![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Salt Shed Chicago Sat 4/22/23 Chicago's very own Ganser, opening for none other than Bikini Kill, at The Salt Shed- make no mistake, this was a big deal for them. This show, a warmup gig a few weeks before they began their West Coast Spring Tour in Boise, on My 12th, was just so energetic, and full on push the envelope of emotional outbursts of a solid wall of guitars, heavy and rhythmic drumming, solid low end bass grooves, and added punch with synths and strained, (and also melodic vocals). I know, a lot to take in with that one sentence. But that sentence encompasses lots, in my opinion. To put things more succinctly from the above: "Solid wall of guitars"- That would be Charlie Landsman. "Heavy and rhythmic drumming": That would be Brian Cundiff. "Solid low end bass grooves": That would be Alicia Gaines, who also occasionally sings lead, and backup vocal. "Added punch with synths and strained (and also melodic vocals): That would be new addition Sophie Sputnik. I meant what I said- Ganser is just something else live. And the beauty of all of it, having witnessed some aspects from the inside a bit, along with peripheral, live performances prior to The Salt Shed, the Pandemic, a brilliant album released back in 2020 with Just Look at That Sky"- I can sum it up pretty succinctly: These guys are fighters. They're fighters and survivors. And you so wish and want them to succeed, especially with so much devotion and hard work put in to the Ganser camp up to now. So by all accounts, their West Coast Spring Tour, which just wrapped up last Friday the 26th in Denver, was a complete success. Partly because of that tour, and their stop at Jerry Bryant's JBTV Studio for a lengthy sit down interview, plus the release of a cool live performance video from The Salt Shed show for the song "People Watching"- all of this, is why I delayed the post with Ganser up to now. It just goes to show that as for 2023, up to now, there's so much going with Ganser, all of it good and positive. The show itself at The Salt Shed- One big big takeaway was the early arrivals. ![]() The place looked packed for their set, prior to headliners Bikini Kill. And lots of enthusiasm from the crowd as well. After the first three songs in the pit, I ventured up into the rear balcony seating, directly behind the soundboard to take in the remainder of their set. Such a pleasant surprise, with seeing the main floor packed to the back, a sea of heads jovially dancing in place as one to the beat of each and every song. The Ganser sound- so dense and so heavy, and yet moments of melodic, sophisticated melodic, finding a way to breath through the mix. The yin and yang of it all, whether they are headlining, or opening, just makes you crave more and more. So again, this is why I waited to post this mini review, and also remind you of a couple things: Go see Ganser play live, if given the chance. Also- their interview with Jerry Bryant of JBTV is up on all platforms- an easy google search, or just go to our website. Hope the live photos do justice to what I witnessed. And- a special shout out to Alicia Gaines, for making this all possible. Bobby Talamine - JBTV Music Television Chicago Ganser, Alicia Gaines, Brian Cundiff, Charlie Landsman, Sophie Sputnik, The Salt Shed, JBTV Music Television, Bobby Talamine, Fiza Javid
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![]() 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". 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. 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 Fever Ray, Christeene, The Salt Shed, JBTV Music Television, Jerry Bryant, Bobby Talamine, Fiza Javid, Live Music, 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. ![]() I know I can't convince all of this with a simple writeup on an industrial music show- but I feel I'm far beyond the technical aspect of things instrument wise, or color schematic and bells and whistles of whichever show I'm reviewing, and all the other this and that. My opinion- Guys Like Al and Ministry- this is heavy hitter stuff, far beyond the pomp of costume changes, followed by "dialing it in". Ain't happening here folks- for all three bands. Everything continues at a breakneck pace, up to the end, with a cover from Fad Gadget of all things- a cool and diabolical song from them titled Ricky's Hand"- again showing the wickedness of Al- embracing another cautionary tale, amped up to eleven for these modern times. Just goes to show that anything can be twisted and turned, making it your own, with the right amount of sauce and pissed off attitude. Clearly Al is still in that camp- the camp where he belongs. And another guy who's been embracing all things "aggressive" for awhile now- Gary Numan. Not much stage banter from Gary- one by one his band take their respective spots, followed by Gary, who's in full throttle force, with a setlist of 14 songs, all done at a blistering pace, opening with "Intruder", into "Halo", into "Pure". The feel throughout is full on majestic, but yet apocalyptic- nothing is spared in the ruins of survival, Mad Max type state of the world living if we don't start changing things- both inward mentally, and outward visibly. The whole set was a perennial backbeat of breakneck foot stomping with a few twists and turns upped to another level of physical contorting worthy of some yoga or chiropractor adjustments. Like Ministry, Like Front Line Assembly- Gary's set was over in a flash- but still- all so memorable. And the same can be said for openers Front Line Assembly, who've upped their game over the years with proceeding far beyond the scope of "EBM"- and seeing and witnessing and reaching its limits- by taking risks in comprehensive songwriting- songwriting with a groove, Opening with the blistering and so addictive "I.E.D"- a song that should be an iconic anthem of simply getting off your feet, the whiplash/ breakneck tempos being so awesome, so unforgiving. Their set was like this throughout- both Bill Leeb and Rhys Fulber, punishing anew with heavy hitters such as "Killing Grounds", and into "Plasticity", before taking a stab at their cover version of Falco's "Rock Me Amadeus". Wasting no time, these guys. This is hard and intelligent electronic music- meant to bludgeon, sure. But still- they provide the necessary enveloping and wicked melodic backbeat that acts like juju to your brain- wanting more. My opinion, 7 songs didn't suffice. True, there's time constraints when your the opener- however... So all three bands- overall feel is delightful and well spent exhaustion. Such a tour- this. Bobby Talamine - JBTV Music Television Chicago Ministry, Gary Numan, Front Line Assembly, Fort Wayne, Indiana, Chicago, Live Music, Bobby Talamine, Fiza Javid, Jerry Bryant, JBTV Music Television, The Clyde![]() 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. ![]() I for one enjoy listening to the new material, seeing these guys flesh out the dazzle dazzle, all confident and affirmative in diving deep into their songs and the overall setlist. Enough of the complainers wanting all their old stuff- I'm just happy to see these guys up and about and motivated- motivated to play and enjoy themselves. The crowd was certainly eating it up- front of house up to the lip of the stage- a sea of swaying in place envy and revelry. This is what makes for a memorable show- glancing at the band, glancing at the main floor of The Salt Shed- and from my perspective it was one body of in your place / respectful dance. There's terrific musicianship throughout, both band and extras, as song after song lays out more and more background violins and synths, courtesy of Angela Chan, painting a landscape of big brushstrokes for you to deep dive in and immerse yourself in all things "Dance". All of this- a forward direction for these guys, not necessarily looking back at this moment in time- more of a shedding of skin and a rebirth of sorts. All good in my opinion- with a splendid hope for the best that they can push ever forward, and come to grips with a somewhat stormy past to uncover some song nuggets of yore, when the timing is right, and they feel comfortable in playing them. Go ahead- ask the crowd in attendance at the Salt Shed- they ate it up, down to the covers at the encore, with "Shout" from Tears for Fears", and also "Running Up That Hill" from Kate Bush. The fans know- they know that it was a memorable show, persistent and immaculate being the order of the night and downright fun on a Friday night in Chicago. Bobby Talamine - JBTV Music Television Chicago Placebo, Brian Molko, Stefan Olsdal, Bobby Talamine, Fiza Javid, JBTV Music Television, The Salt Shed, Live Music, Chicago![]() 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". 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". ![]() As for "Twin Flame" and "Hearts Aglow"- both songs were presented with Natalie's custom made glowing chest plate, which she wears under her dress, enhancing the full visual effect of focusing her energies into positiveness and good. To do all of this, to allow for a perfect mix of ingrained in your brain moments, such as tossing a bouquet of flowers out into the crowd, occasionally dancing whimsically about, letting out smiles to bandmates and to the audience, and the occasional high kick, just shows the innocence of it all, embracing the Riviera Theatre into an intimate atmosphere of coming together as one. The setlist- some 14 songs total embraces the theme throughout, that Natalie's own vision of the world, the state we're in and inevitably will continue to be in, that the end of the world without embracing the consequences , and the specifically atoned to the powerlessness of it all- that we shall intricately weave in delicateness and beauty, embrace rich melody, following our shared vision of the end of the world. I know- it all sounds so sad and frightening. Depending on age group- I don't know what to expect. Me. I'm way into my sixties, having already seen lots and lots. The younger generation, they have a big mantle of problems to attend to, long after I'm gone. But things affect me on a daily basis equal to the younger generation, doing my best to navigate things somewhat unscathed. But all of these Brian Wilson- esque arrangements have me slowing down a bit, the exact opposite of my heart racing. I'll take Natalie's influences and any future songwriting