Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Thalia Hall Chicago
Tues 12/13/22

Sunn O))), brought down to their roots and their original format as a duo, referred to as "Shoshin Duo", with a stop at Thalia Hall in Chicago.

First off, to get an idea on all things in regards to this Winter Tour that they're currently on, it's best to let them describe it a bit.

"They will perform as a pair, core members Greg Anderson and Stephen O'Malley, immersed in profound valve application, spectral harmonics, distortion, and of course volume. Pure and primeval riffs of temporality, massively heavy structures of sound pressure. Witness live experience of physical sound, and glacial maximalism like no other."
I can say first hand- all of the above is true.

To start, on a Tuesday night in Chicago's Thalia Hall, before Greg and Stephen take the stage, and the opening acts equipment is finally cleared away- their they are, albeit in somewhat limited form from past tours- but still- their they stand, the stacked amps, in an abbreviated semi circle, on full display.

You should have heard the main floor quiet down a bit to take it all in, under blue lighting, after some brief tunings from the roadies.

Lost count how many cell phones went up to get some shots, just of the amps alone.
And the tech heads in crowd, discussing this and that equipment and amp wise- suspended in disbelief, some of the verbage chatting about, clearly over my head and pay grade in audio / tech gear.

Have to say from a visual perspective, they're amazing, the concise and stacked amps, like a mini Stonehenge with untold stories to tell, both past and present, so ominous and imposing, and ready to do what they're made to do.
And then comes the fog, from front stage and back stage, immense amounts of it, and the house lights drop.

Once Greg and Stephen are settled in- the the deep drones begin.
Hard to describe this in detail, witnessing yet again Sunn O))) perform live- it's a sonic bludgeoning of might and feel, with patience, and delivery of notes that are concise, and well thought out, through texture, and immersion.

Yes- you feel it, along with hearing it, and you succumb, while standing still.
With me, you find your breathing patterns slowing down, like going into a meditative state, which I believe to some extent is the main goal- the audience participates in the ritual, equal to the band members performing.
And even that statement above doesn't clarify it completely- again, they're best witnessed firsthand, and communally with like minded folk.

Greg and Stephen are not just musicians, but technicians as well, elevating their game with performance, and figuring to the tenth letter the logistics what's needed to make each and every show, no matter the venue a most memorable experience.
​
True- once twenty minutes or so into their set, it becomes a sonic bludgeoning, but in a positive way, making this a transformative experience with them yet again, the might and sheer will of volume, with steady and ferocious notes of low end that literally pummel your sternum again and again.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Thursday, December 1, 2022. 

When The Smile released their debut album back in mid May of this year- "A Light for Attracting Attention", Thom Yorke made it be known in multiple interviews that the band's name, was "Not the Smile as in ha ha ha. But more of a smile of the guy who lies to you everyday."

Thought about that quote a lot when discovering, and rediscovering the album off and on since its release.

Clearly an album in my top ten releases for the year, and on multiple levels, has me questioning everything as of late, especially since seeing them live at the Riviera Theatre in Chicago.

The subdued and transfixed audience- like you could hear a pin drop.
The way the three band mates presented themselves from left to right- Thom Yorke on multiple basses and vocals and occasional synths and samples, followed by Jonny Greenwood on upright piano and guitars, and of course Tom Skinner on drumming, percussion, and some keyboards as well.

And they were not completely upfront to the lip of the stage- they remained immersed towards the back a bit, secure in their spots.

But the overall feel- the way the songs were presented, especially with the opening song on this tour, and also the album itself- "The Same"- and the refrain of "People in the streets- Please, we are all the same"- over and over and over, through Jonny's pulsating upright piano chords adding the overall tension and powerlessness.
The way Thom persists with the overall angst of the word "Please", over and over- was just haunting, and has stayed with me since.

Like a "Please" for me internally, to dial it down a bit, let alone my neighborhood, my work, my city, my country, my world.
I know it may sound a bit crazy, my thoughts on this, let alone others, and I haven't shared this with anyone up until writing this review.

But from the get go, this show with The Smile has been transfixing on so many levels, like I needed to be there to catch them at this moment in time far beyond documenting anything- but also to get my head on straight as far as inner self.
Good art of all kinds will do that to you- questioning everything, internally / externally.
Not that Thom and Jonny in particular are doomsayers - but it's clear to me as well that they somewhat have the same thoughts, although their approach is anxiety done cinematically.

Now I bring this up because of all their side projects and soundtrack making over the years, clearly their project The Smile and what has grown from that beyond the recording stage shows how relevant and important this release is compared to their body of work.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Thalia Hall Chicago
Sat 11/26/22

The Sanctum Dark Music Festival is in town over the long Thanksgiving Weekend, with two days at Thalia Hall, and the last day at the Empty Bottle in Chicago.
​
Because of prior commitments, could only hook up for one of the three days, which was Day Two, with headliner Boy Harsher, along with RIKI, Pixel Grip, Sacred Skin and opener Club Music.

