![]() 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 Javid
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Live Review of Sanctum Festival: 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. ![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid No need to be skeptical anything with these guys: Axwell, Steve Angello and Sebastian Ingrosso- otherwise known as Swedish House Mafia. Their set- elaborate as all get out, with the main focus not just on the these three top notch DJ's, but also on their giant ring hovering from above, making their stage and setup the definition of otherworldly. The buildup to the full reveal, with the houselights down, the giant black curtain up- the mix of low end hiss and drones building up to the beats to "Can U Feel It"- makes your pulse pound, that's for sure. So when the curtain drops, and you watch the entire main floor of the United Center instantly go manic- well you know from here on out that tonight you're gonna be in for a sweaty treat. The setlist throughout, to make a point, consists of mashups, like a giant rave in an abandoned warehouse, last minute announcements on when and where kept secret to the last possible moment. A word of mouth event, kept under wraps except for the sophisticated and in the know. Swedish House Mafia have consistently kept this kind of mystique going on for years, relishing in all things underground to some extent, my belief in allowing more freedom to create and experiment without much outside influence to harm the bottom line. Even with their headlining set at Coachella earlier this year, playing what looked like to a 100,000 people or thereabouts- even then, and coming out unscathed after that mega performance, they still hold that mystique of their brand of cool with not much fuss, and laying low. Yes, they are one of the pioneers of house music, along with a taste of sorts in all things progressive, with a constant ear to the ground on backbeats within beats, with not much use for fanfare and extravagance and going over the top with nauseating fills of screeches followed by repeated blips, like some popular DJ's in the know. As much as their sonic weave holds captivating sound structures, it's in their genes and sauce to present things loudly and defiantly, but with not much use of jagged stops and starts. They know how to meld songs together, keep the dance-floor moving, allowing occasionally for the subtle breaks, a moment to catch your breath, followed by more sweaty dancing as one on the main-floor (name your building). Put it this way- they know how to read a crowd, they know how to read a room. And the budget for such a production such as this- can't even begin to fathom that. This is some serious EDM / Sci Fi level stuff- lighting mixed with angled staging, and prominent use of pyro mixed within a PA that leaves an indelible thump through your chest, whether you be in the mezzanine level, back of the house, or main floor. My goal in this review with Swedish House Mafia is to cover this spectacle from all angles, including the specs of putting together a production such as this. After editing down my photos for this review, spent most of the day after scouring the internet on anything whatsoever to guide me in the dealings and tech background on this overall production. After a few hours of this- found nothing to help in the search. Could be because the shows are just getting started, with a few sporadic dates already in the books since coming to Chicago- having only played in Miami, New York, Toronto and Montreal. Would love to know the goings on in making such an elaborate production of this kind- and the overall design aesthetic. For a music hound like me, it's well worth investigating such things, having seen countless shows over the years, and witnessing firsthand time and time again that when a band or artist puts a lot of thought into a satisfying production, such as what I just witnessed, it's well worth documenting and writing about the splendor of it all. Keep in mind the Chicago crowd as well- when the doors opened for the show, about two hours before the opening act- it was sparse in and around the United Center. Even the house photographer for the United Center, a guy I've known for years made a note of this- he said he was told to try and get some pictures of the GA main-floor crowd lined up along the south face outside of the United Center. He said he only counted ten people waiting in line before the doors opened. ![]() As odd as that sounds- was nothing like that at all by the time Swedish House Mafia took to the stage- from my vantage point from back of the house- the United Center was packed, form 300 level down to main-floor. So all the sophisticates in the know knew to arrive, but arrive when ready to arrive. And as far as the setlist- again, the definition of a rave mashup- a rave mashup done for an outright party. From their opener "Can U Feel It"- mashed with "It Gets Better / Greyhound", and followed with more "Can U Feel It", followed by their heavy hitter of a song "Miami 2 Ibiza", which was reworked and amped up for dancefloor approval, followed by "Can U Feel It" yet again, to keep the crowd amped up, and then a remix of "Sacrifice"- the whole night was like this with SHM, twists and turns working from a heavy duty catalog, reworked and reimagined for the 2020's and all things "HOUSE', all things "RAVE", some 28 songs in total, ending with the blast beats to "Don't You Worry Child / For You / Save the World" - which of course ended all things in style, with a true Swedish House Mafia mashup on top of a mashup. This was a show with Swedish House Mafia flexing their muscles, establishing yet again their prominence and dominance in all things EDM Progressive House, a show that lets you know they know how to fill big rooms, and how to play to big rooms. If anything, I'll close with this- Swedish House Mafia embraced a sprawling set, with a sprawling production, making the United Center look like one big gigantic house party, no angle left unattended with poor sight lines. No matter where you were for this show- you felt invited and that you belong- not uninvited. That says lots in my book- taking to heart the complexity of your production, and making it for inclusion, not exclusion. Bobby Talamine - JBTV Music Television Chicago ![]() Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - July 31, 2022 Please don't wake me up when Lollapalooza ends. Or pinch me, because it was truly one worth thinking about for many years to come. The unpredictability and true ode to both Indi and renowned artistry made this year a true beacon for music lovers, and this had to have been the best weather Chicago had seen in many years. Green Day and J-Hope fans swept the crowd, with a wide variety of attendees in either K-Pop styled outfits with glowing BTS light torches and fans, or a sea of green hair and Green Day shirts. With BTS and Green Day both being incredible JBTV Alumni, both with their own main stage, it was clear that any fan that wanted to catch both was in for some serious running across the park. First up on this final day, which means every artist has to pack a punch, was the one and only Horsegirl. Hailing from Chicago, after their self release "Forecast," the music world forecasted a serious jump in their career. Taking on a Lolla stage was cake for them. They opened with "Ballroom Dance Scene" which was a sway-with-your-partner or a relaxing way to start a set, and an excellent way to introduce them to potentially new ears. Who wouldn't want to start off their festival day with some garage pop? The crowd then wanted Hannah Wants. Her unpredictable mixes kept the crowd at the edge of euphoria, as it was clear that the crowd wanted to dance but not get rid of all their energy right away. Hannah Wants had a spectacular light show with her name strong on the backdrop as she truly shined. The same can certainly be said for Goth Babe and James Hype. Contrary to the belief that may have arrived from the name, Goth Babe offered California, beach vibes, almost leaning toward a "Milky Chance" sound, which was cathartic. He rocked his white bucket hat and truly played with the audience in the most fun way. James Hype lived up to his name, who definitely shined for his "hypefans" as he calls his most notable followers. His trance style and ability to utilize samples in a way that doesn't take away from the original, nor does it get drowned out into a mix-mesh, is a perfect combination to send fans into a state of pure bliss. He is the perfect mixer for anyone who wants to