as a symbol of hope and nourishment, relying now heavily on her back catalog for stuff that weighs me down. Like personal journaling, which a lot of my friends do on a daily basis, writing down morning observations, deeply personal matters, current state of mind, doing your best to rid yourself (at least a little bit) of anxiety, to get through your day- Natlaie's back catalog from "The Outside Room" to the present day with "And in the Darkness, Hearts Aglow" equally does the same for me. That all of "And in the Darkness, Hearts Aglow" seems to be written from a sacred space, and also a sacred place, and the main question permeating throughout - what does the heart of your soul sound like when coming from a place of true heartfelt questioning, not being uninhibited the least? What and how am I conveying heartfelt feelings in the here and now, like personal journaling? I for one want to be immersed in that camp. Daily. Like the brilliant novel from Cormac McCarthy - "The Road", and the painful journey of walking through a cataclysmic landscape destroyed by civilization, and all things don't end well, but come full circle towards the end, where even in the bleakest of times, some modicum of hope and trust still win in the end. Getting there is the hard part. And even though "The Road" is riveting and gut wrenching fiction, it still holds truths to our current state of affairs. And in relation to Natalie Maring, on a softer scale, when envisioning ten years down the road, I sometimes find myself in an ecological nightmare, where I'm navigating to find like minded folk, to accentuate the positive. Natalie's guideposts in songwriting holds some of this in for me sanity wise. Apparently when this topic comes up amongst friends I'm not alone in this. So for one night, I'm immersed in all things Natalie, and things are good. Clearly going to be one of the best shows of the year, and its only mid March. Cheers- and do your best to stay well everyone. We need you. Bobby Talamine - JBTV Music Television Chicago Natalie Mering, Weyes Blood, Riviera, Bobby Talamine, Fiza Javid, JBTV, JBTV Music Television![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Salt Shed - Chicago - Friday February 24, 2023 Viagra Boys. All the way from Sweden (and a bit in California) - coming to a city near you, on their current "Cave World Tour". Playing at the newly christened and ever elegant venue The Salt Shed in Chicago. I'll explain the part about The Salt Shed in better detail in a bit- but as for now- we gotta talk Viagra Boys, and also lead singer Sebastian Murphy in particular. Set list: some 17 songs total, including encore. Not much differentiation between city to city, setlist wise. Still- no matter. Song titles such as: "Ain't No Thief" (The opener), into "Ain't Nice", into "Punk Rock Loser". We can stop there for a bit. Rudimentary, by their very nature, all intent and purposes- back to basics. A to B to C. Easy to catch on and comprehend, for the low level uninitiated and inebriated. And that's the whole point. Sebastian Murphy has the look and feel and demeanor of being a little blitzed before taking the stage, during the performance, and also attempts at stage banter with the audience between some of the songs. Can't really tell if it's deliberate, what with the occasional slurring of words and getting some thoughts together, or if its his ADD kicking in, or all of the above. Nevertheless, all of it, as of now, is downright entertaining, catching them in the here an now before they might implode. And, it could be all a big joke to all of us. Who the fuck knows. But this band- song after song after song, just are tight, crafty, and full of gnarly swing. Things get funny during "Ain't Nice", when someone from the audience hand delivers to Sebastian a bong, which stuns Sebastian for a brief moment, taking it all in, turning it around in his hand to check out the sophisticated ceramics, with a big smile and "thank you" across his face, before patiently setting it on the drum riser. That kind of night- a party crowd, at the sold out Salt Shed. ![]() As for lyrics throughout- deliberately simple, delivered with bluntness from Sebastian, matching the beats and wayward sax from Oscar Carls, and propulsive bass and drums from Henrik Hockert and Tor Sjoden, along with keyboards and samples from Elias Jungqvist, and wicked guitar from Elias Hillborg. Song after song, they delve deep into their creations, tightening the groove, tightening their noose around you even further. Like the song suggests, "Ain't Nice" ain't nice. "Baby Criminal", well is a baby criminal. "It Ain't Enough" is ain't enough, and so on. The lyrics reflect it- the demeanor of Sebastian reflect it, being brutally honest with no genuflecting. Take it or leave it- they don't give a shit. It's a twisted world we live in, with unsavory characters interspersed throughout, all wickedly coming and going, dodging and weaving. And it's all drug stupor related, hovering around multiple blackouts and what the fucks, trying to piece together this and that. Again, fiction, non fiction, maybe a mix of both. I don't want to ask questions, that's for sure. I just want to photograph these guys- all of them, and document the experience that's so evidently IN- YOUR- FACE, at least for the foreseeable future. I love bands like this, kinda off the rails, but somehow keeping the whole godamned thing on track, surviving yet another show. Also cool that Sebastian was taking The Salt Shed all in, observing things from the lip of the stage, all the way to the back in the grandstands, and stating matter of factly that he thinks The Salt Shed is the largest venue they've ever played in, with a gratifying smile across his face. So coming full circle, each and every song is delivered with dark humor and satire, with a cast of unsavory characters taking shape and form, like fun monsters rearing their ugly head- fun for a minute, but scary nevertheless. And all of it delivered to the faithful in attendance with a nod and a wink, and if given the opportunity, a couple beer soaked smothered hugs, with spit and saliva and sweat, followed by some slaps and serious head noogies that will leave a mark. They all strike me like that, if push comes to shove, Either you're in- or you're out. Welcome to Viagra Boys and their wicked world we are aiming the attempt to live in, albeit temporarily. Same holds true for openers for openers The Steens- who with the brothers Steen, with shredding guitars and howled from the gut vocals, all delivered with brashness and confrontation as all get out, with just enough angst to rev up the crowd caffeinated style. Everything with them comes off crunchy, but delivered with tons of energy and finesse, to the point where towards the end, their drummer has to do a bit of bodysurfing to take it all in. So, both bands delivered. And they delivered in the second show ever at The Salt Shed, which is a magnificent addition to the live music Chicago scene. Such a sophisticated venue throughout, from front to back, main floor to the top. Everything is just so well thought out - The PA, the lighting, the sight lines, the stage, the amenities, the entrance, the staff- just the whole overall vibe and feel of the place. More on all of this soon, with a better detailed observation with Tim Schoen, the Production Manager of The Salt Shed, and Bruce Finkelman, Managing Partner of the Salt Shed and 16 on Center. Such a splendid and unforgettable evening throughout. Bobby Talamine - JBTV Music Television Chicago Viagra Boys, The Steens, Bobby Talamine, The Salt Shed, JBTV Music Television, Jerry Bryant, Fiza Javid![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Radius Chicago - Sunday - January 29, 2023 Have to say, even on a chilly Sunday night with two NFL Conference Title games being played, that didn't stop the devoted fans of Anthrax to line up nice and early at the front doors of Radius. Saw a lot of Black Label Society jackets as well. Two bands that know to bring fun to a party, let alone openers Exodus. A one/ two/ three punch of wallop to get the blood going, that's for sure. And your fair share of bodysurfers throughout the night, for all three bands. Not that that should go unnoticed- especially a girl in a Gumby costume from head to toe, even down to the green gloves, and she body surfed the night away to all three bands. Yep- bodysurfers of all shapes and sizes. And also the mosh throughout, especially for Anthrax. At one point two different moshes occurred- the established in real estate mosh, around 20 to 30 yards back from the stage, and then another mosh about three rows deep form the stage, depending on the volatility of whichever song, which in my opinion, are too many to count. That setlist, was a setlist for the diehards, 12 up the ante songs of punishing might and punishing fury. Such a devoted fanbase, the Anthrax clan. They even shout during the the mini doc before the band goes on, lights down, hearing the faithful explain why they dig Anthrax so much- such as Joe Duplantier of Gojira, followed by Lady Gaga, Tom Morello, Brian Posehn, or how about Corey Taylor chiming in, saying in excitement- "what the fuck is this?" - as in I want more! Or Gene Simmons making it known that you better not have Anthrax open up for you- they'll blow you off the stage. Or Rick Nielsen, equally in awe of the crowd as to the band, the heavy mosh and push and pull of excitement at what's going on the main floor. Or Robert Trujillo, happy to chat about Anthrax, while grinning big from ear to ear. Not that I want to give away anything, but I'm grinning ear to ear in writing this, feeling good at the who's who of the music scene, all genres of music, stating their enduring love of all things Anthrax. It goes on, with brief 5 to 6 second snippets of Anthrax blazing away live, then back guys like Chuck D, Vernon Reid, Phil Anselmo, Dave Mustaine, Rob Zombie, Dee Snider John 5, Kerry King, and even John Carpenter. How cool is that? John Carpenter digging Anthrax. Was watching all this side stage, curtain up and the band prepping before curtain goes down. And the boys in Anthrax really amping each other up, with fist bumps, some jumping jacks, and of course a few jovial laughs. ![]() This says lots too, in my opinion, even before they play a single note. They still dig each other, this tight knit band from New York City. They still have each