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Words by Hillary Hedstrom | Photography by Bobby Talamine The line outside of the House of Vans was long. Doors were at 7, but people had started to line up as early as 3. The BANKS show was sold out and everyone with a ticket wanted to secure their entry.  As people began to file inside, they spread out everywhere. Some went to get free Goose Island beer, some to the merch table, and some to look at the poetry. A few people made sure they were front and center for the show. The poetry installment by Jillian Banks was an interest for most people. Her poems and drawings were printed on large sheets of crumpled paper, individually lit with colors that reflect the mood of the poem. The entire room was filled with low light and paper.  The merch table had an incredibly long line for the free “BANKS at the House of Vans” shirt that they were giving out. Next to the free shirt line was some merch for Samoht, one of the openers. They were giving out free fans because it was very hot inside. Samoht was the very first opener for the evening. On stage, it was just him and his drummer. The microphone was hidden in a bouquet of flowers. The Brooklyn artist released his sophomore album, Exit, in June.  The second opener was billed as a surprise guest, so nobody knew who it was going to be. BANKS’ friend, DJ Anna Lunoe, was the surprise guest. After playing a set of remixes, she began to perform songs off her album, Right Party.  The crowd was buzzing, waiting. BANKS was up next and nobody could wait. The entire space was filled. The energy in the air was electric. Accompanied by two backup dancers, BANKS came on. They were backlit, dark figures against a bold red background. They had sharp movements, forming beautiful pictures with their bodies.  For most of the show, she was backlit. The band was hidden behind the bright lights, colored in bold hues of blue and green and red. It was a beautiful aesthetic.  For the songs that she did not have dancers on stage, she was also front-lit so the audience could see her. She played a mix of songs from her old albums and a few newer ones. Her new album, III, came out July 12. 
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Words by Hillary Hedstrom | Pictures by Bobby Talamine Culture Abuse proved that there is no wrong time for a punk rock show. On a Thursday afternoon, their hard rock energy was brought. On their first day off in three weeks, Culture Abuse put on a show that was not on their official tour.  (L-R) Nick Bruder, David Kelling, Shane Plitt, June Bug, Anaiah Lee The five piece group hails from California and have toured with names like Nothing and Green Day. The band is made of David Kelling on vocals, June Bug on guitar, Shane Plitt on bass, Anaiah Lee on drums, and Nick Bruder on guitar. Culture Abuse has a surf punk vibe and sound. The band formed in 2013 and recently had their 6 year anniversary of their first show. A strong crowd came out to the show, including the bands that they have been touring with. Most of the crowd had bought tickets to their show at the Subterranean.  Kelling brought a film camera on stage and took a few pictures during the performance. He had been taking some around the studio and during set up and later took some during the interview. They started off their set strong, with the titular track off of their latest album Bay Dream. The song is about being on the road and away from home. The crowd went nuts for it.  Their track list included a cover of “Should I Stay or Should I Go” by The Clash. Their final song, “Turn It Off” was off of their first album, which they were hesitant to do. They didn’t want to give any royalties to that company. But they decided that they’ll “give them the 25 cents and play it anyway.”  Kelling occasionally made some interjections between the songs. He talked about everything from how nervous they were to be filming a television show to their first record label. They had a bad contract on their first label and were being taken advantage of. For the release of Bay Dream, they have switched labels and been able to prosper. After the set they came out and mingled with the crowd who came. They were selling vinyls of Peach and Bay Dream and autographing them.  During the interview, Kelling revealed that “Bay Dream” was about leaving his mother who has a terminal illness while he’s on tour. He doesn’t know if he should sing the meaning or go with the music because it’s a very personal song. They signed the first contract offered to them, which was not a good one. They got a tour offer and when they reached out for money to help get a tour van, they were told to “sell more records” by the company. It’s hard to be just about the music when there’s a business side to it as well. Their set in Chicago was the next day, at the Subterranean. It was an entirely different environment than the intimate show the day before. The crowd starting filtering in for the first opener, Buggin Out.  Buggin Out is a Chicago-based hardcore band who joined Culture Abuse during their show at the Subterranean. Several members had their parents’ in the audience and the lead singer’s mom was filming the entire act on her phone. DARE OC STRAIGHT EDGE is an LA-based hardcore band. Lee, who performs with Culture Abuse as their drummer, is in DARE.  Young Guv and Tony Molina were both great transitions to Culture Abuse. They are both surf rock bands. They brought the crowd down from the hardcore screamo music that Buggin Out and DARE brought, but kept the crowd hyped enough for Culture Abuse. Around 11 p.m. Culture Abuse finally came on and immediately everyone began to lose their mind.  Because of the lack of barrier, people were going up on stage to throw themselves into the crowd to crowdsurf. Bodies were flying everywhere. Kelling was sharing the use of the mic. He was throwing it up to the balcony, and having people who came up stage sing into it.  There was a never ending mosh pit. The audience were screaming all of the lyrics while throwing themselves around. The crowd was super friendly and helpful throughout the chaos. One guy lost his glasses so people were looking on the ground for the glasses and the lens that had popped out. Both were unharmed. At one point someone got thrown into Kelling, who has cerebral palsy. Both went down onstage and people immediately jumped up to help them both up and make sure they were both ok.  JBTV Setlist:
1. Bay Dream 2. So Busted 3. Be Kind To The Bugs 4. Goo 5. Calm E 6. Should I Stay Or Should I Go 7. Rats In The Walls 8. Turn It Off Words by Hillary Hedstrom | Photos by Bobby Talamine Potty Mouth came back better than ever. Their first JBTV performance took place back in 2016 when they played at Lollapalooza. Since then, the power punk trio has gone on to play Riot Fest and to open for artists such as The Go-Go’s and JBTV alum Andrew W.K. Potty Mouth consists of Abby Weems on guitar and vocals, Ally Einbender on bass, and Victoria Mandanas on drums. The three-piece band formed in Massachusetts out of a series of jam sessions. They were joined by their friend Ada Brumback.  L-R: Ada Brumback, Abby Weems, Jerry Bryant, Victoria Mandanas, Ally Einbender Driving in from Ohio that day, they came straight to our studio. They were exhausted but put on an amazing show. The show was intimate, but the stage was still electric with punk energy. The intimate feel allowed them to interact with the crowd. After a little interaction with a fan about the name of their latest album, Snafu, they said that “Snafu backwards is U Fans” and they do it all for you, the fans.  All of their songs have straightforward lyrics. There’s no hiding what the intention was behind the song. Each song is one to bang your head and dance to. “Smash Hit” was the opener song. It’s about the music industry only wanting hits and being about making money. It was a strong start to a strong set.  During the interview, they said that everyone hears something different in the guitar riff. People have gotten everything from a Creedence Clearwater Revival vibe to an All American Rejects feel from that riff. The rock and roll energy filled the entire stage and audience, with everyone dancing and rocking out. Weems played her guitar behind her head and even got on the ground to jam.  “I Wanna” was a great song to end the set with. It was high energy and easy to sing and dance along to. Weems said that it’s like every Ramones song and that’s why they like it. It’s about going after what you want. After the set, the members came out to mingle among the fans who came. They brought some merch, such as the usual array shirts and albums and CDs. A fun twist that they have is that their merch for sale includes a “Dog Song” pillowcase.  During the interview, Weems said she writes a majority of their songs. She compares songwriting to completing a puzzle. It’s therapeutic for her to write songs because she has had time to work it out and process everything that she’s writing about. Although she writes a majority of their songs, she doesn’t write all of them alone. During a series of songwriting sessions, she got hooked up with Gina Shock of The Go-Go’s and they co-wrote “Fencewalker.”  Through that meetup, Potty Mouth was able to open for a few The Go-Go’s shows. Shock loves their band. Potty Mouth would like for people to watch the music video for their song “Liar.” It’s their favorite one that they’ve done. It’s funny and features them as superheroes. They like the campy feel to it.  SET LIST:
1. Smash Hit 2. 22 3. Do It Again 4. Fence Walker 5. Dog Song 6. Liar 7. I Wanna Words by Hillary Hedstrom | Photos by Jordan Swanson The third show in The House of Vans summer season was curated by Julien Baker, featuring performances from Macseal, Wye Oak, and herself headlining, with art by Ariel Wolfe Baldwin and Lauren Asta. This show was sold-out, so the venue was absolutely packed.  As people began to pile inside, those already inside sipped on their free Goose Island beer as they looked at the art installed. It was a mix of abstract art and pop art based on Baker’s songs. A few people braved the rain to buy food from the food truck outside, enjoying it under some tents set up.
Macseal started off the night. The pop punk band, who hails from Long Island, has a sound that’s ripped from 2006. They recorded an LP back in March and announced that it’ll be dropping soon, but didn’t give a date. Catch Macseal back in Chicago at the Subterranean on September 11th!  The second band was Wye Oak. The electronic indie pop-rock duo was founded in Baltimore in 2006. Their fifth album, The Louder I Call, The Faster It Runs was released in February 2018. Halfway through their amazing performance, they said that this was their first performance in 8 months. Amazingly, the band still sounded extremely tight.  The crowd was starting to get anxious while they waited. The suspense was building up for Julien’s performance. The 23 year old, who’s opened for artists such as Death Cab for Cutie and Paramore, just walked out and started to play.  She had great stage presence, a hush falling over the crowd as soon as she stepped on stage. The House of Vans, packed to capacity, had fallen silent. She started playing her sad songs, occasionally stopping to take a sip of tea or to great the crowd. After receiving a lot of applause near the end of her set, she said “Thanks for clapping and physically showing your enthusiasm” which led to more clapping.  It was just her and her guitar for about half of the show. Baker swapped out her acoustic guitar on a few songs for a piano. She was not alone on stage for the entire time, though. She had a violinist join her for a few of her songs.