dance or simply vibe. For Lolla fans, this was precisely the sound they needed on their final day to just jam out. ![]() If you truly wanted to be torn between head banging into oblivion without looking up, or looking up in awe for the entire time, Måneskin was your cup-of-tea, or really your ticket to a real buzz. This Rome based band showed the audience just how badass Italy can be. They opened with "ZITTI E BUONI" and "IN NOME DEL PADRE" along with having a cover of "I Wanna Be Your Dog." They were the essence of rock n roll. With vocalist Damiano David, bassist Victoria De Angelis, guitarist Thomas Raggi, and drummer Ethan Torchio, it was not just their music but their persona that showcased them beyond classic rock, but glam rock. Victoria came out with red flare pants and red star pasties, while Thomas sported shiny black flare pants and a shiny pink top. Their immensely cool clothing added to the fashionable aesthetic that we would not only appreciate from an Italy, but the fact that this was a powerful, and rare Italian rock band with a truly rugged sound and in your face sense of energy and clothes, the crowd truly adored them. Everyone was bouncing around in unison, and Måneskin continued to give them more with every new song played. Just goes to show, you gotta be bold to be able to take on Lolla day four, and this band beyond owned their title. Beach Bunny was perfect for anyone reeling from Måneskin, as their sound was truly comforting. They rocked out at the Coinbase stage, offering a groovy base, as well as groovy bass. From "Weeds" to "April" and "Colorblind" they were amazing. Beach Bunny hails from Chicago and is notable for becoming TikTok famous with "Prom Queen," so by the time that song hit, all the phones came out. It is apparent that they have a gravitational presence for social media app surfing music fans, which at this point was just about everyone. Even Bob Odenkirk is known for praising them, and at Lollapalooza, they were the perfect chill vibe for a wiped out crowd. ![]() Banks, banks, banks. She has us beggin for thread, every single time. From "Waiting Game" to "Fuck with Myself" she always comes out with a sound that is perfect mix of transcendence and pure confidence. Sporting a black lace corseted top, and black flare pants, with the most incredible, veiled dancers, she worked through the stage dancing and giving the audience fierce eye contact. Her voice is all magic, and the moment "Waiting Game" hit, the audience was half screaming with some crying faces. She is a deeply loved artist, with music that hits such an emotional pang, with a stage presence that doesn't stop giving in the entertainment department. Banks is unique because she knows she doesn't need the look or the dancers, and she could carry a Lollapalooza completely with her voice alone, but she always manages to go above and beyond with every single performance. Lollapalooza day four needed a chance to dance and reminisce, and Banks is the star for the bill to truly bring that excitement. Honestly I would love to see her on the main stage, and just like Dua Lipa owned it, Banks is truly a shining beacon of artistry. Some notable mentions include The Kid Laroi, Charli XCX, Denzel Curry and of course Green Day. This was an incredibly tough choice for shows, and Green Day is a band where it is damn near impossible to get a ticket. So for Lollapalooza to deliver us some Green Day on the same day as Charli Denzel or Kid Laroi, we must have been praying for ages. Charli XCX came out with a motorcycle style bathing suit with a slitted leather skirt. She performed the iconic Icona Pop "I Love It" that every festival fan needs, and she was magnificent. From her gyrating dance moves, she shines like Madonna and Lady Gaga, but is a truly unique, modern pop star. She had a meditative head bang and laid down on the stage, like she was on a cloud. Every single second of her performance was gold. ![]() Perry Farrell's Porno for Pyros was absolutely a show stopped. They are rugged, grungy, melancholy and just perfect. During their set they brought Billy Corgan on stage to perform "WHEN THE LEVEE BREAKS" BY LED ZEPPELIN. And this rock loving audience was going bonkers for it. From "Cursed Male" to "Cursed Female" to "Tahitian Moon" which was certainly a great way to bring in the beautiful summer moon, as Farrell mentioned himself, they weren't just the perfect pre-show to Green Day, but they were the show. Perry not only walked in like he owned the place (I'm not the first one to make that joke, but it is purely a compliment) and he truly owned the stage. We couldn't be more grateful for him and the music. Later on at the Bud Light Stage, he came out with Lori Lightfoot to announce 10 more years of Lollapalooza, and honestly, they may need to add another zero to that number. Green Day played through all their incredible hits, while allowing the audience to sing along to "Bohemian Rhapsody" among other fun songs to sing to. However, the craziest moment was when they GAVE AWAY A GUITAR to an audience member who played three chords on stage. The young lady named Abbie, who was a fan through and through, was called for this moment, and proceeded to rock out in the best way possible as the audience chanted her name. Green Day's "Holiday" and "Basket Case" among their early hits, along with their cover of a Kiss song, was truly the greatest way to end the night for any fans who camped out at the T-Mobile stage. ![]() J-Hope was and is unstoppable. With his devoted fans awaiting his arrival since 11am at the Bud Light Stage, there was definitely an air of suspense on what he would do. How would he set himself apart from BTS? Would the fans accept it? The moment he came out, the orbs were glowing through the field and screaming ensued. There was a bit of poetry to introduce "MORE" and "Pandora's Box" but the moment he came out, he showcased his ability as a solo icon. Truth of the matter is, J-Hope can do absolutely anything, and not only would it fuel love for BTS, but also draw appreciation for any one of BTS's members. He came out with a pure grunge look, with a pure love for rap in his heart. His rap style was clean and effortless, and the show was the perfect mix of dance, rap, and entertainment. He did include one BTS song which was "Dynamite" and his ability to showcase Korean rap, while also throwing in an INCREDIBLE cover of "Chicken Noodle Soup," with a backdrop of canned soup graphics and the most talented kids on stage. Becky G came out for this song and the roars were deafening. J-Hope is an artist, an icon, and doesn't need any marketing. His stage presence and star power carries him, and while BTS is legendary, J-Hope is a new chapter, who is exceeding expectations. J-Hope and Green Day. I can't think of a better way to treat music lovers than this. Chicago has definitely dealt with a tumultuous year, and Lollapalooza always manages to create a space for a wide array of old and new artists, diverse genres, and a place all ages to enjoy. Who else could you have gotten to see Metallica, J-Hope, Green Day, Dua Lipa, J-Cole, Machine Gun Kelly, and a sea of the most talented artists in the same bill? Perry Farrell and Lori Lightfoot have cemented its continued place in Chicago history and the hearts of forever devoted Lolla fans. With love and appreciation, until next year - Fiza Javid - JBTV Music Television Perry Farrell, Lollapalooza, 2022, Green Day, Charli XCX, Denzell Curry, J-Hope, BTS, Lori Lightfoot, Porno for Pyros![]() Photography by Bobby Talamine Writing by Fiza Javid Grant Park - July 30, 2022 As festival goers were reeling from the disco themed vibe of day two, day three offered a wide array of artists, both renowned and new. It was interesting to see the migration from Bud Light to T-Mobile on a constant basis. I must say, hip-hop and EDM took the day this day, along with some notable alternative rock with a mix of indie-pop. First up was CRAWLERS, with Holly Minto on vocals and trumpet, Amy Woodall on lead guitar, Liv Kettle on bass guitar and Harry Breen drums. This university united troupe were the perfect mix to start the day. They offered such a unique mix of sounds, and Holly's vocal range was mind boggling. They opened with "MONROE" and I felt like I was getting the Hole concert I always wanted, because their renegade style definitely reminded fans of the cavalier attitude that Courtney Love made famous. But when they hit the song "Fuck Me," they went right for the punch, with Holly's addictive, mature vocals, reminiscent of early Fiona Apple. They play every single song