 The Roots - Bobby Talamine (c) 2022
 Elia Einhorn and George Clinton of Parliament Funkadelic - Bobby Talamine (c) 2022 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.
 The Roots - Bobby Talamine (c) 2022 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
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 Mitski - Bobby Talamine (c) 2022
 The Armed - Bobby Talamine (c) 2022 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.
 Yeule - Bobby Talamine (c) 2022 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.  The Linda Lindas - Bobby Talamine (c) 2022
 Mitski - Bobby Talamine (c) 2022 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  The National - Bobby Talamine (c) 2022
 Tierra Whack - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid Rain. Off and on Rain. Sometimes persistent and heavier kind of rain, followed by a lighter version of that. And this scenario played out off an on up until Jason Pierce of Spiritualized and his set later in the early evening. Rain is not a friend to photographers. You literally have to cover everything, just to at least keep picture taking manageable to some extent, let alone your person. But there's lots to be grateful for- you're not alone in this latest edition of the Pitchfork Music Festival, and by all accounts, the demeanor of said fellow photographers and fellow writers is glass half full, not glass half empty. So we're going to start from the bottom up to the headliner The National, giving you a brief account of the festivities, and bands of note. Have to start off with SPIRIT OF THE BEEHIVE- A band revered not just by fellow music hounds, but also fellow bands and artists as well. They can cover lots of ground when performing live- morphing into way so cool post punk territory one minute, then veer into experimental noise the next. And also while not sounding the least bit fake- it's clear their hearts in all this is in the right place when attempting all of these genres of music with a set that left me intently focused for most of their set before having to vanish off to catch some of Monaleo at the Blue Stage. Which yet again, you have to give the fine folks at Pitchfork a round of applause to book meaningful bands early in the schedule, year in and year out, making each and every day attending Pitchfork a real treat. As far as Monaleo- a late edition to replace Tkay Maidza- She's honest- I'll give her that. Nervous veering out to soak in the audience in attendance before she even plays her first song, taking some deep breaths, then doing her best to command the stage, prancing about to her major hit "Beating Down Yo Block", amongst others. Even at an early age, she knows how to come out of the gates swinging, even with a persistent rain taking hold. Up next is Wiki, a rapper and record producer hailing from New York City, with an attitude that comes off laissez faire- but in reality is anything but. And the crowd for Wiki- pretty impressive, even amongst the raindrops, performing at 3:30 in the afternoon. Up next is Spelling, which is actually Tia Cabral- an experimental pop musician from Oakland California, who embraces a wide variety of musical tastes, as evidenced with serious background vocalists, let alone a crafty band to flush out her progressive and electronic leanings, done with great taste, and a dark fashion sense to boot. Then off I go to dry off a bit, regain my composure, and head back to the Blue Stage to catch a bit of Camp Cope's set- an Australian alternative rock trio fronted by fearless Georgia Maq McDonald- and as a trio, know how to swing for the fences with a steady and sturdy best of indie, mixed with a bit of punk thrown in for good measure. And that voice from Georgia Maq- can go full throttle at a moment's notice. Then a breather between rain drops to get my senses back, and off to Tierra Whack- a rapper from Philadelphia, who even though felt somewhat uncomfortable performing in the rain, made it clear she was having a hard time dialing down her performance without slipping and sliding on the Red Stage- to the point where the Pitchfork crew periodically came out to weegee the rain off the stage as best they could. But perform she does, to the point of stopping sporadically to announce birthday wishes from stage left to stage right. Clearly Tierra Whack is an inspired gal- and motivated no matter what the circumstances mother nature throws at you. Now comes one of the highlights for me for the day- Parquet Courts from New York City- a band that has played Pitchfork before, and a band that knows how to squeeze out noise pop mixed with electronic noise followed by feedback mixed with disdained vocal with nary a weak link in the bunch. And the crowd in attendance knows this too- veering off into demented land, courtesy of Andrew Savage, who can talk over anything sound wise, followed by brief yelps of what the fucks.  Monaleo - Bobby Talamine (c) 2022
 Amber Mark - Bobby Talamine (c) 2022 As much as they can be contained a bit between whichever song, they also can at a moments notice unleash the hounds when provoked, especially with heavy hitter songs in your catalog such as "Stoned and Starving". Songs such as this never get old, including newer material such as "Plant Life", which is in the mold of straightforward Parquet Courts. Then comes Dawn Richard, hailing from New Orleans, with red blazing hair down to "here", and with a fashion sense that is sophisticated nasty, as well as her performance, with two backup dancers that push the envelope with moves, even on such a minimal stage in yet more rain. As far as Jason Pierce and his band Spiritualized- although minimal photographers allowed- listened to some of his set from the audience, and like past years when performing in Chicago, he still sits down when performing, and plays as best he can, what with all of his health issues the poor guy has faced over the years. To even see him walk out onto the stage is a treat in itself, let alone start off with "Hey Jane", into "She Kissed Me (It Felt Like a Hit)', which is improvising daydream / intense kind of stuff. Finally back to the Blue Stage, to catch the multi-faceted Amber Mark, who knows how to command a stage and swing to sophisticated R&B, and all around catchy alternative R&B. And finally we hit the headliner of Day One- The National, a band to this very day have set the mark with unabashed sincerity and honesty, with a songcraft that holds up without sounding and feeling dated. And that says lots, between the Dessner brothers and the Devendorf brothers, fronted by Matt Berninger. Yes, they have a sophisticated LED backdrop and specialized lighting kind of show- but it says something altogether when you can turn your head away from the stage and look out at the large audience, and soak in a song such as the heartfelt "I Need My Girl", and visualize your own personal scope of things music wise, personal feelings wise- not performance wise. It's magical songwriting, done with thought in mind, like most of The National's songs, with words and imagery that make you disappear and forget and immerse- like reading a captivating novel, and you don't want to be disturbed. Opening with their standards "Don't Swallow the Cap", into "Mistaken for Strangers", and then of course "Bloodbuzz Ohio"- how's that for a one/ two/ three punch! 17 songs in total, and then before you know it, the show is over. Nothing like dark and heartfelt melancholy on a Saturday night, especially after a day of on and off rain followed by misty humidity. Have to say Day One of Pitchfork 2022 was memorable- all positives (rain included) - not negatives. Bobby Talamine - JBTV Music Television Chicago  Puscifer - Bobby Talamine (c) 2022
 Puscifer - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid And so here we are at the Chicago Theatre, the glorious and iconic marquee all lit up on all sides- emblazoned for all to see, and giddy with excitement thereof: "Jam Presents Puscifer- This Saturday July 2". And the crowd, already lined up since 10 am apparently. Found that odd, since it's a reserved seating kind of theatre. So when I arrived, I had to ask. It turns out that every date of this Existential Reckoning Tour, a unique one of a kind poster is made for the event, somewhere in the neighborhood of around fifty total. But the line- has to be close to three hundred or so and an hour before doors open, stretching south on State Street to the alley, and then going east to Wabash. Just goes to show yet again, like anything Tool related merch wise, is equal with all things Puscifer merch wise- a rabid fan base that devours anything and everything Maynard related. And with Puscifer, there's a lot to take in that's downright funny, that's downright macabre, that's downright sophisticated cabaret production wise, along with smidgeons of absurdist theatre thrown in for good measure. It technically starts in my opinion for the promotion for said Existential Reckoning Tour 2022- at the bottom of the scheduled date announcements with this little bit of news: "PREPARE TO BE PROBED", with of course the prehistoric- ish alien pencil and ink illustration added in for good measure. That should give you lots of intel right then and there. And if you need to cut to the chase on absurdist comedy from a legit photographer's perspective- yes, having covered Tool since their inception, let alone A Perfect Circle and on and on, you get to know the photo policies like the back of your hand. But it became downright comical a half of the way through their first song of the night- "Bread and Circus", when both Maynard (aka Special Agent Dick Merkin) and Carina Round stop in their tracks and yell "Spam! Spam! Spam!"- and point to one individual in particular, which is code word for banned cell phone usage, which leads to eviction from the venue. All this did was incite a couple patrons around my purview, pointing to me and yelling the same thing, as if to pounce because of my camera gear and photography taking, although authorized, and with clear as the present day photo pass. Had to show that pass what seemed like multiple times to anyone and everyone for that two songs allotted, which is not a complaint really, it just goes to show how the audience follows said rules from said band, and everyone please act accordingly. Enough of that though, as funny as it was- bottom line from that to the actual show, there's a lot of comedy to go around, courtesy of Special Agent Dick Merkin, on the scene as always, seeking out extraterrestrials, who are apparently living among us, mostly hybrid celebrity related, with mutant offspring mixed together to make the likes of Justin Bieber, Wendy O Williams, and so on. The videos with Agent Merkin offhandedly and matter of factly explaining said macabre extraterrestrials, with Max Headroom video glitches thrown in for good measure are as funny as all get out- With matter- of- fact statements such as they have discovered and "identified a hidden mobile cloning facility that is alien owned and operated, and which appears to be run by a combination of genetic engineers, public relation biologists, booking agents and oh so smug social media influencers, all extraterrestrial in nature. The purpose of the clones is still a mystery, but it appears that the aliens are either downright duplicating and or replacing red carpet celebrities that have been deemed mediocre or without outdated fashion sensibilities". So you see when you have too much time on your hands, and you morph into other characters and offshoots of your wicked man when your main occupation is on a bit of a vacation? You write about the absurdity of it all, exposing what we all know, if you're the occasional watcher of anything B related daytime TV, or "Entertainment Tonight", "Access Hollywood", or even Tucker Carlson related- that all of it is worthy of lampooning, and twisting to your point of view for putting on a show. And a show it is, sophisticated for such an intimate theatre such as the Chicago Theatre, with good use of scaffolding, giant sized LED screens stage left and stage right, with lighting to add a moody punch to the whole affair. And the core Puscifer force, backing up Agent Merkin, along with Carina Round, you have Mat Mitchell, on guitar. bass and keyboards, and of course Josh Moreau on bass, and Gunnar Olsen on drums.  Puscifer - Bobby Talamine (c) 2022
 Puscifer - Bobby Talamine (c) 2022 The band is tight, aloof, going about their business without much visible emotion, acting as the "Men in Black" to the "Man in Black". The themes abound, clearly obvious and visible, but done with a fans point of view, to prompt further discussion and evidentiary dialog on all things "Maynard", and can you decipher "Maynard", which apparently you can, and you can't. Which is the whole point I guess- living in this day and age, and easy access to conspiracy theories, let alone anything "Q" related, makes you take note of the dimwitted, and write about the dimwitted. And no one better than Maynard knows how to instinctively skewer that at his beck and call, making note of anyone in a position of elected power- "If I only had a brain", whistling like the tin man from the Wizard of Oz, and the buffoon of a senator Ron Johnson of Wisconsin. So yes, there's plenty of fodder on a daily basis to chew on, especially if you're an entertainer of the level of a Maynard- a guy who knows how to perform and immerse himself in multiple characters, with a bit of modern day George Carlin thrown in for good measure. All of it makes sense to some extent, provoking your devoted audience and fan base to essentially take a deep dive into investigating further the deciphering of all the "DaVinci Code" like antics from said wicked showman / comedian. The setlist- covered entirely "Existential Reckoning", with plenty of fodder in Maynard's other alter character, Billy D, and all things "V is for Vagina", and "Conditions of my Parole", let alone "Money Shot". Some seventeen songs in total, all done with no skimping, or let's say "no spam involved". All rich, all fresh and clean. Have to say it's not wayward with Maynard. The comedy- the theatrics- the swinging the hips like an old man movements- the downright 1950's aliens in three piece suits- all of it makes absurdist sense, for absurdist comedy, for the absurdist world we find ourselves in. So when we get close to the time of the end of the world, and we all have to "tribe up" Mad Max style, and I'm alive and have to seek out a guy like Maynard and profess that I belong with said tribe, I've got my speech ready. It involves a modicum of comedy, along with existential gunplay, followed by a dash of wisdom with an "I don't care" kind of attitude. That- and know how to multi- task at a moment's notice. Let's go forward please. Until then- embrace the absurdist comedy ever present in the day and now, with guys like Maynard, and bands like Puscifer. Bobby Talamine - JBTV Music Television Chicago Live Review: FAILURE - Wild Type Droid, North American Tour - Bottom Lounge - Chicago- Fri 7/1/227/5/2022  Failure - Bobby Talamine (c) 2022
 Failure - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid You can tell that this show with Failure, this current tour with Failure is going to be a treat on a couple of accounts- First, with the setlist- some 19 songs in total, opening with "Submarines", from their latest release "Wild Type Droid"- a song with like most of Failure's catalog- based on untrammeled observations and exposed detriment, followed by dusting yourself off, and trying to get on approaching life with a glass half full. I know that says lots- but welcome to a life lived during the time of a great band such as Failure. Will dig deep a bit more on all things "setlist" in a minute- But now onto the second bit of news- which is their merchandise, and the amount of care they show to their fans. The Bottom Lounge has a long hallway to the east side of the main room, and one side of the wall is devoted to merch, the other side is the posters of the future Bottom Lounge show announcements. As far as the show announcements- I had to come to the venue earlier for soundcheck, just to see firsthand the layout of all three on the main stage, and the configuration of the band layout in relation to the pit and audience, to seek out the the sweet spot in advance to get a decent shot of all three along with separate shots of Greg, Kellii and Ken. Not much room to work with pit wise- and knowing their devoted audience, didn't want to make things difficult there as well. But once the sweet spot was found- all was good to handle the confines of an intimate venue such as the Bottom Lounge. So I saw upon entering the Bottom Lounge four Failure posters of tonight's show- one along the hallway by the merch, two others in the men's bathrooms, and the last one by the main door entrance by the restaurant dining area. All four were long gone by the time the doors opened for the show. But their merch- well let's just say there's lots and lots of Failure merch catering to the rabid Failure Fan. And the line for Failure merch was quite extensive, even during their performance, which should tell you lots. So yes- it's beyond refreshing to see them perform live again, and rekindle in my soul the beauty of muscular tracks written from all angles and various themes of all kinds of subject matter. Again- sorry fro the long displays of fitting into one sentence what you dearly love about a band such as Failure, and try not to get all discombobulated. But for those in the know, the new friends you easily make while waiting for one of your favorite bands to go on, and talking with people for a couple hours of distinct dissection of "Failure this- Failure that"- well, you'd get the gist. New songs, old songs- it doesn't matter. It's all Failure worthy good. Of course they save the sweet stuff for the encore- six songs in total, but you can't help but feel the glow of good listening yet again to "Segue 3" into "The Nurse Who Loved Me" into "Another Space Song" into "Stuck on You" yet again. Those four beasts never get old. But then followed up by "Heliotrpic", and closing with "Daylight"- all of which come from their brilliant release "Fantastic Planet"- such a whiz bang smack to the back of your head to realize just how majestic this all is - everything Failure- nothing but Failure. Of course "Fantastic Planet" is incomparable, and withstood the test of time, and maintained all relished revelry from die hards and fellow musicians both insanely popular, and ones up and coming.
