sunday - September 21, 2025

Riot Fest. Day Three. Punk is NOT dead. Come and get a load of this kickass finale!!
I had a chance to join my first ladies-only mosh pit thanks to Soft Play, who I’ve gotta couple up with IDLES for the amount of ENERGY they brought to this final day of the 20th Anniversary of Riot Fest.

Along with other notable acts: The Effigies, Smoking Popes, Pegboy, The Linda Lindas, Lambrini Girls, DEHD, Texas is the Reason, and Inhaler.

But first, IDLES, who brought Soft Play on the stage for their final song — an eruption of sound that left the entire crowd drenched, wild-eyed, and absolutely united. Joe Talbot’s guttural delivery felt like both a sermon and a brawl, and by the time they screamed out their closer, it was clear this was more than a set — it was a rallying cry. The level of cameraderie this band carries on stage only carries into the crowd. From their dance moves to their message. Vital in this time period.

Next, Soft Play kept the energy pulsing with a set that was sharp, witty, and unapologetically rowdy. Their punk revivalism was matched with a cheeky edge, and when they tore into their faster tracks, the pit got bigger, faster, and hotter. That’s when the ladies-only circle broke out — and let me tell you, there’s no purer punk joy than moshing shoulder-to-shoulder with women who are there to unleash just as much fury and fun. "Punks Dead," the ultimate parody of the comments thrown their way for their name switch - it is hands down the most legendary transformation in punk rock history, and the way their sound has evolved over the years. This crowd was the ideal sounding board for their badassery.

The Midwest punk spirit was well represented by The Effigies, whose legacy as Chicago punk pioneers came through loud and clear. It was gritty, stripped down, and pure electricity. Following them,

Smoking Popes brought their melodic charm — the kind of band you can sing along to while still thrashing around. There’s something timeless about their balance of sweetness and angst that hit just right in the Riot Fest air.

Pegboy reminded everyone why they’re Chicago punk royalty, powering through with a ferocity that proves age has nothing on attitude. Their anthemic sound had longtime fans screaming every lyric like it was 1991 all over again.

On the younger side of punk’s spectrum, The Linda Lindas proved themselves as the future of the genre. Their confidence and sheer joy in shredding on stage were infectious. Songs that tackle identity and empowerment landed with punch, showing why they’ve become such icons for a new generation.
Across the pond,

Lambrini Girls carried the UK punk flag high with snarling riffs, chaotic humor, and a riot grrrl spirit that blended perfectly with the Chicago crowd. Their set was short but searing — the kind that leaves your ears buzzing in the best way.

DEHD brought a slightly different energy, leaning into their dreamier, surf-tinged indie punk sound. It was a welcome shift, giving the crowd moments to sway and breathe while still staying locked into the Riot Fest groove. Their set felt like a cool breeze across the chaos.

Reunion magic came from Texas is the Reason, delivering heartfelt post-hardcore that pulled at both nostalgia and urgency. Their songs are heavy without being overwhelming, melodic without being soft — the kind of set that makes you close your eyes and feel every note in your chest.

And finally, Inhaler closed things out with style. Their sharp, polished indie rock was the perfect exhale to a weekend of furious, unrelenting sound. Frontman Elijah Hewson carried himself with the confidence of someone who has music in his blood — no surprise, since he’s the son of Bono from U2. But while the lineage is undeniable, Inhaler aren’t riding on anyone’s coattails. Their sound feels their own: sleek, urgent, and destined to fill arenas. Tracks like “My Honest Face” sent the crowd into a euphoric singalong, and in the context of Riot Fest, it was fascinating — a reminder that punk’s spirit can evolve into new forms without losing its core urgency. Inhaler felt less like a “next generation of U2” and more like a new generation of festival headliners stepping into their own.

As the lights dimmed on Day Three, there was no doubt left: Riot Fest’s 20th Anniversary wasn’t just a celebration of its history — it was a promise for the future. Punk is alive, thriving, mutating, and screaming louder than ever.

And if this weekend proved anything, it’s that Riot Fest is still the ultimate home for every misfit, mosher, and music lover who refuses to sit down and shut up.
Here’s to the next twenty years.

