Live Review: King Diamond - Saint Lucifer's Hospital 1920 North American Tour with Over Kill, Night Demon and Special Guest Myrkur

11/9/2024

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Chicago Theatre - Thursday - November 7, 2024

So when the original announcement came out about King Diamond's latest tour back in mid July, entitled "Saint Lucifer's Hospital 1920"-
This was the caption to start the ad: "ENTER SAINT LUCIFER'S Hospital.....IF YOU DARE!"
Yes- all in caps.
You see ads and promotions like this, and the first thing that usually comes to mind, arms crossed- is- "Prove it".

Quite a few times it's not up to snuff, or mediocre, with some semblance of an attempt.
Then enter King Diamond, and well, let's just say he commands, and it's well thought out- I mean everything.

This show, a horror spooked affair, topped with a sophisticated stage setting for such an intimate venue as the Chicago Theatre, and followed up with trailblazing musicianship, and of course the ungodly howls and vocals of none other than the mighty King Diamond, trekking along at 68 years old.
Yeah, you heard that right.

That powerful and wide ranging tenor of his- he hasn't lost one bit of it- operatically theatrical and stunning when the moment arises, hitting on high without losing luster whatsoever.
Even if this production was a barren stage, bathed in red- that voice of his would still be stunning to witness live, low budget props n' all.

Now ad a production that is elaborate as all get out, like a haunted interior of a mansion, with multiple staircases stage left and stage right, an upper second level to encompass the drumming of Matt Thompson, along with artist Myrkur, the dynamic vocalist and keyboard player for this tour.
On top of that, the third floor, which is a balcony, portrayed as "outdoors", with icy icicles on the entire rail.

All of this- to portray a theatricality that's meant to wallop you on your ass, from main floor to balcony.
The conception of this, admittedly in more intimate venues- this could either work, or fail miserably.
But it's King Diamond for cryin' out loud- a man who knows his audience, has wicked visions of operatic theatricality, then proceeds to huddle up the right people to convey this vision as a team effort, and we'll figure out budget as we go along.
Again, amazing when you think of it from a technical standpoint.

Yes- this is a show that's memorable, with multiple costume changes depending on set cues- like an opera with different acts, opening with taped in music from none other than Uriah Heep of all things, followed by the first set, titled "Funeral", then followed by the second set "Them", then the third "Two Little Girls", and lastly, before the encore "Out From The Asylum".

Taking it all in, all 14 songs- never a dull moment, just captivating and riveting all at once.
A lot of that is owed to King Diamond's band- guys who've been with him for years, for decades.
Such as guitarists Andy La Rocque and Mike Wead, along with bassist Pontus Egberg, and of course drummer Matt Thompson, and also backup vocals and keyboards from Mykur, as mentioned above.
All of them, flesh out the blood and angst of each and every song, to the point where you know they were created to be played live, to bludgeon accordingly.

This is a band man, age be damned on all counts- music still front and center, followed by stage props and an abundance of sophisticated flashing strobes of all shapes and sizes, uniquely placed throughout the interior of the haunted mansion (hospital), along with the stage floor.
Again, everything is just so well thought out.
And opening with the one/ two counter punch of "Arrival", into "Mansion of Darkness"- no slow build up whatsoever- the hounds are out the gate from the get go.
Added to the luster of it all are two new songs believe it or not- "Spider Lilly" and "Electro Therapy"- both worthy of the King Diamond stamp of approval- although no release date on new material has been discussed as of yet.

And technically it never let up from there- foot on the gas all the way up to set three- some eight songs total, all bangers, tripped out with a PA that just wallops and wallops you over and over.
Of course, closing out with the encore encompassing "Abigail", which is just a perfect way to end the display of mighty musicianship and theatricality.
All of this, with splendid support from New Jersey's Over Kill, along with opener Night Demon, a trio from Ventura.

Over Kill in particular- thrash legends that still have the power and energy of yore, blistering riffs intact.
So to sum up-
Some eighteen dates or so remaining, from Milwaukee and then into Minneapolis before heading west, concluding in Dallas on the 6th of December.
A must see kinda show.
Bobby Talamine - JBTV Music Television Chicago

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Live Review: The Sisters of Mercy - North American Tour 2024 with Special Guests Blaqk Audio

10/24/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Byline Bank Aragon Ballroom - Wednesday - October 23, 2024

Andrew Eldritch and The Sisters of Mercy.
Post- Punk and Goth aesthetic intact.
Andrew Eldritch - Menacing Vocals.
Ben Christo- Guitars and Backing Vocals.
Kai- Guitars, and also Backing Vocals.
Chris Catalyst- Handling all facets and intricacies of the mighty Doktor Avalanche.
Let it be known from shows of yore-
Doktor Avalanche and the software involved, dating back to shows I witnessed firsthand in the early nineties- hit or miss, make or break when it came to the oomph of the mighty backbeat.

A true headscratcher depending on venue, and the power needed to sustain a low end- a low end that the Sisters rely upon, and hopefully, not get buried in the mix.
But, as time advances, so does tech thank God.

Which brings us to the present day, and this current North American Tour in general.
Doktor Avalanche is ever evident- and sustained mightily, allowing for in my opinion, a more relaxed and heavy even keel for Andrew to work his magic, even at the ripe old age of 65.

This is important to note, live band speaking wise, simply because of the software updates needed to push and propel Doktor Avalanche, and the power needed....let's just say that things with the Sisters, let alone current live band, are compelling as all get out, courtesy of an amped up Doktor Avalanche.
Adding guitarist Kai- a true multi- instrumentalist, with crafty solos and a juggernaut approach to adding melody on top of melody, like Doktor Avalanche, just propels away the whole Sisters show from openers "Doctor Jeep/ Detonation Boulevard", right on trailblazing through to the close, with of course, the mighty "This Corrosion".

Andrew Eldritch- seriously loving and digging the hell out of Sisters business, mannerisms and defiance intact, with his low end growls exceptional throughout, especially witnessing up close and personal.

Gratifying, witnessing the Sisters on a workday Wednesday night?
But of course!
Moody lighting prevails as well, with lots of deep reds, bright strobes, and a backdrop that was lit up moody, with camo gear added to the backdrop as well, adding to the luster of the vintage charm that is the Aragon Ballroom.

And as Andrew is quick to note- the band, the song selections- he's in a good place right now, comfortable in all things Sisters 2024.
What a relief, in my opinion, knowing full well the mood swings of Andrew, when things ain't going quite right, tech wise, band wise.

The songs, to the present day- just dark swing sinister and commanding, riveting performed live, literally unequal in whatever genre you want to pigeonhole them into.
I mean think about it- songs such as "Ribbons", "Alice", "Dominion/ Mother Russia", and on and on- they still hold up, iconic as all get out.
Classic songs that still sound fresh and sublime and nasty, songs pockmarkerd by armageddon, sexy femme fatales, hallucinogens, ten gallon cowboy hats of all shapes and sizes, Marlboros at the ready and of course- dark sunglasses.

In other words, songs created by a band not to be fucked with.
For some in attendance, bathed in black on top of black with more black- this show is meant to be "First and Last and Always".

So for me, full band, full statements, a ripe and prickly Andrew Eldritch having a damn good time, and let alone me taking in the crowd from all over the main ballroom floor- Man, that was so damn fun.
And towards the end, foot still on the gas, what with "Temple of Love", leading into the encore with "Lucretia My Reflection", and of course, ending with "This Corrosion".
Current Sisters bill of health? A Plus.
They certainly sparkled, they certainly entertained, all songs squarely punching you in the face, grabbing you by the throat to pay attention.