 Failure - Bobby Talamine (c) 2022 That's why you take note of the thirty minute opening documentary before their show, and listening intently to the likes of Hayley Williams, Maynard James Keenan, Butch Vig, Tommy Lee and the like. They talk about all things Failure with such honesty- such sincerity. You can hear it in the tone of their voices, the deep regard, like a true fan, of what they hold dear to Failure, and what they've created over the years. It's the kind of thing that tugs at your heartstrings, to see them kick things around yet again, survive all that's been thrown at them and still create on their own terms, and only when they're ready. Their fans well know this inside and out. At the Bottom Lounge, their fans came from all over, and also have been going to multiple shows throughout this tour, dozens of fans had told me. So it's clear that from all perspectives that this whole deal was going to be memorable, and a show to compare to all the others you've seen over the years, with not many mistakes, if there's mistakes at all. And as for songs that are new (and newer) from "Wild Type Droid", let alone "The Heart Is a Monster" and also "In The Future Your Body Will Be The Furthest Thing From Your Mind"- all three well represented setlist wise- all three represented pleasantly performance wise, what with "Atom City Queen" and "Counterfeit Sky" taking hold, along with "Force Fed Rainbow being on point, and all things Failure. And as for Greg, Kellii and of course Ken- a big thank you- if for anything in this ultra weird day and age, the true definition of perseverance. Damn do I love this band. Bobby Talamine - JBTV Music Television Chicago  Daya - Bobby Talamine (c) 2022 Photography by Bobby Talamine (IG @btalamine) & Tony P (IG @tonypphotos) Writing by Fiza Javid (IG @xxfizax) Day One, Grant Park. June 25, 2022 As the weekend approached, no one anticipated that we would wake up to post Roe America. The anger and shock was a catalyst and reminder of precisely what Pride was always meant to represent: unity, acceptance, love and an inherent fight for the freedom to choose, be it your partner or the ability to decide when to have a child. While last year’s festival was a celebration of pride alongside surviving a plague, this year brought on another earth-shaking perspective. Festival goers of the annual Pride in the Park Festival kick-started the weekend to not only celebrate, but to also remind themselves that the celebration itself was now more necessary than ever. It might seem like an illogical statement. That is no way partying and celebrating could solve anything, but the opposite is true. We are living in a country where there are people in positions of power who want more than anything to silence these prideful celebratory exclamations and to drown them out. Perhaps we are fighting fire with fun. This message certainly reverberated through the two days, through the voices of artists and political leaders alike. The actual act of protest remained behind a subliminal curtain, ready to be unveiled. The real stars of Pride in the park eagerly prepared behind the actual curtain, ready to excite us all, as we waited with gratitude in our hearts. Saturday was kicked off with DJ Avi Sic, who played dance/electronic mixes with hits like Britney Spears, house music. A light crowd arrived to get the party started early. The eagerness was up this year, and while last year there was an issue with rain, the rain is merely an afterthought as the drizzle did not dampen the movement. It was also immediately apparent that House season was kicked into gear. With both Drake and Beyoncé releasing their new album and single, respectively, it is clear that it is being pushed for summer popularity. However, House is truly where the indi artists shine, particularly artists like Spencer Brown. I caught Bobby jumping on to the stage to capture Spencer Brown where I caught some candid shots. Spencer was effortless and let the music do all the talking, while he held down the beats and projections of overhead shots of landscapes, geometric shapes and ocean clips. Spencer is known for not only being signed by Avicii, but for his collab with Deadmau5 and Above & Beyond, and this LA native truly set the tone for the future of electronic music.
 Monét X Change - Tony P (c) 2022 No one would anticipate such a lax electronic dance session would transition into an electrifying drag show. Both days were incredibly led by DJ Dom Brown, known for being part of the team that hosted Porn and Chicken, which were Monday night ragers at Chicago’s club Mid. Shea coulee came out with an announcement, right before Dusty Bahls came out caffeinated with four lovely dancers in silver set outfits. The crowd went absolutely bonkers when they began with the iconic Bring it On performance. The tone was truly set and was incredible throughout. All hail queen Sasha Love came out with 4 leashed men and brought the provocative touch the show needed, and she performed a slow, distressed jam of Beyoncé’s “Crazy in Love” which turned into the real choreography of the original “Crazy in Love''. Sasha’s Beyonce theme was such a joy to witness, with the real, necessary crowd favorite being her ode to “Run the World.” Sasha Love shined with six backup dancers! “There is no other festival in this park besides Lollapalooza, and We get to hold his park down for Pride!” she said. The headlining performer was the one and only Monet X Change, who was the season 4 winner of Ru Paul’s Drag Race, and currently in Ru Paul’s All Stars edition. “I’m gonna werk for Chicago tonight bitch!” she said. Shea coulee and I should have been on the top!” She transitioned into a reggae mix, “I grew up on that shit I love reggae music.” She spoke about the current issues affecting the country, “We need to affect change and this is a March” which led to the incredible performance of her song “March.” “We aren’t asking for charity much too late for formalities.” This is definitely what Pride is all about. That was when a “special guest” was called to the stage, aka the leader that should treat us like special guests. As much as there has been a lot of criticism of Lori Lightfoot throughout Chicago in the past year, with many calling her “clout chasing” throughout Twitter, this was truly a moment she did not deserve judgement. She IS the leader to speak for the risk of the Supreme Court attack on LGBTQ+ issues. Lori Lightfoot came out screaming “Fuck Clarence Thomas! We will fight! Today we have pride but tomorrow we fight! We are a welcoming city who has justice for all, but we are never going backwards! We need to vote, voting matters! Voting is what got us to 2016, and we need to fight to make sure our rights are secured, and our democracy.” It was the essence of that speech that was followed by Saucy Santana’s drag performance that embodied the energy of the festival. It did not feel like another day, another year in Chicago music. The crowd was still light at this point, but the excitement and activism was still palpable. As much as I want to really exemplify the artists, it is vital that I say that the audience shined equally, and the Dom Brown Members definitely made sure to recognize that. Members of the crowd were then chosen to come on stage for a little twerk session. Tommy hawk gets the crowd all excited right as day one was prepared to be knocked out of the park by The Chainsmokers and Joel Corry.
Alex and Drew made sure to have their voices heard, declaring “their bodies, their choice!“ and “equality now” which definitely was more validating. It was genuinely great to see powerful artists recognize their voices as voting Americans, fighting for the rights of all Americans, while simultaneously entertaining us. While it might seem like both perspectives should stay separate, and that it further blurs the lines between our leaders and our entertainers, these artists do have a platform to speak and influence as the country continues to make tumultuous turns. It is also nice to hear these words and then feel the tension dissipate with the music. The Chainsmokers played new music, which will absolutely be the highlight of their year. They talked about how by a sudden shift of luck, their 2019 Lollapalooza performance went from being a 2PM show to a 7PM, which is a major difference in terms of crowd reaction as far as Lolla goes. They attributed their song “Roses” to the Chicago crowd as they were greeted with warm energy. More songs included “Don’t Let Me Down” and “Closer” which were undeniably beautiful. Joel Corry ended the night with a powerful electronic club punch to all the faces of the audience, and as I had to head out of the festival, I did not miss a beat. I could hear his music all the way into Lake Shore Drive. Ultimately, the love, the kindness, the gratitude, the all around feeling of unity that does not always show up in everyday life, was what made day one truly memorable. These are unprecedented times, and these are the moments that need to be grasped. Pride exemplified that and more. From the individuals who put the festival together, to the attendees, from all sexualities, genders and backgrounds, are living proof that we are not as divided as they want us to be, and depending on the corners in which we look, we may just find that unity at a local festival that deserves a hell of a lot more love. I don’t doubt that Pride in the Park will continue to grow every year until it hits Lolla levels or more.
 Alesso - Bobby Talamine (c) 2022 Day Two, Grant Park. June 26, 2022 While day one allowed everyone to blow off some steam and come together to showcase Pride and protest on not only the news of the week (unapologetically) Day two began as a more relaxed feel, as festival goers have already had a chance to familiarize themselves with the events attractions. This could also be due to the record numbers at the Pride parade, that were not yet at the festival. Still, people were taking in all the incredible offerings, which included a FREE hair styling booth provided by Dyson, which would probably cost at least $100 if it was a trip to the salon. There was not an excuse to have a bad hair day here. I decided to give the booth a swing and it was totally worth it. I tames my mane, and ran head forward to the main stage, which I was truly not ready for what was to come. This name. Moore Kismet. Remember that. “I am a 17 year old and unapologetically non-binary!” They were an absolutely powerful force on stage! Their colorful jumpsuit and beaded colorful hair turned your eyes into the nucleus of the stage, and the energy was truly out of this world. Moore was truly the star of the party, and the only artist capable of getting the crowd into headlining energy at the beginning of the day. The energy they brought, and managed to get the few early comers to truly not regret their decisions of being early arrivals and missing the parade. Moore is going to be unstoppable, just you wait. I’m getting Avicii success level vibes here. Next was Ms. Rebecca Black, and if you were a millenial in 2009, you certainly remember who she is. I had no clue what to expect. I just remember the fact that she not only was declared as having the “worst song in the world” at a mere 13 years old, but also the highest watched video in YouTube history at the time, as the site was in its infancy. I’ll be honest, I had some jokes in my mind about knowing Rebecca black was next, as the video itself changed the course of her career forever. That video was so strange to ears that it was once the center of a lyrical conspiracy claiming it was about the Kennedy assassination. “Wait….is that REBECCA BLACK?” I heard someone say. “Everyday is a good fucking day to be gay, am I RIGHT?” Rebecca black came out as an absolute show stopper. Wearing a skin tight black top with an image of bare breasts, her confidence was absolutely dominating. She danced, she gave the audience fierce eye contact and was truly lost in the moment of her performance, I never knew she was so dominant and commanding in her persona, and such a natural dancer. “I want to ask you all a question, how many of you have ever been told you were the bad guy? That you fucked someone up? Don’t lie to me Chicago, don’t LIE.” Which broke into her next song, “Don’t Lie.” She also sang a cover of La Roux’s “Bulletproof.” Very fitting choice! Rebecca truly is unstoppable, the way she took ownership of the ridicule and transformed into a Hyper-Pop diva that deserves the attention in a more positive light. She’s a Rihanna level pop star at heart, and she danced and beamed with an iconic smile that may be the only aspect of her that reminds us that she is the same individual from that viral video. Her smile is absolutely recognizable, but “Friday” did nothing to showcase who she truly was as a performer. THIS Rebecca black, she should be up there with Lady Gaga. “Who wants to be my girlfriend?” She said, and also introduced her drummer who is a Chicago native. We then watched her go into the sidelines as an audio track played through a news story restating what happened with the “Friday” song. I could see her panting in the sidelines, and I kept thinking, “Is she going to do it?” Well she definitely did, and she remixed it. She ran out into the stage to the Hyper-Pop mix and threw some kicks and dance moves at the audience as she sang through the song, with the new version of the video playing behind her, showing her with a long braided pony-tail, a skin tight black latex suit and brief twerks. Okay, this was the moment she became a queen. The audience adored it and sang along with her, because lets be real, everyone learned the words.