Fiza Javid - JBTV Music Television

The Effigies, Smoking Popes, Pegboy, Soft Play, The Linda Lindas, Lambrini Girls, DEHD, IDLES, Texas is the Reason, Inhaler, Green Day, Cobra Starship, Gym Class Heroes, Bobby Talamine, Jerry Bryant, Fiza Javid, JBTV Music Television, Riot Fest 2025, 20 Years

]]><![CDATA[Riot Fest Day Two - The Beach Boys with John Stamos, The Damned, GWAR, Militarie Gun, Helmet & More]]>Sat, 20 Sep 2025 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/riot-fest-day-two-the-beach-boys-with-john-stamos-the-damned-gwar-militarie-gun-helmet-more

Writing by Fiza Javid
Photography by Bobby Talamine

Douglass Park - Chicago
Saturday - September 20, 2025

Haveeeee mercy!! We were feeling the Good Vibrations as we entered Day Two of Riot Fest's 20th Anniversary extravaganza!!

Getting to the Butter Stamos statue by 3PM to catch the John Stamos Lookalike Contest was vital. Capturing all the incredible acts was even more vital: Violent Vira, Militarie Gun, The Cribs, Helmet, GWAR, James, Beach Boys with John Stamos, and the Damned! Damn, what a lineup!!

All things were buzzing John Stamos as I snacked on deep fried Oreos and kept a mental count of all the Stamos references I could catch during the day. I lost count. Beyond the Stamos references and the very punk rock political T Shirts, I couldn't get enough of the wide range of performances of the day.

GWAR. What can you even say? Riot Fest wouldn’t be Riot Fest without the chaos of GWAR. Sprays of fake blood and alien theatrics painted the crowd (literally), and people walked away looking like extras from a horror flick. The sheer spectacle was equal parts hilarious and unhinged—a perfect fit for the day’s vibe. Not to mention the Trump and ICE mockery. Ain't a punk rock festival unless we speak on what matters. While we can't avoid the tumultuous times we are living in, music and performances are so important in keeping morale high and speaking for the people. The mockery is necessary, and GWAR delivered every detail of what we wanted and felt!

The Beach Boys—with John Stamos. Yes, you read that right. Stamos jumped behind the drums and smiled his way through one of the most surreal sets Riot Fest has ever hosted. Harmonies floated through the dusty air, and the crowd danced like it was 1965, even as punks in leather jackets shouted “UNCLE JESSE!” from the pit. It was bizarre, it was beautiful, it was peak Riot Fest.

The Damned closed things out with a masterclass in punk history. Their gothic, theatrical take on the genre hit like a wave of nostalgia and menace all at once. With decades under their belts, they still command a stage like few others. It was the perfect capstone for a day that spanned everything from hardcore chaos to surf-rock sunshine.

Violent Vira set the tone early with a dark but magnetic performance that pulled the crowd in. Their haunting vocals and jagged guitars felt like the soundtrack to Riot Fest’s more brooding corners. You could sense the band carving out their place among a sea of heavy hitters, and the crowd fed off that hungry energy.

Militarie Gun kept the adrenaline rolling. Their set was urgent, loud, and absolutely unrelenting. Hardcore at its most cathartic, the band had fans crashing into each other with abandon, fists in the air and sweat pouring down. They’re one of those acts that sound even better live than on record, and they left the stage to a roar.

The Cribs brought the jangly indie-punk swagger that only brothers in a band can conjure. Their set was filled with singalong choruses and scratchy guitar hooks that had longtime fans smiling ear to ear. It was pure charm—the kind of set that reminded us why UK indie bands always seem to translate so well in the Chicago air.

Helmet stormed in with their crushing riffs and precise aggression. Heavy, groovy, and tight as ever, Helmet’s set was a brutal reminder of their legacy in shaping alternative metal. The pit was a swirling storm, and anyone who came for the heavy stuff walked away more than satisfied.

James offered one of the most surprising turns of the afternoon. Their soaring, melodic alt-rock felt like a cool breeze amid the chaos. Tracks like Laid had the whole field singing along, proving that Riot Fest isn’t just about distortion and breakdowns—it’s about those transcendent moments too.