other's backs. They still don't know the term "dial it in". They still lead by example- pistons at the drag race with a trail blaze of lit up fuel and scorch marks on the stage to prove they played there (name whichever venue). The only hiccup is Charlie Benante, poor guy, still I assume battling off and on his carpal tunnel syndrome, and harsh repetitive drumming like the kind he plays can take a toll on nerves and physical movement on hands and wrists. Hope things get better for him, through treatments and such. Derek Roddy fit in nicely behind the kit, smiling in assurance to the roadies stage left, giving thumbs up throughout the night. Outside of that- no complaints whatsoever. This is a show folks. Opening to heavy hitters - "Among the Living", into "Caught in a Mosh", into "Madhouse". It's like they reverse the script intentionally, playing the heavy hitters right off the bat, pushing way beyond eleven, seeing themselves urging each other on, how far can you go, all the while I've got your back sorta vibe. And things didn't let up- "Metal Thrashing Mad", "Keep It in the Family", all the way to the end with "Bring the Noise", a Public Enemy cover, and closing mightily to "Indians". So yes, 40 years in , and tonight is a night to celebrate, to celebrate the thrash kings of New York, in all their goofball glory, with showmanship front and center, all done with a nod and a wink. Damn if these guys just don't know how to let up, god bless 'em, whittling through anthem after anthem after anthem, showing yet again how they ascend to the peak of the thrash community, on their terms- no one else's. Yes- I have no problem stating one more time that these guys are the fun loving titans of metal, successful in their own own niche, that being the niche of metal thrashing magic, where from recording to live performance- all of it damn well matters. ![]() And the same goes for Zakk Wylde of Black Label Society, who knows a thing or two about performance, especially metal performance. He's a Mack Truck of force and might, intimidating as all get out- down to the quilt he wears, the boots he has on, and the wounds of whatever clearly visible on his lower left leg, maybe from barbells and weights that crash-landed from whatever- who knows. Clearly nothing stops this guy- just patch him up- ready to go. Zakk brings the heat throughout his set as well, with "Funeral Bell', into "The Beginning...At Last", into "Destroy and Conquer". Let's just say he destroyed- and conquered. Some 13 songs total, surrounded by a band that keeps up the might equal to Zakk, in John DeServio, Dario Lorina and Jeff Fabb. This band fits the bill nice and neatly, clearly making the room at Radius a sweaty mess even before Anthrax takes the stage. So refreshing to hear all the stomping numbers from Zakk and his band, the fans reciprocating in kind throughout their set. ![]() Same goes for the mighty Exodus, opening to the refrain from Queen in "We Will Rock You", and ending with the refrain from Queen with "We Are the Champions". Some 9 songs total, opening with the punishing "The Beatings Will Continue (Until Morale Improves)", and the heavy hitter "A Lesson in Violence", with the guttural yowl from Steve Souza on vocals- who like Joey Belladonna of Anthrax- hasn't skipped a beat. All lung power with Steve is in use- nothing wasted. Same goes for master punisher Gary Holt, holding his own stage left, brandishing fireworks at a moments notice guitar slinger wise, relishing in still performing to the present day, not looking back, looking forward. So there you have it- uppercuts, followed by sidewinders, and ending with haymakers. All equally punishing when struck in the right place, cranium rattling, but all well and good and satisfying from opening note to the last note. Daamn that was fun, a great way to start off a new year with music music music. Bobby Talamine - JBTV Music Television Chicago Anthrax, Zakk Wylde, Black Label Society, Exodus, JBTV Music Television, Bobby Talamine, Fiza Javid![]() 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. ![]() The in the know crowd get heir early, when the doors open, just to seek out the sweet spots on the main floor, in relation to the amps, to best experience the sonic amplification. And it's not necessarily at the front of the stage at the barricade that's the best spot. Their had to have been twenty or so individuals discussing this very thing, moving about without yet hearing the amps, but having a clear idea from previous shows of where to stand and settle real estate wise before they go on. Even that is fascinating to watch, that it's not all about fandom and up close, but more audio related, to get ready to succumb, and be transported like me. I say this, because I was told for their performance that the pit was off limits for photography- main floor and balcony are fine. What a relief for me anyway, simply because of all the fog, and getting the two in the frame is not ideal up close, to make for riveting photography. Yes, Sunn O))) is a challenge to capture live, but still, well worth the attempt and the utter joy when you capture the brief moments between Greg and Stephen, guitars raised, arms raised, through light and fog. And to be immersed on the main floor, watching both band and audience, Sunn O))) are like none other. Cannot think of any other band that can replicate this dynamic of sonic sound amplification, and done with such patience and thought of mind. So to make things concise- Greg and Stephen and Sunn O)))- they make you feel. They're a feeling band. The sounds, the glacial pace of the low end, the powerful might of the low end, amplified with might, goes way beyond any band trying to work the stage to get people moving all the way to the back of the house. To accomplish this time and time again, with heart and soul, with patience front and center, speaks volumes in my opinion, that you can make such memorable experiences with the exact opposite, to the point where an hour and a half or so set goes by like what seem like in twenty minutes. And you stand there after they have left the stage, house lights come on, smoke has cleared a bit, and you witness the amps yet again, speaking to you, that they successfully reached the divine yet again, and they have another tale to tell. Yes- that's the kind of show that Sunn O))) puts on, the kind that they relish so deeply, and me as well so deeply. Bobby Talamine - JBTV Music Television Chicago Sunn O))), Shoshin Tour, Greg Anderson, Stephen O'Malley, Bobby Talamine, JBTV Music Television, Live Music, Fiza Javid![]() 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. ![]() This show- this current tour, is moving on so many levels, emotionally, and spiritually. Can't really touch on that and move people unless you're all in, especially conveying such honesty. The way they approach their instruments, their live performance- another huge takeaway was towards the end of song two - "Thin Thing", and while over the repeated refrain of Thom versing out "Making mushrooms out of men- that's ok I guess - If you like this kind of, kind of thing, this kind of thin thin thin thing", over and over, and you see Jonny turn towards Thom, transfixed, like standing there stoically for minutes on end, body and feet towards the guitar pedals and audience, but head turned completely right onto Thom, not blinking, but watching him transfixed. That says lots to me as well, the interplay between the three of them, which lasted with moments like this throughout their entire set. Also, the persistent low key bass tones from Thom's basses, along with Jonny's intricate finger picking and ever so noticeable guitar tone- gives you chills when you see these two connect on this level, and flush out the instrumentation like it was all created on the spot. And of course, highlights throughout their set- with the first single released from the album - "You Will Never Work in Television Again", or "Bodies Laughing", and "Pana- Vision" were presented subdued and haunted, and better yet- "We Don't Know What Tomorrow Brings", which is just so fraught with energy and angst, the build up it brings. All through their set you find yourself immersed with the beauty of this album, and all that it questions, even through to the encore, with "Open the Floodgates" into "Read the Room", and ending with a Thom Yorke song " Feeling Pulled Apart by Horses". All of it - all eighteen songs in total presented- makes you wish that their was multiple dates in each city, and catch these guys in variations of. There's a pact alright, between artist and audience with these guys, and the unmistakable appeal in all things higher creative craft, and the enjoyment that brings time and time agin, whether it be full on band Radiohead, or each and any side project where the freedom reigns to create, and not be burdened by withholding anything back for future this and that. Creativity like Thom and Jonny and Tom of The Smile gels on many levels- because they embrace the present, and are all in for what transpires. Album from The Smile- again, one of my favorites for the year. The Smile live and in person- also one of my favorite shows of the year. Bobby Talamine - JBTV Music Television Chicago The Smile, Thom Yorke, Jonny Greenwood, Tom Skinner, JBTV Music Television, Bobby Talamine, Live Music, Fiza JavidLive Review of Sanctum Festival:Â Boy Harsher, w/ Riki, Pixel Grip, Sacred Skin and Club Music11/29/2022 ![]() 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. That they allow for a live drummer in Tyler Ommen just amps up everything in my opinion, and not held in restraint with drum machines. Again, another band with that kind of feel that unleash the hounds at a moments notice if they wanted to, and yet, seductive restraint is the order of the day. They put out on a wicked show folks, with Rita Lukea on vocals and samples front and center, and with a wicked fashion sense of sexy appeal, but albeit with a sinister undertone of "You better not F with Me". I could be wrong, but so what. Her presence is felt center stage, and you can't keep your eyes off her when she sings and performs. It says as much when you have Jonathon Freund on synths and beats buried towards the back of the stage, along with drummer Tyler Ommen- all the more room for Rita to command the stage, and lay out what's going to go down. Rita, and their set- it's about pure and unabashed