 Wesley Schultz of The Lumineers performing at the Hollywood Casino Amphitheatre for 101WKQX PIQNIQ on Saturday, June 15th. Words + Photos by Bobby Talamine From the soggy confines of the Hollywood Casino Ampitheatre in Tinley Park, another edition of the annual 101WKQX PIQNIQ occurred on Saturday, June 15th. The day started with steady rain for all the acts appearing on the second stage, which forced me to miss The Strumbellas, The Glorious Sons, Shaed, and opener Friday Pilots Club. With nowhere to stay covered for the opening acts, I didn't even attempt to go in the venue to start reviewing and shooting the show. Safe to say, soggy, wet consistent rain and expensive camera gear are not a good combination. Although, I did venture to the second stage for the headliner Blue October, a cool alternative American rock band from Houston Texas. The band didn’t seem to mind the rain that was now a consistent drizzle, which at least made it tolerable to shoot something from the second stage. Blue October even seemed to enjoy the gloomy weather, playing with excitement and verve to make the performance that more special. Lead singer Justin Furstenfeld is a charismatic performer, and worked the sloppy and wet stage from left to right. not caring about the rain and chilly weather. A nice way to get the 101WKQX PIQNIQ off the ground for me.  Lead singer Justin Furstenfeld of Blue October giving an energetic performance. By now we had the protection of the pavilion for the main acts, starting with AJR, a band made up of three brothers from Manhattan. The kids sure did like them, knowing the lyrics to every song, with their infectious mix of Indie Pop, a bit of white boy dubstep, and some doo wop. Which when all thrown into the kitchen sink, makes this photographer think of high school glee club, and this is the final assignment of the year. Harsh as that sounds, the kids dug them (LOTS). Maybe I'm out of the loop or something. Nevertheless, they were quite the performers, and they made most of their 30 minute ish set.  Jack Evan Met of AJR leading the audience to sing along with every song lyric. Now we're back to business with heavy guitar and showmanship, with Tom Morello starting his set unannounced from the GA floor pit, enticing the crowd with his riffs of heavy metal / punk hybrid- inspired sounds. Morello relished in his verve for political activism, brandished with his trusty guitar that stated "Arm the Homeless," and wearing a hat that states "MADIBA"- referring to Nelson Mandela.  Tom Morello surprises audience members by starting set in crowd. Outside of Morello's obviously renowned guitar playing, his way of enticing audiences to reach out, rise up, and not take crap from anyone never gets old. An all too brief set, clocking in under 45 minutes, with a surprise appearance from Tim Mcllrath of Rise Against handling some of the vocal duties for the Rage and Audioslave songs. Midway through the set, Morello did his rendition of Springsteen's "Ghost of Tom Joad," making the song more relevant, and downright gloomier than Sprinsgsteen's version. To start the show with audience accompaniment, and end with audience accompaniment from the stage, it just goes to show Tom Morello is a man of the people.  Morello ends his set by bringing audience member up on stage. Up next, Catfish and the Bottlemen from Wales, who the day before played at Bonnaroo, and made it in time for PIQNIQ. They were full on from the first note, with a neon sign all vertical and lit up right behind the boys, a design from their recent album release The Balance, with lead vocalist/ guitarist Van McCann wailing away from the get go, swinging his microphone with stand all over the place, a sweaty mess even after the first song. The boys of Catfish were unrelenting from then on, all downhill song after song, showing once again how badass these guys are, and how cool to say that we at JBTV had them play on our intimate stage back in the day. A band that's unmistakable in sound and fury and might, and oh so convincing. The mellower (but still cool) vibes of Irvine California's Young the Giant were next onstage. The crowd at PIQNIQ totally dug their music and moved to the beats provided from these dudes. All over the venue I looked and everyone was dancing and swaying in their seats to Young the Giant, with Sameer Gadhia providing the necessary lead vocals and stage presence needed to elevate and captivate the masses. Young the Giant- a band that commands your attention, commands you to listen. This adage was apparent by the performance the band gave at PIQNIQ.  Sameer Gadhia of Young the Giant giving a captivating performance to an eager crowd. Now on to the headliner. From Denver Colorado, The Lumineers were dressed like they were right out of a tavern from 1867, with the only thing missing from the set was tumbleweeds. A very popular band, with a mix of folk rock and Americana that's hard to ignore. Wesley Schultz lead the way with upper register vocals, the occasional foot stomp, and big bodied guitar sounds intact.  The Lumineers lead singer Wesley Schultz and violinist Lauren Jacobson giving the crowd a soulful performance. Jeremiah Fraites provided the steady backbeat, Lauren Jacobson the violin, Byron Isaacs the vintage/cool bass, and Brandon Miller the guitar/ Mandolin and some percussion. This band truly lives in a bevy of influences that defy their age, and make music that is cinematic in scope, with a soulfulness that comes off sincere and definitely not fake by any measure. So all n' all, a nice cross section of past and current indie/alternative music to spend a Saturday in Tinley Park. Until PIQNIQ 2020.... Words by Hillary Hedstrom | Photos by Patrick Luhrs The 2019 season of the House of Vans House Parties continued to go strong with their second show on June 15th. This show was curated by The Breeders, with Divino Niño and Palehound opening and an art installation by Chris Bigg. Upon first viewing, the House of Vans appeared charmingly small. A beautiful concert space, but nothe most optimal for max-capacity crowds. Eventually, the place was packed with people, thus proving me wrong. As more people filtered in, the show’s aura and energy became undeniable. We were in for a great show.  Before the show and in-between sets, the audience enjoyed their free Goose Island while wandering around, admiring the curated art. Some lounged in bean bag chairs, some were at the merch table picking up their free House of Vans shirt. The art, covering the brick walls, was based on different album covers by The Breeders.  Chicago-based Divino Niño went on first. Their 60’s surf-rock vibe make for a warm, nostalgic sound that many can enjoy. Their new album “Foam” is out June 21st. Catch them at The Empty Bottle on June 21st and their return to Chicago November 6th to perform at Thalia Hall.  Next up was the Boston band Palehound. This indie group has already built quite a resume from performing with artists like Courtney Barnett. This is all super impressive considering the band’s lead singer Ellen Kempner just turned 25. Palehound recently released their third album “Black Friday.” They’ll be back in Chicago on October 18th at The Metro.  Finally, The Breeders came on. Almost 30 years after their debut album, they still commanded the stage with a dominant energy. The crowd, both young and old, was engaged from the get-go. Whether they were fans since the release of “Pod” in 1990 or people who had just recently stumbled upon the group, there was a palpable excitement amongst the crowd. A woman next to me told me that she had to get her husband to hold her beer and purse so she could come into the pit like she did when she first saw the Breeders in the ‘90s. Her enthusiasm certainly was appreciated by many. The Breeder’s brand of indie grunge made for quite a diverse show. With a few high energy songs opening up pits, there was a slower song thrown in every once in a while to give the pit a break.  With the setlist including both old and new songs, like “I Just Wanna Get Along” and “Nervous Mary,” all fans felt involved. A native to Ohio, Kim Deal even gave a shout out to all of the Ohioans who came to Chicago for the show, and there were a lot of them. The show set a very high standard for the rest of the House Party season. But with artists such as Taking Back Sunday and Anderson. Paak, it should be a great season.   The Breeders Set List
Saints Wait In The Car All Nerve Divine Hammer No Aloha Huffer Iris New Year Cannonball I Just Wanna Get Along Off You Bang On Fire/SOS Glorious Nervous Mary Driving On 9 Megagoth Gigantic Dylmn  Captain Sensible performing with The Damned at House of Blues Chicago on May 30th. Words + Photos by Bobby Talamine When Punk was truly PUNK, The Damned formed in 1976. Fast forward to now, the band is currently on a tour celebrating the 40th anniversary of their third album Machine Gun Etiquette, which brought The Damned to House of Blues Chicago on Thursday, May 30th.  The Damned lead singer Dave Vanian performing at House of Blues Chicago. Still as debonair and renegade cool as he was back then, lead singer Dave Vanian showed he still has that dangerous, sonic baritone at age 62. Softening Vanian’s dangerous vocals were lead guitarist Captain Sensible’s goofy and light hearted stage antics and keyboardist Monty Oxymoron’s eccentric looks and otherworldly hair. Finishing off the lineup with Pinch on drums and Paul Gray on bass, The Damned are still relentless in approach and might. Pushing forth with the terrific songs from Machine Gun Etiquette, and then onto other Damned nuggets such as "Liar,” "So Messed Up," and of course the iconic "Street of Dreams." Man, what a show.  Exene Cervenka of X opening the show at House of Blues For opener X, an awesome band from Los Angeles, celebrated over four decades of quintessential L.A punk with their performance. John Doe, Exene Cervenka, D.J. Bonebrake on drums, and rockabilly veteran Billy Zoom on guitar firing off riff and riff like he's channeling Chet Atkins and Eddie Cochran all rolled up into one-- left the audience in complete, splendid awe. And with Billy Zoom coming off his stool for a bit on baritone sax, and some vibraphone added in to close their set, it left the audience wondering- what the hell just happened? Can we all just take a breath and rewind the tape for a minute? Confounding and awesome confusion prevails, because the experiment and intuitive improvisation works- on many levels. The X are it man, making for a double whopper of music along with The Damned. X is always a blast, like last summer for Riot Fest Chicago, John Doe and Exene Cervenka gave one of the best interviewers JBTV did for the festival. They never ever disappoint.  The Detroit Cobras singer Rachel Nagy opening their set lying down. As for the other openers The Detroit Cobras, let's just say things get outta hand quickly. From the first couple of notes onstage, lead singer Rachel Nagy literally tumbled right into me. Laughing out loud, kinda embarrassed and smiling, she proceeded to sing the first song lying down on the stage.  Rachel Nagy and other original member of The Detroit Cobras Mary Ramirez performing. Nagy is something else. All party and not much stage banter talk. She apologized for the fall from the drum riser, and blamed the fall on her high heel boots. Which she took off, socks included, and proceeded the rest of the set barefoot. With other original player Mary Ramirez on all things rockabilly guitar, they more than made up for all the miscues. After all, it's rock n' roll baby.  They grow up so fast. Riot Fest turns 15 this year. To think, they've had teenage angst since they were pre-teens. We all knew it could get wild when they really blossomed into full high school angst but for f**k's sake, look at that lineup! If you're one of those people that really needs to see the line-up before you go to Riot Fest, this should be all you need to put your mind at rest and your money on the table. We're not even saying that because our logo is on the poster, we really mean it! THE HEADLINERSBlink-182 is making good on their promise to play Riot Fest this year after needing to cancel last year due to health reasons. Slayer is closing out their Chicago & Milwaukee performance days at Douglas Park. Jack White will be there with The Raconteurs, Rise Against will return for the first time since playing the inaugural outdoor fest, oh, and BIKINI KILL! Need we say more. (The full line up is below, gawk for yourself!) Full Album PerformancesAs Riot Fest as a reunion, the full album performance is a staple of this festival. Our good friend Wayne Coin and The Flaming Lips will be playing Yoshimi Battles the Pink Robot in its entirety. Against Me! is doing a double wammy with Reinventing Axl Rose and Transgender Dysphoria Blues. Avail will be playing Over The James, Bloc Party, in celebration of it's 15th birthday, will be playing Silent Alarm. Dashboard Confessional playing The Places You Have Come To Fear The Most, Glassjaw with Worship and Tribute, The Selecter shredding Too Much Pressure. Senses Fail will also be doing a double feature including From the Depths of Dreams and Let It Enfold You as well as Taking Back Sunday with Tell All Your Friends and Louder Now. Oh, and Ween is playing The Mollusk in full, so thats something. THE DETAILSWHAT: Riot Fest's 15th Birthday Party WHERE: Douglas Park — Chicago Illinois WHEN: September 13th - 15th WHY: Because it would finally make your parents proud HOW: Buy a ticket by clicking here WHO: All of these fine folks  MORE TO RIOT ABOUTWe've been round the block a few times, if you want to see some of our past Riot experiences, click here. We have some cool interviews, pretty pictures, vulgarity — a good time all around.
 TOOL Lead singer Maynard James Keenan performing for the second day of Chicago Open Air Music Festival at SeatGeek Stadium in Bridgeview. Words + Photos by Bobby Talamine Even with an early downpour of lightning and thunder, day two of Chicago Open Air had all the bands perform. No cancellations. Alien Weaponry was the first up to perform. Their drummer started the show with a Maori War Dance and chant from behind the drum kit and displayed a tribe's pride--showing the unity and strength within this band. For such young dudes, they have presence times ten.With some of their songs spoken in their Maori language from Waipu New Zealand, it was a short and riveting set. The Black Dahlia Murder were next up, and presented great guitar playing from Brandon Ellis and Brian Eschbach. Although in regards to vocalist Trevor Stmad, things fell flat. Almost like a phoned-in set from these guys. Wicked as wicked comes was Fever 333’s set. Definitely one of the highlights of the day, with all three band members going apeshit at any given moment. Unpredictable to the core, making the most of their 35 minute - ish set, with vocalist Jason Aalon Butler worked his way into the crowd, and on top of the roof of the two story building stage left to belt out the last song. Drummer Aric Improta did lots more than drumming by jumping around and standing on top of his kit to get the crowd riled up (as if it's even necessary). Guitarist Stephen Harrison also worked his way into the crowd playing guitar in the middle of a heavy mosh pit. Fever 333. Crazy. Nutty. Awesome. The next band on the lineup was In this Moment. In This Moment’s set was like a scene from Spinal Tap. It took what seemed like forever for the roadies to adjust and tweak the stage props, fog machines, and whatnot. And for what? To open the set with a David Coverdale / Whitesnake tune, followed by a hallowed occult instrumental to actual band--equals awkward. And for what? Lead singer of In This Moment, Maria Brink, has the vocal chops, but with the stage cluttered with too many distracting props, it was hard for her to maintain the audience’s attention. Even for a brief 40 minutes.  In This Moment lead singer Maria Brink performing a theatrical set. Onto the mighty Gojira, lead by brothers Joe and Mario Duplantier. The Duplantier brothers--who hail from Bayonne, France--brought the fierceness like Meshuggah did on day one. Gojira was relentless from beginning to end with a vertical pyro...I mean jesus! No skimping with these guys. Gojira: caffeinated times ten. Then comes The Cult, lead by Ian Astbury and Billy Duffy with accompaniment by drummer John Tempesta, which was cool. But talk about falling flat...what a bummer. Yeah, the music's still there, sort of. Hard to screw up and sink the ship with Billy Duffy, that's for sure. What was irritating during the show was mid performance, Astbury expressed trepidation with Chicago fans by explaining the lack of community and brotherhood he felt from Chicago to a rather tepid audience. With the lukewarm enthusiasm from said band, which for all intents and purposes- is flat with a capital "F.” News flash to Ian Astbury, don't piss off Chicago. Come to play, and do your damnest to try to sing upper register if at all possible please. Now all things TOOL. Sophisticated with a simple and striking production, aided by vivid vertical LED backdrops, and solid musicianship still intact. Danny Carey came out in his trusty Kansas basketball jersey to the drumkit, followed by Justin Chancellor in a fine vest and long sleeve shirt, looking clean cut, but played as wicked and as heavy as ever. Hermit looking Adam Jones came onto the stage, hoodie up, all eyes down to guitar pedals and ready to go. Maynard James Keenan was the last one to get onstage, costumed up from head to toe in a wicked leather jacket emblazoned on the front with some alien ish cartoon, a red and black checkered tight fitting pants, sporting a shaved head mohawk of mohawks, and wicked joker makeup that gives you the feeling of dark and sinister. Keenan’s get up screamed “don't fuck with me.”  Keenan belting out lyrics to a mesmerized audience. I'm exhausted in writing that, without even getting to the music of TOOL, opening with "Aenema" and "Learn to Swim" in refrain over and over and over. I'm in full bore, with Tool heading directly into "The Pot," followed by "Parabola" and "Descending"--a new song Tool has added to their setlist--along with one other new song "Invincible," which is appropriately titled. Again - utter exhaustion from this lengthy edit for JBTV Music Television, but nevertheless...TOOL rules. Enough said. A splendid day of assorted metal, with a few hiccups, but still - oh- so- cool.  Beartooth's lead singer Caleb Shomo performing at SeatGeek Stadium on May 18th for Chicago Open Air Music Festival. Words + Photos by Bobby Talamine Thunderstorms, high winds, and lightning win the first couple hours of Chicago Open Air Day One, delaying the opening time from 2:30pm until approximately 4:30 pm, and delaying fans from entering Seatgeek Stadium to start the show. The first three opening acts got knocked off the bill: Code Orange, Knocked Loose, and Vein. Leaving four remaining once the storms cleared: System of a Down, Ghost, Meshuggah, and Beartooth. System of a Down were the usual volatile and relentless self. A long set with plenty of piss and vinegar, and the crowd eating it up and wanting more. Unfortunately there were no photos for this performance, just the quick review, and the fact that System of a Down, even though playing just a few festival dates, still brandish a mighty wallop.  One of the "Nameless Ghouls" who make up some of the band members of Ghost. Before System of a Down: Cardinal Copia and the Ghouls of Ghost. This version of Ghost front and center- showmanship. Lots and lots of showmanship, a stage dressed up with steps like a mantel to a cathedral. Heavy on backlit murals that looked like stained glass windows of sophisticated dark imagery. Musically, these guys are spot on with Cardinal Copia who lashed out vigorously from the first song "Rats" by hanging on to the last vowels with the "T" to no end, sending chills down your spine. Cardinal Copia worked the stage left and right, preaching to the masses all things dark and sinister. And so it goes with the said showmanship, with all the Ghouls making their mark with heavy guitars and drums and bass and keyboards. Nasty and oh so polished - that's Ghost.  Lead singer of Ghost, Cardinal Copia, performing in front of a Cathedral backdrop. How about Meshuggah and their version of extreme and mathematical metal? Still as fiendish and unrelenting as ever. No one comes close in the onslaught of all things Meshuggah, with Tomas Haake heavy on the backbeat and percussion, one song blasting into the next, with Jens Kidman front and center with the howl of deep throated vocals, and never losing his range or his might in song after song. The mindbending guitars of Marten Hagstrom and Fredrik Thordendal, still wildly inventive and tight as ever. Vicious- these two, both in improvisation, and physical might of said song, with Dick Lovgren holding down the fort in all things low end and complicated bass.  Meshuggah guitarist, Marten Hagstrom, shredding onstage. Openers Beartooth provide wicked party time, with the rain soaked crowd in attendance bursting forth with mosh pits after mosh pits. As for the four bands on Day One of Chicago Open Air: It is what it is. That said- you can never go wrong with Meshuggah and Ghost. Might mighty fine players, these dudes.  The 1975 frontman Matt Healy performing at the United Center in Chicago on May 8th. Words + Photos by Bobby Talamine The 1975 have come a long way since appearing at JBTV Music Television in the summer of 2014, and that was made clear during their headlining performance at the United Center in Chicago on Wednesday, May 8th with openers No Rome and fellow JBTV alum Pale Waves. London-based musician No Rome started the show with a performance that radiated chill and laid back vibes; while Pale Waves gave a live performance that bursted with confidence that matched their Goth/Rock/Pop vibe. With Heather Baron-Gracie fronting the band, Hugo Silvani on guitar, Charlie Wood on bass, and Ciara Doran on drums, it was great to see Pale Waves have a stage and audience size that matched their talent.