Day Two was Riot Fest in its purest form: unpredictable, messy, emotional, and unforgettable.

And the best part? We’re only halfway through. With Day Three promising even more legends, surprises, and mayhem, the only thing left to say is: Riot Fest, have mercy on us—we’re not ready, but we’ll be there.

Fiza Javid - JBTV Music Television

Helmet, Militarie Gun, Violent Vira, GWAR, The Damned, John Stamos, The Beach Boys, Butter Stamos, Full House, Bobby Talamine, Fiza Javid, Jerry Bryant, JBTV Music Television, Riot Fest 2025

]]><![CDATA[Riot Fest Day One Highlights - Weird Al Yankovic, Sparks, Rico Nasty, Mac Sabbath & more]]>Fri, 19 Sep 2025 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/riot-fest-day-one-highlights-weird-al-yankovic-sparks-rico-nasty-mac-sabbath-more

Writing by Fiza Javid
Photography by Bobby Talamine

Douglass Park - Chicago
Friday - September 19, 2025

Riot Fest 2025. Twenty years in the making, and twenty years of surging surprises kicked off with the utmost excitement.

Day one hit like a wave the moment you stepped through the gates—dust in the air, fried food in the distance, and the sound of guitars already bleeding from the stages. People were running around in patched-up vests, Blink tees, clown makeup, Rico Nasty spikes—you name it. It felt like a costume party for every corner of counterculture.

And then--a Weird Al stage?! I thought it was a rumor at first. But sure enough, his name was plastered across the lineup alongside Sparks, Rico Nasty, Shonen Knife, Mac Sabbath, The Barbarians of California, Big Ass Truck IE, Puddles Pity Party…and of course, Weird Al Yankovic himself.
Weird Al is a rarity. Even with songs so universally known, you’d think he toured endlessly—but no. Seeing him headline Riot Fest felt like stumbling onto a unicorn. For me, it was personal. My love for Al goes back to the early ‘90s: watching I’m Fat on TV, hearing The Saga Begins during Kristi Yamaguchi’s skating program (yes, that happened), even cat
ching buskers belt out Truck Driving Song. The one track I prayed for? Smells Like Nirvana.

And sure enough—we got it. Al stormed the stage in full Kurt Cobain parody gear, throwing himself to the floor, mumbling into the mic like he’d forgotten the lyrics on purpose. The crowd lost it. The medley that followed was pure whiplash: I Love Rocky Road, Canadian Idiot, polka interludes that had people skanking in the pit. No sex, no drugs, no rock ‘n’ roll—just Polkamania.

His outfit changes were as wild as his energy. Every time he reappeared, the crowd screamed louder, and he gave it right back,

But Weird Al wasn’t the only legend. Shonen Knife, the queens of Osaka punk, brought pure sunshine fuzz-pop to an early crowd still shaking off beer lines. Their matching dresses, their harmonies—it was like being let into a candy-colored garage rock daydream.

The Barbarians of California hit like a bar fight wrapped in surf rock. Fronted by Aaron Bruno—yes, the same wild mind behind AWOLNATION—they brought a swagger that made the set feel dangerous and fun all at once. Bruno prowled the stage, howling over fuzzed-out riffs that blended punk grit with sunburnt California surf vibes. It was equal parts chaos and charisma, the kind of set where you didn’t know whether to slam dance or just stand there in awe. For fans who came up on Sail, this was a whole other beast—Bruno unchained, raw, and built for Riot Fest.

Then came Rico Nasty, who immediately flipped the vibe. She tore onto the stage like she owned it, and within thirty seconds, the pit exploded. Her screams, her thrashing, the way the bass shook through the dust—this wasn’t just a rap set, this was punk spirit incarnate. A kid next to me shouted, “She’s the future!” and honestly, he wasn’t wrong.

Mac Sabbath? Absolutely deranged—in the best way. Imagine Ronald McDonald belting out “Frying Pan” to the riff of Iron Man. The crowd was head banging and laughing at the same time, a sea of horns thrown up in irony and admiration. Riot Fest doesn’t just embrace weird—it demands it.