This day hits hard folks, and as Jae Matthews of Boy Harsher so eloquently put it at the beginning of their set- "This is a night of dance. A night to dance the night away. I better see everybody dance".
Of course she says this with a wicked grin across her face- but just like that- she got her wish.
Some twelve songs or so total for their set, and everyone was dancing.
Main floor, balcony, balcony side boxes- didn't matter.
Everybody was dancing.

Was amazing to see this from various vantage points- from the pit, to the back of the main floor, or even from the front rail balcony- everyone was having a blast and dancing.
From opener "Keep Driving", which builds on a slow and wicked pulsating groove, through "Give Me a Reason", and then into "Morphine"..everything about their set was elements of a slow and seductive burn and build, with lots of tension, and then more tension with the beats. all the while some modicum of restraint.

It's a cool and wicked trance, Boy Harsher songs, knowing full well immersed in the beats and the heavy whisper vocals from Jae, and her partner Gus in all things electronic, that when immersed in a few songs in their set, you have a sense that the tightened rubber brand can break, and they could easily unleash the hounds.
If they wished to go dark and heavy, they obviously and easily could, punctuated by screams and yowls and breakbeat synths followed by pummeling drums.
You just can sense it over an over again.

And the order of the day with Boy Harsher is restraint.
Followed by a slow and heavy and seductive build.
And they stay on track with this, even with an awesome cover of Chris Isaak's "Wicked Game", made heavier and with forlorn, courtesy of the seductive sometimes spoken word vocal of Jae Matthews.
Not an easy song to pull off this way, knowing Isaak's take on his song is utter heartbreak, with that falsetto of his.

To turn the coin over on its side, and present Wicked Game this way just adds to the luster of wanting, followed by lusting, like a black panther in the jungle at midnight, and all you see is her eyes- not the beast.
And so it is with Boy Harsher, a duo built on dark and seductive beats, built for the nightclubs after midnight, and proven time and time again with heavy touring followed by instinctive record releases.

There's more to them that obviously, but still, the theatrics of it all.
This is their second foray into Chicago this year, having done a residency at the Bottle I believe earlier in the year- and still, some months later, they don't grow old and weary.
They're ready to dance, and their ready with seductive beats upon beats to push you to dance.

It just goes to show with all of their influences and profound ideas and visual concepts which apparently they have in abundance, Jae and Gus have their hearts in the right place, and soon everyone will follow along for the ride for support.
I for one, am along for the ride- whenever, wherever.
Same goes for Chicago's Pixel Grip.
​
A forty five minute ish set, also punctuated with sexy pulsating beats and catchy dark pop hooks.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Tuesday - November 15, 2022

The problem with not being the headliner in a show, and being the opener?
A rather limited set.
45 minutes to be exact.

Such a shame that they couldn't go on a bit longer- say even an hour total tops.
And for a band such as Drab Majesty, who swim circles around ethereal dream pop, and transport you right from their opener "The Other Side"- their sonic weave can rise majestically, on an instant, wishing you could just sit back and stay in such a revelatory state for the entire night.

And they make it look all so easy, taking a deep dive into their catalog, into "Oxytocin', and then the deliciousness of "Dot in the Sky".
And it says lots that the main floor of the Riviera Theatre, and the proceeding levels up to the main bar at the back of the house was rather packed for the opener, knowing full well that through word of mouth, these guys are the real deal.
​
The mysteriousness and allure with Deb Demure on guitar and vocal, and Mona D on synths and vocal says lots about cool detachment, looking sophisticated in there suits, with complementary white wigs and dark shades adding more to their overall aesthetic and approach to performing.

Have seen them multiple times in this manner, and variations of, down to their bright white chest lights, in full display fro their closing song "Not Just a Name".
All of it, in a limited setting such as tonight at the Riviera Theatre, never grows old.
I'll take 45 minutes of Drab Majesty- which is better than not seeing Drab Majesty.

To some degree, they've become a cult phenomenon, with their sense of detachment, and basically letting their music do the talking, and let you do the talking in describing their music around the water cooler.
And to be able to consistently do this on the up and up, building upon the release of "Modern Mirror', which came out back in 2019, says lots in my opinion, considering that no matter the fan base- metal, goth, dark wave, dream pop, whatever- these guys are loved.
Just look at me as an example.
When asked what I've been listening to when the topic comes up- I always bring Drab Majesty up.