from the heart, and they touch on touchy subjects ranging from alcohol abuse to body dysmorphia, and the honesty was the perfect bit of appreciation for their first chance at the Lolla stage. Alexander Glantz aka Alexander 23 from Deerfield, IL, opened acapella. Sporting a kurta, he was a comforting presence on stage. He opened with "Cosplay" and "Girl," which along with the other songs, are the perfect songs to have on repeat during a road trip, or dancing with a significant other. His music definitely gives off pop vibes similar to Olivia Rodrigo, but he truly stands out by owning his particularly powerful, feminine vocal style. The audience genuinely was fawning for him once he did "Since U Been Gone" which is enough to get anyone screaming alone. What a show man! ![]() Scores of cheerleaders came out to support Pom Pom Squad. Hailing from Brooklyn, fronted by Mia Berrin, this indie/grunge tribe provided the ultimate chill-bit-rugged comforting sound. Their sound almost feelings like being in the hallways of high school again at the end of a senior year, with the angst powering through the effortless guitar and drums. Opening with "LUX" was the power riff intensity to wake everyone up, and Mia's vocals have this fast-paced, feminine touch, with powerful screams and singing mixed, it was impossible to not have fun. "Lux," "Drunk Voicemail," belongs up there with the Seattle grunge scene, and I'm pretty sure this crowd wanted to break things to this music, or drive fast. Pom Pom Squad may have a cheerleader style name, with their signature outfits shining on stage, but their sound makes them turn into the quarterback, powering through a goal line. By the time we got "Heavy, Heavy," we were grooooving. Other amazing artists from this day included Meet Me at the Altar, who TRULY rocked out with "Now or Never" which is beyond worth checking out. Her yellow braided hair flipped through the stage like a colorful masterpiece. Also, Coin, and Surf Mesa, Lil Durk, who was absolutely nuts opening with "AHHH HA." This is a song to get any Chicago party started, and the beat is an absolute mood. He beamed with a smile and everyone was wildin out like no other. Other notable songs included "Backdoor," "Turkey Season" and he closed with "Blocklist" among others. Surf Mesa was the first artist of the day to get the EDM vibes going, whose hit "Ily (I love you baby)," featuring Emilee, was the dance-pop hit of the summer of 2021, but its a mix that will certainly carry his career into beautiful places. It covers Frankie Valli's "I Love You Baby" which is a timeless classic, but for the Lolla stage, it was the ultimate festival song. This song along with "Somewhere" and "Another Life" felt like such a gift for these young festival teens especially, who came decked out in elaborate glitter outfits and braided hair. They came for music like this, to just get lost into. Surf Mesa was a straightforward artist, and he delivers like no other. A maaaajor throwback came in the form of Dashboard Confessional, and I confess, I was losing my mind with joy. Their music brought everyone back to 2002's MTV Unplugged version of "Hands Down" and other notable places in which we have found their music in the past. This was their closing song and it was so perfect. They are one of the few older artists to hit the Lolla stage this year, alongside Green Day and Metallica of course, which is not a bad group to be part of. The nostalgia hit right away when they began with "Brilliant Dance" and the emo tears pushed through as though they were held back this whole time. What an absolute treat, and this audience was genuinely grateful to finally experience them. ![]() IDLES, IDLES, IDLES. I am still reeling, speechless from this band. Joe Talbot, Adam Devonshire, Mark Bowen, Lee Kiernan, and Jon Beavis. What an absolutely show-shopping performance from a rock band that the Bud Light stage needed for this fine Saturday. There seriously must have been a nod to a powerful feminine reckoning and a Kelly Clarkson reference this day, because just like Alexander 23, they covered "Since U Been Gone." Never in a million year did I ever think I'd see two incredible artists provide two unique renditions of this popular song, but from Idles, who are a group of truly lumberjack, rugged men, even with one of the members rocking a dress like no other, it was probably the greatest cover I've ever seen in my life time. And they did NOT stop there. They came out swinging....with Mariah Carey's "All I Want for Christmas Is You." Look, we KNEW this was going to be a good show, and we were definitely looking forward to "Never Fight a Man with a Perm," but it was clear that after they played Metro, post-Metallica on Thursday night, they were on fire for Saturday. They had so much fun on stage, and the way they engage with the audience was like no other. We absolutely demand more of them in the future. Ahhhhh so many incredible artists though. Mariah the Scientist and Turnstile were the go-to's right before Kaskade. Mariah the Scientist was the one R&B artist we managed to find for this day, and her song "Revenge" was a colorful, vocal masterpiece. She could manage a crowd with her voice alone and that is exactly what she did. Turnstile may have been the only hardcore-punk band, and their major treats were definitely "MYSTERY" and "BLACKOUT." When he got on stage, it was almost impossible to comprehend what Brendan Yates would do, but once his scream hits, its an uplifting rage-fest, which is a rare combination. They are danceable as a hardcore band, which, again, is a rare combination! But this crowd jumped to every drum beat and head banged to their hearts desire. While we did get to vibe to J-Cole, whose crowd was absolutely willing to fight for the front-row experience, Kaskade offered a cathartic release from anyone looking for a break from the hip-hop that was dominating the main stage. The rap music this year has been absolutely phenomenal, and Big Sean even had a pregnant Jhene Aiko come out, and it was truly beautiful to see this couple on stage for everyone to appreciate. "No Role Modelz" was a cherry on top. Tomorrow X was like there was no tomorrow. Considering this is the day prior to J-Hope hitting the stage, we were truly ready for them. Also known as TXT, Yeonjun, Soobin, Beomgyu, Taehyun and HueningKai truly showed how they are "Good Boys Gone Bad" with the ultimate Korean boy-band experience. They were almost cinematic on their presence, and the crowd was in a frenzy. Their edgy attitudes were leaving the front row fans just in pure shock. Lollapalooza was due for a true Korean music experience and TXT were perfection. But Kaskade, was BEAMING. Literally. He gave a spectacular light show to "Eyes," "Raining" and once "4 AM" hit, its almost as though time did not exist. This was perfect for the Perry stage, and this audience could have stayed with him all night. What a spectacular and diverse Saturday. We couldn't be more excited for Green Day and Charli XCX tomorrow, thats for sure. Fiza Javid - JBTV Music Television ![]() Photography by Bobby Talamine Writing by Fiza Javid Grant Park - July 29, 2022 Lollapalooza day two, still reeling from the incredible acts of day one, went from metal themed to disco in a groovy heartbeat. There were so many incredible acts to cover, and while not everyone could be photographed, the impression they made deems your favorite pair of headphones and genuine appreciation. Could not have thought of a better way to start this review than to give accolades to Taipei Houston. While it is true that they are Lars Ulrich's kids, holy rock n roll they certainly caught an original rock bug of their own. While they inherited a deep rooted talent from their father, which I could see from the drumming style of Myles Ulrich, it was their charisma and originality that blew the audience's hair back. While the pair have only just released their debut single "As the Sun Sets," a few days and they showcase the showmanship and talent of a band that has toured for decades. Layne Ulrich, the band's frontman and bassist, has a truly distinctive voice. He was doing what many front men have not done, which is rock a bass. Sure we can also put Paul McCartney and Thundercat in that list, but Layne is quickly settling into that family like its a walk in the park, alongside looping to add extra dynamic effect. It is almost as though their live set could ease into a mixed record in a matter of minutes. Myles is already making a name for himself as a machine of a drummer, with Layne stating that Myles is also a skilled