Then came a 180: Puddles Pity Party walked onstage, a giant sad clown, and suddenly it was dead silent. His operatic cover of Bowie filled the park, and people stood frozen, some with tears. The emotional whiplash was insane—only at Riot Fest do you go from parody metal to crying over a clown.
As dusk hit, Sparks took the stage, and their cult energy was undeniable. Ron’s deadpan keyboard stance, Russell’s falsetto soaring over the Chicago air—it was like watching art school weirdos turn into gods. Fifty years in, they were as sharp as ever, and the crowd gave them the worship they deserved.

The day rolled on with curveballs. Camper Van Beethoven brought their offbeat alt-rock and jangly violins, reminding everyone why the college radio underground still worships them. Songs like Take the Skinheads Bowling hit with a strange, nostalgic energy—half singalong, half history lesson. Their set felt like a love letter to the kind of bands that helped Riot Fest even exist.

The Hold Steady followed later, turning the crowd into one giant drunken choir. Craig Finn doesn’t just sing—he preaches, and the audience shouts every word back at him like scripture. Stuck Between Stations hit especially hard, people throwing arms around strangers, beers spilling everywhere, pure catharsis. It was sweaty, sloppy, and absolutely beautiful—everything a Hold Steady set should be.

Sparks were nothing short of surreal. Ron Mael sat stoic at the keyboard, expression fixed like a statue, while his brother Russell Mael bounded across the stage with the kind of energy you’d expect from someone half his age. The juxtaposition was classic Sparks—the deadpan wit next to falsetto theatrics.

When they broke into This Town Ain’t Big Enough for Both of Us, it felt like a time machine back to their glam-rock heyday, when their sharp suits, outrageous hair, and arch humor put them on Top of the Pops next to Bowie and Roxy Music. Their 80s work—full of synth shimmer and theatrical excess—hung heavy in the air, and when Russell hit those falsetto peaks, it was like hearing the ghosts of glam reawakened in Chicago. Newer tracks slid in effortlessly, reminding everyone why Sparks never got stuck in nostalgia—they’ve always been ahead of the curve, constantly reinventing themselves while still dripping in that campy, glam absurdity.

It wasn’t just a set; it was a reminder that Sparks don’t age—they just add another bizarre chapter to their legend.

And then…the main event. Blink-182. By the time the lights cut, the entire park was shaking with anticipation. You could feel it—people on shoulders, drinks flying, strangers hugging because we all knew this was about to be one of those sets.

Tom’s voice cut through first, Mark’s banter was filthy as ever, and Travis played like a machine possessed. From I Miss You to What’s My Age Again? to All the Small Things, it was a singalong frenzy. Tens of thousands screaming until our throats burned, fireworks lighting up the sky, dust clouds rising from the pits—it felt like Riot Fest had come full circle.

By the time we stumbled out of Douglass Park—ears ringing, voices shot, shoes caked in dirt—it was clear: day one wasn’t just an opener. It was a victory lap. Twenty years of mayhem, parody, chaos, and catharsis bottled into one perfect kickoff.

Cheers to the Saturday and Sunday that awaits! Fiza Javid - JBTV Music Television

Rico Nasty, Shonen Knife, The Barbarians of California, Weird Al Yankovic, Blink-182, Sparks, Shonen Knife, Puddles Pity Party, Fiza Javid, Bobby Talamine, Jerry Bryant, JBTV Music Television, Riot Fest 2025, 20 Years, Chicago Live Music

]]><![CDATA[Live Review: Wet Leg - North American Moisturizer Tour 2025]]>Wed, 10 Sep 2025 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-wet-leg-north-american-moisturizer-tour-2025

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Salt Shed Fairgrounds- Chicago
Wednesday, - September 10, 2025

The band Wet Leg.
Boy how this band has evolved over a few short years.
Starting off back in the day with cool and catchy indie singing and songwriting, and now blessed with a boatload of confidence, turned into a formidable foe.
Fighting words of choice.