Shortly after Pale Waves’ set, The 1975 graced the stage and gave the audience a multi-sensory, visual experience. Bold and vivid colors washed across the massive backdrop of LED screens behind the band as the first notes of "Give Yourself a Try" from their most recent release, A Brief Inquiry into Online Relationships, started to take shape. Theatrics and sophisticated visuals can fall flat if the musicianship is not there, and that is far from the case with The 1975. Each band member plays multiple instruments with Adam Hann on lead guitar, keyboards and synths, Ross MacDonald on bass, keyboards and synths, and George Daniel rounding it off with drums and percussion.  The 1975 performing with their visually amazing stage configuration. Bathed in mostly magenta and light purple hues, The 1975 frontman Matt Healy worked the front of the stage with awkward delight, donning a fine two piece suit with black sneakers. Healy contorted his body with his tongue hanging out throughout the set, as if in on the joke of the definition of what "rock n' roll star" means in this day and age. The young teenage girls packed at the front gate ate it up, knowing the lyrics to every song, and dancing in wide eyed delight. Matt Healy worked the crowd like a true frontman, even taking moments to say how the band and him loved Chicago. Healy professed his love for Chicago by sharing a story on how he experienced the worst hangover on record right here in Chicago, with all the pain that ensues in trying to recover from an epic night out. Hangover-riddled anecdotes aside, Healy’s already commanding stage presence was supplemented by the stage configuration and the crafty, back up dancers Taitlyn and Kaylee Jaiy--known professionally as the Jaiy twins. The front lip of the stage had a slow, moving walkway that added showmanship and emotion to every song that was aided by the dance moves of the Jaiy twins. With the multi-talented band members, the cheeky antics of Matt Healy, the dynamic nature of the stage, and the Jaiy twins’ skilled choreography; The 1975 gave the United Center a show that demanded the audience’s full, undivided attention. See The 1975 perform live on their current North American Tour and buy their latest album A Brief Inquiry Into Online Relationships!  It’s been a bit since the famed Midwestern indie rock band, Hippo Campus stopped by the JBTV Studio for a performance. To be exact, the last time they came was in 2015 and at the time they only had two EPs out. Now, in 2019 when I had the chance to see them live in concert for the second time, they’ve grown, matured, and ultimately found their sound as a band and have two ALBUMS out into the world. To say that they’ve come a long way would be a gross understatement. It’s been such a pleasure to watch this band grow up, and I feel as though I’ve grown up with them. At the time when I first discovered their perky, upbeat, and infectious Bashful Creatures EP in 2015, I instantly felt electrified. I didn’t realize music could be so fun yet so meaningful until I found Hippo Campus. But even as members Jake Luppen (lead vocals and guitar), Zach Sutton (bass and keys), Nathan Stocker (guitar), Whistler Allen (drums), and DeCarlo Jackson (trumpet) matured, so did their music. In 2016, the now-five piece band dropped their debut album Landmark, which went on to receive massive amounts of praise. The album was placed on album of the year lists as well as many ‘bands you need to keep on your radar’ lists. Though this was just the beginning of Hippo Campus’ accolades.
Right when it seemed as though they were being fit into a cookie-cutter classic indie-rock sound, the band did a 180 on listeners and critics with the release of their 2018 effort Bambi. This album proved to be experimental and polar opposite of what they seemed to have perfected on Landmark. Though true fans stuck with the band and traded in their Doc Martens and Pavement records for pink-tinged outfits matching the album’s aesthetic, others weren’t as keen and were more so confused as to what the band was trying to hone in on (myself included). However, after multiple listens and witnessing Hippo Campus perform these new songs live on The Bambi Tour, I can attest to the fact that this album and era is truly coming-of-age and is brilliantly done.   On April 26th, and after many months of anxiously (no pun intended here) waiting, I ventured back up to Madison, WI to see Hippo Campus play my favorite venue, The Sylvee. It just seems as though I’ve been so inspired by these said ‘Wisconsin pines’ that the band sings about in their song “Way It Goes”, that I’m always caught going out of my way to see them in Wisconsin. It’s an odd coincidence, but I thought I’d bring that to your attention, reader. First up for the night was indie-pop songstress, Samia. In the weeks leading up to the show, I was eager to witness this promising young singer grace the stage. After hearing praise for her on her recent tour with the fabulous Donna Missal, my hopes were rather high. As the lights dimmed and Samia’s band ran on stage, her lead guitarist opened with a revving riff of Heart’s “Barracuda” and Samia immediately bounced out and the crowd was instantly hooked on her and her band’s positive energy. After playing a mix of sad songs and upbeat ones and closing her set with a powerful, full cover of “Barracuda”, the crowd was left breathless and excited for Hippo Campus’ performance.
 At 9:45 sharp, one-by-one the members of Hippo Campus waltzed onto the stage to play to a sold-out crowd filled with long-time fans, new listeners, natives of Madison, along with a ton of dedicated Minnesotan fans traveling solely to see their favorite band live. Instantly, they burst into the catchy and synth-heavy title track from Bambi. From there they quickly transitioned into the warm “Golden” and the iconic “Way It Goes”. Looking back at the crowd, each person was off their feet - either jumping or dancing. Regardless, everyone in attendance was having a fantastic time, even three songs in. Soon enough, the band surprised the crowd by completely switching up their setlist from the few nights prior by sprinkling in the catchy “Baseball”, my favorite song of theirs “Vines”, the more somber “Monsoon”, and one of the lead singles off of Bambi, “Doubt”. They also played my favorite deep cut from the new album, “Honestly”, a summery jam with prevalent guitars and a quirky “I suck, I suck, I suck” from Jake at the beginning of the song. Then midway through their set, Hippo Campus whipped out the crowd-favorite “South” which had everyone screaming a the top of their lungs “you go down south, south” on an endless loop before the song commenced. And soon after, they instantaneously transitioned into “Simple Season” a cute little song (another one of my favorites of their’s) that’s been absent from their live shows for a while.  For the duration of their set, their lighting was spectacular and romantic as warm ambers, cool purples, and bright pinks all glowed during their captivating performance. Between the phenomenal music and stage presence from Hippo Campus that was the main draw of the night, the soft lights were a nice accompaniment. After leaving Madison with a smile plastered to my face and new songs I hadn’t delved into prior playing in the back of my head, I was pleased with my evening with Hippo Campus. If you get a chance, go out to a date of The Bambi Tour!
Words + Photos by Ava Butera
 Sign at House of Vans event honoring Wax Trax! Records for Record Store Day On Saturday April 13th, the city of Chicago had quite the special Record Store Day thanks to the House of Vans hosting a documentary film screening of Industrial Accident: The Story of Wax Trax! Records. The screening not only had a panel discussion and Q&A after the film, but a live music performances by opening act Cold Cave and headliner Ministry. For those not necessarily in the know, Julia Nash, daughter of the founder of Wax Trax! Records Jim Nash, along with her husband Mark Skilicorn, produced and directed this mighty fine documentary. The documentary is a beautiful and insightful record of Jim Nash and Dannie Flesher, founders/owners of Wax Trax! Records, and the story behind the iconic label and record store. How special is it for the city of Chicago, to have these two wisecracking pioneers relocate from Denver to Lincoln Park, and single handedly create and become the forward thinkers to releasing records devoted to a new genre of music: "Industrial" or better yet- "Industrial Swing," or better still- "Wicked Industrial Disco"-- as I like to call it. Wax Trax! Records’ fourth release was from Front 242, a band that had a profound influence on Industrial Music, or what they liked to call "Electronic Body Music." For a period of about 15 years after the 242 release, Wax Trax! would sell over a million records by Ministry, My Life With the Thrill Kill Kult, Revolting Cocks, KMFDM, and 1000 Homo DJ's, just to name a few. Yes, there's sadness to this story- the demise of the record label, let alone the record store from Lincoln Avenue, and its inevitable end at Damen in Wicker Park.  Julia Nash (center) taking questions on her film Industrial Accident We’re not here to dwell on that, as this night is a celebration of Wax Trax!’s influence to music. To have the bands, the players behind the scenes, and the devoted fans reconvene at House of Vans on Record Store Day for a film screening and show honoring the store and label, it is clear that Wax Trax! Records does not need a formal address. For it lives on, and will continue to live on, through the people it impacted. Ministry, fronted by the mighty Al Jourgenson, headlined the Record Store Day event at House of Vans.  Al Jourgensen performing with Ministry at House of Vans At soundcheck, it was hard to make heads or tails on what to expect setlist wise. Outside of Chris Connelly working out vocal duties alongside Al, not much time was given to early Ministry/Wax Trax! releases. What inevitably transpired during the performance was a set heavily devoted to early Ministry and it's side projects. Ministry’s set included "The Land of Rape and Honey," "The Mind Is a Terrible Thing to Taste," and "Psalm 69: The Way to Succeed and the Way to Suck Eggs." Their set was also peppered with songs from the Revolting Cocks and 1000 Homo DJ's. The four songs with Chris Connelly adding vocals, elevated the performance to a whole other level. Towards the end of an acoustic version of "Everyday is Halloween," the audience devotedly sang along with the refrain and the chorus.  Chris Connelly (left) singing alongside Jourgensen Openers Cold Cave, even with some projector problems and a short set, did not disappoint. Wesley Eisold and Amy Lee have such solid musicianship performing live that the songs truly speak for themselves with a blast furnace swing and might throughout. An incredible band, that is Cold Cave. Relentless in scope and might, and considering the tidy and cozy confines of House of Vans, that is saying something. A truly trailblazing show from beginning to end. This was the best I've heard full on Ministry in years. This show from Ministry still resonates in my head days after, and trying to comprehend what I just witnessed leaves me drained, in a good way. A most splendid time all around. As for Wax Trax!, the brand, the documentary, Julia Nash and Mark Skilicorn...we have no problem singing their praises time and time again. The label lives on, and the devoted fans show no letup in the love and support that is righteously reciprocated at any and all events. What a magical evening from beginning to end. Minsirty's setlist: 1. The Missing 2. Deity 3. Stigmata 4. Jesus built My Hotrod 5. Just One Fix 6. NWO 7. Thieves 8. Burning Inside (with Chris Connelly) 9. So What (with Chris Connelly) Encore: 10. No Devotion (Revolting Cocks cover with Chris Connelly) 11. Supernaut (1000 Homo DJ's cover from original song from Black Sabbath) 12. The Land of Rape and Honey 13. Every Day is Halloween (Acoustic version with Chris Connelly) Words + Photos by Bobby Talamine On a chilly and calm Spring night, I made the trek up to Madison, WI to witness one of the best tours of the 2010’s -- including co-headliners Pixies and Weezer. Last summer, I had the chance to see this astonishing lineup in my hometown of South Florida. That show last June left me awestruck by both bands’ stage presence, live show, and ever-changing setlist. On March 31st, I got to relive that experience I so dearly cherished.