 Dusty & Dom - Bobby Talamine (c) 2022 It was the perfect level of excitement to bring on the drag show. The legendary “House of Coulee” was ready to shine, as the crowd screamed the names of and donned fans for Shea Couleé, Kenzi Couleé, Mimi Marks, Luci Ami, Bambi-Banks Couleé, and Khloe Couleé. Move aside Kardashians! Shea came out with a full band, colorful hair, green and blue, chained up jumpsuit with the sides cut off. She played her song “Cocky” with fans screaming “We love you Shea!” “This is my first pride in 3 years, what is the tea? I’m so happy to be back, I’m so happy to be black. Here is the new new.” she said. She was a true pop princess and not one song was lip sung by her. She sang through everything, danced and was beaming. Mimi Marks came out in a draping white gown that unveiled a shining fitted shimmer gown, and another leotard underneath, with backup dancers. Her heartfelt performance was enough to bring anyone to tears of joy. “10s across the board!” Dom stated from the side. Bringing all the Pose fans to their invisible seats. Kenzi Couleé went full Gaga as she opened with Bad Romance, and to add to the talented house, she came out with a violin! She played through the songs beautifully on violin as the track played above. I had a moment to check out Circuit Mom dancing their hearts out before Daya came on. Daya, known for her hits alongside being the iconic Chainsmokers “Don’t Let Me Down” voice of her own song, was the perfect pre-headline the day after The Chainsmokers. She sang her hits “Hide Away” and “Don’t Let Me Down” but also unveiled a new song coming out on Wednesday July 6th entitled, “Love You When You Are Gone,” which is definitely one to look out for. “Are you ready for the gayest song I’ve ever written?” before performing “Bad Girl.” She took a moment, post song, to give a speech on the Roe decision and her experience of coming out: “It’s hard to be American or proud to be an American, when they don’t seem to respect us as women, queer women, trans women. It’s hard not to feel powerless but we need to give ourselves permission to feel those feelings, but we don’t need to feel completely powerless. This community is embracing and warm. I experienced that when I came out a few years ago. It’s been the best family and community since. What we have they can’t take away from us, it’s what they don’t have, it's what we have. It’s what we will always have as long as we support each other and build one another up. I am committed to that and I hope you are too. Let’s me louder than ever and let’s me stronger than ever, and let’s get these old fucks out of the office. Abort the court.” She ended her performance carrying a Pride flag and was near tears embracing the crowd. Daya, you are a true gem. After her performance there was a beautiful video tribute to Richard Pfeiffer and Tim Fry, two notable historical figures in Chicago’s Gay History. Dusty called to the audience to rejoice Tim, who was in the audience and supported Richard for 40 years when he had cancer. It was a perfect note to remind the audience just how far the Pride celebration has come and to honor the history that often is left invisible. The night closed out with Alesso, who brought in a bass heavy jam session that had the audience reverberating. The pyro was hot and the set was hotter. He kept a space theme going as it felt like a very Sci-Fi, EDM show with intense drops. From songs like “Heroes” to “Falling” with imagery of two genderless human beings kissing, it was a chef’s kiss to the end of Pride in the Park Chicago, 2022. The audience walked out overjoyed into a dark reality as there were religious protestors greeting them, attempting to start fights. That did not matter, and they were brushed off. They can not and will not take the liberties away from these music loving, and honorable individuals. Pride in the Park needs to keep growing, and Chicago Pride is here to stay. Until next year, with endless gratitude and love, Fiza Javid - JBTV Music Television.   Kraftwerk - Bobby Talamine (c) 2022  Kraftwerk - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid German electronic pioneers Kraftwerk return to North America for their immersive 3D concerts with a stop at the Byline Bank Aragon Ballroom in Chicago. Bringing together their sophisticated electronic music with performance art is quite the accomplishment, considering how easily this whole thing could go sideways without the right equipment, the right budget, the right people to man the controls (both onstage performance wise, and also at front of house as well). We all know that Kraftwerk's music speaks for itself, and can sustain longevity without added fanfare. But what if you think big, as obviously sole survivor Ralf Hutter of Kraftwerk must've done? Well the visuals, 3D or otherwise should overwhelm, so that's why you have a white backdrop that's gargantuan, that can easily absorb the bright and colorful hues from the 3D projectors up in the balcony at the back of the house. So let me tell you now that this works on many levels, from the first song- "Numbers / Computer World / Computer World 2", to their last song- "Non Stop / Boom Boom Tschak / Music Non Stop". Even their display on center stage, four clean podium standing synthesizers and samples, from right to left, all even, and centered, with the giant white backdrop directly behind. Simplicity in design, production wise, with no fuss and clutter. And the audio- the PA was top notch, immersing you in their mechanical world, specifically with musical nuggets such as "The Man- Machine", "It's More Fun to Compute / Home Computer", let alone more popular electronic tidbits such as the innocent "Autobahn", and "Trans- Europe Express / Metal on Metal / Azbug". These songs may come off simple, but like any musical genre, simple is not as easy as it sounds to create songwriting wise, and hold you captivated, and have you hum specific identifiable refrains on repeat- you know, like the good ear worms, not the nauseating ear worms.
 Kraftwerk - Bobby Talamine (c) 2022 Kraftwerk were to originally bring this sophisticated production to our shores back in 2020, but like most shows in the books at the time - derailed by the pandemic reared its ugly head, coinciding with the group's 50 year anniversary. So when you wait, and hunker down during Covid 19, you know full well that you're gonna come out the other end, somewhat unscathed, and enjoy the finer things when given the chance- such as witnessing Kraftwerk perform live and in person yet again. Having seen many incarnations of Kraftwerk over the years, even now with one soul survivor remaining, that being lead singer and keyboardist Ralf Hutter- have to say how much I enjoy how Ralf pivots accordingly to the times we are in, modifying songs to fit a mood, whether it be "Autobahn" of course, or even the conscientious "Geiger Counter / Radioactivity", with visuals of names such as Chernobyl and Fukushima (amongst others) keeping you immersed in such disasters, and the consequences that they bring. It's refreshing to see their music changing to the times, without being outright reconstructions, and the visuals related like minimalistic filmstrips of current thought and meaning brought on by fresh and new technology. That's the beauty with bands such as Kraftwerk- you don't have to be dated, or stuck in a rut to perform- you obviously have technology on your side, and you either do your best to adapt, or whither and die in the vines. So throughout their set, it's a constant sonic push and pull, done with subtlety in thought- not meant to bash you over the head with shocks to the system, but the exact opposite- the trance inducing music speaks for itself, and immerses you on a level to embrace the visuals, without giving much thought to the four men standing behind their synthesizer pedestals. And when you think about it- how keen in observation from the men in Kraftwerk to immerse themselves in the production, the whole concept being as one. It's shows like these that leave an indelible mark in your head- groundbreaking yet again, witnessing guys in their seventies who still come off as anything but. So yes- their setlist, their production, their visuals, the setting at the majestic interior of the Aragon Ballroom in Chicago- all of it- a total work of art. For the remaining dates- heading a bit east, then west, ending their tour in early July in Vancouver - a definite must see. Bobby Talamine - JBTV Music Television Chicago  Orville Peck - Bobby Talamine (c) 2022  Orville Peck - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid Prior to the sold out show with Orville Peck at the Riviera Theatre in Chicago, you make note to cover the crowd and the Riviera marquee for a bit, knowing full well that the faithful will turn out in droves, all adorned up western style, and some going even further with the anonymous and sophisticated fringe masks similar to what Orville wears while performing. To the faithful, it's a big deal to get all dolled up, Orville Peck style. It's fascinating to watch and photograph, experiencing first hand the energy it brings to an event and performance on the scale of Orville Peck, and his meteoric rise witnessed firsthand over the past few years. And here we are, with Orville and his band celebrating his latest release "Bronco", which came out back in early April, and now on the road supporting the release on his "Bronco Tour" of North America. Orville starts the show off with "Daytona Sand", the first song and first released single off of "Bronco", bathed in various hues of blue. and even though in sophisticated cowboy fashion from head to toe, which you expect, down to his cowboy boots and ten gallon hat- had no idea of just how sophisticated his getup was until he ripped into the second song of the evening- the punchy and resentful "Turn to Hate", and the stage bathed now in white light. Now you can see Orville's outfit in all of its glory- all turquoise, with a bit more added turquoise, and done up in true cowboy splendor. I bring this up as a case in point separate from just talking about the songs from the setlist outright- there's a lot going on with Orville Peck and his desire to always put on a show (no matter the venue) that is unforgettable, and leave your worries behind at the door. It's amazing to watch Peck's musical growth, as a singer / songwriter, and also as a confident performer, becoming more and more fearless, and even a bit more unruly, if you can believe that. Even if you want to remain anonymous, hiding a bit behind your fringe masks, the haters will still come, one by one, to belittle you and let you know directly and indirectly some modicum of contempt.
 Orville Peck - Bobby Talamine (c) 2022 A guy like Orville takes this to heart, brushing off some of the criticism, that being his vocal timbres and range, which uncovers a bit of Roy Orbison a bit of Morrissey, and blessed as well with a deep baritone that conveys a sense of loss and repression when the timing is just right. He writes songs about pain and loss, because he's experienced firsthand multiple times his fair share of pain and loss. And to top it off, with the wide spread acclaim he received from his first album, "Pony", back in 2019, which was embraced not just by true country fans, but also the indie and alternative crowd- Like most artists new to the game- how do you follow that up without the dreaded "Sophomore Slump" hanging over your head? Well if you're a guy like Orville Peck, I believe you rest up a bit, take some deep breaths, and reconfigure anew, and take some risks with some wide ranging ideas, since you know full well that you have an awesome band that's been with you through thick and thin, and they have your back. I mean I guess you have to answer a simple question: What makes you want to be a songwriter anyway? I believe every take on every album is going to be different, just from shared life experiences and simply living, and proving to yourself your worth and validation. That, and don't be fake, and try not to be hard on yourself. I feel that Orville, with each and every passing turn through life, is asking these kind of questions. Maybe the mask will come off somewhere down the road, maybe not. But laying out the groundwork anonymously for a career in your chosen genre (and genres) of music- to allow you to flourish and shine with polished singing and songwriting should help to bear fruit for years to come. The point to all of this is to convey just how much I get the impression that he truly cares, and takes all of this to heart, even with downtime during a pandemic. So in regards to the making of "Bronco", and touring on the strength of these songs, you can tell from the outset that they are therapeutic to some extent, getting out of a depression, re- finding your voice, making sense of another bad relationship- kinda like keeping a diary of tragic mistakes and bad behavior, and how to correct past behavior. Songwriting to that extent, I'm sure truly helps you get out to the other side. And what makes you whole again? Taking out these new songs for a spin on the road. You've witnessed now the aforementioned "Daytona Sand", and you also get to hear "The Curse of the Blackened Eye", followed by "Lafayette", and also "C'mon Baby Cry", "Any Turn", along with "Kalahari Down", amongst others. And it looks from my vantage point throughout the entire show, from the pit by the stage, to the back of the house, that Orville is enjoying himself immensely, even on a hot Wednesday night in the sauna known as the Riviera Theatre. And that turquoise outfit ain't coming off until the end of the show. You gotta love and admire a guy like Orville Peck, always approaching live performance with sincerity, and coming from an authentic place- haters be damned. Having witnessed Orville so far come through Chicago- first at the intimate Lincoln Hall, then at Lollapalooza last year in the blazing sun, up to the present day on his Bronco Tour, he still proceeds on that plane, pouring his heart out to his faithful fans, approaching everything with deliberate honesty. So refreshing to see and witness live with Orville yet again. Bobby Talamine - JBTV Music Television Chicago  Gojira - Bobby Talamine (c) 2022  Deftones - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid Deftones and Gojira bring the heat to a chilly Friday night at the Huntington Bank Pavilion at Northerly Island in Chicago. Yes- with a slight wind chill, it still ended up being cold once the sun had set just off the shore of Lake Michigan. And both Gojira, and also Deftones, just tore away with incendiary setlists that made the ground shake and your chest feel the mighty thump from the low end- from both bands. Headliners Deftones, fronted by the ever still so volatile Chino Moreno, entering the stage to the music of "Pimpf", from Depeche Mode- a slice of cool instrumental music from their album "Music for the Masses"- Maybe as homage to the recently (and tragically) departed Fletch from Depeche- if that was the case, as always, Chino and Deftones, their heart is certainly in the right place. But once fitted onstage, they blast away with the opening track of their most recent release- "Genesis", from "Ohms", a blistering attack in essence on a discussion of rebirth and renewal. A song meant to go for the throat. And how poignant to open with "Genesis", a song when released, back in September of 2020, with so much uncertainty, and the inevitable postponement of their summer tour in 2020. Might as well come out of the gates embracing what you love, and missing so much what you love. Their set was riveting throughout, with sophisticated lighting worthy of your most accomplished EDM artists- yes- that kind of vibe, with striking vertical strobes, and a triangular, or diamond shaped lighting rig conveying hues that washed over the background vertical white backdrops. worthy of your attention to match the onslaught of heaviness from the band. To hear the trailblazing "Rocket Skates" into "Prayers / Triangles", and with Chino singing with such full force, like his life depends on this moment in time- gives you chills. Most of the main floor within earshot of me was feeling the same vibe, looking around to confirm that we were all in agreement with what we were witnessing- a band coming at you full force, and with deep rooted passion. The intensity didn't lapse one bit throughout their set, ending up with some 19 songs in total, three of which, for their encore, all blistering indictments as well, with "Lotion". into "Engine No. 9", and closing with "7 Words". After that, with ringing in your ears, and a cold sweat on your body from top to bottom, you couldn't help but feel a brotherhood with them, jamming their hearts out to the bitter end.