And I haven't even mentioned the song "More", one of my favorites- A song with epic and swashbuckling showmanship, compelling you to dance, extravagance intact, just let loose and get uninhibited.
Such is this Sisters show from the Aragon- older songs equating, still to this present day,
So to come full circle:
The Sisters of Mercy are solid and intact.
The show was a full and relentless barrage of mighty songs delivered with gusto added with Andrew's low end growl angst.

Followed up and added nicely with the faithful crowd in attendance moving, and moving along throughout.
The whole night, Halloween spectacle n' all- and dancing with ghosts, all enthralled throughout to the pulsating end.
Sisters of Mercy, god love 'em, delivered folks.

Bobby Talamine - JBTV Music Television Chicago

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Live Review: TILL LINDEMANN - NORTH AMERICA TOUR 2024 with Twin Temple & Aesthetic Perfection

10/1/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Byline Bank Aragon Ballroom - Chicago, Illinois
Saturday - September 29, 2024

The buildup prior to Till Lindemann hitting the stage was something to watch and photograph-
The amount of people arriving early-
The amount of sophisticated costumes and adorned makeup throughout the fans waiting in line-
And the line on the east wall of the Aragon, around and hour and a half before the doors opened- longest I've ever seen for the Aragon.
And the color of choice for most fans waiting in line and coming through the doors- Lots and lots of red.
Deep fire engine red.

And of course black for the guys- mostly wearing Rammstein T's in various logos, old to new.
This is a party folks, even on a Sunday night in Chicago.
With Till Lindemann, dialed down a bit in regards to pyro this, pyro that, it doesn't matter.
Till, especially when performing live, is steeped in theatricality, in costume, in backdrops, in props, let alone his band, all of them, bathed in wicked costumeware to fit the overall mood.

So there's that-
Like a wicked B Movie horror show, brought to light by the visions of a guy like Till, where emphasis on menacing stage presence, and blessed with a deep deep baritone that ranges from on high to guttural.
The spectacular lighting, even when photographing from Front of House (the soundboard on the main floor- around 40 to 50 yards to center stage)- a photographer's dream.
The music matters, of course.

But add theatricality, the definition of "A Show", and you have a lot working for you, the devoted crowd eating from the palm of your hand.
From where I was perched at the soundboard for the first three songs, even the sound guys and lighting guys for Till were in on the action, in regards to feeling the beats, occasional arm thrusts in the air, the pulverizing backbeats to opener "Zunge", followed by "Schweiss" and then into "Fat" making the whole place shake and rattle.

Couldn't help but smile in kind at the guys, letting them know just how so damn fun it is to participate a bit with them.
Shows like this are memorable for lots of reasons, all of the above explained to some extent.
And as for photography, you want to do right by him.

The show has moods, conveyed through striking silhouette lighting, particularly the vertical spots coming down from the ceiling, let alone the sophisticated horizontal floor lighting at the lip of the stage to emphasize Till and his facial expressions (along with the rest of the band), and also the giant LED backdrop adding its own luster to the proceedings as well.
It's like you're a kid in a candy store, trying to take it all in.

And if that's not enough- he's Till Lindemann for crying out loud, going solo for a bit, playing smaller venues than he's used to, fronting usually one of the biggest theatrical and punishing bands on the planet.

So for this solo tour, it's well thought out, again without the use of heavy duty pyro, emphasis on songs, emphasis on band, emphasis on intimate setting with a strong and thumping PA, to make it a wicked haunted house party, even in the historical confines of the Aragon Ballroom, bathed in its own history of a steep past, with a Spanish Conquistador theme.
So this show works on many levels, like all 16 songs total.

That the show to some extent shocks and offends (especially in the lyric content), is deliberate.
Like true rock shows of yore, where parents are set off to squeamishville from what their kids are interested in listening to- well that's the point.
Even though lyrically, it's somewhat uncomfortable listening to a guy sing about sexual moods and encounters, with some of the unruly kind- I'm not in Till's head.
But I do get the point.
He deliberately pushes forth uncomfortability, making you embrace a bit outside of the box, and- try not to fear art.

That for me is a great way to look at it, that this is a show, and try not to take a deep dive into overall historical thinking- embrace a bit the overall concept.
So yes, outside of the striking costumes and mood of fire engine red, the show is also to some extent about uninhibited sex, and the lust thereof.
The crowd gets it, jamming and pogoing in place to the wicked house party,
So yes- the show is effective, and yet bewildering when pummeled with these thoughts to some sort of conclusion not taking place in what I'm witnessing and hearing, if that makes any sense.
But again, I'd have to defer to Till for some sort of explanation if I wished to go down that rabbit hole, but maybe it's best that it goes by unexplained, and you interpret whatever, like all art of any kind is supposed to do.

That's the beauty of it- you have a guy who relishes pushing boundaries, and is also fearless in approach.
No need to immerse yourself in the setlist with this review, although I dug all the songs, all 16 of them including encore, without a doubt.
And I'm pleased with the pictures from the back of the house, and with witnessing soundmen and lighting guys and tech guys for Till having a grand old time at the soundboard.
If I had to sum up, especially for the folks who are going to the remaining seven or so shows on the tour, or are contemplating going-
Till's show is a show to let loose.

Just let all inhibitions go.
Immerse yourself in the overall vibes and beats.
Have fun.
Have a damn good time.
The shows meant for that - A Plus.
Same goes with support-
Get there early if you can- Twin Temple, the wicked satanic doo wop couple, Alexandra James and Zachary James, are opening, blessed with a great set, with visuals, with costumes, and a flair for the dramatic.
Same wit Aesthetic Perfection- who zipped through a short set, but still- they're performers I tell ya.
So to sum up even more-
The whole damn night was a party.

Bobby Talamine - JBTV Music Television Chicago

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Live Review: The Jesus Lizard - Headlining Day One from "Warm Love Cool Dreams"

9/30/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Salt Shed Chicago
Sat 9/28/24

The Jesus Lizard.
Music and wild performance (as per usual) up the yin yang, courtesy of the mighty Jesus Lizard.
Aging graciously?
I think not.

Aging whilst somewhat intact (health, play like kids, commence with punishing workmanship / workmanlike sound- you know, that sorta thing)-
Well of course a yes and a yes and a definitive yes.
Even on the strength of a new release titled "Rack", which was released like a week prior, on September 13th.

Lots going on with these guys, which is pleasant to the ear, pleasant and downright gratifying especially live and in person, which of course, is their forte.
The Jesus Lizard are many things.
Not that complicated, but many things nevertheless, even before your eyes and writing are laser focused on all things David Yow, their charismatic lead singer.
The Jesus Lizard rhythm for instance.

The backbone of the band, often overlooked when playing live, but darn right formidable to the core.
Bass guitar by David Wm. Sims, who, as stoic as ever, but above the waist, lays out molotov cocktail chords with vicious throws from his bass, to enforce the point.
And to accomplish that time and time again, you throw the chords on purpose from the propulsive and punishing beats from Mac McNeilly on drums.

The two- they are a menacing, a force of mass destruction (all songs).
Same goes to some extent with Duane Denison on guitar, especially when witnessed live.
He systematically stakes his place drum riser right, with a patch of real estate on the stage that encompasses approximately a 6 to 7 foot radius, nary moving, bit still- look at his hands when given the chance.

A paradox of complex polyrhythms, encompassing shards of guitar slaying chords to add to diabolical twists and turns that relegate your brain to jelly, if simply focused on that.
For a label "Noise Rock"?
Are you fucking kidding me?
They may get that labeled at them, like a firestone brand on the ass from the back in the day, sure.
But still, things develop spontaneously, just from years and years and years of writing, of existence, of whatever this and that.
And they developed.
And they sustained, even with lapses of playing off and on, with years of brakes in between the action.
Even Steve Albini, god rest his beautiful soul, sung their praises, over years of producing their first groundbreaking albums, calling them "the best band of the 80's hands down".
And he was (and still is) right.