The first band to take the stage was British punk-rock newcomers, and recent signees to Fueled by Ramen, Basement. Though I could sense that the majority of the crowd had never heard of the band prior, Basement didn’t let the unfamiliar crowd affect their performance. They went on to hype up the crowd through their energetic set, filled with amped-up tracks. Lead vocalist, Andrew Fisher was constantly jumping around the stage, as though he was playing to a sold-out crowd of his ‘own’. The band’s positive energy was infectious and by the end of their set, the entire 10,000 seat arena was on their feet dancing along to the last few songs of Basement’s set. It can be said that Basement’s sound is a bit different from that of their tourmates, however it was refreshing to witness the band win over these Pixies and Weezer fans.  Next up was JBTV alumni, Pixies. It’s even cool to write that! One of the most influential alternative rock bands in all of music played the very stage that I walk by at work. I, personally, have always been a huge fan of Pixies. When I first began to immerse myself into different-sounding music (meaning not the typical Top 40 Hits), I soon enough stumbled upon this band. Between the band’s lyrical content, lead singer Black Francis’ unconventional singing style, and just their aura of coolness, I was instantly hooked. As a long-time fan, I definitely was not let down by the band’s diverse setlist. Incorporating tracks spanning their entire musical career, I got my fill of Pixies for the night! The band started strong by opening with “Bone Machine”, from the fantastic sophomore release Surfer Rosa and quickly transitioned into “Gouge Away” and “No. 13 Baby” from the critically-acclaimed album Doolittle. They then continued on to include the melodic “Caribou”, the infectious “Here Comes Your Man”, and of course their undeniably most well-known song “Where Is My Mind?”.
Throughout Pixies setlist, they gave fans a treat by playing a handful of new, unreleased material, which I assume will be off of their upcoming September 2019 album. Toward the end of their set, they went on the play fan-favorites such as “U-Mass” (my favorite Pixies song), “Isla de Encanta”, “Wave of Mutilation,” and “Vamos”. Between their captivating light show and captivating live performance, once the band left the stage, the crowd was left speechless.  Finally, the third band of the night, Weezer took the stage shortly after Pixies. But before they officially took the stage, they performance a barbershop quartet version of the silly, yet infectious song “Pork and Beans”, off of the acclaimed Red Album. Soon after, they rushed to the stage, the curtain dropped, and Weezer powerfully blasting into “Buddy Holly” and by this point everyone in the crowd had a smile plastered onto their faces. Weezer is fun and humorous band, and their silly side is often conveyed to the crowd through the band’s antics and live shows. And of course shortly after, lead singer Rivers Cuomo exclaimed “Let’s take it back to Africa!” as the band covered Toto’s “Africa”, which had the crowd singing along, while also laughing at the same time. The band debuted “Tired of Sex” from cult-favorite El Scorcho to their setlist, while also playing well-known classic like “Undone”, “Island In the Sun” , “Beverly Hills”, and “My Name is Jonas”. Weezer also chose to play a wide variety of covers from their recent cover album, The Teal Album. Throughout the night they scattered songs like “Everybody Wants to Rule the World” by Tears for Fears, “Paranoid” by Black Sabbath, and “No Scrubs” by TLC to name a few.
By the end of the show and after Weezer played their encore, including “El Scorcho”, “Surf Wax America”, and “Say It Ain’t So”, the entire crowd was still beaming and dancing from witnessing three incredible bands. Last night’s show was definitely a memorable one and I recommend you check this co-headliner tour out!! Check out more photos below! PIXIES:
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Words + Photos by Ava Butera
It is not always easy to define great art. Popularity is often how people try to measure it, but what you hear on the radio does not always equate to emotionally rich and intricately crafted music. With that being said, some popular musicians do manage to perfectly toe that line between accessibility and humanity; however, more often than not, it is the motivated smaller acts in the industry that manage to accomplish this feat. Up until this point, the London indie outfit Ten Fé has proved to be one of those acts. Their performance on March 30th at JBTV only further solidified this assertion.
The band opened up their set with the unrelenting track "Won't Happen". The track sees the band on a quest for self-improvement. Based on the band's words in our interview, it is safe to say that this quest fails on to some degree. During the band's interview with Jerry, Ten Fé frontman Leo Duncan claimed the track was about finally realizing that some habits will never die. And while these words may seem haunting, Duncan and company graced the stage with an uncanny confidence and ferocity. The band shook the audience as they sang about their imperfections. The track ultimately turns a negative situation into a positive one. Sure not all habits will fade away, being able to love yourself at your most imperfect is ultimately more important.
"Turn" was another gem on the band's setlist. The 2017 cut has been modified to include an extended instrumental outro that is both mystifying and groovy. The outro is taken from Ewan Pearson's remix of the song. Being the producer of Ten Fé debut effort, Pearson clearly knows the group's sound well. It shows in this outro as the arpeggiated synth lines, funky bass motifs, and discotheque drums implemented on this track perfectly fit into the band's mysterious and emotive aesthetic.
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Next was the infectiously fun track "Coasting". In the band's interview with Jerry, the band revealed that this song is about meeting someone who momentarily changes you. Beyond its relatable message, the track's bouncy drums, elegant vocals, and beautiful piano lines make this song a wonderful piece of pop bliss for all listeners.
The group continued to show their diversity switching from a hopelessly romantic tune in "Coasting" to the sad brooding tale that is "Elodie". "Elodie" builds on a simple progression, but earns the audience's heart with its honest lyrics. It is the group's top track on Spotify and other streaming services for a reason. It's sonic textures conjure up feelings of nostalgia for listeners to regale at.
The group closed out with an acapella rendition of Bruce Springsteen's "I'm on Fire" followed by "Single, No Return". These two tracks perfectly show Ten Fé's incredible musical diversity. While on the Springsteen cover they are indulging in a sparse landscape of vocal harmonies, "Single, No Return" relies heavily on electronics, samples, and an active bass part. This track perfectly capped off their set as it was an incredible display of energy. As the band jammed out on the outro, you could feel them gaining momentum. The band had the crowd in the palm of their hand.
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As if it was not evident by their commanding performance, the band truly wanted to make an impact on the crowd during this performance. This was not only the band's first television appearance in America but their first performance in Chicago. With a follow-up performance scheduled for later that night at Schubas, the band did not waste an opportunity to make new fans. The band absolutely dazzled the audience with their showmanship and musical prowess. On top of this, the band offered our audience guest passes to their show later that night even though the show was technically sold out!
In the band's conversation with Jerry, they discussed everything from the band's formation, the band's relationship with America, and Leo's experience performing on trains. Leo, Ben, JD, Greg, and Rob were a pleasure to host. Their chemistry as a group is palpable on both a musical and personal level. Be sure to keep your eyes out for this thrilling episode of JBTV!
Peter Murphy (pictured) performing In The Flat Field in its entirety plus extended encore of Bauhaus classics at Rockefeller Chapel as part of his "40 Years of Bauhaus, Ruby Celebration featuring David J" Tour
Formed back in 1978, the legendary and massively influential Bauhaus hailed from Northampton England, comprising of Peter Murphy, Daniel Ash, David J and Kevin Haskins. The band's goal was to get the F out of dodge and all things Northhampton, which according to Murphy had a "dead existence." The dark and foreboding music that they made together possesses far more force, variety and playfulness than the "Founding Fathers of Goth" tag that has been attached to them. Ironically like everything else in life, nothing is quite like it seems.
From the bleak outlook of life in Northampton, what we get in return is the brilliance of Bauhaus. In The Flat Field was the band's debut on 4AD records back in 1980, and well let's just say that the reviews were not all that pretty and positive. Andy Gill from Gang of Four, of all people, described the album in his review for the UK's NME as "Hip Black Sabbath.” That was written at the time as an insult.
Up to the present day, would reviews of this sort be accurate? On the contrary. The album itself is groundbreaking in scope- a dire prediction of surviving Northampton when you dig deep into it's bevy of abrasive songs. The songs themselves have been described as a "windblown sonic assault to the senses." A slow build that defines the genres of Post Punk and Goth, not subtle by any measure, but that was the point. Undeniably, In The Flat Field still holds up, making it that more exciting and pleasurable to hear the album in its entirety, as is the case on this current 40th anniversary tour of its debut.
On this tour, Peter Murphy is joined onstage with Bauhaus bassist extraordinaire David J, a remarkable songwriter in his own right, and these two together bring a compelling presence that revels in all things dark and purple. Rounding out the band is the brilliant Mark Gemini Thwaite on guitars, a musician's musician who has a history of playing with some heavy hitters such as The Mission, Tricky, and Spear of Destiny, to name a few. Let it be known that when Peter was introducing band members midway through their set, he stated "And on guitar, one of the best guitarists in the world- Mark Gemini Thwaite", and that should tell you lots. Peter definitely surrounds himself with extraordinary musicians, and that's also the case with Marc Slutsky on drums, who also provides the necessary backbeat that keeps Bauhaus music up and running and undeniably intact.
Looking at the four albums Bauhaus created over the small span of five years until they disbanded in 1983, you can't help but think of how immensely pleasurable they were as a band, like lightning trapped in a bottle. Ferocious and dangerous one minute and patient and beautiful the next. The perfect, unpredictable nature of a band with remarkable songwriters who dwell in performance art.
From the bleak outlook of life in Northampton, what we get in return is the brilliance of Bauhaus. In The Flat Field was the band's debut on 4AD records back in 1980, and well let's just say that the reviews were not all that pretty and positive. Andy Gill from Gang of Four, of all people, described the album in his review for the UK's NME as "Hip Black Sabbath.” That was written at the time as an insult.
Up to the present day, would reviews of this sort be accurate? On the contrary. The album itself is groundbreaking in scope- a dire prediction of surviving Northampton when you dig deep into it's bevy of abrasive songs. The songs themselves have been described as a "windblown sonic assault to the senses." A slow build that defines the genres of Post Punk and Goth, not subtle by any measure, but that was the point. Undeniably, In The Flat Field still holds up, making it that more exciting and pleasurable to hear the album in its entirety, as is the case on this current 40th anniversary tour of its debut.
On this tour, Peter Murphy is joined onstage with Bauhaus bassist extraordinaire David J, a remarkable songwriter in his own right, and these two together bring a compelling presence that revels in all things dark and purple. Rounding out the band is the brilliant Mark Gemini Thwaite on guitars, a musician's musician who has a history of playing with some heavy hitters such as The Mission, Tricky, and Spear of Destiny, to name a few. Let it be known that when Peter was introducing band members midway through their set, he stated "And on guitar, one of the best guitarists in the world- Mark Gemini Thwaite", and that should tell you lots. Peter definitely surrounds himself with extraordinary musicians, and that's also the case with Marc Slutsky on drums, who also provides the necessary backbeat that keeps Bauhaus music up and running and undeniably intact.
Looking at the four albums Bauhaus created over the small span of five years until they disbanded in 1983, you can't help but think of how immensely pleasurable they were as a band, like lightning trapped in a bottle. Ferocious and dangerous one minute and patient and beautiful the next. The perfect, unpredictable nature of a band with remarkable songwriters who dwell in performance art.
To have this 40th anniversary tour come to Chicago and play at the formidable Rockefeller Chapel on the grounds of the University of Chicago in Hyde Park only adds to the luster of this review and story. A monumental example of all things "Gothic.” Built in 1925, and without the use of structural steel, Rockefeller Chapel is meant to be the central and dominant structure on the campus. The ceiling height is immense, and upon first entering the church, you're struck immediately by its ornate beauty, and the massive stained glass windows facing both north and south. The church itself is equal in presence to the performance we're witnessing first hand with Bauhaus. The stage is set on the mantle of the church- up marble steps towards the north end of the chapel. A bit cozy for a four piece band, but still enough room for Peter Murphy to roam the stage and get all chameleon like to his devoted followers.
I'm still trying to take it all in from this performance, the overwhelming presence of this gorgeous church, and hearing the beauty of all things Bauhaus. To be sitting in church pews, on wooden planks, with a ceiling that's over a 100 feet high, and smelling all things vintage/exquisite...let's just say that Chicago is lucky on this tour to have Peter Murphy and David J of Bauhaus performing in this glorious venue. The show itself was relentless through the entire album of In The Flat Field, followed by a lengthy encore of Bauhaus classics, including the anthem of all things “Goth”: "Bela Lugosi's Dead", with a sinister and suave Peter Murphy playing the part of a vampire bat to the hilt. Again, hard to soak it all in- the church, the audience, the floor lit lights brazenly focused on all things scary Peter Murphy, all things be damned when it come to age. To hear the refrain of "Undead undead undead" over and over from that iconic song, with a slow and steady drumbeat, and David J's mesmerizing dead end bass beats....let's just say it still gives me chills, and the song could've gone over repeatedly for an hour and still be riveting. The first of two nights with Bauhaus at the Rockefeller Chapel, and it was mesmerizing to say the least.
A special night that you will remember forever if you were there. It was that good.
