Writing and Photography by Bobby Talamine & Wesley Nott
Writing and Editing by Fiza Javid

Friday - September 15, 2023 - Douglass Park 

Riot Fest is back for the 2023 season and ready to cause a scene! The heart and soul of rock n' roll is in this lineup, and JBTV had a chance to cover incredible acts for day one. These photo highlights include: Olivia Jean, Say Anything, Parliament Funkadelic, Yard Act, Quasi, Code Orange, Kim Gordon, Quicksand, The Breeders and Turnstile. 

​There is no doubt that Foo Fighters are an honorable mention as well, with their first return to Chicago since the passing of their drummer Taylor Hawkins, we were ready to show them all the love and support.

Olivia Jean, while she is the wife of Detroit rocker Jack White, her roots are grounded in music. Hailing from Nashville, she showcased her badass rockabilly / garage rock vibes with serious swing. Her songs were tight, with songs including "Spider" and "Garage Bat," and her band is genuinely tight knit.  It way too short of a set, 30 minutes. Should've been an hour.

Next, Parliament Funkadelic. Led by leader George Clinton (Red Hat). George is 82 years old, Imagine that. And still emphasizing all thinks "Funk" , and making all things a "Funk Party", even at 2 in the afternoon.

Yard Act is a proto punk indie UK band, with fierce opposition and making a mockery of everything, including their brand of music mixed with jovial and humorous lyrical revelry. Dark humor with crafty beats from a tight band abound through their entire set. They were an absolute blast to watch, and trust got the crowd moving.

Quasi was truly an exciting one to unveil this year, led by ex Sleater Kinney drummer Janet Weiss, and her former husband Sam Coomes. For a duo- some fun noisy with emphasis on noisy rock mixed with some electronic rock, and Janet's booming kick drum followed by thunder thwack propulsive drumming.

Code Orange were absolute headbangers. Heavy duty metalcore outfits, led by lead vocalist Jami Morgan. They truly got the moshing started. With in your face gigantic moshpit onslaught- the band growing more abrasive with each and every album release, reflecting the mood of the times. Just look at Jami's t shirt for emphasis- "I'm a Librarian". That should tell you lots in regards to where they stand on book bannings, and "woke this, woke that". These guys are angry, with the punishing beats to prove it.

The one and only, legendary, Kim Gordon. She came to Riot Fest- she conquered. All on her terms. Drawn from the secular, into the vernacular. Fierce and uncompromising, with moody beats and electronica mixed with drums and sometimes chaotic backbeat vocals, emphasizing restraint, followed by some serious vocal wallops. Again, one of the major highlights from Riot Fest Day One.

Writing and Photography by Bobby Talamine
​Edited by Fiza Javid
​
The Salt Shed Chicago - Night Number Two
Thursday - 8/31/23

Walking in during the intro, to The Beatles song "You Know My Name (Look Up the Number)"-
They all begin to settle into their respective places.
Opening with "Cecilia Ann" (a Surftones cover), then into "You're Such a Sadducee", and then into the song "Tame", which was anything but.
Just let it rip man- let it rip.

Have to say how rambaffling this all is- almost a  completely different setlist than from night one the night before, just some switching up and burying of certain songs to fit the mood, what if a full on Blue Moon rising from the east, some five songs into their set.
And they make note of that on night number two from The Salt Shed as well, with the imperial nugget "There's a Moon On".

So as the night unfolds, it's full on electric, full on rabid vocals from the push and pull of Black Francis, making it known two songs in when he tightly rolls up his sleeves that we're headed to some heavy heavy.

The aggressive songs demand it- what with the Pixies having over the years refreshed their dynamic between "Quiet and Loud", with some more "Quiet and Loud".
The formula works, never ever getting stale, never ever getting boring.

My take is Black Francis, Joey Santiago, David Lovering and Paz Lenchantin wouldn't tolerate it.
Pixies remain whipsmart, live badass.

Minimal set and backdrops, just some fancy strobes old and new encompassing the back of the stage.

Music counts, the band commits, their audience of oh so many years commits.
Wicked smiles are seen from them, when something catchy and jagged in the interplay catches their ears and eyes, as only solid improvisation can ensue when paying attention.

No fancy clothes, like coming out of a cab from Elston, head a bit east into the venue, strap on instruments, and away we go.

A tried and true formula, with contemplative and wacky songwriting intermixing with some twisted humor, and electrifying full on noise.
Indie as all get out, the Pixies, not beaten down and held hostage by A&R men wanting hits and catchy this and that.

The thought of that would repel them to the point of taking a shower.
Better still, as a middle finger fuck you, you most likely would enter their universe, and not on a positive note, but rather buried in a song like a casket going six feet underground.

They have their menacing and enlightening ways, like Isaac Brock in Modest Mouse, where everything holds fodder, especially when paying attention to the outside world, and bizarre newspaper clippings that catch your eye.
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From the biblical to the fanatical, to the humorous to the comic book comical.
All of it is welcome news to both bands, with sinister pop and the hard and heavy offering thrills and chills.

This review-
It doesn't matter really about song selection, and this and that.
It matters greatly that Pixies still want to play together, and let it be known they know what the hell they're doing, having some damn outright fun, and even if they don't, and mistakes are made, no matter. That can be entertaining as well.

Such a blast- such a downright energetic set from these guys.
Same with Modest Mouse, even though the sun was kinda still out setting to the west.
15 songs total, with catchy and quirky beats throughout.
After the three songs from the pit, I roamed around the main floor a bit, catching the crowd taking it all in, especially along the rail riverfront of The Salt Shed.