Like in a boxing ring, hype before the event, a throwdown before the throwdown.
The main tell before Wednesday's show at the Fairgrounds of The Salt Shed- the album cover art for their latest release for "Moisturizer', from back in July of this year.
Provocative- the pose, the stance, the wicked smile from Rhian Teasdale- sexy, sure, but also appearing a bit crazed, like you're looking for a fight, a bit of unpredictable chaos to ensue.
Then came the late night show appearances to promote "Moisturizer", both in the UK and of course the states.

Nothing subtle appearances wise, what with sexy clothes, the tattoos from Rhian, the look and feel of pin up- ish, but don't you dare approach, all of it by the looks of things volatile.
And of course the song of choice from their late night appearances was "Catch these Fists" - a swashbuckling ride of merriment melody wise, but underneath, lyrically, a lot more to tell, specifically knuckle-headed (and maybe a bit inebriated) men doing there best (Most awkwardly) of trying to pickup Rhian at either a bar, or bars, or on the dancefloor, when on a night on the town.
Catch these fists, and then some.
So there's the answer kinda, even now on the their current North American Tour, and the opener- but of course the song "Catch these Fists".

Laying the groundwork for what's to come, heavy beats intact, sexy clothing ever evident, brandishing sexy moves throughout, with a layer of snarl and of course when the song starts, Rhian at the drum riser, slowly walking to center mic, arms out, fists of course out.
And the Salt Shed crowd- in rabid fandomness with lots and lots of screams, reciting lyrics verbatim.
Yes, on a Wednesday night, we are in for a wild ride.

Another tell, song eight for the evening, "Ur Mom", and the banshee yells from the audience about 3 minutes in, drowning out the band in cathartic release..
From the main floor, a sight to behold, to witness in unison and let loose like everyone else.
The whole evening had this vibe, of frisky, of slightly uninhibited, even when dancing in place, especially towards the end, with their captivating song "Chaise Longue", the definition of post punk, sure, but with aloof overtones lyrically, met with melodies that start simple, catchy, but it just builds and builds and builds, especially when performed live, all fresh and clean and anew.
The whole evening, just ping ponging about from various vantage points, upstairs, downstairs, like everywhere for me, and the joy of it all- the Chicago Wet Leg faithful are all in.
How this band has reinvented itself, amped up the energy for sure, now being even more so a full fledged band beyond the core of Rhian and Hester Chambers certainly helps.
Another note- solid drumming from Henry Holmes.

Rhian sure made note of that throughout the evening as well, bouncing about in time in front of Henry's kit, all smiles, all energized like she's hearing their songs live like the first time.
The new material from Moisturizer", has lots of punch of course, but added to all of this is their new attitude, amping up the entire setlist, older songs included.
Wet Leg, they aren't wannabees whatsoever.
They came to play and brandish melodies of a sarcastic wit with a smidgeon of charm, and of course attitude.

I mean wicked attitude.
Hope my photos reflect this energy to some level- after all, while in the pit for the first three, I was laughing my ass off at the energy, the excitement of it all.
Like lightning in a bottle, all things Wet Leg.
Easily one of the best shows of the year.

Bobby Talamine - JBTV Music Television Chicago

Wet Leg, Salt Shed, Chicago Live Music, Bobby Talamine, Fiza Javid, Jerry Bryant, JBTV Music Television, 2025

]]><![CDATA[Live Review: System of a Down with Avenged Sevenfold - North American Stadium Tour 2025]]>Sun, 31 Aug 2025 05:00:00 GMThttps://www.jbtvmusic.com/the-jbtv-blog/live-review-system-of-a-down-with-avenged-sevenfold-north-american-stadium-tour-2025

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Soldier Field - Chicago
Sunday - August 31, 2025

System of a Down.
Still intact.
Still tried and true, still making boot stomping statements to the present day, original band intact and as solid as ever.
What boggles the mind- multiple things obviously.
Like the overall stage aesthetic,

Looks like its meant for a smaller club feel, what with risers stage left and stage right, meant for amped and elevated guitar and bass profiles depending on song, let alone minimal stage clutter.
Yes, this is Soldier Field for crying out loud, and yes, it's actually a gigantic stage with gigantic LED screens also stage left and stage right, let alone an even bigger one at the back of the stage, carrying the messages of band ideals with striking graphic intent.
However, yet again, the simplicity of things, it still has an intimate arena feel, which I find most appealing.