energy, followed by righteous calls for togetherness and empowerment. Look no further than her call out to the unfortunate tragedy that unfolded in Colorado Springs, at the nightclub Club Q, and the shootings there within the LGBTQ community. With Rita stopping their set between songs, and lay out to the crowd that this whole mess is beyond a moment of silence, and all the bullshit that follows with a moment of silence- followed by powerlessness. ![]() Her views and take on things is just the opposite- you yell, you scream, you feel your rights of indignation and let it all out. I love this about her, a warrior with a huge heart, all of it which I've witnessed firsthand with her and the band quite a few times now as being so inspirational. To the point where at the close of their set, she has to mix it up on the main floor with the crowd, and get in some celebratory dancing. Rita and Pixel Grip- their set was so cathartic- and everyone was in on the dance. I mean EVERYONE. As for RIKI, and her undeniable reimagining of all things dark and moody synths- her set also works on many levels. The mix was perfect, between vocal and beats, not one or the other buried or below to navigate through an entire set. Not as easy as it sounds if not given the proper time to measure accordingly during soundcheck- which sometimes can make for an unfortunate mishap and can easily derail things. All the more beneficial when it works proper, allowing the performance element to take root, and you can unleash your cast of characters. RIKI has a way of succeeding with this in spades, down to the sexy cow boots and short leather jacket and short pant body suit. She's another performer who knows how to command and hold court to the delight of the crowd. As for Sacred Skin, which is Brian DaMert on guitar and lead vocals, along with co founder Brian Tarney on guitars and synths- their set was spotless in all things anthemic eighties synth pop, held all the more darker with an added synths and bass player and drummer. It's a full on band, and tight as all get out, which was ever so evident in their use of make or break in a 45 minute ish set. They swung for the fences folks, and in my opinion, broke through with a powerful set of songs that command your attention. Brian's lead vocals- the dark undertones of it all- I hear lots of Wayne Hussey from the Mission UK, with a deep baritone that can rave up to a falsetto in a moments notice. The band- their songs- way beyond the likeliness of eighties synthpop and whoever else comes to mind. With that kind of drums, and that kind of fire power in songwriting chops, have to say they can punch through labels and make things their own- they're that solid in musicianship and songwriting. Opener Club Music had a cool set as well, similar to RIKI, albeit with a bit more restraint. But still, within gate confines of a forty minute set, she held her own in tribal beats and restrained synths and vocals. Have to say the entire schedule of Sanctum Day Two has a solid lineup of performers, with an enthusiastic crowd over the Thanksgiving day weekend. As for the DJ's between sets, and the DJ's below in the Punch House of Thalia Hall- the whole idea of disappearing and catching a breath while still listening to sophisticated playlists throughout was a delight as well. Bobby Talamine - JBTV Music Television Chicago Boy Harsher, Pixel Grip, RIKI, Sacred Skin, JBTV Music Television, Bobby Talamine, Fiza Javid, Chicago, Live Music![]() 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. ![]() Have been doing this for years on end. And to the unkown, and they have no clue- I relish in filling you in on the details. Can say this about quite a few bands- Wovenhand, Actors, Weyes Blood, Idles, and so on. But the smile on my face when bringing up Drab Majesty... it's like a forgone conclusion that I'll command your attention. Back to their performance- and having the pit to myself for most of their set- have to say once again just how magical it was. All their songs hold such a magical power, shifting seamlessly throughout, with "Ellipsis", and the iconic "Cold Souls", then "Kissing the Ground", and of course ending once again with "Not Just a Name". The unfortunate thing- it was over before you know it. Just such a potent and vibrant band, even for a two piece. Hopefully we'll see them soon once again, in a headlining role, even if it's a smaller venue. Anything beyond a 45 minute set is fine by me, no matter where they decide to play. Bobby Talamine - JBTV Music Television Chicago Drab Majesty, Deb Demure, Mona D, JBTV Music Television, Bobby Talamine, Fiza Javid, Live Music![]() Schubas Tavern Chicago - Wednesday, November 2, 2022 Starcrawler. Fronted by the ever charismatic Arrow de Wilde, lead guitarist Henri Cash, bassist Tim Franco, drummer Seth Carolina, and pedal steel / guitar from Bill Cash. And there you have it- 5 musicians who know how to utilize every inch of a stage, know how to incite a crowd, know how to go full on / rock show style, no matter the size of the venue, no matter the size of the audience. All of their songs, new and old, know how to define an urgency with delivery, along with angst and downright fun provocation. And even on a Wednesday work day night in Chicago, the crowd that sold out Schubas Tavern was upping the ante as well, even with a little mini mosh pit opening up some three songs in, during "I Shot the Sheriff" into "I Love LA". So yeah, the show was boisterous and full of lots of energy. And everything was bathed and washed in the color pink. I mean everything. From the roadie cases, the microphone stands, the backdrop, the guitar pedal boards, the amps- everything was in pink. The lighting for the show- also in lots of pink, and some magentas as well. As a photographer, I'm usually not a fan of the color pink, because it washes out skin tone, bleaches through set design and clothing and skin, making life miserable when editing photos for a deadline. But hey, this is a full on pop punk with an attitude rock show folks. Have to suck it up and convey editorially what the fuck is going on, what the fuck I just witnessed. If the band wishes to be bathed in pink, I will oblige accordingly. Have to say for the most part, I'm happy with the outcome with the color pink setting the overall mood of all things Starcrawler, and their new album "She Said". This is Starcrawler's third release, and by far they've learned a thing or two along the way production wise / songwriting wise, what with their songs at their most punchiest and gnarliest, and all things nostalgic like you're in a Quentin Tarantino movie conveying all things seventies. All ten track from "She Said" were in the setlist, with highlights from the album throughout their set, with the brash and full on fun of "Roadkill", along with another standout in "Stranded", with some awesome guitar riffs courtesy of Henri Cash, and of course one of my favorites from the album "Thursday", which is harder, with a faster tempo and all things in your face, which performed at an intimate venue such as Schubas- Arrow was in your face. Henri Cash was in your face. ![]() So from album listens to live performance- all the songs from "She Said"- you can sense that they were geared for this- better live than on vinyl / CD or download, that's for sure. Fine by me, since in essence, Starcrawler are a band meant to be on the road, a traveling circus of wicked wonderment, a band that's a band that even at a young age, has seventies rock in their genes, willing to threaten, willing their will upon you. Yep. Rock is certainly not dead, and is downright visible and fun with bands such as Starcrawler, fronted by a gal who commands and demands, and yells out in all honesty if the vibe ain't right in matching her vibe. She can survey a crowd and take notes quickly in how to up the ante no matter the occasion. As for Henri and the gang backing her up- you can tell that they're all in too, rolling and rollicking along as a tight knit unit and making their songs timeless as all get out, to the point when you can look back and say you remember when you saw Starcrawler perform to a 200 person crowd at such and such venue. Starcrawler- this band- they are that damn good. Bobby Talamine - JBTV Music Television Chicago Starcrawler, JBTV, Bobby Talamine, Schubas, 2022, Live Music![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid House of Vans Chicago - Saturday - October 29, 2022 House of Vans presents another historic Wolfbat- it's third, featuring the mighty Red Fang, along with Windhand, and openers Pelican. Quite the triple bill folks, all three bands heavy hitters, with lots of stoner rock, sludge rock, and instrumental rock with a serious kick in the ass. You gotta give thinks to the fine folks at House of Vans, who year in / year out know how to set the bill for Halloween Weekend, summoning up the right feel with bands that can give you chills, especially for such an intimate and cool space which House of Vans is, in the West Loop of Chicago. Not to go unnoticed is the bells and whistles for all things Hallowolfbat- and that would be artist Dennis McNett, of Wolfbat Studios, who once a year brings to town his meticulous graphic creations, both in print and also movable installation form, that being giant creatures that roam the main floor of any given bands performance, sometimes just for visual appreciation and display, sometimes acting out macabre hand to hand combat with their movable arms and heads. Even that brief paragraph doesn't sum up the overall feel and aesthetic- the size of some of these creatures on their movable carts are in the neighborhood of 9 to 10 feet. And as far as my picture taking in relation to size and scale, even that does not do them justice. This is well thought out in advance- having now been to all three Hallowolfbats at House of Vans, and have witnessed firsthand that all three have had different and unique creatures, let alone the paintwork and artwork which is also on display. The overall feel and design, in conjunction with the music is all drawn into fantasy and folklore, immersing yourself in this design like you're in a true event, beyond, the scope of hard concrete warehouse and stage. House of Vans, their appeal beyond the given uniqueness of their shoe designs, along with Dennis McNett have created an event that goes well beyond an actual intimate performance- all well and