guitarist. They played songs their single word titled songs "Respector," "Jellybean," and "Welder," but they may be the only band with a full noise cover of Eleanor Rigby. This is the edge that the Beatles may have always craved for, but if only the Beatles were raised by one of the most legendary metal drummers in music history. Wet leg had a massive crowd upon arrival. They began with Lord of the Rings score induced entrance. This British indi-rock duo, whose hit song "Chaise Lung" hit 3 million streams which truly set their career on a powerful trajectory. Lollapalooza was graced with the first taste on U.S. grounds. “We’re called Wet Leg, and this is our first festival in the states" they said, as they played through uniquely titled songs "I Want to be Abducted (By a UFO)." Well we were abducted by your sound, and along with Taipei Houston, they truly deserve the main stage. Their eclectic sound, their doll-like presence is simple enough, and their music is lively. Next, I managed to catch Gata at the BMI stage, who is widely known as the hype man for Lil Dicky on the popular Hulu series "Dave." However, Dave has allowed himself to showcase his presence and musical abilities that not that many artists get the opportunity to do. Not only was it apparent that Lollapalooza festival goers have a Hulu subscription, but that they are definitely in it to watch him. The show aside, he has managed to carve artistry out of equally authentic acting chops. He just got off doing a film with Machine Gun Kelly in "Good Mourning", and Lollapalooza was the perfect opportunity for him to showcase his musical abilities, and he delivered MAJOR fun. “It’s my first time at Lollapalooza, I’m really geeked out. Being an artist has been a dream of mine for a long time, so I appreciate you all showing out.” His audience members included notable band The Untold. Another audience member started a “Gata” chant, as Gata's team threw inflatable alligators into the audience. “Life can get real sometimes, so this song is called real life.” With the lyrics, “I’m stressed, I’m blessed,” we couldn't think of a better mantra for the times we are living in. He humbly showcased his appreciation for the audience while he also provided a moment of silence for Highland Park victims. All in all, this crowd adored him so much that he did a second set at the Toyota stage. ![]() JBTV Alumni the Regrettes shined at the Tito's stage, with originals and a cover of Lily Allen's "Smile." They have a particular way of having so much fun on stage, that their energy is intoxicating and addictive to watch. When their songs like "Dress Up," Monday," or "Rosy," played, their punk sound and Los Angeles attitude shined through. Lollapalooza offered a wide-variety of talented British artists, so seeing artists like the Regrettes continue to make their mark, particularly in a genre that is seldom discussed these days, is its own joy. They had the audience dancing like no other. Lydia, Genessa, Brooke and Drew, we love you. The dance moves then made way for head banging as Royal Blood took the stage. Everyone took notice of a massive gong on stage, and did not know what to expect, or how they may manage to fit that into a song. They game our like renegades, with a Hard British rock sound, and a crowd screaming to "Lights Out" which was certainly their powerful hit of their set, alongside, "Boilermaker" and Little Monster." Mike Kerr held down the vocals and bass with his wayfarers, and he looked as cool as ever. But the real kicker came in the form of the drummer, Ben Thatcher, taking swigs out of a bottle of Patron, giving the audience the most perfect "drum solo of life" (as referenced by Aqua Teen Hunger Force for LIFE CHANGING drum solos), while then led to a countdown. "FIVE-Four-Three-two-one...." *gong smash* and the crowd just became a roar of joy. Loud noise and rugged excitement is what Lollapalooza is all about. I gotttttta talk more about Glass Animals. We all were a little relieved that they couldn't throw their signature pineapple into the audience, but hands down, Lollapalooza has never seen an artist have more fun on stage than Dave Bayley. “Lollapalooza is always the best one,” he said to the crowd, who was just losing it. Their music is almost like a trance, as you don't realize how quickly time as gone by when they perform, because songs like "Deja Vu" just beg to be danced to. The crowd was damn near praying to have more space to spin-dance and jam out the way he gets to on stage, but watching him may have been enough. The Chicago sun, while it was mostly chill weather throughout the day, suddenly began to beat down some serious heat during this set, and Dave was definitely one to mention it, but its almost like mother nature wanted the perfect transition into the song "Heatwaves." Rest assured, his cool attitude made it worth sweating bullets and the heart pounding to. ![]() ![]() Before I mention the primary artists that JBTV covered, I gotta talk about Machine Gun Kelly achieving the rock star status he has been fighting for on the Bud Light main stage. While his performance referenced the hate he gets as an artist, from his switch from rap to rock, the question of his ability to play guitar, and whatever other insults have been thrown his way, he managed to squash all of it with his persona alone. He doesn't need to be a virtuoso, he has some of the most talent artists on stage alongside him, one being his childhood friend as his keyboard player, who excited the audience with a quick nod to "Still Dre" by Dr. Dre. It was the outfit changes, the appearance of Avril Lavigne, and the moment where he "Creed at the MTV Movie Awards" CLIMBED THE SOUND STAGE IN THE MIDDLE OF THE AUDIENCE to perform for the entire audience, where he truly won any skeptical minds over. Beyond that moment, it was the moment that he had an outfit change, covered the eyes of his drummer, all while casually smoking a cigarette that was when he achieved the rock star status that Travis Barker described of him. While some may like it or not, he IS the rock star of today's generation, while still being the 90s kid at heart who truly understands what it was like to grow up with the first real wave of emo-punk rock. He is managing to do this while adding the controversial flare that existed predominately in the 80s, with the inability to predict what he might do next. I must say though I am amazed that he does not include his original rap song "Till I Die" or "Breaking News." If he burst out into any of those songs, there is no doubt that Chicago would have absolutely lost it. He did have a brief moment where he fast-rapped enough to, in my honest opinion, blow Eminem out of the water. I am a die hard Eminem fan, but MGK deserves way more credit for being the wildly talented freestyle rapper that he is, and there are hints in his rock persona that point to this, particularly in his swag. MGK, for the love of god, we love the "I'm a rockstar" situation he has going, but he can rap like no other, and its about time he stopped throwing that image away. He has managed to break into multi-genre audiences, while scoring the fans of Megan Fox, so as far as music goes, he might as well strut where his musical talent is, along with bopping the audience into "Tickets to My Downfall." Everyone knows he can act too, and while he continues to be an image, he needs to embrace where his respect is, and the respect can only come from the music. He put on an unforgettable show at Lollapalooza and people should be jealous if they missed this one. ![]() I caught major moments of Dua Lipa, who was a walking star. Her skin tight glimmering body suit, as she cat-walked through the stage, was a power move. Her disco-style "Nostalgia" hits may seem on the nose, but she provides an anthem for women and girls of all ages. With "New Rules" and "Levitating" it almost feels like everyone is back in the 70s disco era, while simultaneously experiencing 80s nostalgia. It was a true gift for many of the crowd to close the night feeling as though they were at the Grammys. "Boys will be boys, but girls will be women" were the lyrics this audience danced to, as Dua also announced how important it is to support women during the tumultuous times in America. Rest assured, she provided the perfect cathartic escape, paradoxically. Finally the major highlights go to Girl in Red and Rezz. Girl in Red was definitely the opposite of Dua in stage presence, and she come out with "You Stupid Bitch" which was so perfectly edgy, She was so direct in her style, and with songs like "Did You Come?" and "Serotonin" she gave the audience less persona and more authenticity in terms of a "this is my music, and you don't need to know anything more from me to love me" perspective. Well they loved her, and she will go far. Rezz was the DJ set of a lifetime. Mentored by Dead Mau5, Rezz came out with a cryptic backdrop that stated "They will understand, they will communicate in the same way." Which made the front row a little scared, but also curious if we were about to be abducted. This Canadian DJ has the look of the "Limbo" video games series, which is so freaking exciting, and then the music blasts in your face. The opening song "Menace" was electric, with a backdrop that looked like it was hacked. Rezz paced the stage looking like a cartoon silhouette. The songs "Edge" and "Hypocurrency" had everyone on the edge of insanity, and it was the most mind blowing way to finish out Friday night. I couldn't be more excited for the rest of the weekend. Until then, Fiza Javid - JBTV Music Television Lollapalooza 2022![]() Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - July 28, 2022 Metallic makeup and a Metallica shirts, we’re here for it Lollapalooza Day One! Troves of festival goers arrived while being handed free reusable “Prince: the Immersive Experience” water bottles near the entrance. While there were no expectation of a Prince impersonator, a mix of old and new artists were on the agenda for many to discover and appreciate. Emmy Meli was first on JBTV’s list at the Coinbase stage, and I must say, while the pressure may be high for the larger acts to put on an unforgettable show stopper, the pressure of being first up on one of the prominent stages is may have artists sweating bullets as it may be the first impression of first time Lolla visitors. Rest assured Emmy Meli deserves an Emmy and potentially a Grammy for being the performer that she is. Her melodic voice, and the incredible range of notes she hits in the prospect of delivering one line, particularly in "I Am Woman" was unlike anything that had ever hit a Lolla stage before. Devon Karpf of Underscores was next, and they were remarkable in their ability to cover a wide variety of genres and cover of one of Lollapalooza, and JBTV’s most memorable guest. They covered No Doubt's "Hella Good," Avril Lavigne's "Sk8er Boi" and Williams Crook's "Drive it Like You Stole It." However, it was their originals like "Everybody's Dead!" and "Trustfall!" that were booming the audience with a backdrop of 90s computer games while she playfully danced and sang to the audience. This HTML Hyperpop musical perspective expands the horizons of what future music could hold. With the mix of meme culture melting into more avenues, it did not surprise me that the audience enjoyed this switch into a "We're in the middle of nowhere” clip of Squidward, because we gotta feed that need for another meme somewhere. It’s incredible how Lollapalooza evolves with the times and responses to generations of new audiences. Underscores was a playful reminder of the current evolution being witnessed among the musical acts of this generation. They certainly created more excitement for the upcoming day. ![]() As I walked over to catch the Last Dinosaurs, as they were already performing on the Bud Light stage, I was amazed to find an actual temporary Dunkin’ Donuts restaurant right by the Buckingham Fountain. Not nearly a typical setup for a smaller festival, but Lollapalooza truly delivers. The Buckingham fountain is the nucleus of the entire event, and a marketplace for Lolla merchandise, cell phone charging, supply buying (for anyone like me who forgot to bring a pair of sunglasses on a genuinely hot day). It was nice to grab some jerky while I was at it. While I destroyed a piece of jerky, I removed my sunglasses in pure Alan Grant style when I beholded Last Dinosaurs. If only Grant was a rock music enthusiast. I could tell this band was not only made for 90s kids and the new "20s" kids. The right audience who loves a good mention of anything dinosaur related, but more importantly, an effortlessly talented, down to earth band who lets the music speak for itself. Lead singer Sean Caskey, who was rockin it with his blonde hair, truly owned the crowd with "Andy." His voice has a California accent hidden in there somewhere which just makes their sound more beachy, but was fitting considering they are an Australian band. Their crisp guitar work, uplifting, danceable sound, almost leaning toward disco vibes. You could see the disco attitude in the dance moves of the audience. But the chorus switch into hard riffing alternative. Their dynamic sound mixed perfectly with the cool lakefront. “So we got an album coming out, From Mexico with Love.” Sean then pulled out a gorgeous electric guitar. “One of you guys could win this guitar.” That’s a line to make anyone go extinct. I couldn’t catch the type of guitar it was but it certainly didn’t look cheap. These guys are one to compete with. In a sea of computers, they come out with pure musicianship and a lot of love to give. Next up was Sam Fender, who is an artist who managed to get the crowd going before even stepping on stage. The audience began singing one of his songs in unision as they chanted his name just minutes before his appearance was scheduled to begin. That was until an airport-style announcement blasted through the intercoms to inform the audience that of a slight delay, but that he would be there soon. Thankfully it was only enough to make a couple people boo, but everyone else continued on with a sea of “olllaaayyyyyy”, damn near chanting like it was a soccer game. I think it’s time Sam moved up the bill if this is truly how dedicated his fan base it. Just when they thought he was late, it seemed at first assumption that he was teasing the crowd, as they noticed him standing near the back entrance of the stage, which just the promise of his appearance was consequential, because the crowd was suddenly a screaming pit. He came out to announce that while they sort out their technical difficulties, he would play the crowd some tunes. “Let’s go!” *clap-clap, clapclapclap* While he tuned his guitar. “Is there a chance we are going to get this stuff working?” He said, reckoning to the backstage area. He began performing "Dancing in the Dark" by Bruce Springsteen to hold everyone over. His voice resonated with such purity and grace, and while it calmed everyone down, it the set of we ultimately doomed. Unfortunately Sam Fender was 30 minutes past his start time, and we were not able to catch the set. I guess Sam will have to make it up to these Lolla fans next time around. After scoring a hot dog with Bobby, we worked our way to the Wombats. The Wombats are JBTV Alumni, and Jerry genuinely has a special place in his heart for them, as their music played during his life-saving surgery when he had stage four cancer. They never disappoint. When life gives them lemons, they write songs about them. They performed “I Brought A Lemon to a Knife Fight.” “I'm going to sing a song about my favorite fruit," said Matthew Murphy. And they were truly playful the whole way through. Other notable songs were certainly "Pink Lemonade" and Method to the Madness." I would love to get into detail about every artist covered, but notable mentions included: Still Woozy, whose "Lucy" and Whoopie" songs were definitely the balanced, subtle vibe, and transcending musical experience that a ton of new ears got a chance to grasp. 