 Gojira - Bobby Talamine (c) 2022 Same could be said for the mighty Gojira- a band that equally pummeled the crowd right out of the gates, opening with "Born for one Thing"- the opening track to their critically acclaimed latest release back in April of 2021- "Fortitude". This album- I mean holy shit. No wonder it made everyone's- I mean EVERYONE'S top ten lists from last year. Not a weak link in the bunch, with the Duplantier brothers outdoing themselves yet again with conscientious metal which is downright breathtaking in might and thought. Four songs in total, played by Gojira from their latest release, interspersed with heavy hitters from their equally cool back catalog, By the end of "Born for one Thing", a gigantic moshpit had broken out, and basically all involved maintained their huge chunk of real estate in front of the stage throughout to the end of their set. Joe Duplantier on vocals and guitar, and his brother Mario on drums, both equally convey intensity followed by passion, and might, not ones to dress fancy or rock star ish- more like everyday blue collar, which for me, just transcends perfectly into their honesty and approach into offbeat and rapid fire musicianship. Again, from my vantage point, even after finishing the first three songs from the pit, everyone on the asphalt in front of the stage audience wise, was in on the action, fists pumped in the air, trying their best to match the intensity of the band, enthusiastically embracing the energy, with the foot on the gas with no letup. Even the breather of an hour or so between sets was met with jovial enthusiasm by one and all, with huge smiles on everyone's faces. Man oh man - was this a show or what? What way to start off Memorial Day Weekend in Chicago. Bobby Talamine - JBTV Music Television Chicago  Amyl & the Sniffers - Bobby Talamine (c) 2022  Amyl & the Sniffers - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid I was forewarned about this show in advance, from fellow rock n' roll photographers, fellow music writers, and from music hound friends who've seen them perform live over the past few years. And before their show at the Logan Square Auditorium, in the midst of their current North American Tour, I did my own investigating of them performing live on various social media platforms, and other sources. And yes- Amy Taylor is the definition of volatile, no matter if the show is indoors at an intimate venue, or outdoors at whichever festival, whether they're headlining, or whether they're opening, or lined up in the middle. It just doesn't matter. I could imagine this further, considering their set at Logan Square Auditorium was a setlist consisting of 20 songs bulldozed through, with no brakes, all songs incendiary, even with the attempt of a couple slower tunes (which for all intent and purposes were still full on Ramones style). No breathers- just punishers. My point is this- you're at a festival, in the middle of a band pow wow- your set is approximately 30 to 40 minutes in length. Can only imagine that huddle- what to include songwise, what not to include. I assume, by what I've witnessed prior to their show here in Chicago on a Saturday night, that the shorter the setlist, the more they feel they want to be remembered. Big wide grins throughout- smoking the audience and critics alike with bazooka songs like "Guided By Angels", and "I'm Not a Loser", into "Don't Need a Cunt (Like You to Love Me), and so on. In the huddle, you are all in agreement that the next 30 to 40 minutes should be a bludgeoning. And then off you go.
 Amyl & the Sniffers - Bobby Talamine (c) 2022 So yeah- a seasoned photographer like me, up in age, wonders what to expect in an older and rather charming and yet antiquated building such as the Logan Square Auditorium, with no pit barricade, audience up to the lip of the stage, plus Amy Taylor working the crowd into a nutty frenzy on a warm Saturday night in Chicago...better suck it up dude- and get to know your neighbors. Not that they would have your back or anything, but just have some sanity knowing in your little pocket of real estate for the show, that we will try to manage, And by all means, it wasn't all that bad. Yes- the show was barnstorm intensity throughout, with a mix of young and old in attendance, and most of the moshing and body surfing was female related believe it or not, including the stage diving. And depending on the the song, even when standing still, you could feel yourself swaying a bit- up and down- left and right, from the floor beams below you holding forth from the rumble of the crowd. So yes, it was that kind of exhilarating show, brought forth by a powerful front woman, who although dresses sexy, uses tight fashion, such as short shorts, and a crocheted crop top, more as a gymnast, than full on gratification. Her clothes choices strike me as body armor, knowing full well the sex appeal, and yet for concise physical movement, brought on by anger (name whichever tune), and bandmates that are protective- all of this adds up to unleashing of the hounds and work up a mighty sweat, 30 seconds into the first song selection called "Snakes". and just don't let up from there whatsoever. And you have to have a tight rhythm section to sustain the freight train, that being steady bass provided by Gus Romer, and of course a consistent and heavy backbeat provided by Bryce Wilson.
 Amyl & the Sniffers - Bobby Talamine (c) 2022 The undercarriage in a band like Amyl & The Sniffers has to sustain low end / backbeat punishment, and has to be consistent. Think about fellow Australians AC/DC for instance- that astounding band relies on the same- awesome drums / bass / rhythm guitar. Angus dwells in over the top because of what backs him up. And even though The Sniffers don't have (or need to have), or don't want a rhythm guitarist, they do just fine with lead from Dec Martens. So most likely friendships and brotherhood and bonding first, followed by rock band, followed by fearlessness and brashness, and mistakes are ok- it's part of the game, part of the rough edged angst that we have to fight through. And the development over the past few years- the payoff- a levitational blessing to witness live, and also to survive after the end. Refreshing though and through. And with Amy Taylor- this is a workout. There's lots to discuss. There's some disdain with the current state of affairs we as humans find ourselves in, and her observations are incendiary (obviously), and there's plenty of writing material to grow into that with this band. So coming full circle- you need a reckoning to witness live, more often than not. You need a rude / brash / riotous / working class roots band to come along more often than not to kick you in the nuts and wake you up. Yes- to wake you up out of your mamby pamby doldrums- yell a little bit- pretend yet again that your a 23 year old trapped in a 65 year old body. So yeah- Amy Taylor, Dec Martens, Gus Romer, Bryce Wilson of Amyl and the Sniffers- you're my heroes. And no matter the occasion going forward, consider me a soldier- and I have your back. Bobby Talamine - JBTV Music Television Chicago  Mastodon - Bobby Talamine (c) 2022
 Mastodon - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid What to expect at a Mastodon show: Lots and lots of sophisticated lasers. Lots and lots of sophisticated lighting. Lots and lots of heavy duty PA. Lots and lots of sophisticated and know your instruments musicianship. | could go on and on about this- equally both with Mastodon and Opeth, who are co- headlining this North American Tour. However, with so much to say in a concise review- your head spins in reviewing notes from the show, and to state what's relevant without sounding like a tech nerd or a gear nerd. But how can you not veer into that territory when witnessing firsthand yet again a schooling on bravado musicianship from both bands, let alone embracing sophisticated musicianship that leaves you in awe, not wanting either band to leave the stage so soon, to play on through the night until the whole Riviera Theatre implodes. Seriously- it was that kind of show. And in the back of your head, you kinda of already knew this weeks ago, and even going through the doors of the venue prior to the first note. Just look at the opening number from Mastodon to give you an idea of shock and awe: "Pain With an Anchor", from their latest release- "Hushed and Grim". A song sung with such heartfelt content from drummer Brann Dailor, and shared vocal duties from bassist Troy Sanders. You know it's heavy lyric wise, emphasizing the pain of what Mastodon has experienced the past couple years, with the passing of their former manager Nick John. If you're in the know- that was tough. Incredibly painful. Hard to fathom, let alone figure out the "Where do we go from here"- and how to proceed- let alone the timing of it all, and defining grief. All of this needs to be said clearly, in my opinion, simply because when coming out the other end, and carrying all that wait, their songs, their catalog take on greater meaning- greater depth. So Mastodon does proceed, to the delight and gratefulness of their fans, with a swagger and a fight for the ages, and with such honesty and no bullshit- no covering up of anything. And so off we go into "Crystal Skull", into "Megalodon", into "The Crux". This should give you an idea of musical punishment of the good kind- relentless and uncompromising, 14 songs blistering in total, ending with your ears and cranium burning with "Blood and Thunder". And even though their setlist was heavy on "Hushed and Grim"- some six songs total- the album is equal and then some to their mighty back catalog, worthy of display. And who am I to judge? Overall- they're ready to go with a rejuvenated mission of performance and embracing touring, which they clearly still hold so dear. So thankful for them, and coming out the other end with their spirit still intact.