It was there that I found a batch of Modest Mouse diehards, a bit older, like in their fifties, dancing a style similar to the Grateful Dead and their shows back in the day.
And dancing not in a humorous way, but serious / sweaty shit.
Multiple songs, until they got plum tuckered tired out.

Dancing like around a campfire listening to a jug band, and spot on to the beats.
Fascinating stuff, elevating the mood in my head in what Isaac Brock and Modest Mouse means to so many people.

Here's another songwriter, like Black Francis, who has his eyes and ears to the ground, noting the what the fucks when attempting another song to create, from the mystical to the mythical to the fanatical to the comical.
You know his heart's in it - Isaac is a sweaty mess right after song three, spitting out words fervently at his mic.

Also cool to note that he was wearing the same satin jacket that Cat Power came out with, the logo of Cat Power ever evident on the back for all to see.
Support thereof, with all three bands.
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A solid lineup as all get out.

Look man, there's some eleven or so dates left on this tour as it heads west-
I highly recommend you check them out- all bands- and get their early for Cat Power- she's awesome as well, embraced with a tight knit band.

Bobby Talamine - JBTV Music Television Chicago​

Writing and Photography by Bobby Talamine
Edited by Fiza Javid
​
Huntington Bank Pavilion at Northerly Island Chicago
8/15/23

With Ghost, currently in the mix with their summer "Re- Imperatour U.S.A.- I knew something was up when I arrived a bit early-
Apparently I wasn't the only one.
They came in droves, earlier than me.
That line, not even for the G.A. pit- we're talking reserved seating- by my estimation- easily a half mile long, and this even on a Tuesday evening in Chicago.
Talk about a solid fanbase!

And everything about their show is still a spectacle.
A small bit has changed since their last run through the states, back in February of 2022, with a stop at the Allstate Arena in Rosemont.
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The one thing that I found more appealing this time around was the runway jutting out through the main floor.
The height was a bit of a nuisance back in February- like six feet or so.
And the length of the runway looked like to be cut in half, which also made things more appealing photography wise, with the hopes of getting the bulk of the nameless ghouls in the frame, along with the gorgeous stained glass windows backdrop, and of course the one and only Tobias Forge, aka "Papa Emeritus", amongst many other titles and incarnations.

All of this helps in my opinion, especially with more active main floor crowd involvement- like the closer to the audience, the better.
What a show I tell ya.
The three heavy hitter/ life is a party mainstays, after the volley of "Klara stjarnor"- a delicate Jan Johansson instrumental, followed by "Miserere mei, Deus"- a choral Gregorio Allegri song, and then the instrumental from Ghost- "Imperium", which has the stage shrouded in a gigantic white curtain-
Then comes the trifecta of ripping good tunes- "Kaisarion", into "Rats", into "From the Pinnacle to the Pit".

So okay, the same openers from back in 2022.
But who cares?
These songs are strong, hell bent.

Meant for worshipping and camaraderie followed by communal party, all presented right off the bat with three nameless ghouls parked at the lip of the runway stage center- letting it rip with guitar, bass, and more guitar.
Followed by Papa blending in and then holding court, all confident, all mindful of empowerment and might.
And the screams and shouts from the lip of the barricade- virtually every vantage point- for those three banger / crushing songs, it didn't let up one bit, like it was a Friday or Saturday night, not a Tuesday night.

Add lots and lots of theatricality, and you have one very memorable show.
Some twenty or so songs total, with nary a letup.
And maybe that's why this go around with Ghost is what's needed and hearty- that they've worked out the kinks a bit, took a deep breath, made some conscientious changes, and then decided to give it a go- pedal to the metal.
That the night was absolutely perfect along the lakefront just added more charm and mystique to the spectacle, and the gorgeous saturation of colors and schematic no matter what the vantage point when looking at the stage.
Even when writing this from memory, I feel caffeinated and full of energy, like the show ended just minutes ago, and not well over 14 hours.
It doesn't matter, especially with Papa and the nameless ghouls, and the varied costume changes of notable notoriety, specifically Papa's various versions thereof of delighted intent.

Yes, there's a lot to take in with the hierarchy of all things "Papa", as is well and good to immerse in the minute details, if you're into that sorta thing.
I'm sure Tobias relishes the deep dive amongst his gigantic fanbase as well.
The songs have heft, even from the early days to present.
The lyrics and overall mood represent that as well.
Everything in relation to Ghost, and overall presentation, is just so well thought out.
I mean think about it: right now we're on the incarnation of "Papa Emeritus IV" with all the luster and mystery, equal to the first.
Why wouldn't you want to eat that up, knowing full well that there's going to be a rather complicated storyline, with a plethora of clues, followed by mystery.
Makes you relish what else Papa has up his sleeve, going forward into the unknown of otherworldly.
Hard to not get lost in all of this while attempting to write a decent review, and doing your best to keep it simple.

Photography by Bobby Talamine
Writing and Editing by Fiza Javid
​
Grant Park - Sunday August 6, 2023

I need to throw a Happy Fit for the final day of Lollapalooza 2023. I can't stop, I'm addicted to the shindig.

Although the weather had us all tip toeing around Grant Park, we squished our shoes in determination for the pure adrenaline of this final day.

JBTV followed many incredible artists that were purely worth the photo highlights: Ingrid Andress,  the Happy Fits, Matroda, DEHD, Magdalena Bay, Mt. Joy, Afrojack, A Boogie with Da Hoodie, and the ultimate spice in the form of Red Hot Chili Peppers, who officially saw the return of legendary guitarist John Frusciante a year ago. 

We wishfully drank up the moments of Ingrid Andress as she performed her incredible hits "Wishful Drinking" and "Feel Like This" prior to the adrenaline that kicked in for the excitement of the Happy Fits. She was truly a joyful start to the day and she showcased just how easily country music can fit into the Lolla atmosphere.