I'm still trying to take it all in from this performance, the overwhelming presence of this gorgeous church, and hearing the beauty of all things Bauhaus. To be sitting in church pews, on wooden planks, with a ceiling that's over a 100 feet high, and smelling all things vintage/exquisite...let's just say that Chicago is lucky on this tour to have Peter Murphy and David J of Bauhaus performing in this glorious venue. The show itself was relentless through the entire album of In The Flat Field, followed by a lengthy encore of Bauhaus classics, including the anthem of all things “Goth”: "Bela Lugosi's Dead", with a sinister and suave Peter Murphy playing the part of a vampire bat to the hilt. Again, hard to soak it all in- the church, the audience, the floor lit lights brazenly focused on all things scary Peter Murphy, all things be damned when it come to age. To hear the refrain of "Undead undead undead" over and over from that iconic song, with a slow and steady drumbeat, and David J's mesmerizing dead end bass beats....let's just say it still gives me chills, and the song could've gone over repeatedly for an hour and still be riveting. The first of two nights with Bauhaus at the Rockefeller Chapel, and it was mesmerizing to say the least.
A special night that you will remember forever if you were there. It was that good.
Words + Photos by Bobby Talamine
On February 7th, I finally had the opportunity to witness not only one of my favorite bands live, but a vital piece of New York City music history. As I was growing up and beginning to discover my own likes music-wise -- not just the same old same old classic rock my parents played during my childhood, and later my young adulthood -- I went through many different genre phases. This included punk, new wave, modern alternative rock bands, until I ultimately stumbled upon the early 2000’s indie rock bands. Though many of the bands from said scene derive different influence from one another and sound drastically unique, I considered this a genre. Having been born and raised in South Florida, I often dreamed of getting a chance to even slightly relive that gracious time period of rock and roll in one of my favorite cities ever. For the time being, I continuously read Meet Me in the Bathroom, a book detailing the oral history of that NYC indie rock scene. One band that continued to stand out to me due to their versatility and artistry was Interpol.
Unlike any of these other bands from this scene, Interpol has continued to stay relevant, while also somewhat flying under the radar. They’re still generous to their fans -- this can be shown in their diverse setlist, which caters to fans at all walks of life. They genuinely enjoy making music. It’s obvious they absolutely love performing. And most importantly, they have remained an important pioneer in the indie rock scene.
Entering the Chicago Theater on February 7th, I was awestruck by the beauty of the venue and also by the fact that I would finally be seeing Interpol. The juxtaposition between a rock band like Interpol and the beautiful historic landscape was breathtaking. However, before the band took the stage, opener Sunflower Bean did the deed of winning over the crowd as the opener. Though both groups derive influence from different areas, they have one thing in common -- they love to rock, but again, in different ways. Sunflower Bean are probably the only band in the alternative rock music scene at the moment who is truly doing the rock and roll genre justice. They incorporate long guitar solos into their set, lead singer Julia Cumming struts around the stage like a superstar, guitarist Nick Kivlen wears sunglasses and 70’s-esque garb and oozes an effortlessly cool attitude, and they include catchy drum hooks, thanks to drummer Jacob Faber.
Entering the Chicago Theater on February 7th, I was awestruck by the beauty of the venue and also by the fact that I would finally be seeing Interpol. The juxtaposition between a rock band like Interpol and the beautiful historic landscape was breathtaking. However, before the band took the stage, opener Sunflower Bean did the deed of winning over the crowd as the opener. Though both groups derive influence from different areas, they have one thing in common -- they love to rock, but again, in different ways. Sunflower Bean are probably the only band in the alternative rock music scene at the moment who is truly doing the rock and roll genre justice. They incorporate long guitar solos into their set, lead singer Julia Cumming struts around the stage like a superstar, guitarist Nick Kivlen wears sunglasses and 70’s-esque garb and oozes an effortlessly cool attitude, and they include catchy drum hooks, thanks to drummer Jacob Faber.
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As Interpol graced the stage at 9PM sharp, the lights went dim and stayed dim. Only the soft light of a sole disco ball became the light source for the duration of the first two songs. Though difficult to photograph, it was wondrous to view in person. Between the stunning performance from Interpol and the detailed light show, the crowd was absolutely astonished. Interpol fans are loyal— though the crowd tended to be a lot older than me, the fans came out early and stayed late, a truly dedicated sold-out crowd.
Opening with “Pioneer to the Falls,” a moody yet crescendoing track from my favorite album from the band, Our Love To Admire, Interpol gradually eased into their anthemic setlist. Next, the band quickly transitioned into “C’mere” from the fan-favorite, Antics, before then introducing some newer tracks from Marauder, like “If You Really Love Nothing,” “Complications,” and the exceptional single, “The Rover."
Opening with “Pioneer to the Falls,” a moody yet crescendoing track from my favorite album from the band, Our Love To Admire, Interpol gradually eased into their anthemic setlist. Next, the band quickly transitioned into “C’mere” from the fan-favorite, Antics, before then introducing some newer tracks from Marauder, like “If You Really Love Nothing,” “Complications,” and the exceptional single, “The Rover."
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Toward the end of the band’s set, they played iconic tracks from El Pintor as well as Antics, like “All the Rage Back Home,” “Not Even Jail,” and “Slow Hands.” Before ultimately smashing their encore by playing “Lights” and “Obstacle 1,” fan-favorites from the band’s debut, Turn On the Bright Lights.
The show tonight reminded be of how great the New York City rock scene truly is. Interpol, a dark, brooding, yet well-versed band alongside newcomers, Sunflower Bean fresh out of the Brooklyn DIY scene. Although both are different, they both are part of Renaissances within rock music. It’s truly unfathomable how important these rock Renaissances are and thanks to pivotal bands like Interpol and bands that are keeping the flame alive like Sunflower Bean, we will continue to witness this rebirth of music and culture happen right before our eyes.
The show tonight reminded be of how great the New York City rock scene truly is. Interpol, a dark, brooding, yet well-versed band alongside newcomers, Sunflower Bean fresh out of the Brooklyn DIY scene. Although both are different, they both are part of Renaissances within rock music. It’s truly unfathomable how important these rock Renaissances are and thanks to pivotal bands like Interpol and bands that are keeping the flame alive like Sunflower Bean, we will continue to witness this rebirth of music and culture happen right before our eyes.
SETLIST:
1. Pioneer to the Falls
2. C'mere
3. If You Really Love Nothing
4. Public Pervert
5. Roland
6. Complications
7. Say Hell to the Angels
8. NYC
9. Take You on a Cruise
10. The Rover
11. Number 10
12. Rest My Chemistry
13. Evil
14. Flight of Fancy
15. The New
16. All the Rage Back Home
17. Slow Hands
ENCORE:
18. Lights
19. Not Even Jail
20. Obstacle 1
1. Pioneer to the Falls
2. C'mere
3. If You Really Love Nothing
4. Public Pervert
5. Roland
6. Complications
7. Say Hell to the Angels
8. NYC
9. Take You on a Cruise
10. The Rover
11. Number 10
12. Rest My Chemistry
13. Evil
14. Flight of Fancy
15. The New
16. All the Rage Back Home
17. Slow Hands
ENCORE:
18. Lights
19. Not Even Jail
20. Obstacle 1
Words + Photos by Ava Butera
Brendon Urie and his band Panic! at the Disco. Always changing. Always evolving. All for the better, especially when it comes to live performance.
Since the departures of guitarist Ryan Ross, Bassist Jon Walker and drummer Spencer Smith- it’s down to Lead vocalist / Songwriter Brendon Urie to carry all things Panic! by his lonesome.
And that he does in spades, what with a second stop in Rosemont (Chicago) since back in the fall of 2018, on his “Pray for the Wicked” tour.
It’s basically the same show since the first time around, but with some tweaks and extra polish- more to add in regards to the Las Vegas glitz and showmanship throughout.
The screaming kids don’t mind, with parents in tow, what with his wholesome sense of humor and obvious good looks: a boy next door who makes it big and doesn’t forget his roots or where he comes from.
Since the departures of guitarist Ryan Ross, Bassist Jon Walker and drummer Spencer Smith- it’s down to Lead vocalist / Songwriter Brendon Urie to carry all things Panic! by his lonesome.
And that he does in spades, what with a second stop in Rosemont (Chicago) since back in the fall of 2018, on his “Pray for the Wicked” tour.
It’s basically the same show since the first time around, but with some tweaks and extra polish- more to add in regards to the Las Vegas glitz and showmanship throughout.
The screaming kids don’t mind, with parents in tow, what with his wholesome sense of humor and obvious good looks: a boy next door who makes it big and doesn’t forget his roots or where he comes from.
That said, you can tell Brendon Urie puts a lot of time and energy into this touring production: sophisticated lighting, terrific staging, a band that blasts away at a moment’s notice, down to a horn section that can tear the roof off of the Allstate Arena when full on, as is the case with the song “Crazy=Genius”: a fire infested number that has everyone in the venue on their feet and dancing madly in place.
All things considered with Brendon and Panic! at the Disco: anything is possible in the presentation of his music, and it definitely packs a wallop.
Even when Brendon brought his band to JBTV Music Television back in 2015- he scoped out our listening / taping room during soundcheck to get a feel from every possible angle if you were an audience member, to make you feel welcome, and part of the family, and part of the party.
All things considered with Brendon and Panic! at the Disco: anything is possible in the presentation of his music, and it definitely packs a wallop.
Even when Brendon brought his band to JBTV Music Television back in 2015- he scoped out our listening / taping room during soundcheck to get a feel from every possible angle if you were an audience member, to make you feel welcome, and part of the family, and part of the party.
I guess that since then, nothing’s changed in his approach prior to performance, only on a much grander scale: how do you reach and engage the persons sitting in section 215 and 216, the furthest reaches to the Allstate Arena?
It wouldn’t surprise me if Brendon himself ventured up there to give it a look from that perspective. That’s just the kind of guy he is.
So during the show you have to ask the question: how the hell does he hit those high notes each and every night? I swear the place goes crazy each and every time he does, and successfully.
And those damn catchy songs. During the show, there’s not one weak link in the bunch, and there’s plenty of songs to go through, over 28 in all, counting the encore.
Over the years, Brendon has metamorphosed into the definition of a showman’s showman: a ringleader of constant positive energy with an attitude to kick all ass.
Lets’s keep it simple: Go see the show. You won’t be disappointed — from beginning to end.
It wouldn’t surprise me if Brendon himself ventured up there to give it a look from that perspective. That’s just the kind of guy he is.
So during the show you have to ask the question: how the hell does he hit those high notes each and every night? I swear the place goes crazy each and every time he does, and successfully.
And those damn catchy songs. During the show, there’s not one weak link in the bunch, and there’s plenty of songs to go through, over 28 in all, counting the encore.
Over the years, Brendon has metamorphosed into the definition of a showman’s showman: a ringleader of constant positive energy with an attitude to kick all ass.
Lets’s keep it simple: Go see the show. You won’t be disappointed — from beginning to end.
Also, openers Two Feet and Betty Who brought the synth pop to the masses who showed up early in their abbreviated sets.
Panic! at the Disco’s setlist:
1. (Fuck A) Silver Lining
2. Don’t Threaten Me With a Good Time
3. Ready to Go (Get me out of My Mind)
4. Hey look Ma, I Made it
5. LA Devotee
6. Hallelujah
7. Crazy-Genius
8. The Ballad of Mona Lisa
9. Nine in the Afternoon
10. One of the Drunks
11. Casual Affair
12. Vegas lights
13. Dancing’s Not a Crime
14. This is Gospel
15. Death of a Bachelor
16. I Can’t Make You Love Me — (Bonnie Raitt cover)
17. Dying in LA
18. The Greatest Show
19. Girls/Girls/ Boys
20. King of the Clouds
21. High Hopes
22. Miss Jackson
23. Roaring 20s
24. Bohemian Rhapsody — (Queen cover)
25. Emperor’s New Clothes
Encore:
26. Say Amen (Saturday Night)
27. I Write Sins Not Tragedies
28. Victorious
Panic! at the Disco’s setlist:
1. (Fuck A) Silver Lining
2. Don’t Threaten Me With a Good Time
3. Ready to Go (Get me out of My Mind)
4. Hey look Ma, I Made it
5. LA Devotee
6. Hallelujah
7. Crazy-Genius
8. The Ballad of Mona Lisa
9. Nine in the Afternoon
10. One of the Drunks
11. Casual Affair
12. Vegas lights
13. Dancing’s Not a Crime
14. This is Gospel
15. Death of a Bachelor
16. I Can’t Make You Love Me — (Bonnie Raitt cover)
17. Dying in LA
18. The Greatest Show
19. Girls/Girls/ Boys
20. King of the Clouds
21. High Hopes
22. Miss Jackson
23. Roaring 20s
24. Bohemian Rhapsody — (Queen cover)
25. Emperor’s New Clothes
Encore:
26. Say Amen (Saturday Night)
27. I Write Sins Not Tragedies
28. Victorious
Filed by Bobby Talamine
Photos by Bobby Talamine
Photos by Bobby Talamine
The Soft Moon
Criminal Tour 2019 - with HIDE and Thoom
Also DJs The Pirate Twins
Thalia Hall Chicago
Thursday 1/24/19
JBTV Alumni Luis Vasquez and his band The Soft Moon start their performance at Thalia Hall in Chicago with an all out assault on all things heavy percussion and beats with the song “Deeper”, a majestic stab of scattershot rhythms and wicked vocal, the perfect song on a cold and dreary winter’s evening in Chicago.
Have witnessed The Soft Moon performing live a multitude of times by now, and without question, Luis Vasquez and his band- Luigi Pianezzola on Bass, Matteo Vallicelli on drums and electronic percussion, just keep getting better and better and better.