good with their other events throughout the year- but Hallowolfbat...man oh man- it is the Halloween event of the year. Inventive and artistically appealing as all get out. I hope to some extent my pictures convey this overall mood, even for a guy like me that knows a thing or two writing about bands and music. Again, hard to describe Dennis McNett's creations firsthand, unless you were actually there soaking it all in, and conveying that to like minded and present individuals such as yourself. ![]() As far as the actual bill, with headliners Red Fang- to see them perform in an intimate venue such as House of Vans, with clean lighting, and a PA that bludgeons to your sternum- Their setlist was mighty. Opening with "Blood Like Cream", and then into "Malverde"- this is a one / two punch of punishing and persuasive ripping, all the while looking like normal folk you walk by on the street, but they have a dark side you don't know about. Have been following this band for years, dating back to 2009 or thereabouts, with their first release "Red Fang" on Sargent House". With all subsequent releases, the latest being "Arrows" in 2021, they have delivered the rage and might, ever tightening their noose on catchy hooks and simmering to a rage vocals. After the first three songs in the pit, had a chance to roam around the main floor of House of Vans and take it all in- most of the audience in my purview were standing stunned, and the sheer might from these guys, with punch and after counter punch in song selection, with of course "Arrows", and also "Into the Eye", with a further bludgeoning into "Antidote" and "Unreal Estate". It just continued to roll downhill from there, ending with the volley of "Wings of Fang" and into "Number Thirteen". Put it this way- the men of Red Fang have bite. Chomping at the bit bite. Or put another way, these guys know intrinsically how to worship the almighty riff, and summon the demons down below. With lots of distortion for good measure, ever taking chances of seeing how their Orange amps will hold up in the deluge that follows. Now you have a better idea of why everyone was stunned on the main floor witnessing them firsthand. And the same goes for the band Windhand, just on a lesser scale real estate wise on the stage, bit still enough room to roam for singer Dorthia Cottrell, who plays the part in all things Hallowolfbat and Halloween, what with a white lab coat smeared in blood, and a guttural yowl that gives you chills, backed up with a band that knows a thing or two as well in all things "Down Tuned" and Sludge with a littler more Sludge added for good measure. For what it's worth, they did a decent job of commanding the stage with their brief set, all the while taking in the giant creatures roaming the main floor getting into battles while circumventing the crowd immersed in Windhand's music. As for openers Pelican- have been looking forward to their set as well, this instrumental / metal quartet knowing a thing or two as well with unleashing the hounds at a moments notice, tight as all get out, playing to their strengths without the assistance of any vocal whatsoever. They can pack a punch, what with the two guitar onslaught from Trevor de Brauw and Laurent Schroeder. With heavy hitting drumming from Larry Herweg and all things bass from Bryan Herweg, the density, the might in their chord selections just conveys time and time again that you stand and you listen. It's clear that they're way beyond any kind of classification or labeled this and that- although if you were to ask them, they would be cool with it to some extent just on the chance of discovery and searching them out and giving them a listen. It's an overall haunted and compelling sound that they time and time again conjure, equally fitting in this third creation of Hallowolfbat, a triple bill that conveys aspects of Halloween, but with a more adult themed feel. A Halloween for the mature audiences, the ones that give a damn about cool music, along with all the costumery. Such a wicked display of artistry, both from the bands and also Wolfbat creations from Dennis McNett. Bobby Talamine - JBTV Music Television Chicago JBTV, Bobby Talamine, Red Fang, Hallowolfbat, Pelican, Windhand, Dennis McNett![]() 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. ![]() Some eighteen songs in total, with not much time to catch your breath between songs. For as young as they are, they're certainly polished and tight as all get out, ever so electric in everything they do, and especially in their songwriting- penning such catchy and full of might songs which are inviting and meant to provoke action and movement. TURNSTILE are tried and true and honest to the gills embracing everything underground hardcore. Although clearly by now, the cats are out of the bag, what with every stop through town, their audience, their performance spaces are getting bigger and bigger and bigger. Even at the somewhat imposing Aragon Ballroom, they have a way of shrinking the space to make things feel like you're still witnessing them play at Subterranean, or at the Beat Kitchen. Tried and true heavy hitters, Turnstile are, making sure the folks in the back are good and sweaty, equal to the masses all the way in the front. So yes, we have body surfers galore, big and bigger mosh pits depending on the song, mass singalongs which seemed like every song the entire night, and hot and sweaty energy permeating throughout the main floor driving the show all the way to the end. No need for fancy lighting, no need for stage banter, or circus tricks to amp up this crowd. Minimal staging is all that's needed tonight, even on a Sunday, what with lead singer Brendan Yates vaulting about throughout, with the occasional high kicks, all to the beat of each and every song. A crushing and sweaty time was had, even with this old timer photographer. Clearly Turnstile put on one of the best shows of the year. As for Barrington DeVaughn Hendricks- better known as JPEGMafia- a one man wrecking crew, even though his set was rather short. This guy, even with his sophisticated beats and all things industrial and experimental hip hop, also knows by now a thing or two in commanding an audience, equal to headliners Turnstile, with minimal fanfare and flash and pizzaz. All of that not needed folks- including no need for a DJ to proceed to the next song with the occasional and obnoxious boat horn. ![]() JPEG knows how to incorporate a wide variety of genres into his mix, and also doing it with samples and beats from his laptop which don't sound dated, or are in any way weak to the punch of his rap vocals. A mesmerizing set from JPEG, clearly A Plus in amping up all things Turnstile to follow. And as for openers Snail Mail, which is in essence Lindsey Jordan and her hand picked band- I felt bad for her. She didn't have much of a soundcheck before the doors opened. which became obvious before she played a single note, what with her guitar chord patched in not correctly, or it must have failed. Even with several attempts to switch opposite plugs, and try new patch chords, the scratchy pitch emanating from her guitar was troublesome throughout, to the point where she did her best to improvise, and sing her songs without guitar at all. You could tell that this frustrated her to some extent, but the main floor crowd was supportive, along with her band. So unfortunate for Lindsey, me being a fan of her releases, both "Lush" and also her latest from last year- "Valentine". Still, for all the hiccups, a rather chill and nice set to start the evening off. Bobby Talamine - JBTV Music Television Chicago JBTV, Turnstile, JPEGMafia, Snail Mail, Aragon Ballroom, Concert, Live Music![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Byline Bank Aragon Ballroom Chicago - Sat 10/8/22 The Mars Volta, currently traversing the states with their "The Mars Volta Tour 2022", which began in mid / late September. With a stop on Saturday at the Byline Bank Aragon Ballroom in Chicago. And the place was rowdy. Maybe because it's a Saturday night. Maybe because it's the month of October. Maybe because people are frothing at the bit for The Mars Volta performing live in Chicago, which the last time through town, seems like ages ago. Maybe it was a combination thereof. I bring all of this up because of the band photo policies- which for one included they do not want any photographers in the actual photo pit in front of the stage any time. Not that they would notice, what with the Aragon stage being so high- around 7 to 8 feet. It's their policies - their rules. But that crowd on Saturday night- rowdy and unruly, even by the main floor bar stage left / audience right where I was perched. Thought this would be a safe place to cover the three songs allotted. Nope. Have to say for a seasoned photographer like myself, I can hold my ground, and accept whatever circumstances get thrown my way. Put it this way- no place was safe on the main floor of the Aragon for Cedric and Omar of the Mars Volta. Loved the feel of the energy of the place, and the sudden heat coming off the main floor when they came out, building up steam with the opener "Vicarious Atonement" from "Amputechture"- a heavy and slow build of a song, then into the barnburner "Roulette Dares (The Haunt Of)", from the most represented album of the evening- "De- Loused in the Comatorium", from 2003 - some seven songs total throughout their set. Obviously this album has made am impression on them, clearly noting that it's a fan favorite, and as such, must be played. Sharp guys, Omar and Cedric. ![]() Stylish, the both of them, Cedric in nice black suit and blazer, Omar looking cool as always, with his fedora stylishly placed on the side of his head, and cradling his guitar passionately when immersed in whichever song, even when not playing a note. These guys are passionate as all get out, embracing their songwriting with such honesty, as if they created all their songs yesterday. The whole evening, band members included, carried this vibe. Only two songs made the cut from their latest release from this year "The Mars Volta"- "Graveyard Love", and "Blacklight Shine". Both songs are cool, and matter of fact, after repeated listens, I find the album with a chill and subdued vibe that grows on you. But volatility- that clearly belongs to anything and everything from "De- Loused at the Comatorium". Witnessing the main floor at the