Then through the mudslide we saw fans rush over to the Happy Fits. These rockstars, at first glance, could convince you that classical rock is their primary focus, however, their set proved just how much more original they are than that.
The JBTV alums came to the JBTV studio in 2019 where they were already major showstoppers. Watching frontman Calvin Langman light up this stage from his soul, as he intensely strummed the cello, was like a dose of caffeine hitting the audience. Luke Davis's passion on the drum kit matched this level of joy. They were having so much fun up there and man we the audience were having just as much fun being able to witness this phenomenon.  Particularly with "Heart of a Dancer" and "Grow Back" came on, every single song felt like a grand finale, with a set you would have never wished come to a conclusion.
The only mistake is that Lollapalooza didn't put them on the T-Mobile stage prior to Red Hot Chili Peppers, since their virtuoso musicality and originality would make them the ultimate opener for RHCP. At this rate, I wouldn't be surprised if RHCP opened for them.
​These are true artists we are witnessing shoot to the moon. Raina Mullen was rocking out in guitar. We definitely missed Ross Monteith, but to see the charisma and true talent that was Raina Mullen (who is also the guitarist and singer for philly based band Ghost Light) was what made this set all the more perfect. ​

Photography by Bobby Talamine
Writing and Editing by Fiza Javid

Grant Park - Saturday August 5, 2023

We had all the elements working together on this fine Saturday of Lollapalooza day three. Who know water can go with electricity? That is, if the electricity comes with a solid day of electronic music. The rain didn't dampen the festival in the slightest and we were ready to go. 

​We were so excited for the upcoming Odesza headliner which we knew would also bring the fire. The vibes through the air were palpable. This also included the pure excitement for Tomorrow X Together who was surely going to own the night.

Major photo highlights of day three that continue to give us the elements and awaken our senses: Suki Waterhouse,  Solardo, Destroy Lonely, Nora En Pure, Maggie Rogers, Morgan Wade, Alex G, Tomorrow X Together and Pusha T. 

Photography by Bobby Talamine
Writing and Editing by Fiza Javid

Grant Park - Thursday August 3, 2023

Few years back, Bobby covered Billie Eilish's first Lollapalooza performance in Chicago. The accolades she has seen as an artist since has been tremendous, and this first day proved to be her day. The mentions and the sea of fans were everywhere and it was truly exciting to see a wave of festival goers show up for her. 

This did not mean that there was any shade placed on the other acts. 

While Billie was surrounded by a tight squad of her own photographers, JBTV had the opportunity to capture other incredible acts that will surely have their accolades to come as well.

The highlights of day one: Bad Neighbors, Finish Ticket, The Beaches, Lovejoy, Tomorrow X Together, Lainey Wilson, Spacey Jane, Timmy Trumpet, Portugal the Man, Dom Dolla with Nelly Furtado and Diplo were TRULY some show stoppers of day one.

The Beaches in particular were true rockstars. With their set at the JBTV Studios few years back and being at Lolla few years later, they rocked out like no other. The Beaches, along with artists like the Happy Fits are JBTV Alumni truly being appreciated this year, and we are so excited to cover them this Sunday.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid
​
Saturday 7/22/23

From the grounds of the Pitchfork Music Festival Day Number Two:
Plenty of highlights, and also plenty of surprises-
Both artist related, and also weather related.
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As far as weather related- the skirmishes of storms that kinda brushed by the lakefront, and look on radar that they might be lightning related- this happened a couple times earlier in the afternoon, although not complete evacuations from the Pitchfork grounds ( that would happen later, around the five o' clock hour).

But the two minor ones earlier- a new protocol was enforced- not standing alongside any barricade within a hundred feet, because of potential lightning.
Felt bad for the security guys trying to enforce this, since people have a hard time navigating anything a hundred feet distance related.

And it's unfortunate to bring up anything weather related right off the bat, because of the outcomes in delays- which means postponing or completely striking off the schedule certain artists you were looking forward to seeing, such as Palm, who were supposed to go on at 1:45pm, or shortening sets, or mixing up sets.
Troublesome- anything weather related.

But that's what you get with outdoor festivals in general- a chance well worth taking, especially with a solid lineup and bookings, which is par for the course in regards to anything Pitchfork.

And as for a main highlight of Day number Two from Pitchfork- Natalie Mering- otherwise known as Weyes Blood- we were given the option of photographing the last three songs of her set- "Do You Need My Love",  "Twin Flame", and the closer "Movies".
But wouldn't you know it- a steady rain for the last three, and for literally half of her set.
No matter- the show proceeds (thank god).
And even from off in the distance- the gentle and complex melodies are the order of the day with Natalie, especially with the opener "It's Not Just Me, It's Everybody", followed by "Grapevine". both of which are standard and glorious plums from her latest release, "And in the Darkness, Hearts Aglow".

That album, released late in the fall of last year- transfixes.
Such breathtaking beauty, so well thought out in scope and magical weave.
That Natalie appears like an angel goddess as well when performing, only adds to the luster of it all, and if you think things through for a moment, why let a light and steady rain thwart you when witnessing her perform live.

She's all about mother nature, rain included.
That was my brief take on things from the pit, along with the word "Acceptance".
She's up their performing, you're down in the pit documenting.
So there. Deal with it.

Writing and Photography by Bobby Talamine 
Edited by Fiza Javid

Friday 7/21/23

All things considered-
A different approach is needed in describing and writing about the highlights from Pitchfork Music Festival Day One.
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The reason-
Thom Yorke, Jonny Greenwood and Tom Skinner of The Smile, headlining Day One.
No buildup to headliner in this highlighted review-
Fire the volleys now.
Nothing buried in the mix.