Most of Luis Vasquez’s songs revolve around pain and sorrow and anger, but undeniably the songs are mostly cathartic, especially when performed live, with an enthusiastic rumble and might which revs up the crowd, no matter what day of the week it is.
The show itself delved into Luis Vasquez’s most recent release “Criminal” with the painstakingly gorgeous and frenzy of a song “Burn” being front and center the third song in.
Criminal Tour 2019 - with HIDE and Thoom
Also DJs The Pirate Twins
Thalia Hall Chicago
Thursday 1/24/19
JBTV Alumni Luis Vasquez and his band The Soft Moon start their performance at Thalia Hall in Chicago with an all out assault on all things heavy percussion and beats with the song “Deeper”, a majestic stab of scattershot rhythms and wicked vocal, the perfect song on a cold and dreary winter’s evening in Chicago.
Have witnessed The Soft Moon performing live a multitude of times by now, and without question, Luis Vasquez and his band- Luigi Pianezzola on Bass, Matteo Vallicelli on drums and electronic percussion, just keep getting better and better and better.
Most of Luis Vasquez’s songs revolve around pain and sorrow and anger, but undeniably the songs are mostly cathartic, especially when performed live, with an enthusiastic rumble and might which revs up the crowd, no matter what day of the week it is.
The show itself delved into Luis Vasquez’s most recent release “Criminal” with the painstakingly gorgeous and frenzy of a song “Burn” being front and center the third song in.
I bring this song up for a reason. “Burn” along with “Far”, from the album “Deeper”, are staples of all things that consist of “Industrial Swing”, a term that’s a throwback of Wax Trax! days of old, a blend of dance, with heavy beats and might.
Songs like these two never get old, and make you thirsty for more and more.
A Soft Moon show is a performance diving into wicked disorientation, not knowing what comes next speeding along, with no sympathy if you can’t hold on for the ride.
The strengths of this band are clearly evident, mostly in the musicianship and jovial fun between Luis, Matteo and Luigi, but also in the presentation, down to the lighting, and not having Matteo’s drum kit buried in the back, but stage right and visible.
If ever there was a show to cleanse the soul and make you feel whole, and that you’re back on track, and that for the most part all things are well and good, its a Soft Moon show.
A Soft Moon show is a performance diving into wicked disorientation, not knowing what comes next speeding along, with no sympathy if you can’t hold on for the ride.
The strengths of this band are clearly evident, mostly in the musicianship and jovial fun between Luis, Matteo and Luigi, but also in the presentation, down to the lighting, and not having Matteo’s drum kit buried in the back, but stage right and visible.
If ever there was a show to cleanse the soul and make you feel whole, and that you’re back on track, and that for the most part all things are well and good, its a Soft Moon show.
This photographer and reviewer simply can’t get enough, and doesn’t mind singing the praises of Luis Vasquez and his band the Soft Moon.
Opener HIDE, a Chicago industrial / electronic duo consisting of vocalist and all around mesmerizing performer Heather Gabel and Seth Sher providing all the necessary beats and samples, are unrelenting in their performance, down to lighting only provided by floor standing white strobes, blinding when on for that brief second of time, and completely dark on stage when not.
A multi-sensory experience without question from beginning to end, punctuated by the steely and fierce Heather Gabel, who prowls the stage in cathartic fury that has to be seen to be believed.
Opener HIDE, a Chicago industrial / electronic duo consisting of vocalist and all around mesmerizing performer Heather Gabel and Seth Sher providing all the necessary beats and samples, are unrelenting in their performance, down to lighting only provided by floor standing white strobes, blinding when on for that brief second of time, and completely dark on stage when not.
A multi-sensory experience without question from beginning to end, punctuated by the steely and fierce Heather Gabel, who prowls the stage in cathartic fury that has to be seen to be believed.
Heather takes nothing for granted performing live, a menacing presence when visible through the blinding strobes and heavy fog, like a praying mantis just waiting to devour you in one big gulp.
Hide are a momentous live act, perfect for these times we’re in, with everything oh so unpredictable, and everyone walking around angry, ready to snap at any given moment.
We need to hear more from HIDE, sooner rather than later.
Opener Thoom started the show off with intoxicating samples and beats with scorching vocal, followed by Middle Eastern rhythms and exotic otherworldly dance moves.
Chicago’s very own DJ’s The Pirate Twins ( Scary Lady Sarah & William Faith) provided the perfect mixes before and in-between the sets.
Hide are a momentous live act, perfect for these times we’re in, with everything oh so unpredictable, and everyone walking around angry, ready to snap at any given moment.
We need to hear more from HIDE, sooner rather than later.
Opener Thoom started the show off with intoxicating samples and beats with scorching vocal, followed by Middle Eastern rhythms and exotic otherworldly dance moves.
Chicago’s very own DJ’s The Pirate Twins ( Scary Lady Sarah & William Faith) provided the perfect mixes before and in-between the sets.
Filed by Bobby Talamine
Photos by Bobby Talamine
Photos by Bobby Talamine
On November 30th, I had the pleasure to witness recent JBTV alums, The Regrettes take the tiny stage at Wicker Park’s very own -- Subterranean. Despite the small size of the venue as a whole The Regrettes made sure the make it feel like a huge crowd, not letting the intimate setting affect their stage presence and show. Having only been on the Sirius XM AltNation Advanced Placement Tour for two days prior, I had yet to see any praise regarding each artist on the tour. But I knew The Regrettes would put on a stellar show regardless.
After watching openers, Micky James and Welles, hype up the crowd and put on equally great sets, the crowd was anxious for The Regrettes take the stage. Once the clock hit nine, the lights dimmed and each member walked onto the stage with “Dancing Queen” by ABBA blaring. The band was welcomed by the crowd shouting the lyrics, each fan ready for a good ole’ punk show.
After watching openers, Micky James and Welles, hype up the crowd and put on equally great sets, the crowd was anxious for The Regrettes take the stage. Once the clock hit nine, the lights dimmed and each member walked onto the stage with “Dancing Queen” by ABBA blaring. The band was welcomed by the crowd shouting the lyrics, each fan ready for a good ole’ punk show.
The Regrettes opened with one of their newest songs, “California Friends”. Although the song shows the band playing around with new sound elements and doesn’t necessarily fit the band’s old sound of punk & doo-wop, it’s a refreshing track about friendship and love. After listening to it way too many times on Spotify, it was a nice feeling to scream the lyrics and dance around, while also watching The Regrettes dance around and feel out the crowd’s energy.
The band then went on to play fan favorites from their debut album, Feel You Feelings Fool! “Lacy Loo” and “Picture Perfect”, both featuring lead vocalist, Lydia Night having complete control over the audience. During “Picture Perfect” -- one of my favorite Regrettes’ songs -- Night even demanded the audience make an all-female mosh pit -- a staple at Regrettes shows. Although I could not participate in the mosh pit full of badass women, mainly due to me not wanting to damage my camera, I was sure to step onto the stairs and capture some sick shots of the crowd having a good time.
The band then went on to play fan favorites from their debut album, Feel You Feelings Fool! “Lacy Loo” and “Picture Perfect”, both featuring lead vocalist, Lydia Night having complete control over the audience. During “Picture Perfect” -- one of my favorite Regrettes’ songs -- Night even demanded the audience make an all-female mosh pit -- a staple at Regrettes shows. Although I could not participate in the mosh pit full of badass women, mainly due to me not wanting to damage my camera, I was sure to step onto the stairs and capture some sick shots of the crowd having a good time.
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They then transitioned into another one of my favorite songs, “Come Through”, from their EP, Attention Seeker. “Come Through” is super fun and interactive live, I noticed crowd members singing to strangers and dancing with one another during this track. The Regrettes then played “Whatta Bitch”, “A Living Human Girl”, and “Red Light,” all three songs garnering praise from the audience.
For the rest of the set, the crowd never seemed to die down. By the time the band started their final song, “You Won’t Do”, the entire venue was singing along to the opening, “Oh, Oh, Oh, Oh, Oh, Oh, Oh Oh!” Shortly after the band departed from the stage after the infectious performance, they came back for a two song encore featuring a new track, “Pumpkin” and a fan-favorite, “Hot -- one they also played here at JBTV.
By the end of the show, a smile stayed plastered on my face. Not only is The Regrettes a band that discusses current topics within their lyrical content, but they also know exactly how to please their fans. Be sure to catch The Regrettes on The Advanced Placement tour in a city near you.
For the rest of the set, the crowd never seemed to die down. By the time the band started their final song, “You Won’t Do”, the entire venue was singing along to the opening, “Oh, Oh, Oh, Oh, Oh, Oh, Oh Oh!” Shortly after the band departed from the stage after the infectious performance, they came back for a two song encore featuring a new track, “Pumpkin” and a fan-favorite, “Hot -- one they also played here at JBTV.
By the end of the show, a smile stayed plastered on my face. Not only is The Regrettes a band that discusses current topics within their lyrical content, but they also know exactly how to please their fans. Be sure to catch The Regrettes on The Advanced Placement tour in a city near you.
Filed by Ava Butera
Photos by Ava Butera
Photos by Ava Butera
To many, the genre of fantasy is generalized by any story with magical elements, but to many fans, that is an oversimplified definition. Fantasy has multiple subgenres and subcultures that often get swept under the Lord of the Rings umbrella, and causes many niche fantasy fans to painstakingly navigate the popular titles for stories that fit their tastes.
Music is no exception. Everybody has different takes on what is considered hip-hop, rock, pop, and heavy metal. For the music genre purist, it can be hard to find music that aligns with your criteria. Luckily for hardcore, heavy metal fans and fans of pulpy fantasy from yesteryear, publisher Dave Ritzlin merges these two groups into his fantasy anthology series Swords of Steel.
“All the stories are written by members of heavy metal bands,” Dave Ritzlin said during his JBTV interview with Jerry Bryant on September 21st, 2018. “Some of [the bands these authors are from] are new, but in the underground scene some are pretty well known—like Manilla Road, who’s been around since the late 70’s, ” he added.
From the authors penning the stories to even the books’ artwork, “Martin Hanford is an artist from England and does a lot of album covers for the band Bal-Sagoth—who’s one of the bands [featured] in the book [series],” every aspect of Ritzlin's book series is rooted in heavy metal.
Now, we at JBTV Music had to get heavy metal recommendations from Ritzlin while he was in the studio, and he was happy to oblige. Ritzlin graciously brought in a video of Canadian, heavy metal band Gatekeeper’s song “Blade of Cimmeria.” Ritzlin connected with Gatekeeper through happenstance, “I met the guitarist [Jeff Black] at Chicago’s Legions of Metal music festival, and he's also a fan of these kinds of stories. Turns out, he had already been writing stories, so it was a perfect match.” Watch Gatekeeper's "Blade of Cimmeria" video below and read Jeff Black’s short story “Blue Mistress” in the first volume of Swords of Steel.
Music is no exception. Everybody has different takes on what is considered hip-hop, rock, pop, and heavy metal. For the music genre purist, it can be hard to find music that aligns with your criteria. Luckily for hardcore, heavy metal fans and fans of pulpy fantasy from yesteryear, publisher Dave Ritzlin merges these two groups into his fantasy anthology series Swords of Steel.
“All the stories are written by members of heavy metal bands,” Dave Ritzlin said during his JBTV interview with Jerry Bryant on September 21st, 2018. “Some of [the bands these authors are from] are new, but in the underground scene some are pretty well known—like Manilla Road, who’s been around since the late 70’s, ” he added.
From the authors penning the stories to even the books’ artwork, “Martin Hanford is an artist from England and does a lot of album covers for the band Bal-Sagoth—who’s one of the bands [featured] in the book [series],” every aspect of Ritzlin's book series is rooted in heavy metal.
Now, we at JBTV Music had to get heavy metal recommendations from Ritzlin while he was in the studio, and he was happy to oblige. Ritzlin graciously brought in a video of Canadian, heavy metal band Gatekeeper’s song “Blade of Cimmeria.” Ritzlin connected with Gatekeeper through happenstance, “I met the guitarist [Jeff Black] at Chicago’s Legions of Metal music festival, and he's also a fan of these kinds of stories. Turns out, he had already been writing stories, so it was a perfect match.” Watch Gatekeeper's "Blade of Cimmeria" video below and read Jeff Black’s short story “Blue Mistress” in the first volume of Swords of Steel.
Another music recommendation Ritzlin had was another metal band tied to Swords of Steel--Eternal Champion, a Texas band whose name comes from Michael Moorcock’s Corum book series. “When I saw the name for the band, I figured they’re on the same page as me, and their singer [Jason Tarpey] wrote one of the most popular stories of the book,” Ritzlin said while donning an Eternal Champion shirt. You can listen to Eternal Champion below—and like Jeff Black’s story—you can read Jason Tarpey’s short story “Vengeance of the Insane God” in the first Swords of Steel.
For Ritzlin, this all started by being a frustrated consumer; “I’m a fan of not just the music, but also this type of fiction. In the past thirty or so years, there hasn’t been much [that] I liked. It’s either too weird, or just not good. So I figured people who are into heavy metal, they stick to traditions…they understand what it’s all about. So I asked them to write these kinds of stories and they delivered.”
With Swords of Steel having three volumes of stories currently available for purchase, it is an anthology series that continues to deliver for heavy metal fans and pulp fantasy lovers.