 Mastodon - Bobby Talamine (c) 2022  Opeth - Bobby Talamine (c) 2022  Opeth - Bobby Talamine (c) 2022 I can say the same for Opeth as well- another stellar band who's had their fair share of personnel changes, and still massively influential and admired by their peers, let alone their fans who've stuck with them form the days of the mid nineties. Anchored solidly by longtime member Mikael Arkefeldt, and Fredrik Arkesson, the two guitar attack of blistering musicianship leaves you always trying to figure out the what- the fucks, and comprehension after the fact. And they make it look so easy, which leaves you with even more questions- just how nonchalant they are, or at least appear to be, time and time again. Opening with "Hjartat vet van handen gor", a song with blistering twists and staggering turns, with acoustic interludes to catch a breath, and then the unleashing of the hounds for the ever so mighty "Ghost of Perdition", equal in might to dark metal / black metal, and yet heavy on acoustic interludes equal in scope for stellar singing / songwriting. Not a weak link in the bunch, some eight songs in total, ending with the heavy hitter "Deliverance". Oh how I've missed these guys, and what they bring to table music wise, time and time again. So to come full circle- here you have two bands that share a common DNA and gene pool of upper echelon technically un-categorizable musicianship and songwriting- true to their roots, true to their influences. Have to say, even with openers Khemmis, from Denver Colorado, all three bands were punctuated with a display of might and a sonic onslaught of epic proportions. Try saying that fast three times.... Yeah- it was THAT kind of show. Bobby Talamine - JBTV Music Television Chicago
 Ministry - Bobby Talamine (c) 2022
 Ministry - Bobby Talamine (c) 2022  Ministry - Bobby Talamine (c) 2022 Writing and Photography by: Bobby Talamine Edited by: Fiza Javid Riviera Theatre Chicago - Thursday 3/31/22 A live review without a script. A live review without pre- planned notes or researching. Not that there needs to be- Rock n' Roll- especially "Industrial Strength" rock n' roll, when performed live, only has a setlist somewhat as a guide, along with the occasional mix samples to kind of keep things on track. This show- with Ministry, along with openers Melvins and Corrosion of Conformity, has been weighing heavily on my mind since last Thursday, vacating the Riviera at shows end, heavily in sweat, only to find a parking ticket on my car. And I don't care. That parking ticket was not in any way gonna dampen my mood, and make the drive home ugly. But man - what I witnessed and photographed, both form the pit and also the back of the house was so refreshing and mind bogglingly audio pummeling awesome. Lost count how many body surfers I saw- all shapes and sizes, some guys looking linebacker size- some 250 pounds and up. And from my vantage point, Al looked like the supportive referee- noticing with side glances said bodysurfers if they floated past his way, with an occasional nod, but no thumbs up for approval. Back in the early days of Ministry shows, Revolting Cocks shows- this was all too common, even with Al sometimes getting in on the action, depending on mood, and various chemical substances. So yes- this show was amped to eleven, what with celebrating "The Mind Is a Terrible Thing to Taste"- with plenty of offerings from that release, opening with "Breathe", a testament for being alive and getting off your ass, along with "Burning Inside", "Thieves", and of course the heavy hitter "So What". Mind you, we have a new release to contend with as well- "Moral Hygiene", which was released back in October of 2021, and finally now getting the time to play some of these songs live, such as "Alert Level", "Good Trouble", (which both were played during the encore), along with the Iggy Pop cover, "Search & Destroy", which closed out the show. Let alone "Just One Fix", and the juggernaut from 1000 Homo DJ's- the Black Sabbath cover of "Supernaut". Yeah- it was that kind of evening. Bearing witness to days of old, brought to the present day sounding refreshing and new. This is not a complacent Al Jourgensen at all. This is an Al Jourgensen who has come out from the shit and crap on a personal level of the past, with more fire, more urgency, more of a guy tackling life than I ever seen him. This goes back to his performance at Chicago's Open Air back in July of 2016, to the present day, with all four shows and tours I've seen of him up to the show at the Riviera with Al in full battle form, working his songs up to a lather of fright and might. You really really want him to succeed, to create, to dive deep into his catalog and make them sound like they were meant to be played when originally created, mistakes, and warts and all. And he does, at least from what I've witnessed. Part of that is also owed to Jourgensen's band as well, picking players that can push the envelope and bring the heavy artillery: with Paul D'Amour on bass, Cesar Soto on guitars, Monte Pittman on guitars, Roy Mayorga on drums, and John Bechdel manning the keyboards and samples. This band is good. Really good. And this band allows Al the freedom to thrive and focus on what's needed most- a renegade preacher with lots and lots to say- and not worry about band miscues. If you're a seasoned Al Jourgensen and overall Ministry observer- you know these things are important, and again, you want to see Al so desperately succeed, and look like he's enjoying life- enjoying the moment. And again from my vantage points throughout the show- from the opener "Breathe", until his last breath with the closer "Search & Destroy"- he does. A Ministry show and tour to represent of this caliber does not go unnoticed, and ranks up there in my mind with shows from way back at Medusa's. It was that good.  Ministry - Bobby Talamine (c) 2022
 Melvins - Bobby Talamine (c) 2022  Melvins - Bobby Talamine (c) 2022 As for Melvins- with the mighty Buzz Osborne front and center, along with Dale Crover on all things drums, and ever the showman Steven Shane McDonald on bass- these guys, even though opening along with Corrosion of Conformity, opened with the theme from "Sanford and Son", (which was awesome / laugh out loud funny), and then proceeded to trailblaze through a set with some 12 songs total from their entire weave- opening with a guitar swirl of feedback punch from Buzz with "The Kicking Machine", into "It's Shoved", and then the gargantuan sludge / grunge of "Anaconda". Now that's a three song intro into a set concrete pounder. And for a three piece, playing with all this might front and center, and watching over the proceedings is the character Endora, from the TV sitcom of the '60's, "Bewitched" - which when you think of it, plays a major part of casting wicked spells over the masses and band. Such is the case with Melvins, standup / knock you off your feet performance always, but also with a dollop of sly authenticated humor. What you gotta love with all things Buzz Osborne and Melvins, is that their heart and musical catalog of influences are all over the place, picking up on mashing up of punk, and yet a deep desire to bring in some doom, ala Black Sabbath. "Evil New War God", or even the song "Honeybucket"...c'mon man- you're not alive if you're not headbanging the shit out of those two nuggets. Like I said- they have a 12 song setlist- nothing mamby pamby throughout. Melvins save the set and coming up for air after they've long left the stage. Same holds true for Corrosion of Comformity- another band that's stayed tried and true and survived the test of time, knowing and embracing loud, with some more loud, followed by punishing feedback when needed. Have been a huge fan of Pepper Keenan and his band for years. Such a great triple bill of unique bands, proud of their genres, each bringing something unique and memorable to the party. And a party it was on a Thursday night in Chicago Bobby Talamine - JBTV Music Television Chicago  Sparks - Bobby Talamine (c) 2022  Sparks - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid Sat 3/19/22 Sparks. Ron and Russell Mael. Entities only to the themselves. As indie as indie gets. And in regards to reviewing anything about them performance wise, especially after well over 50 years of being a band- you have to start there to understand all things in their world wise view on things and sustaining the utmost in creativity. To start- look at the buildup to this show at the Copernicus Center in Chicago, let alone the announcement of their North American tour back in late 2021. Nothing but a conscious craziness in dialog between excited and rabid fans, doing their best to convert the peeps out there still not in the know. Look online as well as how they love to self promote whichever city they're playing in on whichever night of performing: The day before Chicago they were in Minneapolis / St Paul- at the St Paul Fitzgerald Center. I assume Russell took the photo of his brother Ron, standing in front of a window with a little sign that said "Being weird is just a side effect of being awesome". That about sums it up- at least a little bit. As for the day of Chicago's show- the brothers I assume were at some truck stop off of 94 (or something similar), past breakfast, and sitting in a diner reading the Chicago dailies- Russell with the Tribune, Ron with the Sun Times- stating simply "Chicago! See you tonight at the Copernicus Center!" And it's been like this for the whole tour so far- a brief caption on the city they're in, with some of the level of excitedness, with a modicum of detachment. I bring this up because again, Ron and Russell are a world unto themselves, creating and performing, with no outside influence on being pressured into professional change to match the current times of whatever. Just look at the their setlist as an example: 23 songs (including the encore) that are all over the map- Songs about Edith Piaf. Songs about Igor Stravinsky Songs about Shopping Malls. Songs about interpretations if given the chance of singing "My Way". Songs about music that you can dance to. Or even songs about a town that's not big enough for the both of us. So let's say you're a fledgling band that us strapped for cash. That you need outside help to sustain the delusional dream of being popular rock stars, and don't want to give up the delusional dream. And the outside help has opinions on how to proceed- to make you amazingly popular.  Sparks - Bobby Talamine (c) 2022  Sparks - Bobby Talamine (c) 2022 I have questions: first and foremost- To what extent? To sustain what exactly? To be "One and Done"? I could go on. Just look at the songs and what they're about above as examples. Would outside influence entertain any possibility of being in a studio and convincing said short sighted knuckleheads that "Me and my brother dig this song we wrote about Edith Piaf" - or any of the others? I say no- that it would be troublesome, most likely relegated to a later collection of the hits (whatever they are) and B sides. How disgusting to even dream of such a thing regarding the Mael brothers. So here they are- doing things their way, and still around to embrace their solid fans who've been with them through thick and thin, and want to support and cherish their creativity every which way. And from 2021 to the present- has been two solid years for them creativity wise, what with the beautiful film musical "Annette", and the equally awesome documentary which came out last year on them titled "The Sparks Brothers"- (A must see, by the way), a terrific album released back in 2020 titled "A Steady Drip, Drip, Drip", let alone this insanely popular by all accounts North American Tour. So- Sparks are still relevant, and at this point, need no explaining to the unknowable. Have no time for people who think they've heard of the band, back when they released "Kimono My House" in '74, with the release of the song "This Town Ain't Big Enough for Both of Us", and then jumped ship a couple years later. Guess what? Your loss. It's my belief that Ron and Russell can write a captivating song about anything- I mean anything. Not just the songs mentioned above in this review as examples- there's plenty plenty more. If say, they were locked in a padded cell for 48 hours- food and drink pushed forth from the flap below, they could still produce, only if they were allowed scraps of paper to compose something, let alone lyric wise. Their minds would be abuzz equally to being free of said padded cell. They obviously don't need much pushing and prodding to create- when they're ready, they're really ready. Which makes this tour, with a stop in Chicago, that much more special. No offense to the last time they came through town which back in 2013 at Lincoln Hall - a great show, cabaret wise. But it was just the two of them. No band to speak of. And yes- Russell utilized the stage as he always does, and you left Lincoln Hall refreshed. But now to the present day, with a full band on tour? Drums included? That's my kinda Sparks. A Sparks with lots of sparks- amped and elevated with dignified strobe lighting, brothers still front and center. A Sparks which opened with "So May We Start"- an energetic and whipped up to a froth kind of a tune from their musical "Annette", and then off to the races with "Angst in my Pants", into "Tips for Teens". The setlist covered the gamut, down to the closing before encore with "This Town Ain't Big Enough for Both of Us"- as electrifying and trailblazing as back in the day of the early seventies. I mean sheesh! They still both hav zip. They both still know how to zig and zag, even with Ron taking his turn at interpretive dance to the quirky beat, leveling the Copernicus crowd with shouts of encouragement and excited-ness. None of this ever gets old with the Mael brothers. May they continue with their swanky cabaret / chamber / unclassifiable upper echelon kind of pop, or whatever you want to call it. More Sparks please. Not less Sparks going forward. Bobby Talamine - JBTV Music Television Chicago  TOOL - Bobby Talamine (c) 2022  TOOL - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid United Center - 3/10/22 The build up at the beginning of the week, four days away from covering the band Tool on Thursday at the United Center was boiling to a fever pitch, up and moments away from showtime. This is truly a band that you get amped for- caffeine not needed to entice clarity and adrenaline. Their music speaks on its own, and all four band members- Maynard James Keenan, Adam Jones, Danny Carey and Justin Chancellor, have built up over the years their own set of principles to live by while performing, let alone releasing albums. The standards set forth for performing- all you have to do is look at them. As for Danny- it's basketball jerseys, reflecting the town he's playing in. Obviously for Chicago's show, he's dressed in a Bulls uniform- top and shorts. As for Adam- Sometimes it's a well worn flannel long sleeve shirt and dark pants- for Chicago, it looks like something short sleeve shirt wise that an auto mechanic might wear, with aviator shades and lots of facial hair- also looking like he could be a hungover helicopter pilot recovering from flying mercenary missions in Southeast Asia circa 1972. As for Justin Chancellor- More like a tenured professor- A striped and pressed long sleeve shirt, with an added vest and also clean and pressed dark pants, ready to teach advanced math or physics. As for Maynard- I'm still trying to grapple with this- nor do I wish to investigate further his thoughts (If there are any)- I guess more than anything to sustain the mystery and complexity of his outfit / costume and demeanor of it all. To promote this review on Facebook a couple days back, I laid out my thoughts on this subject, having now witnessed Maynard in this similar persona a few times now while performing.  TOOL - Bobby Talamine (c) 2022