The "Take Notice" sign in my head happened earlier in the late afternoon, when Jonny Greenwood gave an interview from Pitchfork's Backstage Dash Pass Interview Stage-
And multiple times he gave props to drummer Tom Skinner, and how he is intrinsic to the overall shape and sound of The Smile, bleeding forth with improvisation and jazz roll complex drum fills.

He didn't say this lightly or matter of fact.
Jonny meant every word of it.
And he should know better than anyone, ear to the ground and steeped in melody and cohesive collaboration, with whatever he approaches and takes part of.

So that was ingrained in my head while immersed in their headlining set, following the path of Tom Skinner, and watching the three of them collaborate and twist and turn everything setlist wise.

This clearly by my take on things, not the same band that travelled through Chicago back on the first of December from last year.

They have evolved considerably, all the while taking chances with their crafty songs, and doing their best in making them anew.

Their setlist has also changed somewhat, having by now, to close out their North American Tour at Pitchfork, provided twists and turns and re- imagining things material wise.

Opening with "Pana- Vision", with Robert Stillman on Saxophone, and then followed by "The Opposite", and also "Hairdryer", all three not quite sounding the same from previous sets I've witnessed, courtesy of yet again, Tom Skinner, followed by Jonny Greenwood and Thom Yorke.

Some fifteen songs in total, most likely shorter because of Festival curfews, but that's a minor quibble.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid
​
The Salt Shed Chicago
Fri 7/7/23

Jenny Lewis is finally back in town, at The Salt Shed in Chicago, on a whirlwind North American tour, celebrating her latest release, "Joy'All".
The album is well represented setlist wise, as well as it should.
Terrific and captivating songwriting, so heartfelt, and true to her roots, and celebrating country swing, for lack of a better term.

To set the mood:
Lots of fire engine red throughout the stage.
Fire engine red vertical and shiny striping backdrops, to the ceiling- like twenty feet in height to the stage floor.
Fire engine red carpeting.
Fire graphics on a couple of the floor amps.
Lots of fire engine red lighting.

All of this done up with class, not looking dated and schmaltzy.
The overall look and feel- mid seventies vibe, back when country music had some swing, but with an overtone of tough to the bone lyrics depending on the mood and the honky tonk, and the crowd therein.

One key piece to all of this is what's on top of her electric Rhodes piano- a landline phone with chord attached.

But outside of that, Jenny has always immersed herself deeply through past releases, whether with Rilo Kiley back in the day, or her varied and cool solo albums, taking honest twists and turns that are true to her heart without wasting away through "dialed in" content.

Jenny just writes and writes and writes, always willing to listen to suggestions, always willing to risk to try new things, even in the case of simplifying things when recording.
I bring this up in regards to "Joy"All", and how the overall sound and feel is not overly complex and dragged down- it's just the opposite, especially when hearing the songs live, with added punch from that band of hers.

Opening with "Psychos", a syrupy cool throwback of sorts, with a lazy mid seventies mellow feel, but addictive as all get out.
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The build up setlist wise just flows easily from there, with a backup band that is perfectly well suited for the intricate and mellow vibe, pushing and pulling merrily along to "Do Si Do", and "Just One of the Guys".

Writing and Photography by Bobby Talamine
Edited by Fiza Javid
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Copernicus Center Chicago
Wed 7/5/23

Ron and Russell Mael of Sparks, currently on their 2023 World Tour, with a stop at the Copernicus Center in Chicago.
Many takeaways from their set, and mostly revolving around dancing.
Dancing in the song titles, such as "We Go Dancing", "Music That You Can Dance To" come to mind.

And they do propel to you dance, and get up out of your seat.
Speaking of that- seven songs in, with "It Doesn't Have to Be That Way", and the audience started to get in on the act- no more sitting, now it's time to dance in place, and furthermore now it's time to dance in the row, and yet again now it's time to dance in the aisles.

All in good fun, all in favor of.

All of it- the entire setlist, opening of course with "So May We Start", led by the fun, and the positive energy of Russell Mael, prancing and dancing about the stage in clever heart skip and a beat or two, infectious as all get out.

A twenty song setlist in total, including encore, all of it inspiring, backed with a band that propels the Mael Brothers into a higher plane of amplified fun and games.
Even their most latest release "The Girl is Crying in Her Latte", still has holding power equal to their back catalog- what with a downright addictive video featuring Cate Blanchett of all things dancing in place to the beat, and like most Sparks songs, what seems so simple is anything but, and so worthy of repeats.

Writing and Editing by Fiza Javid
Photography by Fiza Javid & Tony P (Insta @ tonypphotos)

Friday June 23rd - Sat June 24th
Grant Park - Chicago

Zedd. Zara. Practice Candy. Drama. Drag. So much electricity in this incredible atmosphere. This will overall consolidate the two days into the single most spectacular success of a celebration this was. 

Friday kicked off the start of this year's largest midwest pride festival at Pride in the Park 2023. The weather was absolute perfection and the sense to walk into Grant Park with pride in a post Roe v. Wade world became all the more necessary.

As sections of the country bans books, gets rid of gender affirming healthcare, even fathoms a "Don't Say Gay" bill, among other restrictions being placed on life saving reproductive healthcare, we are reminded of why its important to not only be proud, but to be loud about it.

Pride has never just been about rainbows and glitter. Pride, while it demands attention is also a demand for acceptance. Circuit Mom stated it perfectly when she said "we need our allies more than ever, because the news is getting a little scary!"