If you want to read a sample of Swords of Steel, go to dmrbooks.bandcamp for excerpts of all three books plus music from bands featured in the series.
Order all three volumes of Swords of Steel on DMRBooks.com and Amazon now!
Watch the full JBTV Interview with Dave Ritzlin below.
With Swords of Steel having three volumes of stories currently available for purchase, it is an anthology series that continues to deliver for heavy metal fans and pulp fantasy lovers.
If you want to read a sample of Swords of Steel, go to dmrbooks.bandcamp for excerpts of all three books plus music from bands featured in the series.
Order all three volumes of Swords of Steel on DMRBooks.com and Amazon now!
Watch the full JBTV Interview with Dave Ritzlin below.
Filed by Alex Ghere
Thom Yorke / Tomorrow's Modern Boxes
Chicago Theatre
Tues 12/4/18
- - -
Thom Yorke writhes, shakes and moves when he performs on stage, like he wants to shed out of his own skin and morph into someone else altogether. Fans of all things Radiohead knew what to expect from Thom's solo production, and that is the exact opposite of a Radiohead show.
The performance had elements of a sophisticated electronic / minimalist production, but with five giant vertical LED walls behind the musicians from stage left to stage right, this was something different entirely. Minimalist indeed, with Thom accompanied by longtime collaborator and producer Nigel Godrich, and artist Tarik Barri--who created striking and crisp visuals that weren't overblown or too pushy. The visuals moved to the beat of Thom's samples and synths like ink wading it's way through water and oil. It may seem like a lot to take in, but suffice to say, it works when seen live and in person. It's trance inducing.
From the first song to the last, I was amazed at how well behaved audience was in attendance. No shouting out of songs, or talking over one another, just eerie silence throughout the main floor of the Chicago Theatre. Everyone was standing as far as I could see, swaying to the beats, and keeping in place. This just added to the cool ambience throughout the nearly two hour show, witnessing a sophisticated production, with like minded music hounds.
Beyond Thom's ready made beats, we also had the occasional live bass, guitar and piano. All musicians taking turns playing each other's instruments, seamlessly moving about in a methodical and groove heavy order, not intruding in any way at all, but each contributing to the songs and making them whole.
This current tour is based on Thom Yorke's solo album Tomorrow's Modern Boxes. An album that didn't quite take off when released, but yet still holds some captivating music embracing electronica and ambient beats and samples. Visually, the music from Tomorrow's Modern Boxes sucks you in with artistic programming showing striking detail of flower petals, orange balls dropping or rising vertically, and waves crashing into a psychedelic maze. The imagery only enhances the listening experience, making you once again go back and listen to Tomorrow's Modern Boxes one more time, and connect the music of the live performance.
Many of the songs that Thom performed were detached, with little in the way of constant repetitive beats or hooks, but more mellow and subtle. All the more to suck you into the improvisation. This is clearly not your normal live show of extravagance with a party atmosphere, like when we at JBTV Music Television documented Radiohead's live performance at the Metro when the band was starting out. And for this listener, that is a welcomed change indeed.
"Atoms For Peace" played during the encore, and looked and felt like an electronic lullaby with the song's gentle overtones. Like most of this show, it was a somber moment, preceded with many just like it.
Hard to totally grasp exactly what this reviewer just took in. I have the visuals from shooting the show as record of this live performance, but I feel like if this was a two or three night residency, I would have to go see all the shows, just to pick up on things I might have missed the first time out.
Everything about this show was a little different, and most compelling.
Probably the way Thom Yorke likes it.
-
Thom Yorke Setlist from the Chicago Theatre:
1. Interference
2. A Brain in a Bottle
3. Impossible Knots
4. Black Swan
5. I Am a Very Rude Person
6. Pink section
7. Nose grows Some
8. Cymbal Rush
9. The Clock
10. Two Feet Off the Ground
11. Amok
12. Not the News
13. Truth Ray
14. Traffic
15. Twist
Encore:
16. Reckoner (Radiohead Song)
17. The Axe
18. Atoms for Peace
19. Default
Encore 2:
20. Unmade
Chicago Theatre
Tues 12/4/18
- - -
Thom Yorke writhes, shakes and moves when he performs on stage, like he wants to shed out of his own skin and morph into someone else altogether. Fans of all things Radiohead knew what to expect from Thom's solo production, and that is the exact opposite of a Radiohead show.
The performance had elements of a sophisticated electronic / minimalist production, but with five giant vertical LED walls behind the musicians from stage left to stage right, this was something different entirely. Minimalist indeed, with Thom accompanied by longtime collaborator and producer Nigel Godrich, and artist Tarik Barri--who created striking and crisp visuals that weren't overblown or too pushy. The visuals moved to the beat of Thom's samples and synths like ink wading it's way through water and oil. It may seem like a lot to take in, but suffice to say, it works when seen live and in person. It's trance inducing.
From the first song to the last, I was amazed at how well behaved audience was in attendance. No shouting out of songs, or talking over one another, just eerie silence throughout the main floor of the Chicago Theatre. Everyone was standing as far as I could see, swaying to the beats, and keeping in place. This just added to the cool ambience throughout the nearly two hour show, witnessing a sophisticated production, with like minded music hounds.
Beyond Thom's ready made beats, we also had the occasional live bass, guitar and piano. All musicians taking turns playing each other's instruments, seamlessly moving about in a methodical and groove heavy order, not intruding in any way at all, but each contributing to the songs and making them whole.
This current tour is based on Thom Yorke's solo album Tomorrow's Modern Boxes. An album that didn't quite take off when released, but yet still holds some captivating music embracing electronica and ambient beats and samples. Visually, the music from Tomorrow's Modern Boxes sucks you in with artistic programming showing striking detail of flower petals, orange balls dropping or rising vertically, and waves crashing into a psychedelic maze. The imagery only enhances the listening experience, making you once again go back and listen to Tomorrow's Modern Boxes one more time, and connect the music of the live performance.
Many of the songs that Thom performed were detached, with little in the way of constant repetitive beats or hooks, but more mellow and subtle. All the more to suck you into the improvisation. This is clearly not your normal live show of extravagance with a party atmosphere, like when we at JBTV Music Television documented Radiohead's live performance at the Metro when the band was starting out. And for this listener, that is a welcomed change indeed.
"Atoms For Peace" played during the encore, and looked and felt like an electronic lullaby with the song's gentle overtones. Like most of this show, it was a somber moment, preceded with many just like it.
Hard to totally grasp exactly what this reviewer just took in. I have the visuals from shooting the show as record of this live performance, but I feel like if this was a two or three night residency, I would have to go see all the shows, just to pick up on things I might have missed the first time out.
Everything about this show was a little different, and most compelling.
Probably the way Thom Yorke likes it.
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Thom Yorke Setlist from the Chicago Theatre:
1. Interference
2. A Brain in a Bottle
3. Impossible Knots
4. Black Swan
5. I Am a Very Rude Person
6. Pink section
7. Nose grows Some
8. Cymbal Rush
9. The Clock
10. Two Feet Off the Ground
11. Amok
12. Not the News
13. Truth Ray
14. Traffic
15. Twist
Encore:
16. Reckoner (Radiohead Song)
17. The Axe
18. Atoms for Peace
19. Default
Encore 2:
20. Unmade
With our dedicated founder, Jerry Bryant, continuing his daily battle with stage four cancer, we at JBTV have started to seek out different foundations and local health awareness outlets to promote. A little while back, Jerry conducted an interview with founder of local non-profit organization, Imerman Angels. This Chicago-based cancer support community urges cancer fighters to join, in that this non-profit provides personalized one-on-one support not only to fighters, but also survivors and caregivers.
Each person with cancer who chooses to enroll in the free program is paired up with a cancer survivor -- called Mentor Angels -- the same age and gender as them, as well as someone who possesses similar interests as them.
Founder, Jonny Imerman was diagnosed with testicular cancer at 26 years old and was let down that he struggled to find people the same age as him who was struggling with or had struggled with cancer. Although he had the support of his family and friends, he wanting to confide in someone who knew exactly how his current situation felt. In 2003, he came up with the idea for this non-profit organization and he later founded Imerman Angels. The core values of the organization are as follows: mission first, people first; create awareness and inspiration; fundraising as mission focused; create community; build alliances; stay relaxed and have fun; stay innovative and improve; be humble. Each operating philosophy of the organization is in place to help guide each Imerman Angel and Mentor.
Each person with cancer who chooses to enroll in the free program is paired up with a cancer survivor -- called Mentor Angels -- the same age and gender as them, as well as someone who possesses similar interests as them.
Founder, Jonny Imerman was diagnosed with testicular cancer at 26 years old and was let down that he struggled to find people the same age as him who was struggling with or had struggled with cancer. Although he had the support of his family and friends, he wanting to confide in someone who knew exactly how his current situation felt. In 2003, he came up with the idea for this non-profit organization and he later founded Imerman Angels. The core values of the organization are as follows: mission first, people first; create awareness and inspiration; fundraising as mission focused; create community; build alliances; stay relaxed and have fun; stay innovative and improve; be humble. Each operating philosophy of the organization is in place to help guide each Imerman Angel and Mentor.
However, with the help of Imerman Angels’ dedicated supporters and contributors, they have had the opportunity to expand to Michigan, Los Angeles, and New York. This will further help people with cancer have the motivation and strength to continue fighting their fight.
Even if you have not survived cancer nor are suffering from the disease, you are still encouraged to help out at Imerman Angels. The organization allows volunteers to join. The volunteer application is on the website, as is the directions to the Headquarters for orientations.
You can donate money to and help out Imerman Angels by visiting their website, www.imermanangels.org.
Even if you have not survived cancer nor are suffering from the disease, you are still encouraged to help out at Imerman Angels. The organization allows volunteers to join. The volunteer application is on the website, as is the directions to the Headquarters for orientations.
You can donate money to and help out Imerman Angels by visiting their website, www.imermanangels.org.
Filed by Ava Butera
Photo by Imerman Angels
Photo by Imerman Angels
The days leading up to Laura Jane Grace & Devouring Mothers’ much anticipated performance on the JBTV Stage were ones filled with an anxious me, eager and ecstatic to get to witness the band live in action. In preparation, I watched a ton of Devouring Mothers’ music videos, streamed their music, fell in love with their sound, and read tons of articles about the band -- to say that I was excited for the show on Nov. 7th was an understatement.
As soon as the band arrived to the studio, gear in tow, I was dreaming of 12:30 -- the time they were set to grace the stage. With each member showing gratitude for the invite to play on the JBTV Stage and extending their cordialness to each staff member, it further solidified my new love for Laura Jane Grace & Devouring Mothers.
As soon as the band arrived to the studio, gear in tow, I was dreaming of 12:30 -- the time they were set to grace the stage. With each member showing gratitude for the invite to play on the JBTV Stage and extending their cordialness to each staff member, it further solidified my new love for Laura Jane Grace & Devouring Mothers.
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As a casual fan of Against Me! and knowing their immense contribution to the punk community, rock music, and later the LGBTQ+ community, I partially knew what to expect from Devouring Mothers, knowing rock legend, Laura Jane Grace would definitely add her musical flare and insane talent to the new band. I did not realize though that I would be highly anticipating the release of Devouring Mothers’ debut album, Bought to Rot, shortly after the band’s performance ended. However, knowing prior that the band’s debut would be released through Chicago’s own, Bloodshot Records, I was extremely hopeful since the label is highly regarded, not only in the music industry but in the Windy City itself.
During the band’s soundcheck, I had the pleasure to sit through it and witness a sneak peek into their performance. In the past, most bands who have played JBTV simply soundcheck individual elements and maybe play one song. However, after checking their individual instruments and ensuring everything was properly working for the show, Devouring Mothers’ played four full songs during their soundcheck. This made the entire staff of JBTV hyped up for the performance.
During the band’s soundcheck, I had the pleasure to sit through it and witness a sneak peek into their performance. In the past, most bands who have played JBTV simply soundcheck individual elements and maybe play one song. However, after checking their individual instruments and ensuring everything was properly working for the show, Devouring Mothers’ played four full songs during their soundcheck. This made the entire staff of JBTV hyped up for the performance.
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After the room filled up to maximum capacity and the entire crowd filled in, the anticipation further heightened. Moment later, Laura Jane Grace & Devouring Mothers walked onto the JBTV Stage and applause erupted amongst everyone present. They kicked off their set with the track, “Manic Depression.” Although it sounds upbeat and fast-paced, when examining the lyrics, it details the story of a protagonist dealing with the issue. Songs like these -- although can be touchy at times -- help listeners realize that they are not alone in times of loneliness and worthlessness and that even musicians struggle with mental health issues.
The band then zipped through songs like “Reality Bites”, “Friendship Song”, and “Born in Black”. All great new tracks from their debut album. They then also included “Hotel Song” and “Amsterdam Hotel Room” -- two track obviously detailing Laura’s experience in hotels. Before playing the songs, she explained how most of her life she spent long periods of time living in hotel rooms, due to life on the road and vast amounts of touring.
Before playing every song, Laura made sure to explain the meaning behind each one, where she wrote them, and what they meant to her. I especially loved her choice to inform the crowd and fans on the true meaning behind Devouring Mothers’ music. Barely any of the artists and bands I’ve witnessed live have ever shared the meaning behind their music with attendees, but Laura made sure to.