Byline Bank Aragon Ballroom Chicago
Sunday 10/23/22

And before Brendan Yates and the gang from TURNSTILE get around to even playing a note, the crowd is amped, chanting along with arms raised to their intro song "I Wanna Dance With Somebody (Who Loves Me)" from Whitney Houston.
This should tell you lots, being first and foremost a "Love Connection Tour", which I assume means to some extent that the band TURNSTILE wants to make this a party for tonight.

A house party that you never forget.
A party where we're all one and the same, and try to get to know your neighbors on the main floor.

Clearly not much has changed since the last time they bolted through town- that being Day Three at Lollapalooza back in the summer.
They still trailblaze- they still know how to provoke a main floor crowd to instantaneously fling about into a menacing mass of swinging limbs with the obvious bar-age of waves of body surfers.

Was told in advance upon entering the pit for tonight's show that we may be "one and done" in the pit, depending on the crowd and security potentially having their hands full.
​
Well shit. Who wouldn't expect something of that sort with TURNSTILE.
This by way of Maryland hardcore band have made a name for themselves with crowd participation over the past few years, ever so mightily building a steady and strong and faithful following, sometimes lately performing without any barriers depending on the venue, and me losing count back in the day of how many fans rush the stage to dive-bomb headfirst back into the crowd.
​
This is all a part of their show, what with songs such as the heavy duty opener "HOLIDAY", into not for the faint hearted "Real Thing", and into "Big Smile".
And guess what?
We were able to stay for the first three songs, even though like I said it was volatile as all get out.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid
​
Wednesday, September 28, 2022

So here we go again - Round two with Amyl and the Sniffers, bringing their volatile live show back to Chicago yet again- a bigger venue- The Vic Theatre, along with a bigger stage presence.
Nothing much else has changed in regards to rip roaring performance, courtesy of Amy Taylor, their lead singer and all around firebrand.

Doesn't matter the size of the venue- doesn't matter the size of the festival and the time they go on- doesn't matter the amount of time allotted when asked to perform- whether it be 20 minutes, or up to a little over an hour, as was the case at The Vic Theatre in Chicago.

Each and every performance I've witnessed firsthand with them, they make it their own, and you walk away with the "What did I just see happen?' Or "How the hell does Amy keep things going at 100 miles per hour, all the way up to and into the end of the show with no let up?"

I don't have answers to these questions yet again.
Neither did I back in mid May, when they came through town on a Saturday night at the Logan Auditorium.

Surprised that that venue is still standing after that performance, with a mosh pit mostly of women holding court front and center.
And here we are at The Vic, on a mid day work week, and we have a main floor, first tier, second tier to the the soundboard packed for tonight's beatdown.
So what has changed?

They have a gigantic backstage banner, in black, with Amyl and the Sniffers front and center, with a lion added in for good measure.
Although kinda old school, the addition of the lion says lots.
The male lion depicted is a beast. The lord of the jungle. The main focal point of the tribe.

As for openers Bob Vylan and Chicago's very own Ganser-
After Bob's ultra torqued performance at The Vic, makes me wish I changed my schedule at Riot Fest a couple weeks back, when Bob perfomed at the Rebel Stage- his performance was that good.

For a two piece- a drummer, and also Bob, with punch your gut samples thrown in, and a frontman in Bob, who could easily come off as a star forward on any professional soccer team, with a physique to match, let alone a guy who certainly knows how to mix it up with no problem moshpit wise, let alone dive in to the main floor and rap a few songs...the makings of another volatile performer who know how to swing for the fences in a brief set.

Same with openers Ganser, who never cease to amaze creativity wise, from their full length "Just Look At That Sky", to their recent announcement of a new EP release- "Nothing You Do Matters".
​
Composed of bassist / vocalist Alicia Gaines, keyboardist / vocalist Nadia Garofalo, guitar firebrand Charlie Landsman, and drummer Brian Cundiff- this is also a band that has chops and confidence and songwriting that grabs your attention, even in their brief set as well.

Absolutely adore this band, and what they bring to the table, whether it be headlining at the Empty Bottle, performing at Riot Fest, or opening for whomever, (Amyl included).
They're the definition of hardworking grass roots, with songwriting chops that bring with it a heightened state of too many themes to mention, which goes to show they have ears to the ground with solid musicianship to see ideas come to fruition.
I know that's lots to say, but time and time again, they pull it off, songwriting wise, and also performance wise.

Ganser are invigorating.
And you should check them out.
Such a show- a one / two / three punch knockout from all three bands.

Bobby Talamine - JBTV Music Television Chicago

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Riviera Theatre Chicago- Sunday 9/25/22

Everything culminating in all things Cold Waves X comes to a mighty fine and celebratory conclusion at the Riviera Theatre in Chicago.
Yes- you heard right.

The Riviera Theatre.

A big leap, a big risk, and like all things Industrial- why not take the chance?
For all intent and purposes to close out Day 4, from my vantage point, talking with CW staff, talking to the CW faithful, what I've seen online- a giant success.