Then there were the superstars of the festival. All the incredible drag performers: Sheeza Woman, Utica Queen, Kenya J Sanchez, Boy J, Angelíca Grace, Miss Toto on the Red Bull turntable, Platinum Carrington, XO Carrington, Enza, Irregular Girl and all the incredible backup dancers who brought all the drama with their phenomenal energy. There was a sense of fearlessness electrifying the audience with all their gorgeous looks and the attitudes to match. 

Zara Larsson was a genuine A-list popstar who made dancing and singing look entirely effortless. She is a natural. She wow'd the crowd with "Ruin My Life" and "Can't Tame Her," winding through each rhythm and posing for the camera with each movement. Through the DJs playing Kylie Minogue, Britney Spears and Charli XCX, it was fitting to have Zara follow the vibe created by these popstars in the mix of the music circulating the entire festival. 

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

United Center Chicago
Saturday - June 6, 2023

Magical: "Beautiful and delightful in such a way as to seem to be removed from everyday life".

Mystical: " Inspiring a sense of spiritual mystery, awe, and fascination".
Mythical: Can get tricky. However: "Based on or described in a myth as contrasted with history" Or better yet, "existing only in the imagination, fictitious, imaginary".
The three M's.

And notice how some Cure titles permeate the three M's.

So it goes without saying that when you don't tour for a bit, make the announcement that you're planning a major tour, and that new songs are ready willing and able to come out of hiding, after years of being on the down low- well, the mythical can easily take precedence.

And with a band like The Cure, that's so easy to dive into that wormhole.
If you love and adore a band that much, you rely on your memories, your dreams.
Things can easily expand that way, all well and good.

Whole different story when you want to be present, and witness them yet again, and capture the magic.

And as the tour builds, starting back in New Orleans on May 10th, but really long before that from last year- Chicago being towards the end with them heading east, ending on July 1st in Miami- it becomes apparent that they've expanded their setlist throughout, and have been long enough together as of now to blend together as one- Just the way Robert likes it.

You notice, because Robert is smiling lots, feeling the beautiful blend of all things "Cure related" musically, emotionally.

And the United Center crowd- full display rapturous.

And with the surprise return of guitarist and keyboardist Perry Bamonte, who last played with the band during "Wish", and specifically the gorgeous song "Trust".
Although not in the setlist, but still, the quality of that song and others like it- ever evident throughout their long 31 song set, with all things ending around 11:40pm cst.
Two long encores- not one or two songs, then wave goodbye.

No no no - try the first encore- "Disintegration" "Plainsong" related- along with others.
The second encore- even bigger and bolder. Try ten songs, even with the surprising  "Why Can't I Be You"- all high notes of "Whyyyyy!" easily matched, with the crowd in utter delight.

Sprinkled with "Lullaby" and "The Walk". Love that album "Japanese Whispers", swinging post punk style.

That album was on repeat- LOTS, back in the day.
And of course "Inbetween Days" and "Just Like Heaven", and of course "Boys Don't Cry", and "Killing an Arab".

The kinda setlist you just don't want to end.
And beautifully done, without much fanfare:
Nice and nonchalant vertical LED screens along the backdrop, cool and moody lighting throughout, and then of course the band, all basically front and center, and somewhat close, not far apart.

That in my opinion, is important to note.

There's not much need for fanfare, and K Mart- ish bells and whistles to shock and awe.
Music takes precedent.
Above all else.

Camaraderie is of the utmost- between everyone.
In this day and age, when attention spans can be somewhat limited, and excitement and blasts of visuals seem to be the order of the day- The Cure, are the exact opposite of that.

Their music speaks volumes- their entire catalog.
Not many bands can say that.

The Cure can.

Even the new songs, right off the bat with "Alone"..such beautiful sadness, and melancholy. Or "A Fragile Thing".
How they started there, with emphasis on gentle, also speaks volumes.
Mixing the pot of Cure related sweetness and melody.
Wow.
Such a splendid and easy going vibe, nothing rushed, even from the pit while photographing.
No need for any angst whatsoever.
No pushing and shoving.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid 

Riviera Theatre Chicago
Tuesday 6/6/23

Love and Rockets baby.

Daniel Ash- All sorts of guitars, vocals, and all around cool vibe, with a wicked and striking fashion presence.
David J Haskins- bass guitar, and also vocal, followed by a debonair and elegant fashion sense, as well, and also a cool vibe.
Kevin Haskins- All sorts of drums, and also synthesizers- (also perfect timing on samples), and a simple, yet elegant vibe as well.

May look simple on paper, but when up close and personal, from the front stage pit for a bit, and you see the layout of the stage, and floor plan, and you then see lights go down, and the show is about to begin...some moments are memorable, sure, and then some are downright fantastic and F'ing way way more memorable, to the point of- "The show's already over?" Like - fast.

It's hard to really define and describe the importance and coolness of all this, without kind of getting lost in the weeds.
But age be damned, I guess is first and foremost.
Some rockers look tired, aged to the point of mummification.

Some rockers look beaten down, after years and years of hard living.
And then some rockers look so cool, so clean, so elegant, where they can (and will) be cool into their eighties.
Bryan Ferry is one. If David Bowie was still alive, he'd be another. I put Daniel, David and Kevin in this camp as well.

It has a lot to do with the songs. They are mysterious. They are at times dark, at times psychedelic freakouts. They are at times acoustic jams followed by sexy electric.
Go ahead, fill in the blank of whichever song fits the mold, because there's lots and lots of them.

And the beauty of it all, Love and Rockets style- nothing is dumbed down. Nothing is dialed in. It's all thought out, thought out to the point of cosmic wisdom.
And sexy.