100 Gecs, who came out powerfully with "Hey Big Man." Their wizard-like outfits and theatrical appearance couples with the down-to-earth feel of their rock-pop feel was a major jam. Remi Wolf with "Disco Man", Lorna Shore with "Cursed to Die" (which was such a great pre-curser before Metallica), Black Coffee with the DJ set in "Flava" are other notable mentions that I wish I could go more into detail for. Hung out at the Hulu motel for some A/C, they has some couches, music and swag. It was the perfect pick-me-up before heading back to the Bud Light Stage for Tove Lo. ![]() Tove Lo was an absolute goddess. Songs “Bikini Girl," "Cool Girl," "Disco Tits," and ofcourse the crowd favorite, "Stay High." She’s the pop star of this generation. She came out in an all jean iconic outfit, that also had "Madonna from 'Hung Up" vibes. The jean bottoms were cheeky, which allowed for more free expression for her dance moves, as she wiggled for a screaming audience of fan girls and fan boys alike. Her gogo boots also added extra flair. It felt like the perfect club setting as she also played a new song. Then during "Talking Body" she slowly pulls the string on her top and flashed the audience quickly. Tove truly embodied not only an uncanny ability to sing genuinely, but while maintaining a sexually free spirit of her own. The backdrop of her performance included cartoon breasts, booty, and vaginal symbols, which I imagine was also a way to further celebrate herself as well as other women in the audience. She also had a clip of herself cat walking toward the audience as it sang in sync with her singing to the audience, which was immensely dynamic. Tove, we absolutely adore you. Still, the true power house performers of the night were certainly Metallica and Caroline Polachek. Metallica was at the T-Mobile Stage to close out the night, and they embodied the rock level rage that had been missing from Lollapalooza in such a long time, but it probably only felt that way because there is truly no other band like Metallica. They played their classics like "For Whom the Bell Tolls" and "Enter Sandman" while also surprising the audience with the b-side from "St. Anger." Metallica always manages to make the audience feel like family. As they are 41 years strong, their true love of their craft and their fans reigns true. James Hetfield made sure to handle the subject matter with genuine care as he discussed how their music may also deal with the topic of suicide. He was sure to mention that it is vital to speak to a friend if anyone in the audience is struggling with those thoughts. He effortlessly includes these truly caring moments, while managing to riff like a true rock god. Lars handled the drums like he ages backwards, and their talent is *chefs kiss*. They are legends for a reason. Caroline Polachek was absolutely perfect for closing the Bud Light Stage. She opened for Dua Lipa in February, and considering Dua will be in Lollapalooza during this weekend, it was great to see Caroline score a prominent stage. Caroline was a siren in modern day form, and the peaks she hit with her voice, as well as her connection with the audience, was legendary. "Ocean of Tears" is where her voice carries her across the stage like a mythical figure. "Breathless," "Sunset," and "Bunny is a Rider" were genuine favorites. Lollapalooza 2022 day one will certainly be difficult to top, and while the weekend is just getting started, the memories of this day are already one to get festival-goers excited for many years to come. Until tomorrow, this is Fiza with JBTV Music Television at Lollapalooza. Lollapalooza 2022, Metallica, Tove Lo, The Wombats, Emmy Meli, 100 Gecs, Last Dinosaurs, Sam Fender, Underscores![]() Photography by Bobby Talamine Writing and Editing by Fiza Javid 7/22/22 - Lincoln Hall Venue, Chicago If there is anything crazier than the realization of a free show, it's a free show to someone who would very well have the capability of selling out a massive venue. This artist in question is Taylor Bennett, who may have started as being well known for being the younger brother of Chance the Rapper, but is very quickly making a name for himself as not just a talented rapper, but a multi-genre, bisexual artist with an ear for music, a mind for business and a heart of gold. From start to finish, Taylor's show not only showcased the genuine character an artist that he is, but the ways in which an intellectual mind and business mind can come together to create a ground-breaking show that opens the floor for true Chicago artistry. Taylor, being an artist from the south-side of Chicago, gathered a group of incredibly talented openers as well: Cassius Tae, Recoechi, Baha Banks and Chanelle Tru, who all came together to showcase the spirit of south side, west side, east side talent, and powerhouse music voices that shine through these neighborhoods. These artists are the very essence of the Chicago music scene. Prior to the show, Jerry Bryant arrived along with JBTV's on staff local Aussie and Cameraman Wesley Nott, and JBTV photographer Bobby Talamine, at Lincoln Hall to interview Taylor. Together they had an exclusive interview with Taylor as well as caught the action of the sound check. To the surprise of the crew, JBTV Alumni Tom Higgenson of Plain White T's showed up and joined Taylor on stage to do some sound checking as well, which hinted a very unexpected live performance. ![]() The soundcheck alone was a testament to Taylor's hard work the dedication. He kept a watchful eye on all the logistics, timing, as well as the overall feel of the show. Taylor had a street team promoting the event at Pitchfork leading up to this day, and they were prepared to sound check all the way until the minute before doors. Hell, Taylor was even doing push-ups while the sound check was going on. Each performer was set to showcase one song to give the audience a taste. First up was Cassius Tae, and if you haven't checked out his music video "WAVERUNNER" you're in for it. His poetic and illustrative lyrics in that song came to life on the stage. We caught the 'sound waves' running, with the hard snare beat, through the audience. This drove the crowd into the right vibe to get the party started. Chanelle Tru was up next, and the moment her song started, we were hit with strong rock and R&B vibes, which is seldom showcased, but perfect for the theme that Taylor hints with his music. She was the perfect opener, and a show stopper. Sporting army pants with a white bandeau top and voluminous hair, she was bossed up to make sure the sound check was solid, and her voice was truly powerful. Check out "Complicated" by her and Black Wealth Media Group, and you will already know that in a trailblazing song and she’s an en pointe dancer to match it. I must add, the turn out for this crowd was so strong, that it even got the support of managers and artists alike from the Chicago music scene. Among this included the manager of another up-and-coming rapper Brandon Musa who came out as a big fan of Chanelle Tru. Baha Banks said "TAKE ME TO THE BANK" and truly came out making a name for herself. She is one of the powerful voices that we need for women in hip hop, and I know I don’t even need to bring gender into it. She came out with her backup dancers and their choreography was truly in line and got the crowd into a frenzy. Her beat, her flow, her effortless confidence, and the way she tied her dance moves into the twerk session of her dancers, who did splits and turned their body in ways that I did not think was possible in such a constricted space. If you check out her video "Top 5ive," you already know she means business. "They put us in the cages for what they made legal, that shit a scam." These words came from, Recoechi who began his set with incredible spoken word about the life of the streets that definitely reminded the room just how necessary these shows are. At the end of the day, the showcase was a testament to the talent that comes through the usually grim picture painted of Chicago neighborhoods. Recoechi's words highlighted that the hardship of growing up in parts of Chicago is still a stark reality that many people in Chicago have to endure, but the way in which these realities get channeled into the poetry and music, that is how these hardships turn into something powerful enough to impact change. Recoechi is an effortless flow of a narrative rapper, with a crisp and masculine voice, particularly in his song "Want that Feelin." It was a gift to hear his voice reverberate through the audience as a reminder of how important these events are. Recoechi's song was a powerful note to end the opening act with, and it switched over to a DJ set by DJ Preme and DJ Mike, two master mixers involved with 107.5 WGCI. Together they kept the audience dancing, feeling like they are at an exclusive house party event. One of the highlights of this set was the tribute to Juice WRLD, who DJ Mike used to tour with, along with more tributes to late and great artists like XXXTENACION, and a regular tribute to Travis Scott's music. ![]() The mix of rock and rap in the audience seemed to really push through, and the DJ set was when the party really got started. The room felt like it was bouncing. DJ Mike also through in a Chicago footwork, West Side, South Side ode, which was started by 9pm. Chicago twerk music is always a classic, like "Bounce and Break your Back" but its hard not to think of Perkulator or K-Swiss if you grew up hearing this as a regular Chicagoan, no matter which neighborhood you were in. When Taylor's set began at 9:30, the crowd was definitely restless, but watching the bassist and the guitarist get settled on stage was the cue for some audience members to start