 TOOL - Bobby Talamine (c) 2022 It is striking, with some modicum of shock value, what with the three rows of mohawk, the striking and definitive black eye makeup, and the leather jacket with an alien logo front and center. In my opinion, it allows for a level of detachment and out of body experiences similar to an actor portraying a renegade, or someone of unmoral character- to a point. For the initiated, who live by the band Tool, you don't digress. Maynard would probably tell you to your face to not read into things, stop thinking like a ten year old having panic attacks, it is what it is, and try to enjoy the show. Which, at the end of the day, you do, and soak it in immensely, visually and of course musically. Talk about precision, followed by might. Everything about Tool performing live is an out of body experience, especially witnessing them perform live with my fellow seasoned photographers and friends. Some quick thoughts on this: The third song through their show, "The Pot", my friend Jake from CBS said out loud to me- "How do three guys make such incredible and punishing noise?" All I did was nod in agreement. The day after the show, my good friend Lauren O' Neil of 101WKQX simply stated on her post on Facebook- "Therapy". Again- I totally get it. One word will sum it up. And that's for the whole set, 12 songs in total, not much variation between cities and tour dates, which is understandable considering the complexity of the material. Opening with "Fear Inoculum", and ending with "Invincible". The album "Fear Inoculum" was well represented, six songs in total, not counting the instrumental opener "Litanie contre la peur". So continuing down this path of Tool band protocols: Upon entering the doors to the United Center, and upon sitting down to prepare to watch the show, you're reminded to pocket your cellphone- no photography or video whatsoever, if caught, you'll be ejected from the venue, no exceptions. And who's to argue? It's Tool's show- and their rules. It's been this way for as long as I can remember with them, all of them taking pride in their presentation and sophistication, almost bordering on proprietary software legal issues. But it is what it is- they really want you to experience their show on full sensory, lighting little synapse fires in your brain that allow for some measure of enlightenment, which as a band, they cover in spades. Some of my fellow photographers complain incessantly about troubling low light photography, and their show not being lit accordingly to get decent shots of whatever. Hard to respond with this, with any answer- my only thoughts on this without bogging down into a lose / lose war is this- Tool ain't Elton John. Tool aint't Katy Perry or Dua Lipa. Tool is immersed in art, and sophisticated backdrop visuals and production. Adapt or die when covering them live.  TOOL - Bobby Talamine (c) 2022
 TOOL - Bobby Talamine (c) 2022 That's my answer to that- it's again, their show, their creation through and through. As for Danny's new drumhead design, based on "The Goetic Tee", which is equally cool in covering for this review- Both drumheads features diagrams consisting of a magic circle encompassed with triangles of Solomon, as shown in Aleister Crowley's translation of an ancient grimoire. The design is based on "Spirit Traps"- for the legendary king to attract and capture Djinn. So what you're viewing firsthand is spiritual magic and ceremonial magic, elevating in mental / neural circuitry, enticing you to develop and learn and master particular skills, such as drumming perhaps. And we all know that Danny is way beyond the skills of a basic drummer, thinking and rethinking some more complexity within complexity. All you have to do is watch Danny leave the stage from intermission before the encore- he's not rushed vacating his drumkit, he's slow and methodical getting to the stage stairs to towel off and take a breather, looking exhausted and spent from head to toe. Drumming for Tool is not for the faint hearted, knowing full well to again enjoy the moment- drumming with such intensity like this into your seventies is probably 50 /50 if I was a betting man. So you see? We can go way beyond the scope of covering a show with this, viewing Tool from multiple angles far beyond just yapping about the setlist, and official Tool tour merch. But speaking of a couple nuggets from the show- hearing "Undertow" played live was chillingly awesome, visuals included. The song, dating back to 1993 when Tool were just starting out, is such a beast, like most early Tool a punishing ride of grit and glory, elevating their embrace of discovering complexity, like their heroes in Robert Fripp and all things King Crimson. And also "Hooker With a Penis", from "Aenima", back in 1996, to close out their main set before intermission. Talk about ending the show before the encore with full boat innovation and on steroids ambitions- Adam, Danny, Justin and Maynard locked in with shock therapy glory on all counts. Like the band itself, you leave the United Center out into the cold and snowy evening spent and exhausted, leaving your coat off while walking to your car, kinda like walking out of a sauna and taking a deep dive into twenty degree weather, trying to get to grips on what you just witnessed firsthand, as if seeing Tool for the first time in your life, even though it's more like show 40 for me. Can't say that about many bands on that kind of level of fanbase and rabid revelry. These guys leave you wanting more Tool, not less Tool. Until next time Adam, Danny, Justin, and Maynard- Thank you for a splendid evening of audio and visual pummeling bliss. Bobby Talamine - JBTV Music Television Chicago  MAGDALENA BAY - Bobby Talamine (c) 2022  MAGDALENA BAY - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid You know things are amped for this sold out show with Magdalena Bay on a snowy Thursday night in Chicago, when the main bar and lobby of Lincoln Hall is packed even an hour before the doors open to the main stage area, and Magdalena merch is selling at a brisk pace as well. Of the three shirts on display, along with cassettes, CD's and a dark tope colored baseball hat to choose from- the winner from my vantage point, was the white short sleeved T- shirt, which is bathed in a cool logo and design that was reminiscent of early eighties, with "Miami Vice" colors- lots of magenta, and lots and lots of aqua. Then the doors open to the main floor after an hour, and there's a short rush to the main stage, everyone politely jostling for space to get as close as possible to the lip of the stage. Not that I haven't witnessed this kind of excitement before- have lots and lots of times. But that's why I got there early at Lincoln Hall, knowing full well by now the popularity of the duo of Mica Tennenbaum and Matthew Lewin, who are Magdalena Bay. Things for me started with them over mid summer of last year, from Sirius XM's weekly Saturday show "The Download 15"- the past week's most downloaded songs from the internet (My take on that is strictly in house at Sirius XM- it's not like they're scouring Billboard Magazine and other journals that are similar). Sirius XM is looking at the "Cool Factor"- since it's all about Indie Music on that particular channel. So on one particular Saturday morning, I think in mid June or thereabouts, song number three or four out of the 15 was "Chaeri" from Magdalena Bay, before the album "Mercurial World" was released in early October. That's why I listen to this show, The Download 15, was for moments like this. It's a crafty synth pop song, sophisticated as all get out, with a momentous buildup to walloping drums that takes you off your feet. Had to pull the car over to listen to this song intently, screen shot my dashboard for the title and artist, and let out a "What the fuck is this? Who are these guys?" So upon getting home, took a deep dive into Magdalena Bay, and wanted more. Haven't been the same ever since (and that's a good thing). And to think that they created all of Mercurial World out out of their apartment in LA is mind boggling. I can think of plenty of solo artists who do the same thing constantly, and then post them to Tik Tok for followers and an online presence. Too many to count. But Magdalena Bay is different, like they knew in their heads the concept, the overall feel of the tracks they've recorded and produced, polished up their sound a bit to get things just right, and definitely know the word patience, and not the word rushed. This is my take on things with them, although I could be wrong.
 MAGDALENA BAY - Bobby Talamine (c) 2022 I briefly met Mica in Lincoln Hall's merch area before the doors opened, going over things logistically with her merch guy, and introduced myself. And she's a delicate yet all so cool gal- very much a down to earth and honest and sincere and has her head on straight kind of person. You can sense that in seconds. Which leads me up to their show- and this brief tour of theirs, titled "The Mercurial Tour", which in essence was just six short dates from east to west, with Chicago being the last stop before a brief break, and then four more shows out west before traveling overseas for Primavera Sound in Barcelona in June. And like their popular white colored band T shirt- everything about their performance is bathed in similar colors- Miami colors - lots of magenta, and lots of aqua. And a stage setup with an overhead screen with digital images circa mid eighties, down to Mica's ultra high white leather platform boots, and the luminescent dayglo onesi's that they were both wearing. They added more oomph throughout with a live drummer as well, which in my opinion is far more superior than your typical dialed up drum machine. Throughout their set, mostly from Mercurial World, the songs are posh, very straightforward, not really "Yacht Rock" as I've heard some people say- it's anything but. You can tell that with the mid eighties feel of everything, there's lots of influences thrown into the mix, both mid eighties and more modern as well, from a bit of Human League into Heaven 17, with a bit of Grimes, some Charli XCX, and a smattering of Gary Numan swing, not the harsher electronica that was coming out of that decade, but more of the innocent and crafty kind of synth pop. Blended all together- all you had to do was witness the main floor of Lincoln Hall- from beginning to end, the faithful were dancing in place in revelry, sharing out loud lyrics to each and every song, with both Mica and Matthew looking like they were having a grand old time as well, utilizing every inch of there intimate stage to entice the masses. Opening with a brief keyboard exchange with their 1980's digital avatar, and then right into the song "The End", into "Mercurial World", into "Dawning of the Season", then the nugget "Secrets (Your Fire)"- and the main floor exploded with dance and amped up revelry. Their whole set was like this- temperature outside around 20 degrees or so- temperature inside more like Miami weather- around 88 to 90 degrees. Hot and sweaty, dancing to the beats. The setlist- 17 songs in total, including the three for their encore. I left Lincoln Hall that night feeling reinvigorated yet again, with not only discovering a talented duo such as Magdalena Bay, but knowing full well as well that cool and sophisticated synth pop band music is still being created to this very day, that this kind of music will never die, and it's essence of pure escapism is needed now more than ever. Man- that was a show folks- so sorry that you weren't there to witness Magdalena Bay live. Nest time they're in town, or touring North America- I think they're opening some dates for Charli XCX in a month or so- check them out. You won't be disappointed. Bobby Talamine - JBTV Music Television Chicago  Ghost - Bobby Talamine (c) 2022  Ghost - Bobby Talamine (c) 2022 Writing and Photography by: Bobby Talamine Edited by: Fiza Javid Fri 2/18/22 Such a badass lineup for this North American tour with the mighty Ghost, who are sharing the stage with the indestructible Volbeat, and opening the show with the satanic duo Twin Temple. The tour, associated with Ghost's newest release, titled "Impera", which started in Reno Nevada back on January 25th, has certainly been picking up steam leading to Friday night's show at the Allstate Arena in Rosemont. And they come out of the gates magnificently on the strength of their newest single from Impera, titled "Kaisarion"- which by all intent and purposes is an anthem that's AMPED. Amped with over the top vocals and brashness and confidence. And although a bit confounding and over the top- you gotta give credit to Papa Emeritus IV for giving extra oomph to take the song up to the upper rafters of the Allstate Arena. God, how I miss these guys. Their stage production is glorious, with platform risers on both ends of the stage, a runway that protrudes out to the main floor, and is extra wide to accompany the steam punk nameless ghouls without having to crowd and bump into each other, and a backdrop that is jaw dropping, displaying there stained glass cathedral graphic designs that just add extra lustrous valor to the proceedings. This is a show of shows folks. No messing around- come out to play despite a pandemic. There are riffs upon riffs to attend to, with a setlist that bangers, consisting of 15 songs in total, with heavy hitters following "Kaisarion", when we plunge straight into "Rats", and of course the diabolically awesome "From the Pinnacle to the Pit". Such a boxing ring one / two / three punch knockout to open the show.  Ghost - Bobby Talamine (c) 2022  Volbeat - Bobby Talamine (c) 2022 So as for Papa and his nameless ghouls of Ghost- yes, their are changes as far as costume and makeup, all deliberate and meant to keep you captivated and on your toes with their methodical development, with the ghouls themselves all dressed up and jacked up steampunk style, from the wicked goggled up gas masks, down to the enflamed and puffed up military pants, down to their jackboots. How do you not sweat bullets in that get up and gear is beyond me, with every song on their setlist not for the faint hearted and dialed up to eleven is beyond me. The ghouls look menacingly clean and ready to rock, confidently so, making it a photographer's dream to capture the entire spectacle. As for Papa, he's still performing in his sophisticated three piece suits to start the show, down to the lace ending arm sleeves to the gloves, with face paint worthy of a sophisticated Joker of Batman yore, but without the intentional mistakes and miscues- just with more class and panache. Yes- Papa has quite a few costume changes throughout the show, down to even some wicked bat wing over the shoulder wear, which when Papa's arms are outstretched, you swear he could lift off the stage at any given moment and fly over the crowd to scare the masses. The bottom line- Ghost don't skimp when it comes to production and exquisite detail. The songs throughout? They just keep picking up steam, from "Mary on a Cross", to "Devil Church", to the formidable "Cirice", and then into another rather new song from Impera titled "Hunter's Moon". So by now, you get the gist- this a party on a Friday night in Rosemont, leading up to the heavy hitter "Year Zero", and ending faithfully with "Square Hammer". And guess what? They also blast away on Metallica's "Enter Sandman", which they faithfully provided for Metallica's recent re- release of their Black Album, and meant for the covers version called "Blacklist", which is one of the highlights from that covers album. Such an amazing time diving into Ghost performing live again, and bringing a stage show and a setlist that's unforgettable, upping the ante at every turn. And as for Danish heavy hitters Volbeat- a 16 song setlist worthy of being named co- headliners for this tour- tearing first into "The Devil's Bleeding Crown", into "Pelvis on Fire", into the mighty "Temple of Ekur". And there's no letup from there, with equal use of the stage risers and runway, no relaxing between songs, just trailblazing away on the strength of their latest release- "Servant of the Mind". Hard to really pin down these guys, what with their hard and heavy metal roots, with some brash rockabilly thrown in and lead by the two guitar attack of Michael Poulsen and Rob Caggiano. This band cooks on all levels, each and every time I've seen them perform live, making use of their allotted time with memorable and certainly not lackadaisical approach to performing live. Every song (including the new ones from "Servant of the Mind" are wonderfully crafted, and again when performing- are beefed up with attitude and magnitude, making them worthy of a full on set on a par with Ghost.  