When Cold Waves made the announcement for all things Number 10 back in early March, had to take a second look to make sure it wasn't a typo- The Riv, and not the Metro Chicago.

The Cold Waves home away from home has always been the Metro, as well it should, except for their first year which was the Bottom Lounge, right after Jamie Duffy passed away.

For those not in the know, this is the sole reason that Cold Waves started, through Jason Novak and Kelly Britton- Novak, amongst many others in the industrial community of Chicago.

Hard to imagine it's been over ten years since his passing- a fixture on the Chicago music scene for some twenty years, a multi- tasker, whether it be mixing and engineering at various venues around town, or playing guitar with Acumen Nation, Cyanotic, Chemlab, let alone the mighty Pigface, amongst others.

​So yes- you can see why the industrial music community of Chicago came together for a good cause, and has continued to the present day, in addressing issues of mental illness, let alone suicide and suicide prevention.

Not to completely dwell on this, but it needs to be said front and center the scope of the festival, and what Cold Waves brings to the table to support these important topics, the people involved, and always the chance for being there in reaching out to those in need with nowhere to turn.
​
So coming full circle- without a true mission statement to rely on, and going with my gut- Cold Waves exists in the spirit of community more than anything else.

Again, awareness of what it's about- sure- but after nine successful years, and the completion of number Ten, the culture, the vibe, the coming together in this beautiful city of Chicago, is all about community.

Keeping those thoughts in mind, and addressing all things Day 4- the booking is reflective of the overall aesthetic of Cold Waves, inviting, and also challenging. Challenging in a good way, not just with the obvious headliners, but with the undercard.
The undercard of all four days.

Makes you as a music hound to want to get there early, to not miss bands such as Leathers, New Canyons, Kontravoid, Spike Hellis, Ghostfeeder, Haloblack, let alone previous years with Pixel Grip, Panterah, or even Kanga- these are all bands where I was not even there and present.

Just goes to show the anticipatory feel year in / year out, when the Cold Waves crew make their announcement on the forthcoming Cold Waves Festival event.
You have plenty of time between March and September every year to get your act together and research, and discover new bands on the bill that may well deserve your attention.
​
Having said that- working from the openers and up in all things Day Four-
Must start with HAPAX - an Italian Post- Punk and Darkwave project all the way from Italy.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

9/25/22

Another spectacle, another sojourn with Joel Zimmerman, aka Deadmau5, on his North American "We Are Friends Tour".

And he's bringing along some special guests, Lamorn and also Nero for support.
Over the past few years, besides his Drive In Outdoor Tour during the pandemic, he's made the Aragon Ballroom in Chicago his home away from home.

The Spanish Conquistidor expansiveness of the venue, the overall vibe, just enhances the overall feel of his productions- some on a grand scale with the gigantic cubes of yore, each time through getting bigger and bigger, with tech sophistication, and audio / PA sophistication to make the entire concrete and stone venue thump along side you.
The PA part hasn't changed- after a few songs to start from the Aragon balcony, I went down to front of house to get decent audience shots.

That PA still blasted through my chest to the back of the main floor, to the point of the entire riser shaking to the beat, like being a 4.5 or higher magnitude earthquake.
Have to be steady with your hands to relieve camera shake- although by now I'm used to this from Joel, and wouldn't expect anything less.

His budget, his commitment to sophisticated production, along with the immense lighting rigs, and separate but unique vertical LED screens and imagery by the back of the stage- nothing is taken for granted.

And the place was packed, even when opener Nero took the stage just before.

In essence, Deadmau5's "We Are Friends Tour" is a chance to branch out a bit, showcasing to the next generation of stars on his label mau5trap,  and as always, enhancing his own personal take on his iconic mixes and songs from over the years.
So for all intent and purposes, this is a gigantic spectacle, a big party of celebratory exploration on all things progressive house, all things EDM.

It's cool that Joel has started off his set without the mouse ears- just a baseball cap, and black t shirt and pants, looking like a cab driver who just popped in after his workday, and now ready to go to his other job, which is to entertain at the controls.
This says lots in my opinion- an everyman, a normal dude, who happens to know electronic wizardry like none other, without all the fanfare.
​
And about six or seven songs in, out come the sophisticated mouse ears, and from  my vantage point, the entire venue went apeshit.

Photography by Bobby Talamine
Writing and Editing by Fiza Javid

Sunday, September 18, 2022 - Douglass Park

My mind is so blown by the experience of day three that my head is rolling, on the floor. Nine Inch Nails. Yeah Yeah Yeahs, Sleater-Kinney, Coolio, Linda Lindas, Night Spice. What a hypnotic festival experience.