They paid attention to detail, they were (and are) workmanlike, rigorous and focused, as if they were opening the door for the first time to a brave new world of singing and songwriting like the young 'uns.
To march forward to the present day, and witness the same cathartic vibe of old, whether it be shows at the Vic Theatre, or shows from Lounge Ax in Chicago- they still perform as if they want and need it.
So enter David Yow.

That he struggles with occasional singing (especially when out of breath), looks like a cab driver on his last days on the job, has hair and demeanor that is somewhat disheveled, just adds to his overall charm, and still to this day, unhinged and uncontrollable behavior.
Which is what you need when fronting the three horsemen hounds that are behind you.
The tell of old- the circular pile of microphone chord at the lip of the stage, just off center mic, approximately four to five inches piled up neat and circular.
Meant for wielding a long distance when navigating and bodysurfing a crowd,

So maybe not even two minutes into the first song "Puss", David is scratching his chin, pacing front of stage left and right, visually sizing up the crowd (as per always), finding the sweet spot to partake in the deep dive and commence to sing whilst bodysurfing, making sure to roll over and crawl and navigate as much real estate as possible while maintaining singing duties.
Always coming out kinda unscathed, with maybe a couple missing long sleeve shirt buttons, and hair needing to hand held back,

He minces words deliberately, breaks in tone and context, gibberish thrown in for good measure, suggesting a vocal counterpoint to Duane's shards of guitar slashes and haymaker coming chords.
David, in all sense and purposes, is a vocal stylist at heart- not meant for pleasantness and sustained reasons and a chill behavior and mood.

The whole point is to invigorate, to excite, to let loose and mix it up- bruises and wounds a badge of honor for anyone three to four to five rows deep from the main front stage barricade.
A unique lead singer/showman, meant for a band such as The Jesus Lizard, a guy who howls and yelps and struggles to be heard over a band that is unforgiving, nor relinquishing the beat to "dial it down".
This, in all sense and purposes is The Jesus Lizard live.

And even though the pictures convey lots and lots of David Yow, let it be said that the accomplishments of Duane, of David, of Mac, do not go unnoticed.
As a four piece, through most of 2024 (and hopefully beyond), they have lots to say, and more to say.
Nothing like a band like The Jesus Lizard, not aging gracefully, with a lead singer that is still possessed.
You should consider yourself lucky if you see them catch them perform live.

Bobby Talamine - JBTV Music Television Chicago

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Riot Fest 2024 - Day Three Photo Highlights

9/19/2024

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Writing and Editing by Fiza Javid
Photography by Bobby Talamine

Douglass Park - Chicago, Illinois
Sunday - September 22, 2024

I could cry knowing it is already day three! We have had such a phenomenal two days thus far, but this grand finale was genuinely worth the wait. And here we summoned an absolute banger day of metal, Ska and more.

Here were some of the mind blowing photo highlights of day three: Saxquatch, Nekrogoblikon, Mastodon, Laura Jane Grace with Catbite, GWAR, Lamb of God, Rob Zombie, and Slayer!

We gotta give a special shout out to Sublime for being a truly remarkable ska band being able to hold its own in a day filled with metal. We neeeeeded that Sublime energy to remind us that it is still in fact summer, with the metal bringing in hints of spooky season. Not to mention that this would be Jakob Nowell as the singer, and while he is the son of Bradley Nowell carrying this singing torch so beautifully for the band, he's also got a band with Noah Weiland, Scott Weiland's son called 'Jakob's Castle." He did an amazing job fronting Sublime, and it was as close to feeling like an original Sublime show as it can get!

The costumes were so perfect for kicking off this cooler weather.
We caught Saxquatch early in the day with Nekrogoblikon afterwards which was so fun.

Speaking of which, Mastodon, GWAR and Lamb of God,

All three godly performances. All three thoroughy emcompass the joy of being immersed in day three, where it can start to feel gritty bit you truly are living the environment of it all. Yes it rained, but it added to the feeling of enjoying these bands. We got dirty and rocked out.

Finally, Slayer!
Funny enough, it was raining blood throughout the day. The amount of fake blood that fell from Gwar's set, some from the pit during Rob Zombie. It was as though everyone was preparing for Slayer.

Slayer was such an incredible show, they did "213" which was their first time since 1998, and there is just so much to say that Bobby will be posting a separate review on them alone, because it is absolutely necessary. He captured around 4,000 images and is sifting through them today.

Truly could not thank Riot Fest enough for giving us the opportunity to behold one of the greatest festivals of the year. Until next year - JBTV Music Television

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Riot Fest 2024 - Day Two Photo Highlights

9/19/2024

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Writing and Editing by Fiza Javid
Photography by Bobby Talamine

Douglass Park - Chicago, Illinois
Saturday - September 21, 2024

Today was hands down a memorable day two of Riot Fest. I had Jerry Bryant on the grounds with me, ready to take on the day and interview some incredible artists: Sincere Engineer, Verboten, The Armed, Pixel Grip, Spare Change, Lord of the Lost, LS Dunes, Jack Kays and Doomscroll! Those interviews will be available on the JBTV YouTube channel, so stay tuned!

On top of these phenomenal artists we had the pleasure of speaking with were the artists we had the pleasure to rock out to! Here are today's photo highlights: Verboten, Dat_Boy_Zach, Pixel Grip, Lord of the Lost, Sincere Engineer, Princess Goes, The Armed, Nekroglobikon, Buzzcocks, LS Dunes, and Jack Keys!

While I want to highlight every performance and artist, I'll stick to a few. First up, Pixel Grip started off the day at the AAA Stage, and I kid you not, the word around the festival since Friday morning were attendees saying "Pixel Grip, Pixel Grip... you've gotta see Pixel Grip. Have you heard of Pixel Grip? I've gotta get here early tomorrow and check out PIXEL GRIP."

The performance absolutely lived up to the excitement. With songs like "Club Mania," "ALPHAPUSSY," and "Diamonds" among my favorites, along with their latest release "STAMINA." Rita, Rita, Rita. The look. The presence. The voice. The lyrics. They are not just a vibe, they are an ERA. I don't know about you, but my favorite thing about a movie is when there is a club scene that makes you want to go to the damn club with the hottest look and just sensually dance like no one is watching. Their music fulfilled that feeling for me and more. They have a tour coming up too! AHHH. Plus, Tyler Ommen and Jonathon Freund were true masters as well. The way their music flowed through that crowd. True powerhouses.

Be sure to check out their interview on our channel!

Another honorable mention to Dat_Boy_Zach, who opened up the day at the Rise Stage. Youngest, cutest little boy you've ever seen and this performance was for the kids. He performed songs about staying in school, listening to your parents, following the rules. He genuinely made Riot Fest history.

Other incredible mentions: Princess Goes, The Armed, LS Dunes and Lord of the Lost.

Yes, we know and love Michael Hall as Dexter, and he cut a knife right into our hearts as an actor, but he certainly cut through our heartstrings as an artist. David Bowie vibes one minute, and ultimate alternative/indie voice next. The keytar, his smooth tone and the the synthy vibes of "Come of Age."

Adored it.

The Armed absolutely blew the roof off our heads and the LS Dunes was purely professional, phenomenal, incredible, endless, accolades, history and compliments for them! More in the interview. Lord of the Lost, hailing from the Reeperbahn capital of the world, Hamburg, Germany, truly gave us the dark rock we needed. True talents and Riot Fest connecting with more German artists is not only necessary but truly a GIFT.