The band then zipped through songs like “Reality Bites”, “Friendship Song”, and “Born in Black”. All great new tracks from their debut album. They then also included “Hotel Song” and “Amsterdam Hotel Room” -- two track obviously detailing Laura’s experience in hotels. Before playing the songs, she explained how most of her life she spent long periods of time living in hotel rooms, due to life on the road and vast amounts of touring.
Before playing every song, Laura made sure to explain the meaning behind each one, where she wrote them, and what they meant to her. I especially loved her choice to inform the crowd and fans on the true meaning behind Devouring Mothers’ music. Barely any of the artists and bands I’ve witnessed live have ever shared the meaning behind their music with attendees, but Laura made sure to.
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As Devouring Mothers’ performance was coming to a close, I was still ready for more. Between drummer, Adam “Atom” Willard’s mesmerizing drummer technique, bassist Marc Jacob Hudson’s insanely catchy bass lines, and of course Laura’s passion and willpower, I was considering making it out to the band’s show at Cobra Lounge later that evening. However, I very surprised to hear the last song the band had in store for all of us, one titled “I Hate Chicago”.
Since I am a Florida-native myself, just like Laura Jane Grace is, and moved to Chicago, like her too, I was shocked to discover a song detailing the grievances about the city I dreamed about living in since I was a child. However, by the end of the song, I was whipping out my phone and downloading it. Instead of a negative, in-your-face song, it was more of a fun song. I found myself laughing at the lyrics, due to the relatability of each phrase spoken. Because yeah, as a recent Chicago transplant, I hate O’Hare, don’t necessarily care about the Smashing Pumpkins, and could care less about the Cubs, the White Sox, the Blackhawks, or the Bulls!
Since I am a Florida-native myself, just like Laura Jane Grace is, and moved to Chicago, like her too, I was shocked to discover a song detailing the grievances about the city I dreamed about living in since I was a child. However, by the end of the song, I was whipping out my phone and downloading it. Instead of a negative, in-your-face song, it was more of a fun song. I found myself laughing at the lyrics, due to the relatability of each phrase spoken. Because yeah, as a recent Chicago transplant, I hate O’Hare, don’t necessarily care about the Smashing Pumpkins, and could care less about the Cubs, the White Sox, the Blackhawks, or the Bulls!
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All in all, Laura Jane Grace & Devouring Mothers put on an incredible performance on the JBTV Stage.One I will remember for a long time!
Be sure to stream and purchase their debut album, Bought to Rot, which is out now!
Be sure to stream and purchase their debut album, Bought to Rot, which is out now!
Filed by Ava Butera
Photos by Katie Hovland & Ava Butera
Photos by Katie Hovland & Ava Butera
“What’s more rock n roll than participating in the democratic process, am I right?”
When the word grandson comes to mind, reassuring cheek pinches or home made cookies may be the initial thought, but New Jersey born, Toronto raised musician Grandson slaps those pinches away, and crumbles up those cookies to demand accountability from those in power.
“We’re being force fed culturally into a sense of apathy,” remarked Grandson during his interview with Jerry Bryant after his JBTV debut on September 13th, “but I do think that they’re people that care and [are] trying to imagine a system that is held accountable. Untethered from the best interests of corporations or big money, and responsible to their voters that elected them there in the first place.”
When the word grandson comes to mind, reassuring cheek pinches or home made cookies may be the initial thought, but New Jersey born, Toronto raised musician Grandson slaps those pinches away, and crumbles up those cookies to demand accountability from those in power.
“We’re being force fed culturally into a sense of apathy,” remarked Grandson during his interview with Jerry Bryant after his JBTV debut on September 13th, “but I do think that they’re people that care and [are] trying to imagine a system that is held accountable. Untethered from the best interests of corporations or big money, and responsible to their voters that elected them there in the first place.”
Grandson is often compared to Rage Against the Machine given the highly political subject matter touched upon in his songs, but unlike his predecessor, Grandson offers more optimistic and constructive ways for his audience to utilize their anger to make needed changes in their communities. This is not an indictment of Rage Against the Machine; they are one of the greatest bands of all time, but in this current political climate in America—where subtlety lands on deaf ears—people need more from artists other than shared anger. What people need is an artist like Grandson, who not only creatively articulates people’s anger and sadness, but also gives them a road map on how to transform those emotions into empowerment and hope.
“I’m excited about being able to go city to city and talk to these kids. I do believe that there is this incredibly, exciting, progressive wave of young people that care and are pissed off, and I’m just trying to give them a soundtrack,” remarked Grandson. Not only is Grandson giving these young people a soundtrack, he is giving them one with incredible musicianship and stage presence—evidently seen in his first song that he performed on the JBTV stage “6:00.” The song starts off with a mournful riff from guitarist Ramón Blanco that quickly gets interrupted by David Rehmann’s drumming, Renzo Bravo’s keyboards, and Grandson’s lyrics. “6:00” is an audible blitzkrieg of festering anger and clenched fists.
“I’m excited about being able to go city to city and talk to these kids. I do believe that there is this incredibly, exciting, progressive wave of young people that care and are pissed off, and I’m just trying to give them a soundtrack,” remarked Grandson. Not only is Grandson giving these young people a soundtrack, he is giving them one with incredible musicianship and stage presence—evidently seen in his first song that he performed on the JBTV stage “6:00.” The song starts off with a mournful riff from guitarist Ramón Blanco that quickly gets interrupted by David Rehmann’s drumming, Renzo Bravo’s keyboards, and Grandson’s lyrics. “6:00” is an audible blitzkrieg of festering anger and clenched fists.
While one could easily appreciate the song simply for its ability to make a crowd mosh and take the title at face value, Grandson Trojan horse’s social commentary on how apathetic the evening news has become reporting on racial injustice. “I wanted to create an urgent backdrop around this headline that is coming across the 6 o’clock news of ‘A Man Dying’ someone like Eric Garner being choked to death in broad daylight,” explained Grandson. “I was frustrated and confused as to what it means to be an American. What it means to be an ally for people that are being persecuted, disproportionately.”
It’s true. While many people do want to help eradicate these horrid occurrences from happening, many people—specifically white people—get confused on how to help out. For some, that confusion leads to researching how they can help diminish systemic oppression, but for most, that confusion leads to indifference as a way to self preserve their emotional well being. With lyrics like “how can we stand by” and “he held his hands high,” Grandson says fuck your well being and do your part.
It’s true. While many people do want to help eradicate these horrid occurrences from happening, many people—specifically white people—get confused on how to help out. For some, that confusion leads to researching how they can help diminish systemic oppression, but for most, that confusion leads to indifference as a way to self preserve their emotional well being. With lyrics like “how can we stand by” and “he held his hands high,” Grandson says fuck your well being and do your part.
After Grandson’s call to arms against police brutality, he tackled another issue in his next song that is plaguing America—drug addiction. Beginning with a strung out bass line and the withdrawn lyrics of “I was higher than the nosebleed,” “Overdose” musically sounds like the beginning of a drug stupor with no end in sight. “[It’s] a song about our relationship to addiction as a form of escapism.” Although the song paints drugs in a negative light, Grandson’s not trying to demonize users. “It’s not to vilify people that naturally find themselves in this situations. The more empathy we can have and understanding of how people got to that point, we can understand how to help them get out of it. Addiction is a mental health issue—which shouldn’t be incarcerating people that have addiction to narcotics or illicit substances. We should be helping them through rehabilitation.” Instead of running from our problems using drugs as a source of transportation, Grandson’s suggests through the atmospheric “Overdose” that we face our problems head on and help others that are still riding the rail.
His next songs on the JBTV stage were “Bills,” “Despicable,” and “Best Friends” and discussed the more internal journeys we all face. Whether it’s the stresses that never-ending “Bills” cause, navigating self hatred in “Despicable,” or cutting off toxic people in “Best Friends,” Grandson knows that in order to expect change in the world, one has to do change within themselves. “You can be your best self, I believe in you, but sometimes you might have to cut off some people in your life that are holding you back.”
Following this detour into inner struggles, Grandson returned to his social commentary with “Thoughts and Prayers”—an ode to the complacency of America’s relationships to guns and mass shootings. He introduced the song with “I can’t wait until this song is no longer relevant and is up in a museum somewhere.” The crowd could hear the anger and desperation in Grandson’s voice as he belted out “Another press conference/Nothing gets accomplished/The shooter's an accomplice/Money is the motive/The wars in the street/Watch history repeat.” The repetitive nature of the lyrics and music of “Thoughts and Prayer” critique the cyclical nature and frequency of these travesties. “At what point do your thoughts and prayers lead to tangible change being made to mitigate what is now an unprecedented epidemic?” Sadly as an attempt to answer Grandson’s question raised during his interview— months prior to the most recent Pittsburgh synagogue shooting—we have yet to reach that point.
Following this detour into inner struggles, Grandson returned to his social commentary with “Thoughts and Prayers”—an ode to the complacency of America’s relationships to guns and mass shootings. He introduced the song with “I can’t wait until this song is no longer relevant and is up in a museum somewhere.” The crowd could hear the anger and desperation in Grandson’s voice as he belted out “Another press conference/Nothing gets accomplished/The shooter's an accomplice/Money is the motive/The wars in the street/Watch history repeat.” The repetitive nature of the lyrics and music of “Thoughts and Prayer” critique the cyclical nature and frequency of these travesties. “At what point do your thoughts and prayers lead to tangible change being made to mitigate what is now an unprecedented epidemic?” Sadly as an attempt to answer Grandson’s question raised during his interview— months prior to the most recent Pittsburgh synagogue shooting—we have yet to reach that point.
Grandson ended his set with “Stick Up” and his most famous song “Blood // Water.” With their blood pumping bass lines, guitars, and passionate singing by Grandson, “Stick Up” and “Blood // Water” caused the JBTV crowd to mosh to the point that Grandson jumped offstage to join the pit. Both songs deal with the desperation we all feel with the politicians in power, but instead of wallowing in that desperation; Grandson energizes the listener to use their individual power to change the cultural landscape.
Reform. Rehabilitation. Power. Accountability. These are all reoccurring themes in Grandson thunderous songs and lyrics. Whether it’s regarding the institutions of society, or the journey through self-reflection and self-acceptance, Grandson’s music is not for the stagnant. He holds a mirror to society while also holding one up to your face and his own. Society is made up of individuals, and while Grandson addresses the overarching issues with society, he wants us to hold ourselves accountable. Grandson is America’s canary in the coal mine regarding issues of race, class, addiction, and gun control in America. We are fortunate that this canary isn’t waiting to keel over to tell us we are in trouble.
Reform. Rehabilitation. Power. Accountability. These are all reoccurring themes in Grandson thunderous songs and lyrics. Whether it’s regarding the institutions of society, or the journey through self-reflection and self-acceptance, Grandson’s music is not for the stagnant. He holds a mirror to society while also holding one up to your face and his own. Society is made up of individuals, and while Grandson addresses the overarching issues with society, he wants us to hold ourselves accountable. Grandson is America’s canary in the coal mine regarding issues of race, class, addiction, and gun control in America. We are fortunate that this canary isn’t waiting to keel over to tell us we are in trouble.
While introducing “Stick Up,” Grandson exclaimed the importance of voting to the audience, “[Find the] candidates out there with your best interests in mind, that are not influenced by corporate money. That’s something I’m passionate about, it’s a part of having this power, we gotta use it, and make the world just a little bit of a better place. Can we do that?” The JBTV crowd answered with motivated cheers. Grandson followed this comment with a slight joke, “What’s more rock n roll than participating in the democratic process, am I right?”
Although it was meant to be taken as a joke of sorts, there is nothing more rock ‘n’ roll than participating in the democratic process by voting. Giving a voice to the voiceless and allowing people to address problems within their communities in a cathartic, constuctive way—applies to both rock ‘n’ roll and voting.
Hopefully you allowed your voice to be heard by voting in the Midterm Elections. I don’t know about you, but I’d prefer Grandson to have a harder time finding subject matter for his music—and I’m sure he would agree.
Although it was meant to be taken as a joke of sorts, there is nothing more rock ‘n’ roll than participating in the democratic process by voting. Giving a voice to the voiceless and allowing people to address problems within their communities in a cathartic, constuctive way—applies to both rock ‘n’ roll and voting.
Hopefully you allowed your voice to be heard by voting in the Midterm Elections. I don’t know about you, but I’d prefer Grandson to have a harder time finding subject matter for his music—and I’m sure he would agree.
Filed by Alex Ghere
Photos by Bobby Talamine
Photos by Bobby Talamine
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BLOG STAFF
Bobby Talamine
STAFF PHOTOGRAPHER
Bobby is a photographer here at JBTV. He has been shooting rock 'n' roll artists since 1975.
Denise Stein
STAFF PHOTOGRAPHER
Denise has been with JBTV since 2015 and has a background in Theatrical Photography.
ALEX GHERE
JOURNALISM INTERN
Alex is a writer from Iowa and loves everything pop culture
AVA BUTERA
JOURNALISM INTERN
Ava is a journalist and photographer for JBTV. You'll most likely find her in the photo pit at local shows. Her favorite band is Twin Peaks.
Natalie Baltierra
SOCIAL MEDIA INTERN
Natalie is a college senior at Loyola University Chicago. She has interned at Do312 as well as Consequence of Sound. She loves Arcade Fire and running.
Hillary Hedstrom
Journalism intern
Hillary is a senior at Loyola University Chicago and is very passionate about supporting women in rock music.