The anticipation for NIN was running deep. They were supposed to headline Riot Fest 2021 but were forced to cancel due to Covid-19. It was worth having an incredible Slipknot experience last year, however, we were long overdue for this performance.

Trent was truly effortless in addressing it. "It has been crazy, covid and all, but here we are," but more to that later.

We began our day with the Synthwave sounds of Night Spice. Hailing from Miami, Illinois, it was the groove that Chicago was truly missing, kind of like the last hurrah of summer. Their comic value, dad bods, and of course, their music. Particularly their songs "Plums" and "Damn, that Hot Synth," truly inspired a jolt within the audience. Their music almost sounds like satire, but don't let the comedy fool you. Beyond the showmanship, their musical quality was smooth. Hell, they even sell their own hot sauce. Do you know any other band doing that? 

Next we were off to the Linda Lindas. They are always a blast, and they have so much fun on stage. They opened with "Growing Up" which made everyone want to jump around. Their covers included "Tonite" by the Go-Gos, and "Rebel Girl" by Bikini Kill, but it was their debut song "Vote!" which truly got the message across. They always manage to share an important message while injecting a fun punk vibe to it.

Other notable mentions include: Mom Jeans, Zola Jesus, and Alice Glass, Lunachicks and Polica. 

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Soldier Field - Chicago, IL - 9/3/22

Rammstein's Mind Blowing Juggernaut of a show hits Soldier Field in Chicago

Rammstein.
Known for their exclusive pyrotechnics.
Rammstein.

Known for their use of sophisticated production techniques- like replicating an intimidating tower of might on the back side of the stage, looking like something out of a Fritz Lang movie, like "Metropolis", circa late 1920's.

Rammstein.

Intimidating as always, with a show of force and might to capture their live audience by the throat, even towards the back of the venue, and command you to listen until the very very end.

This is fierce stuff folks, if you've never witnessed such a spectacle firsthand.
They are push the envelope performers, as they've always been, since I first photographed them back in 1998.

Yes, Till Lindemann and the rest of his cohorts in Rammstein have over the years had moments when they've been brazen, in performance rituals and antics, along with imagery and theatrical reenactments of some pretty morbid events, some of which are still in their production to the present day.

That statement is in no way a slight on them- in fact, it's just the opposite.
To stoke controversy, in my opinion, and have your hand at the ready, with not letting off any tells, a la the game of poker, to provoke, and then unleash the consequential belittlement that you so rightly deserve for questioning anything related to such topics, well, let's just say you're in for a treat.

They love that you're upset, and that you haven't done your homework.
They know the term firsthand "Contempt prior to investigation".
And so they're somewhat insulated from all the bullshit that comes their way, although somewhat aware as well. 
I bring this up because the slights I hear from fellow reviewers, posts online through social media, with friends I know, amaze me as much as if I were in the band.
I'm too tired and too damn busy to throw my thoughts into the mire of bullshit, knowing full well that the best way to speak is though reviews such as this, and let my pictures do the talking. 

But this kind of show- an outdoor similar to a major festival production made of gargantuan proportions makes you stop in your tracks. 

There's so many avenues to convey the beauty of it all, even prior to the performance, when the gates open, and you take it all in from the back of the bowl of the stadium you're in. 

Just watching people's faces time and time again, entering the venue at the 100 level and seeing them soak it all in, let alone the costumes and dress up- all of this never gets old at a Rammstein show.

Had to convey this somewhat in my iPhone pictures- a couple sitting comfortably, and she has a bright red mohawk.

Or the guy wearing a Nacho Libre mask, hanging out with his buds prior to the show.
Let alone the main floor of Soldier Field, and the massive display of a stage to the north, compared to the tiny dots of people slowly filling up the ground floor field before the show.
All of this is amazing, almost equal to the actual performance, with a setlist that covers the gamut, some 21 songs in total, including two encores.

The last encore- those are the pictures from the performance that were allowed.
I could go on in detail of not more coverage, but keeping things simple- I'd rather focus on the beauty of the song "Rammstein" from the second encore, and the use of the sophisticated pyro backpack that Till Lindemann displays in conjunction to the actual song, and the timing of it all.

Photography by Bobby Talamine
Writing and Editing by Fiza Javid

8/28/2022 - SeatGeek Stadium - Bridgeview, IL

Welcome back to the final day of the Sacred Rose Festival. This day proved that through rain or shine, these jam sessions were not going to stop, and rightfully so! This festival truly earned a reputation of being the most free-spirited festival to date. Here are the highlights:

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

No need to be skeptical anything with these guys: Axwell, Steve Angello and Sebastian Ingrosso- otherwise known as Swedish House Mafia.
Their set- elaborate as all get out, with the main focus not just on the these three top notch DJ's, but also on their giant ring hovering from above, making their stage and setup the definition of otherworldly.