Aragon- it was banshee / gremlin heavy duty nutty. And the smiles coming from Cedric in response- he has to stop briefly and take it all in- Chicago on Saturday night with an oh so revered band- Makes things unforgettable. That's the vibe I get from Cedric mid show to close. Yes- the musicianship was jaw dropping, meticulous to a "T", followed by full throated Cedric, in fine form, in wailing form, brandishing about, swinging his microphone, or testing the limits of his microphone stand with stress and pull. The band- consisting of heavy hitters Marcel Rodriguez- Lopez on percussion / synths and keyboards, Linda- Philomene Tsoungui on drums, Leo Genovese on keyboards/ synths and saxophone, and Josh Moreau of Hoobastank filling in rather nicely on bass for Eva Gardner. This band is tight folks, and it's my impression that Omar in particular has a vision- and it's rehearsals on top of rehearsals, followed by solid musicianship, which anything Mars Volta related is needed without coming off second rate. Complex noise delivers on all counts. Everything about their show at the Aragon was just so locked in, beyond what I photographed from the first three songs. Had to roam around the venue a bit just to take it all in, the crowd, the spectacle, the overall appearance of the stage and stagecraft and lighting. Such a memorable evening with these guys from beginning to end. And it seemed it was over in a flash- trailblazing through the last 4 songs of the evening from all things "De- Loused'- from "Cicatriz ESP", to "Televators", into "Son et lumiere", and lastly with "Intertiatic ESP". As great a capstone as those four songs- you just didn't want to leave. You just didn't want this show to end. Roaring and fire burning live shows like this are rare indeed. You have to have a band that's up for the challenge. They have to be forward thinkers. Clearly The Mars Volta has all this in spades. As for opener Teri Gender Bender- she clearly has her heart and passion in the right place as well. Set to a minimal stage real estate wise, she makes do with she's got with contortionist poses, along with a fierce delivery vocal wise, no different with her other occupation in fronting all things Le Buthcherettes. Although her set was rather brief, she more than made up for the short time slot by singing and performing like her life depended on it. A great and memorable evening, without a doubt. Bobby Talamine - JBTV Music Television Chicago ![]() 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. ![]() So in that aspect, welcome to the world of Amyl and the sniffers. Outside of the banner, all things are still quite minimal, like a true hardcore slash punk rock show- no different when the likes of Jesus Lizard commanded this stage at The Vic years ago, or The Cramps, or any other cool and unhinged kinda hardcore rock act. Minimal stage equals eyes focused on musicians and lead singers. Especially lead singers that know how to command an audience, such as a David Yow, or a Lux Interior, or an Amy Taylor. So how do you best describe a band such as Amyl and the Sniffers? Well first off, I believe they don't care what you think. Witness them firsthand before making your decision, or coming to conclusions. And don't mistake a YouTube anything live with them, it's clearly not the same as actually being there. They'll most likely say something to that effect. They don't have the time for bullshit. And I'm sure they find coming to a some sort of conclusion with all of this laughable. Hell, I find it laughable even bringing it up, let alone taking the time to uncover some nuggets from this and that writer, especially in their earlier years, when they were performing in lots of friends living rooms, in and around Melbourne. Suffice it say that most have come to the conclusion of, and variations on a theme of pub rock mixed with punk rock, or some version of hardcore '70's rock thrown in, and all round lawlessness, or lawless attitude. All of these assumptions are kinda right, and also not telling the whole story. It's obvious as a whole that they fight for what they get. They work hard at seeing this maintain, and come to fruition, even if by all accounts it could have all started as a joke in a middle of a weekend bender, and who's left standing, knowing any instruments be damned. The definition of being born care free, mistakes added for good measure, cover songs to start of bands we dig, original music to follow, once we find that we tolerate each other. That formula works, again and again again. ![]() So looking at where we're at with the band as a whole, you have a front woman who kicks ass, can yell in a timely and righteous manner, has the looks and the demeanor of a gymnast or wicked cheerleader, wearing skin tight this and that that is somewhat provocative, but if you get close, she'll kick you in the nuts, bit still she wear outfits that allow her to bodysurf and shake things up audience wise, and come out of it time and time again unscathed. Plus if things do get a bit out of hand, she has loyal bodyguards on stage watching what's going down- that being lead guitarist Dec Martens, and bassist Gus Romer. Have seen Dec firsthand scare the shit out of some wayward num nuts who thought otherwise with Amy surfing by. On top of that, they're developing quickly in stage presence, in tightness as a band, in ferociousness as a whole, with confidence front and center. Doesn't matter the song- from opener "Control", through the middle with "Gacked on Anger" into "Westgate", Into "Shake Ya", into "Maggot", all the way through to the end, with no encore- "Some Mutts (Can't Be Muzzled)". All of it- some 19 songs in total, mean business, and a fight. They're playing for keeps folks. I don't need to get into specifics with Amy- more writers than me have been there- done that. This is a band man. A four piece all equal, and up for the challenge. Kinda like fellow Aussies from back in the day- that being AC/DC. Yes, you've had wicked lead singers, and a wicked lead guitarist. But the hidden gem was always Malcom on rhythm guitar, and Cliff Williams on propulsive bass. Same goes with Amyl and the Sniffers, with flame throwing chunks of sound from Dec Martens, and a heavy duty rhythm section in Gus on bass, and Bryce Wilson on drums. The three of them- propulsive as all get out. Can't explain it more than that- outside of I need to see this band each and every time they pass through town. That- and they're sure damn fun, bringing out the 23 year old in me who doesn't give a damn, at least for a couple hours. ![]() 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. ![]() Their sound, their overall presentation, was full force, taking advantage of their brief 25 minute set, and playing to a decent sized crowd on the main floor, which looked like a lot of the Cold Waves faithful had gotten their early to catch the entire show. As far as The Foreign Resort- have always been a fan of them, dating back to around 2010 or '11- introduced to their coolness courtesy of Scary Lady Sarah, when she played a few of their songs at either one of her Nocturna events at Metro, or something similar. And like openers HAPAX, they had a brief 30 minute set, but it was incendiary, and tight, steeped in heavy melody with over the top guitar interludes. This band, when provoked, can unleash the hounds with might and vigor. Next up- another highlight for me- Light Asylum. This girl also commands your attention. Shannon Funchess, who is everything Light Asylum - Founder, producer, amazing vocalist, and overall multi- instrumentalist- she comes out with your basic sampler, and that's it. Not as easy as it sounds, especially when performing live, and your mix can get somewhat thwarted compared to overall vocal. And especially for a crowd such as Cold Waves- who can be somewhat forgiving, especially because of the circumstances- "Festival" and all- But Shannon, her songs, and the slow and heavy build up....she commands. She commands through dance. She commands through pulsating beats. She commands in choice of wicked hair coloring and camouflage pants, let alone searing vocal. Such a riveting performance from Shannon. And now look out for Portion Control. The talk from doors opening at the Riviera, up until their performance- outside of co- headliners Front 242 and Nitzer Ebb, the Cold Waves faithful were geeked up for their set as well. With Dean Piavani and John Whybrew, they have a dark wickedness about them that pervades to this very day- imagining a darker version of all things Underworld, and you sort of get the gist. Although that in truth is not a fair comparison as well- Dean Piavani has a more commanding stage presence, immersed in confrontational moves and contortions, enticing whichever crowd to get up and dance on your feet, and embrace all things "Underground". What a monumental set from these guys- the samples, the segway between songs just one big reveal after another, with the pulsating beats from the PA hitting you in the sternum all the way to the back of the venue. ![]() As for Nitzer Ebb and Front 242- a one/ two punch of might and power and movement. Bon Harris and Douglas McCarthy were splendid throughout, opening with "Blood Money" from their album "Belief' - a slow and steady buildup about shedding things- both personal and material. Their whole set was like this- a slow buildup to inevitable pandemonium, so well thought out on what deliver, and when. Me- I've always been a fan of "Getting Closer" and also "Lightning Man"- which the latter, sung so diabolical from Douglas, just gives you shivers. And Douglas is fired up, believe me, in well fashioned black suit, looking like a guy with knives, knives, guns, guns, ready to do business his way. Bon Harris, god bless him, has his moments in the sun as well, for the song captivate, and commanding the stage front and center with Douglas. Of course we get the heavy hitter staples, "Join In The Chant" into "Control, I'm Here", into "Let Your Body Learn", and then closing out with the diabolical "Murderous". What a set folks- memorable in oh so many ways. Same goes for Front 242. These guys..... Still punishing, and still so inviting. And Jean- Luc De Meyer- looking healthy, in full caustic vocal, slender, and meaning business. Same with Richard 23- the both of them- the yin and yang of wicked onslaught, brought to you by yours truly all things Patrick Codenys at the