Volbeat - Bobby Talamine (c) 2022  Twin Temple - Bobby Talamine (c) 2022 As for Twin Temple, which are in essence the husband / wife duo of Alexandra and Zachary James- they came to play and christen the faithful in early attendance as well, what with their ritual of sword bearing, psalm reading and anointing as well, with goblets on their well place mantle rear stage, even before performing a single note. Such magnificent costume wear as well, both from Alexandra and Zachary, looking like sophisticated demons ready for a night of anything goes. Although they proudly reject conformity of any kind, they are steeped in certain traits of rock n' roll, clearly making them their own, mostly from rockabilly and doo wop. And that's just fine by me, considering they faithfully execute their performances by adding drums, some sexy sax and keyboards throughout to punch up their captivating sound. It's all old school riffs and steeped in Americana, faithfully executed with satanic overtones which that are rooted in ideals and is welcoming, not firestorm and barnstorming to get their message across. And to see the both of them smile wickedly on occasion throughout their set was inviting as well, knowing full well that even though they're limited in the time for their set, we might as well make good use of it, and leave the crowd with a memorable show. Alexandra and Zachary accomplished that- no problem at all. So all three bands- Ghost - Volbeat - Twin Temple: Thank you for a magical evening. Bobby Talamine - JBTV Music Television Chicago  Night Number four of 101 WKQX's The Nights We Stole Christmas form the Aragon Ballroom in Chicago- and like last night with Kings of Leon- a pleasant surprise to see the 101 WKQX faithful coming out in droves for headliner Amy Lee and her band Evanescence. A lot has happened with Amy Lee and Evanscence over the past few years, not all of it pandemic related- more of it band member related, in regards to getting the look and feel to push forth her vision and gifts for dynamic singing and songwriting, and doing her best to find the right fit to make things gel. Have to say I was on the fence with this particular show out of the five nights of We Stole Christmas- I guess in reality not knowing what to expect production wise, band member wise and such, and how Amy will be performance wise. All of that changed for me from reading Selena Fragassi's article in Wednesday's Chicago Sun Times, and the insightful background on not only Evanescence's latest release "The Bitter Truth", but also getting to know a bit where Amy's head is at in regards to her songwriting, and status on her current state of affairs, both on a personal level, and also a global pandemic level. All of this being inspiring enough for me to feel satisfied a day before her headlining set at the Aragon Ballroom. So for me, all you need is one spark of motivation to be all in and embrace the inevitable- especially when you're looking for that extra push to do right by the band, the radio station 101 WKQX, and especially JBTV. Have to say you know things are going to be good three minutes prior to the band entrance, and everything stage wise is bathed in a dark shade of purple, and the PA is blasting a snippet of Queen's "We Are the Champions". Opening to the instrumental title track from "The Bitter Truth"- "Artifact/ The Turn", and then Amy trailblazing her way though "Broken Pieces Shine", also from The Bitter Truth", and Amy has set the standard for tonight's performance, with pleasant surprises throughout. Although for us photographers present it was a soundboard shoot- that really didn't matter. The stage was decent enough for decent imagery of full band and isolated musicians, with the sophisticated 101 WKQX LED backdrop being crisp enough to show fire and brimstone as if it was true pyro, followed by brimstone. And as for Amy Lee, decked out in black, with a silver / sparkly right shoulder shawl, she commanded both sides of the stage, and also front and center, in front of an elevated drum kit, and her voice....the high notes coming from her were giving me chills. I haven't heard Amy sing that convincingly in ages- as if we were back to 2003 at the Metro Chicago, still seeing her trying to find her way as a new and upcoming band.  The setlist showcased lots from "The Bitter Truth", some seven songs in total, much of it equal to earlier releases, with lots of heavy and dark theatrical undertones, like you'd expect from an Evanscence album. But song number three of the night- "Take Cover", into "Going Under", followed by "The Change"- no slouches here at all. The whole set was riveting, and her band, consisting of bassist Tim McCord, lead guitarist Troy McLawhorn, drummer Will Hunt, and backing vocalist Jen Majura were up for the challenge as well, sensing that you know their must have been plenty of rehearsals to get this production right, and play as if seasoned veterans in the same camp. Have to say I walked away stunned at just how good a show this was with Amy Lee and Evanscence, and how satisfying it is booking wise with 101 WKQK and these five shows for The Nights We Stole Christmas. That goes for the openers as well, with equally blistering sets from both Badflower (who are JBTV alums by the way), and opener Cleopatrick- a dynamic fuzzed out rock n' roll duo from Canada. As for Badflower, who to this day have a vision and presence that's the definition of badass in their own right- you know things are good and well and amped when you see Ali and Lauren from 101 WKQX taking in their performance from the pit with us photographers.  The show- all three bands- not a weak link in the bunch. Now to try to get my composure and some measure of sanity before tonight's performance with headliner's Rise Against, which, as you and me know- is the definition of righteous insanity. —Bobby Talamine - JBTV Music Television Chicago  Night Number three of 101 WKQX's The Nights We Stole Christmas— Their annual knock it out of the park at the renowned Aragon Ballroom in Chicago, featuring none other than Kings of Leon. And from the looks of things from the back of the main floor minutes before the Kings hit the stage- a pretty much packed and close to a sellout show. As well it should for Kings of Leon, with lead singer / guitarist Caleb Followill, along with his brothers, doing a few special shows for the winter season, before heading out early next year for a bigger tour overseas. Which makes this show at the Aragon that much extra special, with a fine tuned setlist consisting of 18 songs, with all the hits, and then some. The Followill brothers have certainly put in the hard work over the past few years, making a name for themselves with strong songwriting and musical chops to back it up, and yet gone through their fair share of hardships, resolved and came out the other end of that much healthier and in fighting spirit, and also found some time to re group during the ongoing pandemic and come out with a strong album back in March of 2021 titled "When You See Yourself".  They played a couple songs from their latest release, opening with the title track "When You See Yourself, Are You Far Away", a moody and slow build up of a song, with a solid plea of refrain from Caleb: "One more night, one more night will you stay here, One more night , one more night will you be safe dear", which, when you think of it, is a plea of sorts, with a melody that tugs at your heart to embrace the trust and also the grief, but also with some question and answer to resolution. And the lighting for this opener of a song is low key and moody orange, the band highlighted, but barely visible. Such is the thing with the Followill's and conjuring striking moods again and again - a band built with diversity, a band built for taking risks and following their own path and no one else's. The rest of their set was concise and spot on- with "The Bucket" into the giant and never gets old "Supersoaker", followed by "Revelry", which of course, the main floor of the Aragon Ballroom was in revelry as well. Of course the main hit songs were front and center about halfway through their eighteen song setlist, what with "Sex on Fire' making the Aragon go bonkers, along with "Radioactive", and "Pyro" as well. But they saved their best for last encore wise, with "Use Somebody", an extended jam of punctual melody and awesome vocal from Caleb, before ending and exiting stage left. Such a fantastical and wonderful and memorable evening with the Kings, making the world a better place for WKQX's TNWSC, and leaving us drained and yet oh so satisfied, especially with what we've all been up against the past year and a half or so. Openers Dayglow from Austin Texas, and Almost Monday, a pop trio from San Diego, set forth with lighthearted moods of pleasant ear candy- not as brash as the Kings of Leon, but still entertaining nevertheless- as much as you'd expect with the celebrations as such for The Night We Stole Christmas. Bobby Talamine - JBTV Music Television Chicago  She Past Away - Bobby Talamine (c) 2021  Wingtips - Bobby Talamine (c) 2021 Writing and Photography by Bobby Talamine Talk about a dark dance party- even on a late Wednesday night in Chicago, at the gorgeous and intimate Thalia Hall in Chicago. The music? Provided by the headliners She Past Away, with support from Twin Tribes and Chicago's Wingtips. And if that wasn't enough, before and in between bands and also after- DJ's Willam Faith and Sarah Rose (The Pirate Twins), with a splendid playlist from them as well. And the faithful came out in droves, with what looked like a pretty crowded Thalia Hall, from the main floor to the balcony, everyone enthusiastically responding to all three bands throughout the night, making this event even more special, considering that Volkan Caner and Doruk Ozturkcan come all the way from Turkey- and considering the times that we're in, pandemic related and all, that getting visas to tour the USA ain't easy. So that's what makes this a special night, with no hiccups, considering the last time She Past Away came through town, it was anything but easy- the poor band having to drive non stop from the east coast to make it in time for their show at the Chop Shop in Wicker Park. As far as this night is concerned, the revelry between audience and band was high strung and enthusiastic throughout from my vantage point, with most of the audience within earshot reciting all lyrics to every song. And the same can be said for Twin Tribes and the Wingtips sets as well. making this a memorable evening of some of the finest and polished Dark Wave and Post Punk music currently on the scene today. And it goes without saying how cool this is between all three bands, considering that they're all duos. All three bands visually had beautiful background lighting, with striking vertical white strobes from the ceiling down, twisting and turning to the melodic and hypnotic voice of Volkan from She Past Away, and Luis Navarro of Twin Tribes, and the same can be said for Vincent of Wingtips as well.
 She Past Away - Bobby Talamine (c) 2021 She Past Away- some 15 songs in total, all sung in there native Turkish- and that didn't matter. The Chicago faithful in attendance ate it up, from the opener "Durdu Dunya", into Katarsis", all the way to the end with "Insanlar". Volkan and Doruk bring sophistication to their hypnotic performance, with eerie background visuals to make things even more exotically sinister. Such a splendid set by them. As far as Luis Navarro and Joel Nino, Jr of Twin Tribes- the same can be said for there set as well- all dark and mysterious, with dancing in place throughout from the faithful on the main floor of Thalia Hall. And again from my vantage points- everyone within earshot knows the lyrics to every song, and were singing along enthusiastically in shadowy bliss. All the way up to their heavy duty set closer- the song "Fantasmas", which in my opinion, is a captivating tune from beginning to end, with a swinging dark and sinister beat throughout, with added punch from Luis and his heavy and dark baritone. All songs- memorably crafted and throughout- no filler- just killer beats, and to the point. Twin Tribes is the kind of duo that get down to business, with memorable songs and lyrics to boot. And as for Hannah Avalon and Vincent Segretario of Wingtips: These guys just keep on getting better and better and better, from their confidence and presentation while performing, down to their crafty songwriting, with the Chicago faithful spurring them on with chants and dancing from beginning to end. And it should be said how cool it was to see the main floor packed for Wingtips set as well, and that the Chicago faithful arrived nice and early for their opening performance. So all n' all, a wonderful and captivating evening of Dark Wave bliss, holding court in the perfect venue for accompaniment- Thalia Hall. Bobby Talamine - JBTV Music Television Chicago  John Baizley of Baroness - Bobby Talamine (c) 2021  John Baizley of Baroness - Bobby Talamine (c) 2021 Photography by Bobby Talamine Writing by Fiza Javid Live at Cobra Lounge on Wednesday evening, Baroness prepared an incredible for the West Loop of Chicago. Fresh off the holidays, the excitement was in the air as I journeyed to the area, expecting a modest crowd, potentially in fear of COVID regulations. I walked to the side of the venue and caught a glimpse of their gorgeous tour bus, with silver flames designed through the side. Knowing the awesome jam sessions that probably go on in there, I was even more excited to see them on a personal level. To my amazement, and not to my surprise, Baroness yielded a massive crowd, packing the Cobra Lounge to the brim, with patrons unable to make it to the inside of the hall with the stage. From the far back, individuals pinched their camera on their smartphones, zooming towards the stage to catch a glimpse of what is to come. Even through the masks you could tell they were eager. I slowly worked my way as close to the stage as possible, feeling like a Tetris piece trying to spot the right spot to fit to catch the action. The way the stage lit up, with John Baizley emerging on the stage, was like a glorious sunrise. He is such a powerful front man, and this was the first time I was going to hear Baroness's incredible songs in person, in such an intimate, laid-back setting. What an honor it was. The riffs of Ogeechee Hymnal" slowly took the crowd from a slow build up to pure underground rock n roll intensity.