The buildup to the full reveal, with the houselights down, the giant black curtain up- the mix of low end hiss and drones building up to the beats  to "Can U Feel It"- makes your pulse pound, that's for sure.
So when the curtain drops, and you watch the entire main floor of the United Center instantly go manic- well you know from here on out that tonight you're gonna be in for a sweaty treat.

The setlist throughout, to make a point, consists of mashups, like a giant rave in an abandoned warehouse, last minute announcements on when and where kept secret to the last possible moment.

A word of mouth event, kept under wraps except for the sophisticated and in the know.
Swedish House Mafia have consistently kept this kind of mystique going on for years, relishing in all things underground to some extent, my belief in allowing more freedom to create and experiment without much outside influence to harm the bottom line.
Even with their headlining set at Coachella earlier this year, playing what looked like to a 100,000 people or thereabouts- even then, and coming out unscathed after that mega performance, they still hold that mystique of their brand of cool with not much fuss, and laying low.

Yes, they are one of the pioneers of house music, along with a taste of sorts in all things progressive, with a constant ear to the ground on backbeats within beats, with not much use for fanfare and extravagance and going over the top with nauseating fills of screeches followed by repeated blips, like some popular DJ's in the know.
As much as their sonic weave holds captivating sound structures, it's in their genes and sauce to present things loudly and defiantly, but with not much use of jagged stops and starts. They know how to meld songs together, keep the dance-floor moving, allowing occasionally for the subtle breaks, a moment to catch your breath, followed by more sweaty dancing as one on the main-floor (name your building).

Put it this way- they know how to read a crowd, they know how to read a room.
And the budget for such a production such as this- can't even begin to fathom that.
This is some serious EDM / Sci Fi level stuff- lighting mixed with angled staging, and prominent use of pyro mixed within a PA that leaves an indelible thump through your chest, whether you be in the mezzanine level, back of the house, or main floor.
My goal in this review with Swedish House Mafia is to cover this spectacle from all angles, including the specs of putting together a production such as this.

After editing down my photos for this review, spent most of the day after scouring the internet on anything whatsoever to guide me in the dealings and tech background on this overall production.
After a few hours of this- found nothing to help in the search.
Could be because the shows are just getting started, with a few sporadic dates already in the books since coming to Chicago- having only played in Miami, New York, Toronto and Montreal.

Would love to know the goings on in making such an elaborate production of this kind- and the overall design aesthetic.
For a music hound like me, it's well worth investigating such things, having seen countless shows over the years, and witnessing firsthand time and time again that when a band or artist puts a lot of thought into a satisfying production, such as  what I just witnessed, it's well worth documenting and writing about the splendor of it all.
Keep in mind the Chicago crowd as well- when the doors opened for the show, about two hours before the opening act- it was sparse in and around the United Center.
Even the house photographer for the United Center, a guy I've known for years made a note of this- he said he was told to try and get some pictures of the GA main-floor crowd lined up along the south face outside of the United Center. He said he only counted ten people waiting in line before the doors opened.

Photography by Bobby Talamine
Writing and Editing by Fiza Javid

Grant Park - July 31, 2022

Please don't wake me up when Lollapalooza ends. Or pinch me, because it was truly one worth thinking about for many years to come. The unpredictability and true ode to both Indi and renowned artistry made this year a true beacon for music lovers, and this had to have been the best weather Chicago had seen in many years. 

Green Day and J-Hope fans swept the crowd, with a wide variety of attendees in either K-Pop styled outfits with glowing BTS light torches and fans, or a sea of green hair and Green Day shirts. With BTS and Green Day both being incredible JBTV Alumni, both with their own main stage, it was clear that any fan that wanted to catch both was in for some serious running across the park. 

First up on this final day, which means every artist has to pack a punch, was the one and only Horsegirl. Hailing from Chicago, after their self release "Forecast," the music world forecasted a serious jump in their career. Taking on a Lolla stage was cake for them. They opened with "Ballroom Dance Scene" which was a sway-with-your-partner or a relaxing way to start a set, and an excellent way to introduce them to potentially new ears. Who wouldn't want to start off their festival day with some garage pop?

The crowd then wanted Hannah Wants. Her unpredictable mixes kept the crowd at the edge of euphoria, as it was clear that the crowd wanted to dance but not get rid of all their energy right away. Hannah Wants had a spectacular light show with her name strong on the backdrop as she truly shined.

The same can certainly be said for Goth Babe and James Hype. Contrary to the belief that may have arrived from the name, Goth Babe offered California, beach vibes, almost leaning toward a "Milky Chance" sound, which was cathartic. He rocked his white bucket hat and truly played with the audience in the most fun way.