I am going to spend the next several decades thinking about this year's Riot Fest. Onwards! - JBTV Music Television

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Riot Fest 2024 - Day One Photo Highlights

9/19/2024

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Writing and Editing by Fiza Javid
Photography by Bobby Talamine

Douglass Park - Chicago, Illinois
Friday - September 20, 2024

Riot Fest! Riot Fest! Douglass Park! It is a staple of early fall, where a doom and gloom has not set in yet, but the calling of it feels like the summoning of pure rock music.

Our very own Erika Force had a chance to interview Winona Fighter and Action Adventure. We will have that coverage for you post festival.

Friday was already projected to be a legendary day of photo highlights: Winona Fighter, Polaris, Action Adventure, Fat Mike of NOFX, Drug Church, New Found Glory, Suicidal Tendencies, Souls of Mischief, Public Enemy, Cypress Hill, and uh... Fall Out Boy!! We are falling apart to half time.

Sum 41, it is important to note, is preparing for a farewell tour, so the opportunity to see them could not be understated.

First up Winona Fighter, who is a BLAST of talent, vocals and holy crap, she destroyed the drum section of a Turnstile cover like an absolute legend. She is officially on my top 10 drummers of all time list. Wearing a brat shirt, she was anything but Charli XCX sound but with all the screaming confidence, it was a marvel. Please go see her live when you have a chance.

Polaris, they kicked off Riot Fest like total beasts. A morning wall of death? And it worked? YES TO THIS RAGER. They were consummate underrated professionals and masters.

Holy riot fest. New Found Glory, Suicidal Tendencies, Drug Church, Souls of Mischief.

Riot Fest always has so much to see and so much to do, so it is important for the images to speak for themselves. Jumping from one exciting moment to another.

All were truly glorious experiences. Suicidal Tendencies stood on their amps as they performed and I was sure the crowd would set on fire from excitement.

Drug Church were absolute gentlemen and were so much fun to behold. New Found Glory, pure love and nostalgia. Souls of Mischief as well.

Did I say we also had a chance to capture he one and only Fat Mike of NOFX as well? Pinch me!

While every single artist brought on major chops, the relative performances were worth noting.

Cypress Hill and Public Enemy were legendary. They made the experience feel so expensive and star studded.

Fall Out Boy is truly an unforgettable staple of Chicago, or should I say Wilmette, charm. No matter the time that passes it will always be an honor to this city to be associated with them. The absolutely threw an insatiable party.

And did I mention the pyrotechnics? I know Rammstein is known for pyro, but I think Fall Out Boy set an absolute record, with Pete Wentz shooting fire out of his GUITAR. There will never be a more badass moment in rock n roll history. They had cheerleaders in hockey masks who gave it their all. Plus their stage setup with the floating sheep with wings, the giant bear. They put on the show of a lifetime and are absolute gods of Chicago.

Hands down one of the greatest first days of Riot Fest to date. Until tomorrow - JBTV Music Television

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IDLES - LOVE IS THE FING TOUR - Live Review

9/19/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Byline Bank Aragon Ballroom - Chicago
Wednesday - September 18, 2024

All things IDLES.
Opening with "IDEA 01".
Then followed by "Colossus".
Then followed by "Gift Horse".
Ahhhh.....The IDLES slow build.

But tension prevails- always lurking, seething, twisting the underbelly.
By the time towards the end of "Colossus'- full bore mix it up with the crowd energy/ angst, courtesy of rhythm guitarist Lee Kiernan, Jumping off the Aragon's high stage to mix it up body surfer style with the crowd while slaying chords like it's no problem.

By the time of the third song"Gift Horse", in comparison to the back catalog, like most of "Tangk", it repositions the band with more tuneful songcraft, but still punches to the air with overall intensity followed with biting lyric.

They've developed their sound with experimentation with the electronics a bit, courtesy of Mark Bowen, who also is their lead guitarist, and yet, with the developed sound, have still rebounded with the overall intensity to embrace raucous energy that conveys emotional impact.
Bottom line- it gets harder to define these guys with each pending release.
Which is all good- keeping everyone on edge, while they continually develop their sound.
The Aragon Ballroom in Chicago- a character in itself, what with the Spanish Conquistador feel, old school vibes, and large ballroom main floor.

IDLES, courtesy of Joe Talbot, know how to size up a room, any room, even the Aragon Ballroom, and bring their audience into a frothy union, to be as one in the struggle.
The overall setlist- it's tough, it's demanding, filled time and time again with punk energy, punk spirit, conveyed in an honest manner, warts and all, fighting through pain, fighting through inevitable catharsis.

Time and time again, whether it be festival related, or a more smaller venue, they captivate and wring you out energy wise, pushing you to get physical.

The crowd certainly knows it, always at the ready to follow directions from Joe to split up the main floor when necessary, such as with the song "Divide and Conquer", let alone suck in his every word with the slow build songs, such as "The Beachland Ballroom", which comes later in their set.
And a real treat was Joe and the band dedicating their song "The Wheel" to Chicago's own Steve Albini, who unfortunately passed away in May earlier this year.

That they know the gravity of that loss, and also the equalness in all things "self determination", and fighting your beliefs, and hold true to that spirit speaks volumes.
Such classy guys- IDOLS.

So getting back to the show- doesn't matter- slow or hard and fast with bludgeoning- the Chicago crowd is captivated.
This band- one of the best live bands on the planet.
Always always consistent, always ready to fight, blue collar style.

Song after song conveyed whiplash smarts, making you, pushing you to dance, to honestly feel alive, and shout out loud, especially mid section on, what with "Car Crash" or later on with of course "Divide and Conquer", followed by the evisceration of "WAR", or even "POP POP POP".

It truly doesn't matter.

This band is tight, constantly at the ready, grateful to be alive, to play, to tour.
Again- all things IDLES.

A band that still to the present day, ever defiant, of everything, and questioning everything.
How can you not love these guys, and convey to the world, at the water cooler, or whatever, if you haven't heard of them, you're missing out.

Your loss.
Age be damned.
Easily one of the best shows of the year, and that says lots, even when at the colossal and vintage Aragon Ballroom.

Bobby Talamine JBTV Music Television Chicago

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Live Review: Peter Hook & the Light - Performing both "Substance" Albums by Joy Division & New Order

9/9/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Riviera Theatre Chicago
Saturday - September 7, 2024

Peter Hook & The Light-
Bringing to the faithful the songs from Joy Division and New Order, live, since 2011.
No need to get into the discrepancies involving his separation from New Order- that ship has sailed ages ago.

Time to preach the positives, and clearly what Peter Hook brings to the table in establishing that gorgeous and formidable sound that propels most songs from both Joy Division, and especially New Order.

My take on all of this, having witnessed and photographed Peter off and on with his solo band multiple times over the years is-
Why not?

The catalogs for both bands run deep, with Hooky equal to his (past) bandmates in establishing sound, songwriting, along with musicianship.

And the catalogs for both bands- just so timeless, so priceless.

This current tour with The Light, encompasses two sets, with nuggets from both bands, and a brief intermission in-between.
And the faithful showed up that's for sure, filling up the main floor and also the first rail pretty quickly after the doors opened.

And the full set- some twenty nine songs total, equally laid out between the two bands, opening with all things New Order, and closing out with all things Joy Division.
The band, coming out onstage to perform "Murder", followed by "Regret", and into "Vanishing Point".
A one/ two/ three punch to get the ball rolling into the deep dive of New Order.
Old and newer songs- didn't matter.