 Gina Gleason of Baroness - Bobby Talamine (c) 2021 The next songs they played were "Take My Bones Away", "Rays on Pinion" to "March to the Sea," and the way each song flowed to the next, I cannot think of a more pure rock experience. Fans around me seemed to just flow into the music as I was, some with their eyes closed, just taking in a moment with this band that wouldn't have been possible a year ago. My favorites would have to be the acoustic session, which really made the experience that much more intimate. While the showmanship of John Baizley, Gina Gleason, Nick Jost and Sebastian Thomson was already perfect through the initial songs, but as someone who was experiencing this band for the first time, I didn't expect an acoustic guitar to be pulled out at all by anyone for this show. They did the songs "Cocainium" and "Foolsong" which felt like a complete 180 from what the of the set provided, significantly more folky, but still classic rock. These two songs really showed the depth of what this band is made of and their musicianship is incredibly intricate. The set ended with "The Birthing" and "The Sweetest Curse," and honestly, it all felt like five minutes flew by. With the fears of the virus still looming, I was ready to get out of the sweaty packed crowd, but I still imagined Baroness coming back out for another 22 songs. They were so effortless in their showmanship that I am a hooked fan for life. There was no branded gimmick about this band, Baroness is truly the real deal and their musicianship shined through and through. Thanks again Cobra Lounge for making this possible! Until next time, Fiza Javid - JBTV Music Television  Dan Snaith - Bobby Talamine (c) 2021  Caribou - Bobby Talamine (c) 2021 Writing and Photography by Bobby Talamine Finally, finally, the wait is over to witness Dan Snaith and his band Caribou coming to Chicago, on his North American Tour for 2021. Originally scheduled back in the spring of 2020- then the pandemic stopped the tour in its tracks, like so many others. It's been a long wait I tell ya- the last time Dan Snaith and his band came through town was back in April of 2015 at the Metro Chicago- and that show in particular, in such a gorgeous venue and listening room, was oh- so- memorable, in so many ways. When you become a seasoned and professional photographer after years and years of photographing virtually everyone, you pick up on a few things that stand out. That- and being a music hound on top of it certainly helps. The show at the Metro was cool, simply in the way Dan laid out his musical gear and equipment, with his band following suit. The entire setup was center stage, laid out in a semi- circle, all band members within eye sight of each other, and also it was mainly lit from below the instruments on the floor in the center of the semi circle, creating this beautiful and amazing glow that would permeate and reflect throughout, changing vibrant colors depending on mood of whichever song. I still remember this show like it was yesterday- myself, like so many other in the Metro, stood there transfixed throughout. So now jump ahead some five and a half years later, and here we have Dan Snaith and band at the Riviera Theatre in Uptown. And again, throughout the show, depending on various vantage points for photography, the mood on the main floor, and in the balcony audience wise, is mellow, with people dancing in place, being cordial, mostly everyone I saw throughout the night wearing their masks. It was simply a jovial and communal vibe, with everyone again transfixed with the visuals, let alone the gorgeous and hypnotic singing and songwriting from Dan Snaith and band.
 Caribou - Bobby Talamine (c) 2021 Again, the band is center / front stage at the Riviera, albeit settled in on a larger floor than the Metro, and with a gigantic white backdrop for hypnotic usage, such is the case with the song "Sun", towards the end of the set, showing a small and tiny grayish circle slowly getting bigger and bigger and bigger, like a gargantuan sun, then going back down again. Talk about setting the mood with a hypnotic and transfixing song, a song going way back with Caribou, back like in 2010. Me- I stood there for a moment, putting down my camera, soaking it all in- eyes wide open, nodding to the upbeat and soothing and propulsive beats from "Sun". It was like this throughout the show, with most of the setlist belonging to Caribou's latest release- "Suddenly", which actually came out back in late February of this year. The tracks from "Suddenly" fit the mold of sophisticated songcraft from Dan Snaith, with more vocal and less instrumental, again, all soothing, all chill / rave danceable, and definitely catchy. Opening the set with "Filtered Grand Piano", and into "New Jade", both from the album "Suddenly", and then forward into "Odessa", and the iconic "Our Love"- the assessment halfway into the show is so satisfying, so tranquil, so In- The- Moment memorable. The lighting throughout was equal to the measure of whichever song in question- yes- we were occasionally blinded by bright white strobes, but still, even that added to the overall mood of un-categorization, which when you think of it, with repeated listens to all things Caribou, leads you to discover new nuggets throughout. As far as Dan's band goes- Ryan Smith, Brad Weber and John Schmersal hold court with Dan with apparent ease, throwing the occasional smile between one another when they spot an instinctive groove that they totally dig. Always love witnessing that firsthand, rest assured that nothing performance wise is simply dialed in. Have to say again that the mood was contagious throughout, between audience and band members, knowing full well that Dan was so happy and grateful simply to be performing again. There was a moment after the song "Sun", when the heavy and bright floor lit strobes were brandishing a fine white light throughout the stage to the audience, and Dan vacated to the propulsive beats from the band stage right, not disappearing, but letting his band have some fun instrumental wise, and I caught some pics of Dan playing with the light, refracting it, and looking at it through his hand, with a big smile on his face. You can see he was enjoying the beats, swaying and slow dancing his way back to his perch with the other band members to get back into the song. To me, that's what makes shows like this so memorable- enjoyment is had by all throughout, sending the fans home happy on a brisk and chilly Friday night, with huge smiles on their faces, equal to Dan Snaith and band. Lets hope that Dan comes through town again sometime soon, and we all don't have to wait another five years for hypnotic dance revelry. Bobby Talamine - JBTV Music Television Chicago  Chvrches - Bobby Talamine (c) 2021  Chvrches - Bobby Talamine (c) 2021 Writing and Photography by Bobby Talamine The band Chvrches, fronted by their charismatic lead singer Lauren Mayberry, came through town on a Friday night at the Aragon Ballroom, still hungry to maintaining the claim of being a great and memorable live band. Touring on the strengths of their intense fourth release- "Screen Violence", they rushed out of the gate with the song "He Said She Said" from their new album, a song like most from "Screen Violence", which has a dark edge and vivid imagery, with a sledge hammer groove. The stage and backdrop are bathed in icy colors throughout the show, with distortion and vivid hues coming from their gigantic LED backdrop. Lauren Mayberry commanded the stage from beginning to end, having now contemplated and convincingly becoming a seasoned performer, pacing herself from stage right to stage left and looking gorgeous / model like, but with a take no prisoners persona with a dark side. And off we go from there, into "Forever", and then into "Leave a Trace", followed by "California". Most of the set is spotlighted by songs from "Screen Violence", and embracing the theme of dark and twisted personas and fem fatales,  Chvrches - Bobby Talamine (c) 2021  Chvrches - Bobby Talamine (c) 2021 Unfortunately though, a day before their stop at the Aragon Ballroom, Chvrches made an announcement that despite following strict COVID safety protocols, Lain Cook, their keyboards and programming guru, had a positive COVID test result and was unable to perform in Chicago, They had Lain's spot filled in by their tour tech Dave Simpson, who has worked extensively with the band for many years, along with the addition of their friend Sam Stewart, from the band Lo Moon. So the band was filled out rather nicely, adding more oomph into the mix to convey the low underbelly of most of their recent songs from "Screen Violence". Chvrches now, in the present day, a band with tons of passion in regards to live performance, full of fighting spirit, cutting through the noise of the mundane, and making a presence felt and known throughout this Friday night as a band that can pack a wallop, a band that will have you leaving with a vision ingrained in your head, that they just keep getting better and better, and are observant of the world's current claustrophobic state of affairs, and have the songwriting chops to back it up. Bobby Talamine - JBTV Music Television Chicago 
Dark Horse is the single from the forthcoming LP from Zero Balance. The single and full length have been remixed by Chrys Anthem, and produced by Sean McKee .
Recordings are from Chicago Traxx engineered by Dave Lulec. The band was a mainstay in Chicago clubs in the 90s, and is grateful to be releasing new music again.
ARC Arinova Rhythm Collective is the label group created by Vessy Mink , Roger Ebner and Chrys Anthem. Anthem (Chris Cronin) has recently and tragically passed away. ARC has released the song Dark Horse as a single in his memory, and it is dedicated to the Chris Anthem family. Courtesy of Zero Balance.
John Russell, Jim Rubino, Frank O'Reilly, Dean Boznos, and Peter Bowers. Anthem was a loyal member of the JBTV Music family and creative force who inspired a wide and vast creative community in Chicago and California, In 2016, Zero Balance premiered their feature film and soundtrack, Full Circle at JBTV Studios, to a full house. Produced and Directed By Bowers and Anthem. Bowers, "He will be deeply missed by so many amazing people he touched in the creative arts community, but the label group ARC will continue on in his honor through the artists and musicians he inspired and his label mates, musicians; Roger Ebner, Vessy Mink, Dirk Flanigan, Kevin Hill, and many others who were a very special part of the groove collective that is ARC.. " 
Zero Balance, will be releasing a full length album in the coming months and look forward to having Dark Horse out as a single and LP soon.
The Song is distributed by DISTROKID and available on Itunes, Spotify, and Apple. All proceeds go to the Cronin Family. Thank you and RIP Big Man. Zero Balance is Peter Bowers Vocals John Russell Drums Frank Oreilly Bass Jim Rubino Guitar Dean Boznos Guitar Sean McKee Keyboards, Percussion  Dennis McNett's Display at HalloWolfBat - Bobby Talamine (c) 2021  Photography by Bobby Talamine Writing by Fiza Javid It was All Hallow's Eve when Wolfbats roamed the costume laden crowd of the House of Vans Chicago Warehouse. Liquid Death was served to patrons, with the choice of free beer, a free mask, pin and earplugs, because nothing would be scarier than getting Covid AND going deaf of course. Chicago graced us with perfect fall weather, which allowed the crowd to arrive decked out in their best costumes. I spotted Edward Scissorhands, a Piñata, a Construction Worker, and scariest of all, a man with the shirt that said "Adult" on it. Beyond the spooky costumes was a set decked with the Wolfbat's themselves, which was created by Brooklyn Artist Dennis McNett, the creator of Wolfbat Studios, whose genuinely incredible display surrounding the venue, including the 'godzilla' sized puppets working through the crowd during performances. Heavy Temple was the first to take the stage, and they truly set the tone for the night with their incredible set. The psychedelic doom trip loomed over the crowd and helped all the nervous patrons break the ice as they got acquainted with their surroundings.  Jinx Dawson of Coven - Bobby Talamine (c) 2021
 Jinx Dawson of Coven - Bobby Talamine (c) 2021 The excitement truly built up in genuine Halloween spirit when Coven arrived, and even though the crowd was especially excited for the Melvins, my anticipation was for the High Priestess, Original Wicked Woman and true pioneer of metal AND the Devil Horns, Jinx Dawson, and she showed who the night truly belonged to. Coven is the real deal with Jinx being the only remaining original member, she was more than prepared to carry on the spirit of her work. Jinx truly created the standard with Coven's album "Witchcraft Destroys Minds & Reaps Souls in 1969, and while some of the newer members of the crowd might mistake her entrance as a Halloween spectacle, it is important to note that she is the real deal. My response to that? I arrived dressed as a the purple devil emoji 😈, ready to say 'Hail Satan'. What an honor to finally see Coven in the season of the witch. Let me attempt to paint the full Magickal Musick experience, with the complimentary taste of Dennis McNett. Right before she entered the stage, there were costume laden WolfBats spooking through the crowd. At first I thought this was intentional, and I didn't know whether to fixate on the crowd or the stage. That is when it began. The projection screen on the stage began playing a Satanic mass ritual, and Coven emerged with a coffin on stage. The crowd might have expected her to emerge in rot and dirt, but after a Satanic ritual summoned her, Jinx carefully stepped forward wearing a badass studded mask, with matching gloves, ready to rock out. Every song was a treat. From "Out of Luck" to "Black Sabbath," to "Black Swan" and "Blood on the Snow," Jinx's operatic style and natural charisma truly made the night. All the details presented by Jinx and Coven were intentional. From the lantern in her right hand, the crystal rob strobe ball, the skull when Coven began... I love the Melvins, but Coven should have headlined. Still, Buzz stood on the side supporting this incredible band. After Coven completed their set, the crowd grooved through the Halloween tracks. Then the Melvins arrived, making grunge and sludge the 2021 sound for the Halloween season.
 Buzz Osbourne of the Melvins - Bobby Talamine (c) 2021  Buzz Osbourne of the Melvins - Bobby Talamine (c) 2021 The Melvins is another band that also deserves more pioneering credit. There are plenty of people who equate the Melvin's to Nirvana (who adored the work of Jinx Dawson, might I add), but Nirvana is better off being equated to the Melvins. Aside from a drummer, The inspiration they, along with Foo Fighters, took from the Melvins reigns true, and no one does it so originally as Buzz. With the Duff caps and the Buzz costumes in the crowd, we rocked out to "Honey Bucket" among other kickass songs, as McNett's giant puppets worked through a thrashing crowd. It all truly went by so quickly. Thank you House of Vans for making this the most special spooky HalloWolfBat to date! Until next time, keep on rocking and have a safe Halloween. Fiza ---- JBTV Music Television  Although just a month after their last product launch event, Apple came out swinging today during their Unleashed stream, particularly in their music department. Apple events aren't normally in our wheelhouse, but given their emphasis on music, it warranted an article. After a slightly humorous opening that documented a musician mixing a track from various Apple start up sounds, you know, the *dunnnn* sound when your computer starts? Then Tim Cook took the event that most assumed would be about their new MacBook Pro in a bit of a different direction — starting with music. He quickly threw it over to DJ Zane Lowe to introduce a new Apple Music plan called "Voice". This new economic option gives one person all of Apple Music with only your voice to access it, but only on Apple devices.  After that Apple introduced their new 3rd generation AirPods. It's new shape makes for a supposedly better listening experience. Its also sweat and water resistant.  Finally, they announced a few new color skews for their HomePod Mini. Blue, Yellow and Orange now join Black and White. They really wanted to avoid that black white and red all over joke it seems....  For more info on all of this, head over to Apple's event page.
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