pushing to the front. The classic rock graphics shined on the projection screen, with TV screens, vinyls, an animated Taylor, and a 3D car. There was a feel that this was meant to be in a larger stadium venue. “I wanted the show to be free because there used to be a free show every week," said Taylor, in classic, humble fashion. It made the show that much better. His bassist, who is the music director of Taylor's newly released project "Coming of Age" began grooving, as the drummer and guitarist also contributed to the genre switch from rap openers to a rock audience. As I looked over to the audience, I noticed a mix of audience members bobbing their hands like it was a rap show, while the other half was ready to mosh. Taylor was rocking a shiny TBG, diamond encrusted chain, but again, his humility is what made the vibe right. He opened with "Broad Shoulders" and "Kick Back" before introducing his album. Major highlights were definitely "Favorite Colors," "Fall Short," and "Today." By 10pm the crowd was chanting his name. He even pulled out a trampoline for his second song, which allowed him to jump along with the audience. "I am an independent artist, and we've been here with the street team, and its beautiful to realize it all still works. We did Good Morning America, Kelly Clarkson, Sirius Vibe, we've been moving man" prior to the start of the album intro. After a couple songs he made a PSA before "Today." "Mental health is so important and it is something we don't talk about enough. The song I am about to perform is described to be the perfect day versus what be going on. I would like to do this song for you guys, it's very special to me." The audience put one hand up and truly showed their appreciation. By mid show and the crowd was hollering, Tom Higgenson jumps onto the stage to a screaming audience. No one anticipated the timing at all, and Tom is aging backwards. Tom sang part of "Today" with him and no one knew what to expect. When the song ended, that was when Taylor asked Tom to perform "Hey There Delilah." "Are you guys ready to sing Hey There Delilah with Tom Higgenson?" Genre switch again! But the audience lived for it, and everyone knew the words to every bit of that song. Taylor performed "Don't Wait Up," "Be Yourself," "Dancing in the Rain," "Sunset Falls" the album outro and closed with "Easy Outside." I'd say by this point half the audience lost their voice and had an absolute blast. As for myself, I feel lucky to have had the first listen of this album live, and if you have a chance to check out Taylor Bennett when he returns to Chicago, whether you are a rock or rap fan, he truly has something for everyone. Be sure to check out the exclusive JBTV interview with Jerry Bryant and Taylor Bennett soon! Full marathons of JBTV will be on VPODTV on Fridays and Saturdays from midnight-2am. Until next time, this is Fiza with JBTV Music Television. Taylor BennettComing of Age![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid For Day Three of all things Pitchfork 2022- Have to say yet again Pitchfork knows how to blend things eclectic, and following some kind of theme (in my opinion), making usually the final day a somewhat "chill" event in regards to the bookings. All fine and dandy- it's music and performing artists covering the map globally, and musical styles and fashion reflecting that mood. Two things happened when I arrived early before the gates even opened- first- while prepping and getting my gear together for the interview session with Elia Einhorn of Pitchfork with none other than George Clinton, inside the press tent was another interview happening with Xenia Rubinos, a unique artist and multi instrumentalist whose heritage covers the map from Cuban and Puerto Rican descent, reflecting passion and conviction to performance, so I heard with her interviewer. And on her right arm, she was wearing a bright fire engine red up to her elbow glove, with half of it reflected with a mirror. Cool as all get out, even for an interview at noon. All that did was amp up my curiosity for her set at the Blue Stage later in the afternoon- which by the way, was a performance with some hiccups tech wise before her show, and then more than made up during her show, with saran wrap coverings, musicians shrouded in white veils when setting up onstage, and Xenia herself knowing full well how to use props to full effect, such as a bright red cloth, which horizontally from stage left to stage right, acted as a barrier from her desires of trying to reach out to her audience, and yet held back by the barrier of cloth. For such an intimate stage, a maximum use to full effect of making this performance so memorable, even at 5:30 in the afternoon. And then of course the said interview session with Elia and George Clinton, which in and of itself was so intriguing and informative and downright fun to be a part of. These two cats- Elia and George- God bless the both of them- for maintaining the spirit of music discovery, and acting as wise old souls who still have that bit of kid in them. Plusses throughout Day Three, From the hypnotic meditations with L' Rain, let alone intricate musicianship and compositions that are delicate, and yet complex, reflecting the chill mood throughout for Day Three. This mood persists, as eclectic as all get out, from Chicago rapper Noname, looking ever so confident in her delivery and relaxed mood- even stopping her set for a bit to let paramedics come in the main floor grounds in front of her stage to attend to a patron in need of hydration. Noname speaks volumes in care and judgement, reflected also in her writings and delivery- ever keeping front and center that the message can still be delivered with a modicum of understanding and empathy combined. Same holds true for singer / songwriter Kaina, also hailing from Chicago, with her soft and savory voice and gentle vibe, even on an overcast day. And even the experimental hip hop group of Injury Reserve- even though their beats and message are a bit more amped than the other artists performing on Day Three- their mood is not all crazed indifference- their message is still strong, but just more with a dialed down delivery, which is memorable in my opinion. And of course there's Earl Sweatshirt, equally fitting the overall mood of the day, a bit late to start his set, and stopping after the second song to take in the gigantic mud pit from the rains stage right / audience left. He didn't rush things- he needed some time to take that all in, the mud covered crowd, the mud covered lawn in that section of real estate. He's again chill as all get out, with a message that runs deep, but with no big splash and amped up attitude. Makes you stand and pay attention- Earl's words are equally important to the overall presentation. ![]() And again, same holds true with Toro Y Moi, who certainly knows how to pivot in musical direction, let alone taste in clothing reflecting whichever mood he's in. A vibe for Pitchfork and performance? Looking like he could easily fit in with Bruno Mars and Anderson .Paak of Silk Sonic, what with the chill and sophisticated instrumentation, let alone a suit and coloring that looks like he came out of the late seventies. This by no means is a knock- it's just a reflection on songwriting and attitude that in my opinion reflects inspirations that encompass chill wave, with dollops of ambient electronica thrown in for good measure. And then off we go to catch Welsh musician Cate Le Bon's set who has eclectic and sophisticated style sense, along with her keen songwriting and performance productions aesthetics, which she certainly knows a thing or two about, to match her moods and tastes. She's a riveting to watch kind of performer, and equally astounding musician as well. A very underrated guitar player in my opinion, with a sense of when and where to strike a single chord that's suspenseful and yet so heartfelt. One of the best performances from Day Three. Followed at last with the headliner The Roots- a band that knows a thing or two about all things "Late night party", even on a Sunday evening in Union Park Chicago. They can fill a stage with musicianship, that's for sure, even when doing house band duties with Jimmy Fallon on late night NBC. Too many musicians to name here, and you already know most of them anyway. If you don't - start discovering. Can't think of another band that can bash out "Jungle Boogie" from Kool & the Gang, and make it their own, then trail blaze off in another direction with "Got My Mind Made Up" from 2Pac, and also make it their own. That's the definition of