Crowd just ate it up, although a bit older, like patrons who grew up listening to both bands, which just shows yet again how deep down the crowd in attendance just loves them, and especially Hooky.
He's still a formidable stage presence as ever, decked out in his military cargo pants, followed by polished Doc Marten ish boots, and black socks that were from the Metro Chicago- (Peter making a note of it in-between songs).

And a nice pleasant surprise to have the Metro's Joe Shanahan introduce the band to start the evening as well, making a special note of how he was (and we should be) excited about the evening's setlist.

So yes, on a Saturday night in Chicago, in an intimate and cool venue such as the Riviera- "tis a party- all things Joy Division and New Order.
The elegant songs, especially from the start with all things New Order, still have the feel of a rave, a dancehall sway to the beat kinda timelessness that latches on to you, ever present in revelry and transition to unclassifiable glee and enjoyment.

There is no other way to put it, especially this late in the game, some 14 or so years with The Light after the breakup, and tweaking the songs a bit to honor the past of course, but to emphasize time and time again, all things Hooky, and especially low end bass.
Nostalgia?

That would be for me all things Cherry Red Viking Bass this, Viking Bass that.
Hard for me to transition to seeing all new basses which Hooky has been using for a few years now- but I think I get what what he's after, without even asking.
I could be wrong, but the older Vikings most likely had trouble with keeping in tune, even though visually they're just so badass.

The newer models he's playing- strong and vibrant sound, most likely not so troublesome.
Suffice it to say for me, I've grown to like (and accept) the new arrangement on instruments.
After all, if Hooky is having fun without issues, then we should as well.
Outside of that historical quibble, must say I cherish the moments to hear these songs performed live, in such close proximity to a special guy who's as proud as all get out, like a transplanted unofficial (yet official) "Chicagoan" by way of Salford and Manchester.
Yes- Hooky loves this city so much, and the long and positive history with the city of Chicago, and all things starting at the Metro way way back in the day.
Hooky's enthusiasm playing here, amps up our enthusiasm as well.
And again- all things "Bass- How Low can you Go".
Punctuated over and over with arm spinwheels, and yelps of encouragement, to get moving along, and to let loose.
So the crowd- equal to Hooky- all young at heart- age be damned, at least for this night.
As for me-
Nothing, nothing beats hearing "Ceremony" live, followed by "Everything's Gone Green", followed by "Temptation", followed by "Blue Monday", followed by "Confusion", and then "Thieves Like Us".
Damn.

Old stuff sounding like new stuff, all blended together with a timeless and ageless appeal.
Same with the breather, into all things Joy Division.

Darker still, but still emotionally packing a wallop.
Hard not to think of Ian Curtis hovering about about in the room, and what he brought to the table, with anguished angst.

That the songs still hold up, particularly "Leaders of Men", "Autosuggestion", "Transmission", and especially "She's Lost Control", says lots.
That bass line in "She's Lost Control", well, that makes you lose control, the sheer force of it.
No "other Band" to hold Hooky back now- this project embraces followup and follow through to drive the point home, time and time again.
And that's the whole point.

Hooky's band, Hooky's vision and honest interpretation.
The bass is important.
Not to be buried, or limited in duration.
If you want a dark dance party at two in the morning, play that song live with no end in sight, to the point of revered exhaustion.

Trust me- the faithful will eat it up until everyone's an uncontrollable and sweaty mess.
And Joy Division- dark, detached, emotional and yet detached, just sucks you in.
Deep and honest and fervent songwriting will do that to you.
So there you have it-
A show that's so damn celebratory, revolving around a priceless bass player who understands the importance of his catalog, and the wherewithal to make them come alive.

Bobby Talamine - JBTV Music Television Chicago

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Live Review: Metallica - M72 World Tour. With Five Finger Death Punch & Ice Nine Kills

8/13/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Soldier Field Chicago
Sunday - August 11, 2024

No Repeat Weekend. 2 Nights. 2 Different Sets. 2 Different Opening Acts. IN THE ROUND.

For once, I'm happy to report that YouTube cannot comprehend majesty at a greater scale perception wise, and the scope of a production that is complex, multi- faceted, let alone the high quality audio and PA in each and every live streamed video.

To comprehend Metallica, currently in the midst of their North American leg of their M72 World Tour, with two stops in each city they play- the kinda show that you must see in person, not just chill and watch at home.

Like the title above states in capital letters- "IN THE ROUND".
That's the first clue to witness live and in person.
The stage- starts in the bullseye of the middle of the field- at the fifty yard line, and goes out from there.

It's a truly massive and impressive ring, which looks to be about 15 feet to 20 feet in width, with two bump risers on opposite ends with a few steps up, one of four unique places where Lars and his drumkits come out from down under, allowing for the entire interior stadium to get a good look at him and his Tama drumkit from a variety of angles.
The iconic Metallica Snakepit- now it's in the middle of the ring, allowing for an intimate and yet energized experience of encompassing all things Metallica with a more intimate and energized appeal.
The massive ring itself, at the exterior, is surrounded by gigantic vertical production towers, with immeasurable tech support from Creative Director and Production Designer Dan Braun, along with sophisticated Lighting Designer Rob Koenig, and of course Video Director and Designer Gene McAuliffe.

I bring up these three heavy hitter kinda guys because of the scope and complexity of the production itself- it calls for recognition, in the way that the show is displayed, accompanying ingeniously a unique way to reach the people in the nose bleeds, to give each and every person in the house a way to experience their four heroes intimately, if that's humanly possible.
It works.
It works on a large scale.
It really truly does.

Each and every song- all 15 of them- from opener "Whiplash", 'till the unfortunate end (which no one in the Soldier Field house wanted it to)- which was "Enter Sandman".
The whole vibe and feel throughout- a showcase of sorts for the iconic hard rockers- James Hetfield, Lars Ulrich, Kirk Hammett, and Rob Trujillo.
The entire show- these four guys feed off the audience, like a constant, like a locomotive train that just rumbles along, with no brakes, even for the slower songs for cryin' out loud.
And as for night number two of Metallica at Soldier Field- no offense to the opening night, but still- how can you top "Whiplash" into "For Whom the Bell Tolls" into "Ride the Lightning"?
That's a one- two- three punch/ counter punch that can't be topped in my op[inion.
This wasn't a slow build up out of the gate- this was comprehension that you now understand why they take their time warming up prior to hitting the show- they need to be energized to become even more energized.
Those three heavy hitter juggernaut kinda songs ain't easy.

And from where I was perched for the three to photograph the start of the show on the main floor by the soundboard- the fans in my purview were crazed and in full volume, even for a Sunday night.
Metallica made a statement in regards to this.
They ain't going anywhere anytime soon.
But you can't possibly play these breakneck songs when you're in your middle seventies- I could be wrong, but it would be tough.
We're all mortal, with joints that can produce aches and pains.
This is a band that made a statement right out of the gate that technically said- "Live Life to the Fullest".
And they did.
Followed by a wicked rendition of "Until it Sleeps", and followed by "Lux AEturna", from their latest release "72 Seasons".

Not that the band doesn't have a catalog that goes far and wide- but still pleasant to hear that the new stuff is grounded in the old stuff, sounding fresh and clean and packed with upper cuts and haymakers.
So the overall concert- It's all about the band, and nothing but the band.
The whole place- the crowd, the band- pushing things to a level to a new and undefined place- a place where together, let's see where this night is going, in the round, and eye contact throughout that's up close and personal to the devoted, and feeding off of each other.
Again- can you comprehend what I'm trying to convey?
Hard to put into words the immensity and complexity of the production, and yet to feel the intimacy of it all, even in a gigantic outdoor football stadium, such as Soldier Field.
They've conquered and have willingly comprehended how to make this work, where no one, I mean NO ONE, feels left out.