controls and samples. The three of them, to the very present day, can command with visuals and a PA that swirls around you and sucks you in, front of the house- back of the house. Mezzanine- balcony. Doesn't matter. Their songs still matter. Their songs still count. They sing and play with such urgency throughout. Maybe because it's their supposed last hurrah- who the fuck knows. But you can tell by the smiles- they're having a damn good time playing for each other, let alone their fauithful audience. Their production is meticulous- well suited for the confines of the Riviera Theatre- their video projections not too intrusive, but done sophisticated enough to command your attention equal to the principal players performing. And the main floor crowd- the world for all intent and purposes could've ended after the show, and most of us would've been in agreement that we're going out with a bang, and with the right band involved. The nuggets.. Opening with "Moldavia"- heavy strobe flashlights involved for full effect, into "Take One", into "Don't Crash"...heavy breathing on my part at this point- the heavy buildup of song armory just continues, with "Soul Manager" and Command Mix", and we're not even to the heavy hitters yet- that being of course "Tragedy>For You<", "Headhunter", let alone "Body to Body". I mean sheesh. Their entire set is not sheepish one bit. Adore these guys? Of course. You should too. As for Cold Waves X- to Jason Novak, Kelly Britton Novak, Ethan Novak, to Pat MamaKidd Duffy, to Brian Dickie, to Dann Szymczak, to Jean Shock...thank you so much for making this happen at The Riviera. Love you all so much. Bobby Talamine - JBTV Music Television Chicago ![]() 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. ![]() The Aragon is so hot by this point in the show, that Joel can't keep the mouse ears on for long, clearly seeing after he takes it off the amount of sweat he's encountering, his hair soaked. As far as details, this version of the cube is dialed down a bit, still having the look and feel of a stealth fighter from front and center, but yet not as gargantuan as previous versions. But to the scale of the vertical LED screens directly behind, with giant and movable floor lighting by the lip of the stage to enhance the overall participatory feel. Have to say that Joel's entire set was captivating- not just by intensely watching him, but the crowd as well, especially since his show is at the Aragon on a Friday night. So yes- The Aragon went bonkers throughout the night, dancing in place on the main floor, Joel all smiles throughout, making for a refreshing evening in Chicago in all things dance- a pulsing dance to the beat kind of evening. For those not necessarily in the know- everything about a Deadmau5 production is future forward. Hard for me to try to explain to people and friends kinda in the know, but not in the know. Its masterful, his productions, with a fresh sound and a fresh vision to make his tour stops an immersive experience, where you leave said venue dumbfounded and weak in the knees. Bottom line when discussing this around the water cooler, all things Deadmau5- and you still can't get what I'm trying to convey in excitement- well- your loss. For those in the know- they certainly know. Deadmau5. Always a must see. Bobby Talamine - JBTV Music Television Chicago ![]() 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. ![]() Lunachicks busted out with incredible energy to date. With their songs "Badass Chicks" and "Less Teeth More Tits" along with their neon hair, in your face persona and hard, fast riffs, they are rock madness. They opened with the "Gonna Fly Now" theme from Rocky, and it almost felt like they could be the yang to the ying of the energy brought by Night Spice, but all feminine energy. Its always good to have loud riffs and angry, nearly satirical grooves in the punk world, and the Lunachicks are on the top of that list. Zola Jesus shifted the energy from punk to theatrical. This front woman Nika Danilova is a pure actress, and almost like a super hero film character with her persona, but the industrial, almost sludgy sound she echoed was deep and dark. She is carving out a new era for the goth world, and may have displayed the most underrated vocals of the entire three days. They are pure talent. "ITS FREAKING COOLIO!!" I overheard as I entered the crowd for Coolio, just as he was about to begin. Who doesn't want to listen to "Gangsta's Paradise," as the presence of this man is as iconic as it was in the 90s. I'll be honest, I wondered if for nostalgia's sake that he would sing the Kenan & Kel theme song, but that would be unnecessary, unless you were a huge fan like I was. Still, he was out of this world with "Fantastic Voyage," "C U When I Get There," and "1, 2, 3, 4 (Sumpin' New). Let's be real, no one EXPECTS a Coolio experience at a predominantly punk themed festival, but Gen Z is all about nostalgia waves. They needed a dose of Coolio in their lives, and it was solid. ![]() The biggest yet simultaneously underrated band of the Seattle music scene will hands down be Sleater-Kinney, who I was damn near going to get a heart attack for. Their song "Real Man" was recently featured in Hulu's "Pam & Tommy" which not many know was actually released in the early 90s. A 90s Carrie Brownstein and Corin Tucker are the dynamic duo made in heaven. Their musicality in "Jumpers" should be right up there with the Beatles, considering their vocal range, lyrical poetry and stage presence. I feel transported right into Olympia (no she is not from Portland) when they play and they truly show how the best of the best comes from the pacific northwest. Carrie and Corin jumped around, blasted riffs like no one was watching. The only thing it missed was an appearance from Fred Armison, which many believed would happen, but did not. This is fine, because we got to hear "Entertain" and "Modern Girl." If you haven't had a chance to fan girl over them like I have, it's never too late. ![]() Karen O of the Yeah Yeah Yeahs. Watching them is like MDMA in musical form. Who can make a group of headbangers feel like they are zoned out in a club in two seconds but them? Sure we were all looking forward to singing along to "Maps" but Karen proves again and again the essence of being a true artist isn't just about playing through the songs and praying people keep showing up. She also showed how any genre can be rock and roll is you give your audience enough venting energy. We screamed as she spit out water into the crowd, put the mic in her mouth, attempted to destroy it, and still managed to sing like a total goddess. When the melody to "Heads Will Roll" kicked in, the audience looked truly lost in another planet. People were dancing, jumping and screaming along to their hearts desire. "Spitting off the Edge of the World," "Wolf," and "Soft Shock" were also roaring in person. Its truly magic when an artist creates a particularly unique experience live as compared to their recording, and I pray they come back to Chicago to give us more. ![]() Trent Reznor does not age. Nine Inch Nails never disappoints and their cult following will reign on for decades more. They put on a spectacular light show, and the edge had everyone in awe. They opened with "Somewhat Damaged" and "Wish" and we knew we were locked in. Only at a NIN show can you surround yourself with a crowd of people shouting "I Wanna F*ck you Like an Animal" and not be scared. We were left speechless. Their set list included "God Break Down the Door," "Sanctified," "The Perfect Drug," "Head like a Hole," and many more hits. For anyone dreaming of this moment like I was, this was a dream. Watching Reznor throw his guitar, and the way they allow their music to speak for itself, was everything. They are on fire vocally, their drumming, and the overall experience of them was the perfect chapter end to Riot Fest 2022, as very few bands herald this kind of power, and they will continue to be part of the soundtrack of our lives. Until next year Riot Fest, thank you for giving us and the rock world another unforgettable festival experience for the memory banks. Fiza Javid - JBTV Music Television ![]() Photography by Bobby Talamine Writing and Editing by Fiza Javid Saturday, September 17, 2022 - Douglass Park Welcome back to day two of Riot Fest, where the drinks were flowing, the music was roaring and everyone got an incredible mix of music to truly bask in. I must say, they changed the set up a bit that deserves praise. It used to be that four stages were in four different corners, but Riot Fest decided to change it up a bit. Now the Roots and the Radicals stage are directly next to each other, with the scheduled lined up to make each act go one after another. What a real treat for the fans who don't want to compromise their schedules. The theatrical feeling of watching one band end and another one ready to go at the drop of a hat. I truly believe other festivals need to take notes here, and now those camping out won't go in vain. That being said, there was more room to enjoy some mind blowing music. First up there was Mannequin Pussy, and their presence is never like a mannequin. They set off the day where the riot aspect of the festival becomes a vibe. They played "Control," "Piss Drinker," and "Meatslave" and that gritty aspect is what truly makes rock n roll come to life, no matter the genre. Mannequin Pussy's Marisa Dabice has such a natural energy for indie punk rock, and her showmanship sets her above the rest. It is always incredible to be able to rock out to one incredible woman, not that gender is what stands out, it's their true musical talent, but as a woman it is so cathartic to go from one to another. To be able to go from Mannequin Pussy to Bully? What a treat. Listening to the audience before Bully began, it was clear there was also a real appreciation for seeing women rock out. Let's be real, the genre was genuinely dominated by men for far too long, and while women were on the scene, the image and expectation was still there. The need to exert overt feminine qualities and sexuality. However, women have finally had the ability to showcase their music and talent beyond the expectations of behavior. Bully is the essence of that. Some fans have dubbed her the "female Kurt Cobain" but that would take away the fact that she is on a league of her own, beyond the labels of masculine and feminine. Her