bad ass folks. Their own songs- and cover songs...they have their hearts in the right place. Doesn't matter. They have musical knowledge that expands outwards to the great beyond. What a day, for all things Day Three of Pitchfork- all plusses, all of the above. The minuses? Just the rain man. Even a soaking drizzle off and on in the late afternoon on Sunday puts a damper on things. But that's not Pitchfork's fault. It is what is. But covering camera gear off an on, let alone your person...just slows everything down a bit. Having said that- no matter. It's a chill kinda day and evening anyway. Loved receiving the Pitchfork text at the end of the evening stating "That's a wrap folks! Looking forward to seeing everyone at Pitchfork 2023!". Guess what- I am too. Bobby Talamine - JBTV Music Television Chicago ![]() Writing and Photography By Bobby Talamine Edited by Fiza Javid Yes, you heard that right, when covering Day Two of all things Pitchfork Music Festival '22- No methodical order of recaps of bands, from first to last or last to first. And yes one more time: Mitski was undeniably a transformational kinda show, headliner on Day Two well noted. We'll get to Mitski in a moment. However, so was The Armed- A hardcore / thrash punk / metalcore (throw more definitions here) collective from Detroit, Michigan. Their set, which began wholeheartedly around 2:45pm, stayed in my head for the rest of the day, up to writing this recap. Yeah- they were THAT GOOD. To the point of staying around to catch their full and unhinged set- which if you can take a wild guess, is impossible festival wise, what with so much to cover and such. Stayed I did. I mean sweet baby Jesus....these hooligans know how to throw a party and maximize the Blue Stage with every inch of real estate utilized by what seemed like 12 band members (maybe more). Lost count amidst the deep sea of fog machines making even fellow photographers disappear in the pit, it was that thick. It's like every bit of their production is thought out full throttle. And the songs- all armed with hellfire and hellbent for interaction sweat. From "ALL FUTURES', to "Night City Aliens", to "AN ITERATION", and then "A LIFE SO WONDERFUL"- (most songs written out on their setlist in capital letters for maximum effect)- well even a pleasant title for a song which is volatile as the rest, with a clear path to unhinged destruction. Now supposedly the band loves to confuse, to remain somewhat anonymous with various band members throttled in and out of the band accordingly, just to shake things up and embrace all things "misconstrued". Well fine by me. There is a central core of members apparently, to try to keep some semblance of order through the chaos, which again, diving deep into this takes away from the actual memorable punishment that I witnessed, whether it be repetitive stage diving, body surfing, singing your lungs out from the pit and subwoofer risers, or even throwing your heavy duty microphone stand into the stage constantly, or whatever. Technically, all of that doesn't matter, because it's obvious to me that the band pow wow prior to performing has to be something of a group huddle with words like 'Fun, but unhinged chaos is the order of the day", followed by lots and lots of fog. So this shows once again, Pitchfork knows a thing or two to blast away on all things "guitar orientated", for Day Two. Worked up a sweat writing that segment, and reliving the tapes in my head. Not to knock the other acts worth noting- but "all over the map' serves a purpose- but yet how to convey the before and afters of Day Two without building up to The Armed? In my opinion, next to impossible. ![]() However, bands like The Linda Lindas deserve notice, with their fun indie punk kinda style, even with bassist Eloise Wong done up with cat whiskers, and a bright turquoise shirt, with the other band members dressed uniquely different reflecting personalities, but as a whole, embracing their brand of "damn good fun". Or how about Dry Cleaning in the late afternoon, with Florence Shaw's narrations mixing ever so nicely with her bandmates- through an eleven song set, ending with the blistering "Scratchcard Lanyard", with Florence maintaining her composure like always, while her bandmates are drowning in scathed feedback bansheeness. Or how about the hypnotic sounds and visuals and fashions and makeup with Yeule, a performer with unclassifiable cyber dimensions interspersed with mixes of trance ambient, glitch pop, or even a bit of light hearted goth. First thing I thought of with Yeule was how she would fit in nicely on the main floor of the Metro, dancing away to all things "Nocturna", courtesy of Scary Lady Sarah. And then there's Michelle Zauner of Japanese Breakfast on the Red Stage at 7:30 ish, making great use of the stage, along with her flowers embraced gong front and center, with hypnotic bashes to said gong during opener "Paprika", and the crowd just eating it up- and eating up her entire set frankly, even with the appearance of Jeff Tweedy, sharing vocal duties to "Kokomo, IN", along with "Jesus, Etc", a Wilco cover. So charming to hear how much Michelle adores Jeff and his unique singing / songwriting. A wonderful set, with Japanese Breakfast. And of course there's LOW, fronted by Alan Sparhawk and Mimi Parker, who know a thing or two about "blended distortion", followed by walls of feedback mixed through guitar pedals. Look no further than their latest release- "Hey What", and the opening track which also opened their set- "White Horses". That song can go on for hours in my opinion, the beauty of distorted melody, followed by walls of sound and sustained and distained notes with hypnotic counterpoint vocals, fighting to be heard amidst the crushing sound. The stuff of genius, which never ever gets old. We can't forget Magdalena Bay, the sophisticated and sincere as all get out synth pop duo consisting of Mica Tenenbaum and Matthew Lewin, who know a thing or two about set production embracing all things "middle eighties", all the way down to pajama onesies with assorted hues of off blue and off pink ish colors. Let this by no means take away from their sophisticated songwriting and sound palettes- they are ever so crafty in blasting out melodies, to the likes of "Chaeri" in particular. All you had to do was look around the grounds of the Red Stage- virtually everyone was dancing in place from beginning to end. And of course the Danish band Iceage, who with frontman Elias Ronnenfelt know how to present a song or two unabashed, even while performing after The Armed had been done earlier. They sound cool, they look ultra cool, they play ever so cool, through a set consisting of nuggets such as "Dear Saint Cecillia", and "Vendetta", or even "Thieves Like Us". Well done fellas- embracing all things noise rock and post punk or whatever- doesn't matter, subgenres be damned with these guys, which is a good thing. As for CupcakKe- she commands, ladies and gentlemen. A packed crowd in the early afternoon via the Red Stage, with raps and discussions on all things "vagina this", "vagina that", amongst other necessary expletives. She knows a thing or two about this, rapping with the occasional wicked smile, and demanding your undivided attention. ![]() As for headliner Mitski- HOLY SHIT. The buildup to her performance- the crowd- her audience, ate it up. They ate up everything- her occasional leg kicks, the witnessing of her knee pads under her dress, her fits and starts moves, acting out whichever song, from opener "Love Me More", into "Working for the Knife" in particular, with fictitious thrashes to her arms bringing out yelps and screams and hollers from her faithful audience, and into "I Will" a slow burn of a song with ultra cool hypnotically ladened synths. Her entire set- from delicate to unabashed- the audience ate it up, even sharing lyrics out loud most of the night, riveted to her every move and nuance. Mitski's the real deal- putting thought and care into everything production wise, even on a minimal scale, to reflect the moods of Mitski, with no distractions. In my opinion, not many artists can pull that off, without showing weaknesses and spotty issues. Not the case with Mitski, who lives and breathes her world, and clearly knows how to share it with the rest of us. Going to go down as one of the best performances of the year, on year end lists- it was that amazing- that good- that memorable. Here's to Pitchfork- knocking Day Two out of the park yet again. Bobby Talamaine - JBTV Music Television Chicago |
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