Which makes you wish you were a fly in the room when production pitches were bantered about, and question and answer were immeasurably calculated and brought forth.
Those meetings must've been something, to successfully produce a show that's this measurable and unforgettable.

To put it another way, each and every fan that comes to this M72 World Tour will have a chance to share their own unique experience and perspective, having witnessed a show firsthand that has thoughtfully thought of you, on a personal level, that certainly isn't cookie cutter whatsoever- a show that's meant to draw you in, and be a part of.
I can't think of a production up to this point that has thoughtfully conveyed this, on this large of a scale.

And it can't be easy budget wise, to lift everything up and out with anything large and in the round, with poor sight-lines and obstructions.
None of that exist in the M72 production whatsoever.
Again, fans (and band) have been brought in, not out.
Room to roam, like a gigantic meet and greet.
And everything is elegantly clean looking.
Simple works- each and every time.

It's like there's nothing there in the overall design, and yet you know there's a ton there, thoughtfully designed in a way that's camouflaged and hiding in place.
So overall, again- the room where played feels intimate, to deliberately make it feel small.
I'll bring this up until I'm blue in the face- that's almost incomprehensible.
And just so thoughtfully displayed, on such a grand scale.
It's like everyone in the Metallica family, to pull this off, are partners, not vendors and corporate this and that, and thinking "Low Budget".

So coming full circle-
I can go on and on about the band- the band this- the band that.
Equally important to some extent, I suppose, detailing things about your heroes, and their technical proficiency and whatever in relation to the songs.
For those in the know- you already know.
For me- detailing things about the overall production is key, made more so by how it plays and equal part in propelling all things Metallica, thoughtfully displayed in such a way for all the world to see.
Everything about Metallica on their M72 World Tour is intentional.
Intentional to make Metallica METALLICA for everyone.
You just can't get better than this, witnessing this iconic band firsthand, in the round.
Such was the show on a Sunday night at Soldier Field.
Easily one of the best shows of the year.

Bobby Talamine - JBTV Music Television Chicago

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Lollapalooza 2024: Day Four Highlights

7/26/2024

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Writing and Editing by Fiza Javid
Photography by Bobby Talamine

Grant Park - Sunday August 4, 2024

I took her out, it was a Sunday night, I wore cologne, to go see BLINK-182!!!!

Epic is a short statement about this day. We were off the grounds to catch more incredible acts!

First up, BLINK-182.

Nothing felt better than to hear the original blink sound, along with Mark doing a quick showcase of "When Your Heart Stops Beating" by his band Plus 44. Blink-182 was the soundtrack of my highschool years, so to scream along to "Dammit" "All the Small Things" "Always" and ofcourse "Miss You."

To hear an audience scream along to "jone waste yore toye monme yorall redii the voice insoide moye yead" was heaven sent. We couldn't ask for more as fans. I made sure to follow the dance move to "All the Small Things" and it was also mind blowing to see Travis's drum kit raised above the stage.

They are forever cemented as a timeless classic for Lollapalooza and every single generation has an undying obsession to see them, as long as they don't go near our moms.

Prior to catching the tail end of the festival day, JBTV caught up with the one and only Perry Ferrell of Jane's Addiction, Porno for Pyros, and creator of Lollapalooza. What a magnificient feat to witness the Godfather of Music Television sit down with the Godfather of Alternative Music. Perry and Jerry, the duo we didn't know we needed.

The exclusive interview will be posted on the JBTV Music Television YouTube Channel.

Thank you again to Perry and the team for giving us this opportunity. We are genuinely grateful.

This day's highlights: Pierce the Veil, Teddy Swims, Cults, Scarlett DeMore.

Everyone brought so much heart and energy to this final day of the festival!

Couldn't have asked for a better year. Until next year Lollaaa!!! - JBTV Music Television

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Lollapalooza 2024: Day Three Highlights

7/26/2024

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Writing and Editing by Fiza Javid
Photography by Bobby Talamine

Grant Park - Saturday August 3, 2024

I got gas in the tank. I got money in the bank. I got news for you baby, you're looking at the KILLER aka celebrating the fact that the Killers would be one of the incredible headliners this fine Saturday, along with Future X Metro Boomin, and we were looking forward to a rager of a day!

I was jamming my heart out to a couple songs on my drive over to the festival: Guess by Charli XCX ft. Billie Eilish, along with Jane's Addiction's new song "Imminent Redemption". Already extra hyped and I didn't even make it to the festival yet.

Once I made it, I could only think "letssss gooo!!" Tom Brady style.

So many incredible highlights of the day: Brigitte Calls Me Baby, Friko, Killer Mike, Deftones, IVE, ROMY, Dasha, The Killers and Future X Metro Boomin. ALWAYS to name a few because everyone is worth seeing.

FUTURE X METRO BOOMIN. Pyrotechnics. Booming sound. Booming audience. Major bangers all the way through. The future covers were a blast, like "Low Life" and Mask Off." Every song was just so much fun to watch.

Deftones was truly the rage we needed to see at this year's Lolla. Listening to "Digital Bath," "Mascara," Change," and many more, we were genuinely rockin out.
Watching Deftones is like jumping into a time capsule, except they just never lose their touch, ever.
Lots of the audience was fresh off their performance at the Metro too, and looked forward to experience them at Lolla.
Truth be told, a band like Deftones knows how to create a unique small venue experience and also turn it up x1000 for a major festival. They have the freedom to let completely loose, jump sky high, and that is precisely what they did. Accolades all around.

Killer MIKE. Another set filled with ragers. Songs like "THANK YOU LORD," "RUN," and "DOWN BY LAW," he brought another element of loose and blow your mind off entertainment.
He raps his tail off and always knows how to get the crowd truly in the moment with him. Truly unstoppable he is.

Then there was Brigitte Calls Me Baby. Fresh off a mindblowing performance on Jimmy Kimmel, they were like the ultimate 80's have returned and took the Killers with them, nostalgic sound we needed. But Wes Leavins is not a time traveller, he is an original true showman.
His credits include working on the Elvis soundtrack and even playing Elvis on stage. Its no wonder he knows a thing or two.
Seeing him was a marvel, and his voice echoes like the Smiths, just wholesome and genuine.
More honorable mentions as stated above: Friko, IVE, ROMY, Dasha, Every single one of these artists shined through and through.
IVY was so mesmerizing. Six absolute starlets on stage with pure perfection in every move. Truly a joy to watch.
The Killers absolutely owned their set, true service men they are, and hands down one of the greatest bands on this planet.

I CANNOT believe there is only one day left, it always goes by too quickly.
Until Sunday, fun day - JBTV Music Television

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Lollapalooza 2024: Day Two Highlights

7/26/2024

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Writing and Editing by Fiza Javid
Photography by Bobby Talamine

Grant Park - Friday August 2, 2024

Welcome back! If you're reading this, I made it out of Friday night of Lollapalooza 2024 as exhilarated as ever. While the heat continued to beat down, these incredible acts continued to bring up the heat a couple notches, and we were prepared for a sauna.

So much spice, so much pizzazz, and so much excitement.

Today's highlights: Stray Kids, Militarie Gun, Faye Webster, Blu DeTiger, Lauffey, Brandi Cyrus in a round two, McKenna Grace (What?! ahhh!!), to name only a few!!