This show, with a stop at the Riviera Theatre in Chicago, was just so damn sexy.
The setlist- hasn't changed since Cruel World a couple weeks back.
And there's nothing wrong with that.
Not that these guys couldn't surprise and tweak- they're definitely capable.
No need though.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Subterranean Chicago, Sat 6/3/23

Sean Payne.
A man of many hats.
A man who knows how to create and build upon, whether it be his from "the ground up" label, Glitch Mode Recordings, to his many bands, Cyanotic most likely being the best well known, although there's plenty of others.

Let alone contributing and throwing his hat into the ring with multiple side projects- one of the coolest being Vampyre Anvil from back in the day- I think they performed at Cold Waves V- consisting of Jason Novak and Sean Payne.

I bring this all up because as you can start to tell, Sean Payne is a creator, a guy who has his eyes and ears in the underbelly of dark and heavy electronica, or what he likes to convey to all - "Angry Robot Music".

Tragedy struck back on May fourth, when Sean and his wife Anastasia Payne were involved in a deadly rollover accident on Interstate 90 near St. Charles Minnesota.
Unfortunately, Anastasia did not survive the car accident.

Sean received life threatening injuries from the rollover, and was airlifted to the Mayo Clinic Hospital of St. Mary's campus in Rochester Minnesota, and remained there for a few weeks until he was stable, and comfortable enough from all of the internal trauma.
That one simple sentence on the tragedy- that's a lot to take in.
And it happened so suddenly.

Jason Novak, a man of many hats like Sean, was on the road at the time, managing Front Line Assembly, on their North American Tour with Ministry and Gary Numan.
He posted the tragedy on Facebook while on the road, a post that didn't mention names and such- a post about a punch to the gut revelations about just being told about the tragedy, and the struggle to comprehend, amplified by living in this cruel world at times.

The post I believe was taken down after a few hours.
But I felt it as well, without knowing who was involved, from Jason's post.
Without re- tracing his steps, It needs to be conveyed how much Jason wears his heart on his sleeve, and conveys the brutal truth, both positive and negative on the current state of things, that being the world we're living in.

The post that I believed followed, was sympathetic in tone, announcing what led up to that post, that being a rough day, and that he doesn't pray often, bit if he did, he would now. Like praying in your best way possible, such as screaming out metal lyrics that convey agony and doom, or the simpler type of prayer, on your knees, bedside, through the meditative quiet, message out to all who are involved that are a bigger spiritual force than me.

I think he needed to convey with the message of current state of living, brutal how human life can be at times, But he'd be there to assist anyone who wanted to walk through this tragedy, and that we have each other's backs.

It's important to note how all of that struck me, not knowing anything about what happened to Sean and Anastasia at the time, and following Jason's lead, that more would be revealed when the people involved are ready.

So I myself didn't ask questions, or want to call people blindly, and find out what's up,
And when you do find out eventually what happened, it's like a punch to the gut.
Like Jason said in a post a bit after- I agree wholeheartedly in what he said about Anastasia- that wherever she went, whatever she was involved in, she just brought light, and she did that for Sean in spades.

So us like minded folk, we reciprocate, and we're there, indefinitely, with love and support, leading up to this magnificent fundraiser for Sean Payne, and provide a benefit show with like minded acts that convey so dearly what we've come to love and be a communal part of.

The actual show itself, was a display and an up the ante mix and match of solid DJ's and individual recording artists and bands from the industrial and heavy EBM electronica genres, opening with Jeff Moyer, and his set being solid as always, followed by Martin Atkins, who mixed and matched post punk this and that with some heavy and gnarly beats, followed by Mutilato-  (Jim Marcus), who by the way focused his set on new material which was downright captivating and awesome to hear, followed by Morgue VVitch, who certainly knows how to embrace dark electronica enhanced by sophisticated vocal, and then followed by DJ Flesh_Bot, who has a downright awesome command of conveying and and playing some serious spins of Industrial, dark techno, and lots of rhythmic noise, all done so elegantly in clothing and presentation. The dance floor was busy when she was at the booth, for her entire set.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Salt Shed Chicago
Sun 5/7/23

Fever Ray, with opener Christeene.
Quite the combination of all things performance art.
Coming form different perspectives- sure.
But performance art nevertheless.
Christeene's set is minimal, flanked by her synths / sample keyboardist stage right, and her saxophone player stage left.

Christeene commands the stage front and center, sometimes highlighted on her plastic case to elevate everything genre bending, everything that's renegade, front and center.
Eight songs total to commend, eight songs total to prove the point of reckless and uninhibited abandonment.

All of her set though, carefully thought out, and from the heart believe it or not.
She has lots to say between songs, nothing scripted, nothing planned, down to her opinions on Chicago style hot dogs, and specifically Celery Salt, compared to say, Bath Salts.

It's wicked stand up humor, and it does bring the laughs of support, again, because there's nothing fake about Christeene- she's making up as she goes along her own world of righteous abandon, down to the multiple shedding of colorful onesies for this and that song.

Christeene has been a mainstay of New York's underground club scene for awhile now, developing her performance art with in your face reckoning, take it or leave it style.
That kind of fierce reckoning only adds to the confidence of power, a power to act in a way that's uninhibited, both in performance, and in actual lyric.
The songs- "AKTION TOILET". "GUTT IT". "BEAUCOUP MOROCCO". "BUTT MUSCLE". All the way to the last: "FIX MY DICK". All in caps the way it read on the setlist. All in caps to show action, and the for the feint of heart- there's the exits.

The image of Christeene, like the wicked child from the Exorcist, kinda, but not really- more like the facial makeup is warpaint style, down to the choice of eye lenses that look ill fitting.