James Hype lived up to his name, who definitely shined for his "hypefans" as he calls his most notable followers. His trance style and ability to utilize samples in a way that doesn't take away from the original, nor does it get drowned out into a mix-mesh, is a perfect combination to send fans into a state of pure bliss. He is the perfect mixer for anyone who wants to dance or simply vibe. For Lolla fans, this was precisely the sound they needed on their final day to just jam out. 

Perry Farrell's Porno for Pyros was absolutely a show stopped. They are rugged, grungy, melancholy and just perfect. During their set they brought Billy Corgan on stage to perform "WHEN THE LEVEE BREAKS" BY LED ZEPPELIN. And this rock loving audience was going bonkers for it. From "Cursed Male" to "Cursed Female" to "Tahitian Moon" which was certainly a great way to bring in the beautiful summer moon, as Farrell mentioned himself, they weren't just the perfect pre-show to Green Day, but they were the show. Perry not only walked in like he owned the place (I'm not the first one to make that joke, but it is purely a compliment) and he truly owned the stage. We couldn't be more grateful for him and the music. 

Later on at the Bud Light Stage, he came out with Lori Lightfoot to announce 10 more years of Lollapalooza, and honestly, they may need to add another zero to that number. 

Green Day played through all their incredible hits, while allowing the audience to sing along to "Bohemian Rhapsody" among other fun songs to sing to. However, the craziest moment was when they GAVE AWAY A GUITAR to an audience member who played three chords on stage. The young lady named Abbie, who was a fan through and through, was called for this moment, and proceeded to rock out in the best way possible as the audience chanted her name. Green Day's "Holiday" and "Basket Case" among their early hits, along with their cover of a Kiss song, was truly the greatest way to end the night for any fans who camped out at the T-Mobile stage. ​

​

​

Before I mention the primary artists that JBTV covered, I gotta talk about Machine Gun Kelly achieving the rock star status he has been fighting for on the Bud Light main stage. While his performance referenced the hate he gets as an artist, from his switch from rap to rock, the question of his ability to play guitar, and whatever other insults have been thrown his way, he managed to squash all of it with his persona alone. He doesn't need to be a virtuoso, he has some of the most talent artists on stage alongside him, one being his childhood friend as his keyboard player, who excited the audience with a quick nod to "Still Dre" by Dr. Dre. It was the outfit changes, the appearance of Avril Lavigne, and the moment where he 

"Creed at the MTV Movie Awards" CLIMBED THE SOUND STAGE IN THE MIDDLE OF THE AUDIENCE to perform for the entire audience, where he truly won any skeptical minds over. Beyond that moment, it was the moment that he had an outfit change, covered the eyes of his drummer, all while casually smoking a cigarette that was when he achieved the rock star status that Travis Barker described of him. While some may like it or not, he IS the rock star of today's generation, while still being the 90s kid at heart who truly understands what it was like to grow up with the first real wave of emo-punk rock. He is managing to do this while adding the controversial flare that existed predominately in the 80s, with the inability to predict what he might do next. 

I must say though I am amazed that he does not include his original rap song "Till I Die" or "Breaking News." If he burst out into any of those songs, there is no doubt that Chicago would have absolutely lost it. He did have a brief moment where he fast-rapped enough to, in my honest opinion, blow Eminem out of the water. I am a die hard Eminem fan, but MGK deserves way more credit for being the wildly talented freestyle rapper that he is, and there are hints in his rock persona that point to this, particularly in his swag. MGK, for the love of god, we love the "I'm a rockstar" situation he has going, but he can rap like no other, and its about time he stopped throwing that image away. He has managed to break into multi-genre audiences, while scoring the fans of Megan Fox, so as far as music goes, he might as well strut where his musical talent is, along with bopping the audience into "Tickets to My Downfall." Everyone knows he can act too, and while he continues to be an image, he needs to embrace where his respect is, and the respect can only come from the music. He put on an unforgettable show at Lollapalooza and people should be jealous if they missed this one. ​

Tove Lo was an absolute goddess. Songs “Bikini Girl," "Cool Girl," "Disco Tits," and ofcourse the crowd favorite, "Stay High." She’s the pop star of this generation. 
She came out in an all jean iconic outfit, that also had "Madonna from 'Hung Up" vibes. The jean bottoms were cheeky, which allowed for more free expression for her dance moves, as she wiggled for a screaming audience of fan girls and fan boys alike. Her gogo boots also added extra flair. It felt like the perfect club setting as  she also played a new song. Then during "Talking Body" she slowly pulls the string on her top and flashed the audience quickly.