The System of a Down catalog, the demeanor of all things Serj Tankian, Daron Malakian, Shavo Odadjian and John Dolmayan, still trailblazing along like days of yore, playing music of a punishing nature, with emphasis on community, of fun, and- let's mosh.
Lots and lots of mosh.

The main floor crowd, from the get go with opener "Soldier Side- Intro", into "B.Y.O.B.", into "Suite-Pee"- no letup in letting loose, with multiple mosh pits, and igniting everything yet again into song number four of the evening with "Prison Song", followed by "Aerials".

From the 100 level of the bowl, a sight to behold, watching the moshes equal to watching the band.
The simplicity of it all with System, the fact that they haven't toured through Chicago in like six or so years, the Chicago crowd just so damn antsy in anticipation, and maybe the fact that it's Labor Day Weekend- maybe all of this made things things spontaneous and just wild to witness firsthand.

System of a Down, still popular as ever, with an Armenian metal attitude that sticks to you like glue, the fact that when you think of it, everything about them is just so unorthodox, not just the big picture obviously, but also the small microcosms depending on song within a song, bursting at the seems one minute, scaring the pants off you yet another, followed by intimate musical breathers, and so on.

That's the special sauce and weave that sets SOAD apart, that they are so unique in their tastes and feels, standing apart from the crowd with song structures that are true to their homeland, let alone soaking everything in via the west coast of the USA.

It works, these guys performing live, some 26 songs total in their setlist.
What boggles the mind even more- relying on tried and true original catalog songs of yore, with nothing new release wise since like 2005.
And they've sold out two night at Soldier Field.
You don't think these guys are still popular, let alone sorely missed?

Think again.
They have attitude, that's for sure.
Like in your face we're from Chicago kinda attitude, even though again, they reside in California.
No matter.

The songs- all of them- still a wicked punch to the gut, with no need for pyro or flash bombs, or stage props to distract from the message, the appeal of the songs itself.
The appeal- kinda like early AC/DC, a band with a heavy rock/ metal aesthetic, but still by way of punk via underground brought up to the masses with music elevated with a PA that can wallop you.
Such was the show with SOAD, the first of two nights in Chicago on a gorgeous lakefront evening, with a packed, I mean packed crowd all in and energized.

With all things SOAD, still a breath of fresh air to the present day in metaldom, with forthright rage still intact, with the musicians punch to prove it, and the view of "Are you in on the fun- or are you out?"
Put it this way.
No one left to the exits early.
From my vantage point, you left Soldier Field sweaty and drained.
The way a metal show should be.

Same goes for Avenged Sevenfold, and their overall appeal with wicked theatrical fun elevated with musical styles that complicate everything, trailblazing all over the map obviously, but statements made throughout with an elevated nature of a theatrical story, all laid out to bare to reel you in, suck you in, then- let F'ing loose.

Their latest release, "Life is But a Dream" from 2023, ever evident setlist wise, what with especially opener "Game Over", into "Mattel", further emphasizing how these guys love to challenge themselves musically, consistently breaking the rules in regards to songwriting.
The yin and yang of it all is plain to see between both bands- an appreciation in breaking barriers, staying true to themselves, nothing fake whatsoever.

Avenged Sevenfold- all the guys- immersed in definitive artistic statements, meant again to make you pay attention, reel you in, and then slay you with massive fire bombs of wicked guitar interludes, presented with an over the top vocalist who can deliver the goods, courtesy of M. Shadows.
Just like SOAD- Avenged are still the real deal.
You are excited, cuz you don't know what they're going to do next.

Such was the night at Soldier Field- two bands that were (and still are) just so damn memorable.

Bobby Talamine - JBTV Music Television Chicago

Bobby Talamine, Jerry Bryant, Fiza Javid, JBTV Music Television, Live Music Chicago, Soldier Field

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