Notable mentions, dare I not say Sexyy Red and SZA, Both were IMPECCABLE!
STRAY KIDS.
Is a phenomenon. They came out so confident, so self assured and so exhilarated.
It never ceases to amaze me seeing younger fans learning to speak korean so they can not only sing along but also in case they have a chance to talk to their favorite K-Pop artists.
The younger generation of today is incredibly brilliant.
Stray Kids was the absolute moment.
They came out with “S-Class” and “FREEZE”
While BTS gives the genuine nostalgic pop vibe, Stray Kids, came with an exciting electronic, cinematic and narrative feel of song-story telling and performing.
It was definitely like no one I had ever seen before.
Not only do I want to continue to see more BTS, but we may be due for a collar between these two power groups.
One of their closing songs was “MANIAC” and this crowd damn near lost it. Pure energy and ecstasy.

Omg. PawPaw Rod. You made a HUGE fan out of me.
With a look straight out of the Jimi Hendrix fashion line, he still had such a thrilling, unique stage presence the moment he addressed that crowd.
Then his voice came through the mic and it was like taking the bite of a new piece of favorite dessert. Smooth. Delectable. Pure joy.
So funky, so fresh, so original. I could present adjectives for days. But his music made me truly feel like I was put in a happy place.
Particularly the song “Shadow” it was an absolute VIBE. Here I go with the adjectives again!! I can’t help it. I am pretty sure I am in love.

Militarie Gun. To go from funky with PawPaw to Prog Rock over her is definitely a beautiful jolt.
What a performer. With songs like "Thought You Were Waving" he has the makings of an angsty voice of a generation. I wouldn't be surprised if I see a sea of fans singing along in due time, but this crowd sure as hell did too.
With a rugged name, his music was soothing, his presence and music was relatable and dare I say beautiful again? Ive said it a few times already.
Then a song like "Do It Faster" comes on and he's got us all jumping around with some pouring water on themselves. So much fun and this is exactly what Lollapalooza is about. Truly highlighting the best rock artists to date, thats for sure.

Faye Webster. Pure harmonizing elegant voice and the sound of being on a road trip with the love of your life. She has a collab with Lil Yachty called "Lego Ring" that needs to be checked out on YouTube, but witnessing this and her live was therapeutic.

RAYE. Lollapalooza is the Genesis of her, and "Genesis" is a piece of 7 minute brilliance exploring phone addiction and societal issues with the utmost cool and clarity. She has rihanna sound elements, hip hop, raps as smooth and as poetically as one can dream of. "If you're thirsty like me, here is some pity with some self hate" is definitely the line that captures a lot of intense social media use. But she had us bopping along. While her music can have heartbreaking elements, its her voice that connects it so eloquently. She is another Lolla powerhouse that deserves many many accolades to come, What an incredible show she put on.

Blu DeTiger is a groovy rocking masterpiece. The grooviest basslines in the freaking world, and we were bopping the entire time. When she sang "Vintage" we put ourselves right as the star of her music video did, we danced and grooved through the rhythm that she so perfectly delivered.
There was also the song "Dangerous Game" which shows how dangerous she is. What a masterpiece!! "Call me yoko ono I'll break up the band." Girl you could be in a band of your own with your star power alone. What a performer.

Laufey. Queen. Princess. I am "Bewitched" as she performed like a crooner truly marveling us with the most elegant voice I have ever heard in my entire life. With songs like "Fragile" she was nothing but fragile. She has this Bossa Nova groove, but with such an enchanting voice. If there is anyone who has mastered vocal flexibility, its her. She made us all feel like we were in a disney movie. BEYOND HONORABLE MENTION here. Truly truly grateful she graced the lolla stage!!

I've gotttta talk about McKenna Grace. JBTV didn't have a chance to photograph her, but I was there to bring the full scoop.First of all, I adored her prior to knowing she was a musical artist. I know this is her debut, but to know its happening at Lolla is truly a gift. The Conjuring, I Tonya, Handmaid's Tale, Annabelle, Fuller House... she is an on screen QUEEN! I wondered what she would sound like, her stage presence, and all the wrappings.

Immediately the first thing that stood out to me was her voice. The way she commanded the mic, her pop sound, her dominance on stage coupled with her lyrics. Her single "Swim Team" is an instant hit that I will be putting on a playlist right next to Haylee Williams. Be sure to check that out along with "LOSER!!" and she is the furthest from that.

Her acting chops is really what pays off here, and not because she is pretending. None of this was fake in the slightest. It is her ability to connect emotionally to the song and audience that will keep people coming back for more. For a start of a music career, she is off to a POWERFUL start. And its not easy making the transition from acting to music, and vice versa. But she is going to create the masterclass on this.

I wonder which one she wanted to do first? Either way, I cannot wait to see her headline one day.

Until tomorrow, and we'll try and sleep through the excitement tonight. Still pinching myself after today. Lets keep it rockin! - JBTV Music Television

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Lollapalooza 2024: Day One Highlights

7/26/2024

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Writing and Editing by Fiza Javid
Photography by Bobby Talamine

Grant Park - Thursday August 1, 2024

Lets gooooo Lollapalooza 2024!
The streets were lined up with impending Chappel Roan fans ready to camp out.
While the potential for thunderstorms loomed, there was no intention for it to rain on any parade.
Anyone ready to go to Chicago's Lollapalooza, which might very well be on the top 3 list of Lollapalooza festivals happening this summer, knows to prepare with a pair of throwaway shoes and a bathing suit under their clothes.
I pretty much did that, only to be graced as everyone by the heat and entirely lack of rain to actually hit us.
There was so much hospitality in the crowd with festival-goers carrying spray bottles, getting snacks at the Lolla-Bodega and preparing like all hell for any hell-ish heat.
It did get hot in therrre, but no one took off all their clothes.

Anyways, the highlights were astronomical: Chappell Roan, Tyla, Brandi Cyrus, Been Stellar, Kesha, Saint Levant, and Hozier. Beyond stoked!

First up, gotta cover the headliner Hozier.
Hozier, tireless, timeless, endless classic, and a damn near spiritual awakening.
They debuted their new song "Nobody's Soldier" exclusively for the Lolla audience, and it was like I was listening to one of my favorites that is on the list to show my children.
The way his vocal prowess commands the stage, Andrew sings like he doesn't know that his is on a top 5 vocal list of nearly every inspired musician and fan.
Songs like "Movement" and "Take me to Church" are ofcourse on everyone's list, but "Jackie and Wilson" carries an all American air to it (yes I know he is from Ireland), but the feel of this song is everything good about being in the country side. He is so wholesome and the set was a 10/10 masterpiece.

CHAPPELL ROAN. I'm sorry, you had to be there. H.O.T.T.O.G.O., is an understatement of who she was ofcourse, as she came in like fire, powering through the stage like dynamite.
I've never seen a crowd of what felt like 50,000 people dance along like that. It was like witnessing live worship, but if the goddess is doing splits and singing dynamtically.
She has Lady Gaga level starpower.
Its not to say her and Kesha should ever be compared, but it is a testament that Kesha even loved her so much that she was willing to trade stages with her. They both were equal parts dynamic.
Chappell Roan's rapid success should not be underestimated, and her performance, while had the costumes, the body builders and dancers to show for it, was a perfectly sculpted headline act, and not a circus.
Other incredible songs were "Feminomenon" and "Kink is My Karma" (check out those videos please), and her ability to go from powerhouse physical performer to singing beautiful melodic scales it truly a FEAT.
TYLA!!
Right before Chappell Roan, was not an easy task, but boy she was stunning.
There was a giant tiger on stage that she stood on the stage setup of. To see Amapiano music on the main stage, her smooth like butter dance moves, and songs like "Truth or Dare" and "Water", anyone new to her music like I was, was truly locked in. She is going to reach Rihanna level status.