raw vocals during "Trying" and Trash" were out of this world, and the crowd truly goes bonkers for her. Joy Formidable. Freaking joy to watch Joy Formidable. With songs like "CSTS" and "Gotta Feed My Dog." They truly bring the rock with an original Welsh attitude that never disappoints. The crowd adored Matt Thomas with his gong, and the music was effortless. It was great to look around and appreciate not just the artists but the effort that fans make to dress up and show out. I imagine the day jobs these individuals must go to, but they always manage to put wear their rock music love on their sleeves. It was great to capture them along with the appreciation of the music. ![]() SURFBORT. Holy shit. I read somewhere online that Blondie named this band as a favorite, and that is certainly thanks to the front-woman, Dani Miller, who was hands down the most badass front-woman I've seen in years. During "Dicks in Space" and "Pretty Little Fucker" she truly engaged with the audience like no other. Hear fearlessness as a performer and the fact that she isn't afraid to really get in the face and feel the energy of her fans, is all we can ever ask from an artist. The real connection created with the music, and hers is completely electric, and all punk rock. She is truly carving out punk rock for Brooklyn, and she let Chicago know like no other. I mean, how often can you tell what I mean from pictures alone? Send her to the moon, because she deserves to be seen and heard more. ![]() I felt like a proud mom watching Yungblud, because the way in which he matches to give all his energy, and not afraid to be electrically feminine, is truly out of this world. We last caught him at JBTV in his Lolla debut, and that was long before he was shot to stardom. He did it truly with his energy alone, and the only other artist I could compare his particulat animated stage prescence to is Gerard Way. But Yungblud does it for Gen Z, and he does it for the messages in his song and his truly devotion to artistry. His songs are timeless. From the debut of his new song "Mad" to his MGK cover of "I Think I'm OKAY", along with "loner," 'fleabag," "parents," and "The Funeral," it's hard to tell if it is his fanbase or him that is beat on ecstatic energy. The way he emotes through his songs, there is no way in hell Dom is ever faking it. I mean he truly puts the "Dom" in his performance, that is for sure. I could talk about him for hours. The fans definitely love his sex appeal, along with his ability to stand alongside all the female rockers in the line up and come across like he is definitely learning from them too. He praises the balance between feminine and masculine energy in his music, and he is truly doing it for the fans. He just keeps on giving and we'll always be there for it. Last but NEVER the least, Bad Religion and Gogol Bordello. Bad Religion and the true essence of punk rock, considering their natural ability to cover a wide range of social topics but really show how badass they are at doing it. They are venting in musical form. They played "Fuck You," "Suffer," "We're Only Going to Die," "American Jesus" and just a powerful set list that I honestly would have paid top dollar for. Finally, Gogol Bordello. It always feels like that lower deck scene in Titanic, but their Romani grit is the essence of it all. We will always show up for "Start Wearing Purple," "Immigrant Punk," "Wanderlust King" and honestly all their songs. Their music has a way of just making you want to grab a bottle of whisky and become best friends with the person next to you. Needless to say, with all the incredible punk acts, we all went home immensely happy. Until tomorrow, rock on! Fiza Javid - JBTV Music Television ![]() Photography by Bobby Talamine Writing and Editing by Fiza Javid Friday, September 16, 2022 - Douglass Park When fall begins to kick in, Chicago knows its rock n roll season. The sun was shining and the MCR fans lines the outer entrances of the festival. That feeling alone couldn't have been more exciting. Anticipating their return while catching one of the best lineups to date. First up we had Pale Waves, who began with "Lies", and their charisma and fan base never disappoints. "Television Romance" truly got the crowd going. Their natural goth vibes along with their immersive sound was a a delight, but hands down they deserve a headlining show. Holy Fawn rocked to "Death Stone" and "Death is a Relief" and also put on a killer show. There was genuine anticipation for LS Dunes. The post-hardcore supergroup consisting of members from My Chemical Romance, Coheed and Cambria, Thursday and Circa Survive. With their debut album called "Past Lives" being announced today, Chicago truly got a one in a million opportunity. This season has definitely been a season of debut supergroups, with the band 3rd Secret featuring members from Nirvana, Soundgarden and Pearl Jam coming into the rock scene completely independent, and to imagine a new era of LS Dunes and 3rd Secret is just the moment the industry has been waiting for, and LS Dunes had everyone enamored. Their songs "Bombsquad" "Like Forever" and "2022" were powerful. Their particular electric sound, pounding drums and groovy bass lines are a force to be reckoned with. Anthony Green's vocals were truly electric, and "Permanent Rebellion" was a screaming master piece. More notable acts included: Lucky Boys Confusion, Anberlin, Algiers, Rocket from the Crypt, before we were off to the evening shows. Portugal, the Man, Alkaline Trio, Taking Back Sunday and Marky Ramone's Blitkreig was also in the midst and it was like being a kid in a rock music themed candy store. Anberlin never disappoints, ever. "Godspeed" hits you like a drag race, and the way they bring it into "Feel Good Drag" just goes to show how dynamic and timeless they remain. Portugal, the Man did a cover of "In Bloom" by Nirvana which left everyone over joyed and speechless. It is always great to hear their hits "Modern Jesus" and "Feel is Still" but their showmanship alone and personality has a way of sucking everyone in like a magnet. The crowd was beaming. Last but never least, My Chemical Romance truly put on the show of a life time. Opening with their recent release "The Foundations of Decay" was phenomenal, but I have never seen a crowd of tears before today. Fans traveled from California, London and many more distances for this moment, and when Gerard way stepped out beaming in a dress, head scarf and sunglasses, we couldn't believe it was him. But the moment he takes the mic and his animated charisma kicks in, you know there could never be a front man like him. 30 somethings like me who grew up waiting for this moment, it was incredible to look around and watch a crowd sing along to "Helena," "Ghost of You," "Teenagers," "Black Parade" and truly just immerse themselves in a once in a lifetime moment. The security was pouring water all over the front row, and beyond the music, Gerard did a fantastic job instilling safety into the audience by encouraging everyone to move back and give each other enough space to have a good time. But thanks to MCR and all the incredible acts, that is truly what happened. Is this only day one? Pinch me. Until tomorrow! Fiza Javid - JBTV Music Television ![]() 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. ![]() It's a beautiful and shock and awe thing to behold, the immensity of the peacock pyro jutting out in a perfect semi circle. time and time again perfect to the beat of music- let alone the guitar pyro from stage left with Richard Kruspe, and stage right with Paul Landers. The timing between the three of them is impeccable- leaving you with the hairs on your arms standing on end in absolute amazement. I don't want or need to get all technical here- but look at the pictures with Till and that pyro backpack. Can you think of any other band that can pull this off? Can you think of any other band that has the wherewithal to utilize such a display of might and force with such artistic beauty? I believe you can't. And their entire show astounds in similar fashion, from the opening entry music to Handel's "Music for the Royal Fireworks", which rises up the gigantic tower the Rammstein insignia, to the roar of the Chicago crowd. And off we go into opener "Armee der Tristen", the opening song from their latest release- "Zeit", then into "Zick Zack", also from "Zeit". And why not? Their latest album swings and pops and makes you move, especially the title song "Zeit", which has its fair share of eye popping lighting at full display. The whole night was like this, with their iconic numbers in full display of pyro on top of pyro with a little more pyro- "Sehnsucht", "Zeig Dich", "Heirate mich", and "Sonne" in particular. Some pyro so full on you feel the heat like you're on the gas burner yourself popping off the frying pan. It's a sonic sensory overload, but done in the highest order imaginable leaving nothing to the imagination. They're providing the scope of dreams for you, well in advance. So let it be said for the remaining North American dates- East Rutherford on Tuesday, Foxborough on Friday, San Antonio on the 17th, Los Angeles on the 23rd and 24th- you're nuts if you don't witness this spectacle firsthand. Bobby Talamine - JBTV Music Television Chicago Sacred Rose Festival Day Three: Dawes, The Wood Brothers, Hiatus Kaiyote, Maggie Rose & More [Photo]8/28/2022 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: Thank you Sacred Rose for giving us the chance to experience this celebration of jam music. Until next year, Fiza Javid - JBTV Music Television Photography by Bobby Talamine Writing and Editing by Fiza Javid The jam sessions continued on with day two of the Sacred Rose Festival. Here are the photo highlights from this incredible lineup: True music appreciation. Fiza Javid - JBTV Music Television Photography by Bobby Talamine Writing and Editing by Fiza Javid 8/26/22 - SeatGeek Stadium in Bridgeview, IL Welcome to the first annual Sacred Rose Festival. With a trove of guests ready to see jam bands, check out the coolest pins, adorn themselves in tie dye, and more importantly, check out some incredible performers. Here are the notable acts from day one: That's a wrap day one! - JBTV Music Television. |
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BLOG STAFFBobby TalamineSTAFF PHOTOGRAPHER FIZA JAVIDBLOG WRITER Erika ForceSOCIAL MEDIA |