Tove truly embodied not only an uncanny ability to sing genuinely, but while maintaining a sexually free spirit of her own. The backdrop of her performance included 
cartoon breasts, booty, and vaginal symbols, which I imagine was also a way to further celebrate herself as well as other women in the audience. She also had a clip of herself cat walking toward the audience as it sang in sync with her singing to the audience, which was immensely dynamic. Tove, we absolutely adore you. ​

Still, the true power house performers of the night were certainly Metallica and Caroline Polachek. Metallica was at the T-Mobile Stage to close out the night, and they embodied the rock level rage that had been missing from Lollapalooza in such a long time, but it probably only felt that way because there is truly no other band like Metallica. They played their classics like "For Whom the Bell Tolls" and "Enter Sandman" while also surprising the audience with the b-side from "St. Anger."
Metallica always manages to make the audience feel like family. As they are 41 years strong, their true love of their craft and their fans reigns true. James Hetfield made sure to handle the subject matter with genuine care as he discussed how their music may also deal with the topic of suicide. He was sure to mention that it is vital to speak to a friend if anyone in the audience is struggling with those thoughts. He effortlessly includes these truly caring moments, while managing to riff like a true rock god. Lars handled the drums like he ages backwards, and their talent is *chefs kiss*. They are legends for a reason.

Caroline Polachek was absolutely perfect for closing the Bud Light Stage. She opened for Dua Lipa in February, and considering Dua will be in Lollapalooza during this weekend, it was great to see Caroline score a prominent stage. Caroline was a siren in modern day form, and the peaks she hit with her voice, as well as her connection with the audience, was legendary. "Ocean of Tears" is where her voice carries her across the stage like a mythical figure. "Breathless," "Sunset," and "Bunny is a Rider" were genuine favorites. 

Lollapalooza 2022 day one will certainly be difficult to top, and while the weekend is just getting started, the memories of this day are already one to get festival-goers excited for many years to come.

Until tomorrow, this is Fiza with JBTV Music Television at Lollapalooza. 

The mix of rock and rap in the audience seemed to really push through, and the DJ set was when the party really got started. The room felt like it was bouncing. DJ Mike also through in a Chicago footwork, West Side, South Side ode, which was started by 9pm. 
Chicago twerk music is always a classic, like "Bounce and Break your Back" but its hard not to think of Perkulator or K-Swiss if you grew up hearing this as a regular Chicagoan, no matter which neighborhood you were in.

When Taylor's set began at 9:30, the crowd was definitely restless, but watching the bassist and the guitarist get settled on stage was the cue for some audience members to start pushing to the front. 
The classic rock graphics shined on the projection screen, with TV screens, vinyls, 
an animated Taylor, and a 3D car. There was a feel that this was meant to be in a larger stadium venue. 

“I wanted the show to be free because there used to be a free show every week," said Taylor, in classic, humble fashion. It made the show that much better. 

His bassist, who is the music director of Taylor's newly released project "Coming of Age" began grooving, as the drummer and guitarist also contributed to the genre switch from rap openers to a rock audience. As I looked over to the audience, I noticed a mix of audience members bobbing their hands like it was a rap show, while the other half was ready to mosh. 

Taylor was rocking a shiny TBG, diamond encrusted chain, but again, his humility is what made the vibe right. He opened with "Broad Shoulders" and "Kick Back" before introducing his album. Major highlights were definitely "Favorite Colors," "Fall Short," and "Today." By 10pm the crowd was chanting his name. He even pulled out a trampoline for his second song, which allowed him to jump along with the audience.

"I am an independent artist, and we've been here with the street team, and its beautiful to realize it all still works. We did Good Morning America, Kelly Clarkson, Sirius Vibe, we've been moving man" prior to the start of the album intro. 

After a couple songs he made a PSA before "Today." "Mental health is so important and it is something we don't talk about enough. The song I am about to perform is described to be the perfect day versus what be going on. I would like to do this song for you guys, it's very special to me." The audience put one hand up and truly showed their appreciation. 

By mid show and the crowd was hollering, Tom Higgenson jumps onto the stage to a screaming audience. No one anticipated the timing at all, and Tom is aging backwards. Tom sang part of "Today" with him and no one knew what to expect. When the song ended, that was when Taylor asked Tom to perform "Hey There Delilah."
"Are you guys ready to sing Hey There Delilah with Tom Higgenson?"

Genre switch again! But the audience lived for it, and everyone knew the words to every bit of that song.

Taylor performed "Don't Wait Up," "Be Yourself," "Dancing in the Rain,"  "Sunset Falls" the album outro and closed with "Easy Outside." I'd say by this point half the audience lost their voice and had an absolute blast. As for myself, I feel lucky to have had the first listen of this album live, and if you have a chance to check out Taylor Bennett when he returns to Chicago, whether you are a rock or rap fan, he truly has something for everyone.

Be sure to check out the exclusive JBTV interview with Jerry Bryant and Taylor Bennett soon! Full marathons of JBTV will be on VPODTV on Fridays and Saturdays from midnight-2am. Until next time, this is Fiza with JBTV Music Television.​