But again, that's the point with Christeene. She makes it known that all of this in your face performing, juggernaut style, is a way for you to ask questions, find some happiness in letting out anger, try to feel some sense of normalcy in a raging world gone wrong through "Woke this", "Woke that".
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Her points throughout are well taken, especially hearing her demeanor throughout her set, a Brooklyn- ish feminine take on all matters of life.
Have to say the yin and yang of it all is downright captivating.
Only better things to come in my opinion- if given a bigger budget when it come to performance, all the better to unleash the hounds of confrontational, ever expressing yet again- "Don't fear art. Don't fear art of any kind".

As for Fever Ray- a whole nother world of sophisticated and artistic performance art, at a level of seduction and restrained and captivating exotica immersed in seductive beats, presented in a way to transfix, and move and send out spells and sway to the mighty beat.

Yes, that sentence is a lot to take in, but meaningful, nevertheless.
This is complex art, coming from Fever Ray, showing deliberate flaws in makeup, choice of clothing with two sizes too large suits, let alone choice of color of said two piece suit and tie.

The keen perceptions of "Not standing out", well, make you stand out.
​
Imagine being on the Red Line CTA train, northbound, out from the subway at North and Clybourn, heading up the metal tracks, during rush hour, heading to the Fullerton Station. You have roughly ten minutes or so to observe fellow passengers on said train, and it's still sunny out.

Towards the back of the train, standing, you see someone dressed like Fever Ray and fellow bandmates. What's the first perception? Artistic in nature? Down and out? Coming from a low level impromptu theatre group, and no time to change? Can you give a second look? First assumptions- always the wrong assumptions, without having a sincere conversation with the said individual.

​Any conversation like that would have to be overcoming anxieties and fears, let alone the release of second guessing.
I bring this up because individuals like this, artistically inclined, yet kind of starving, living hand to mouth, paycheck to paycheck, or maybe a once a month commission of some sort, are everywhere around you, and have been since- ages.
Just look at Basquiat as a fine example of this.

Had you not known his relevance and history, prior to becoming a famous artist, and you bumped into him on the street, you wouldn't even give him notice- assumptions ever present.

So with Fever Ray, it's deliberate, they/them view of things, and how to present said songs, after pivoting from The Knife.

I obviously have no proof of all of this- this is clearly my take on perceptions- perceptions while performing, perceptions from album release art, perceptions from promo photos.
Like all good performance artists, and exceptional musicians- I have questions.
Questions such as visions of an older male, with bald head, and disfigured makeup.
Questions of looking beyond the visual, and attempt at conversion, with the deliberate portrayal of defects.

Rising above defects to show the art from within.
All of this is captivating, and well worth mentioning when hearing they/them songs performed live, and presented the way they were.

There was a change of plans, when entering The Salt Shed, and getting notice of which songs we were allowed to photograph.

The head of security at The Salt Shed laid down the rules- "Songs 6, 7 & 8 from the pit only". "Songs 1 though 5, from the back of the house".
Not your usual first three, then gone kinda vibe.

But again, it's Fever Ray, they/them rules. And I have to say, song six- "To the Moon and Back", presented so delicately, with a few roses, and a stance from Fever Ray that was stationary, yet exhibiting sensual front and back movement, before dispersing of the roses was downright captivating, and just so memorable.

Same goes with the seventh song "Shiver", Fever Ray bathed in red, surrounded by backup singers, swaying left and right to the beat.

And same with song eight- "Kandy", alone, under the streetlamp with heavy and isolated backlit lighting.

All of this, not just songs 6 through 8, the whole entire set, a production worthy of theatrical and sophisticated intent, presented heartfully, somewhat dialed down, but provocative, nevertheless.

Fever Ray is a shape shifter, a shape shifter of the highest order, worthy of your attention, up there with Bjork, up there with present day Mitski.
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A "make do with what ya got" kind of artist- where, if given a room of odds and ends and knick knacks, they/them could make the room come to life, all of those interesting things, whether normal or not, speaking to they/them to come to life, and find useful- please don't discard.

To me, visions like that, are of the highest order, witnessing art in everything, even everything mundane.

I could go on and on about this- to the point of sitting down with some of you over coffee and discuss further.

Have been pondering multiple drafts on this review, how to comprehend, how to proceed, what to discuss.

I chose this option because of the all inclusive gloriousness of they/them art, and my take on they/them's vision, related to the songs, and presented as such.

The setlist- some 16 songs total, ending with "Coconut".
And in my opinion, it wasn't enough.

This show, with Fever Ray- could've gone on into the wee hours, with maybe a half hour break for a deep breath.
​
Fever Ray was THAT good.

Bobby Talamine - JBTV Music Television Chicago

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Clyde- Fort Wayne, Indiana
Saturday 5/6/23

Right off the bat-
All three bands- Ministry, Gary Numan, Front Line Assembly-
All performed with a sense of urgency.
All performed like their lives depend on it.

Different scopes of urgency depending on song and feel between the three of them- sure- but still- the sense of impending dread on the current state of things in the world we live in was ever evident throughout.

Maybe top some extent this got lost on the crowd (name the venue on this tour)- but I'd have to feel that there are fans in the crowd (name the venue) that feel the same way I do about this.

All three are intelligent bands, intelligent musicians throughout.
Yes, they all bring the heavy, and yet make things a  party.
But if you read deeper into things- you get a sense of just how precious things are in the present day- what we have, what we witness, what we hold dear.
First and foremost- live performance of course.
You just never know what's in store down the road.

As for Ministry- Al Jourgensen in particular- we're way beyond the past of self abuse.
Love how things are more focused on the current state of things, dire as they kinda are.
I bring this up because he's come out the other end, somewhat unscathed, and can still voice loudly and intelligently the wrongs of the world, not just local, but also national.
So go ahead, attempt your contempt prior to investigating. Nothing you say or do is gonna change anything- for a guy like Al to still be around in the here and now- anything you say is light in comparison to him grappling and co existing with his own demons and making some modicum of peace and acceptance.

That to me is a sign of not just the walking wounded, but a walking and surviving hero, who still creates, who still has lots to say artistically.
And to do this with an eye towards rooting out the fake, and the bullshit artists who may think they're assisting in the greater good, but only in it for themselves- mostly through greed- attack at full speed- root them out- make fun of them, poke them with a sharp stick, and kick them to the curb.

So not before a single note has been played, we have tapes- isolated tapes such as the knucklehead televangelist Kenneth Copeland- deep in fake prayer, calling out to Covid 19, and that "You should be destroyed forever". Calling out for a supernatural heatwave of sorts- banishing Covid 19 to forever hell. Just goes to show, scientifically speaking, that banishing Covid 19 through a monumental heatwave- well - good luck with that.
And he's not alone in the Al Jourgensen ripe with fodder camp.
​
If there was a debate of some sort with all them- politicians, televangelists- Wayne LaPierre and the like, and Al was onstage with them at the podium, and things got heated with the back and forth- good luck handling all that with Al.
But this is the whole point performance wise, from opener "Alert Level", into "Good Trouble", and next into "Disinformation", and so on.

It is a heated argument goddamnit.
Heated to the point of worldy exhaustion.

All of this industrial at a crack the whip pace is intense for a reason- bring the mighty and heavy beats, accentuate the preacher madness of all things written lyric wise- hopefully some minds will follow.

So by all extent and purposes, you blow minds and eardrums, all in one fell swoop.
Same goes as well with Gary Numan and Bill Leeb and Rhys Fulber of Front Line Assembly, which we'll get to in a minute.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

​The Salt Shed Chicago
Fri 4/21/23

Four songs into their set at The Salt Shed- and Brian Molko of Placebo takes a brief pause and states "So what's it been? Nine and half years or something?" Hands resting comfortably on the top of his guitar, relaxed, all smiles, and affirmatively happy to be back in the states, happy to be back and playing with his mates, Stefan Olsdal in particular.

It seems like ages, like Brian said, that they haven't come through Chicago.
One of the bands that was chatted about as a "Must See" from last year's Riot Fest was Placebo when the lineup was announced, then the unfortunate happened, their cancellation, supposedly because of "visa and logistical issues".
So you are powerless over such things, hope for the best, hope things work out for a tour down the road.

And then it does come to fruition, with Brian and Stefan onboard for their North American Tour 2023, and a stop at the majestic Salt Shed in Chicago.
And what a setting for these guys- a venue that has superior lighting and sight lines, and with a PA that provides heavy heft (if you know what I mean), forcing you to dance and move on your feet.

That front row of fans- all smiles and excited as all get out for these guys.
And how about the line before the doors opened?

It stretched west on Blackhawk to Elston, then south on Elston for a bit, and this was like three hours before they moved the line into the plaza area to the east of the doors to the venue.

So yes on all counts, and also on Friday night- the perfect setting for amped up revelry.
The setlist, mostly adhering to newer material, but still resonates with the their fans, all songs tight, and coming off percussive and propulsive, opening with "Forever Chemicals", into "Beautiful James", and then "Scene of the Crime"- Brian and Stefan backed with extra oomph, with solid drums from Matt Lunn, and more keyboards and synths from Nick Gavrilovic and Bill Lloyd, fleshing out the bits and pieces that make Placebo songs into a well oiled machine.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Riviera Theatre Chicago - Saturday, March 11, 2023

Natalie Mering, known professionally as Weyes Blood, currently touring North America titled "In Holy Flux Tour", with a stop at the sold out Riviera Theater in Chicago.
And to sum up: I so needed this.

And when you see her enter stage left / audience right, adorned in her white floor length gown, similar to her album cover art for her latest release- "And in the Darkness, Hearts Aglow"- the stage is set for tranquil / mellow, with artificial candles all along the floor of the stage, mostly stationed by instruments and microphone stands, and the stage is bathed in washes of yellow hues, like a brushstroke of delicate watercolors as the medium of art, played with of choice.

All of the above says lots in regards to where things are going performance wise, the overall feel of performing anything from "And in the Darkness, Hearts Aglow"- finding our way together through the fraying and what seems like the continual dismantling of our social fabric and sense of all things community and harmony.
That in itself is deeply explored, with the opening song of the night and the tour as well - "It's Not Just Me, It's Everybody".
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The song, as gentle as it is musically, envelops you in, with swells of orchestral strings, like ripples from a lake, pushing forth a gentle dream of gorgeousness, all the while gently communicating the fucked up nature of the human condition and current status of the state of the world and community, both locally and globally.

The line "We've all become strangers/ Even to ourselves"- speaks volumes, all songs setlist wise, and the keen observation that she's not the only one suffering through all of this.
The other aspect of this is none to positive, and of course easy to pursue, what with more angst on top of more angst. That's the easy way out- through welled up anger and crashing drums.
Why not make the attempt to convey such sorrowful observations through meditations and daily written reflections of inner self, just to make each day a bit more bearable?With an eye and an ear towards sophisticated melody?

That's the concept worth living through Natalie's eyes.

And song after song, she conveys it beautifully, like floating on a gentle lake, looking up at the night sky, observing stars and planets, and the  faint light of the Milky Way.
Seven songs from "And in the Darkness, Hearts Aglow" are presented throughout in similar fashion, such as the second song of the night- "Children of the Empire", along with "God Turn Me Into a Flower", "Grapevine", "A Given Thing", "Twin Flame", and "Hearts Aglow".