From Gaza with love. Lover boy from Levant. The one and only SAINT LEVANT.
While a music festival isn't the typical place to find anyone discussing the ongoing world issues, Marwan of Saint Levant wasn't just a reminder of the horrors taking place and how we should not look away, but that this is a homeland, A culture. A people. Traditions. Dance. MUSIC.
We were right at home as he serenaded us in the audience, but also showcased his genuine love for who he is. Not only does Gaza have a right to live, but right to thrive and be celebrated by Marwan and everyone he represents.
On the Bacardi stage, he performed the songs off his new album DEIRA, aptly named after the hotel his father owned in Gaza that was destroyed by IOF.
Songs like "On this Land," my personal favorite, "Nails," "5am in Paris." Saint Levant truly takes multi-talented to a global level. It is NOT easy to go from singing in French to English to Arabic, but there he was wooing us in three different languages. And he plays sax?
Growing up, he spoke French at home, Arabic in Gaza, and English at school. He also has a new song with incredible rapper MC Abdul, who also hails from Gaza as a 15 year old with 1.9 million followers.
The crowd danced their heart out, sang along, and we all chanted in protest after he left the stage.
The Palestine flag and Keffiyehs were covering the crowd and the pride and joy was absolutely a beautiful thing to witness on these festival grounds. Saint Levant. LOOK OUT, he is one to remember forever. What a beautiful soul and a talented rapper and multilinguist.

KESHA!! Woke up in the morning feeling like.... KESHA. Because she was ready to hit the city of Chicago and she absolutely gave us a show to remember as well.
From "Tik ToK" with an edited lyric to "Freedom" to "Die Young." We were screaming messes. She brought all the mothering sass with the "B*ITCH" bag with her dancers embracing her.
I want to go back for more.

Brandi Cyrus and Been Stellar:
Brandi brought that incredible Cyrus energy post Camden Cox's first set of the day (yes Camden ALSO went on prior to Hozier but at the Tito's stage.. what tenacity and stage presence!)
and Cyrus was electric. She has the natural charisma that put her in a league of her own, along with the star power.
Kicking off Lollapalooza is no easy feat, but her effortless DJ process, the vibes were just right.

Been Stellar rocked the stage jamming up with a tambourine and pure energy to give. Just like when Taipei Houston rocked out at Lollapalooza, they were also nothing short of stellar.
Its refreshing to come across new alt-rock bands, and for a band in the genre to not sound like anything that has come before, but Been Stellar is effortless in their musical process. Low maintenence look, but able to take on a bigger stage. This set almost felt underground and like a hidden secret.

Cheers to an incredible day one. Until tomorrow - JBTV Music Television

Lollapalooza 2024, Bobby Talamine, Fiza Javid, JBTV Music Television, Grant Park, Kesha, Been Stellar, Brandi Cyrus, Saint Levant, Hozier, Megan Thee Stallion, Perry Farrell

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Pitchfork Music Festival 2024: Day Three Highlights

7/22/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Union Park Chicago
Sunday - July 21, 2024

Pitchfork Music Festival-
All three days-
Just such a splendid time, with memorable performances throughout, followed by a wonderful vibe throughout while on the Pitchfork grounds.
Sunday's lineup- A wide mix of cast and characters.
Brittany Howard- Just so transfixing and uplifting (Including her interview earlier in the afternoon).
Model/ Actriz- That was a show folks.

The kinda performance you'll never forget- either you were there in the mix, or you weren't.
But man oh man- Cole Haden- vocalist extraordinaire for Model/ Actriz- now I understand why he's everyone's favorite performer- onstage theatricality followed by a boatload of charisma followed by a guy who knows how to mix it up on the grounds at the front of the stage, both east and west along the middle rail, let alone the red carpet runway walk through the middle rail towards me, eye contact with me intact.

(More on that a bit later in the review).
How about Mannequin Pussy and particularly Missy Dabice on guitar and vocals?
That photo pit- PACKED.
And how about Grandmaster Flash and his definitive call and response throughout his set?
"Quick Mix Theory?" Which he's ever so known for? Talk about a guy who still knows how to read a room, or a crowd.

The list goes on from there of course- standouts all- however this is the start of starts.
Weather- outside of occasionally hot with the sun beating down...but still- perfect.
Brittany Howard- Just such joy. Immense amounts- boatload amounts of Joy.
That she takes deep dives into so many styles of music, all with spiritual uplift...the kinda performance you just don't want to end..just go and go, and go some more.
Everything from psyche out jazz, followed by some serious soul, followed by sophisticated funk.
Brittany knows, and feels it all.

I can go on with the superlatives- and all of it well meaning review wise, and from the heart.
But her set was needed man- especially the earlier in the day announcement in regards to Joe Biden, and dropping out of the Presidential Race.
A lot going through your head from early afternoon, and trying to accept things, settle in, get back to the music.

So yeah- a set like that from Brittany Howard, offering up a slew of songs from her critically acclaimed latest release "What Now", and opening up her set with "Earth Song"..soak in the vibe and the gentleness of it all please....delicate ambience now has a permission to enter, and to entertain.
Honest fragments of feelings permeate her set, backed by a band who know things about push and pull, laying out the groundwork of confidence to let Brittany to shine, and shine some more.

As for Model/ Actriz- also sorely needed.
The tension just builds and builds throughout the first two songs of their set, particularly with lead singer Cole Haden, even when calmly coming out from stage left, and applying his lipstick. Followed by slow sashays stage left to stage right, twirling his pocket purse on a chain, let alone the microphone stand, let alone his wicked leg kicks.

Like you think everything could possibly be a weapon, so watch out.
By song three- Cole is off stage, into the pit, down the main rail runway, and into the crowd, both the east side and the west side.

And mixing it up, followed by mixing it up some more.
And a microphone cord which stays intact, which by the looks of things could be like a one hundred yards long, handheld by everybody including security, all in support to keep Cole focused on the angst and wickedness, even at like 3:30 in the mid afternoon, with the blazing sun beating down on you- on everybody.
So yeah- during song three, I'm a bit soaked like Cole.
This is some serious shit that needs to be documented, mixing it up in the crowd, equal to what Cole is unpredictably doing.

That's the key takeaway, the key element of it all- NOTHING SCRIPTED.
Sure, it's downright fun- but the unpredictability of it all, both east and west of the rail- Cole knows how to read a crowd, and provoke provoke provoke, with a mindset based on danger, and also letting loose.

That the band Model/ Actriz are still up onstage and their elements of surprises certainly ups the ante in attitude, with Cole roaming the crowd.
This band-
The highlight of Day Three, up there with Brittany Howard.
Again- both of them....Brittany Howard and Model/ Acrtiz- just so damn memorable.
And the entire day of Day Three has it's moments, with Mannequin Pussy laying the ground of carpet bombs form the Blue Stage, ready willing and able to provide forthright indie slash punk rock attitude, including fashionista by way of wicked clothing options to show their standoff and draw your line in the sand appeal.

Grandmaster Flash- the epitome of Call and Response- on constant, age be damned.
That crowd for his performance- all age groups, all ever ready to aid their parts in the singalongs.
Simple setup and presentation all the more perfect to unleash the hounds for Grandmaster's fervent mixes.

The rapper Maxo- a chill vibe in with a blazing sun beating down yet again, but still, the chill vibe, from audience to Maxo himself- a cool set of understated and sophisticated beats.
Opener Akenya- a cool and sophisticated artist, that's for sure, blending elements of multiple genres with plenty of surprises, heaped in melody.

And also MUNA, a high energy trio who when hitting the stage- amped up attitude, along with a rabid fanbase audience equal to the amped up attitude as well.
Have to say Nala Sinephro had a nice and relaxing vibe throughout her set as well, with a solid mix of pedal harp, along with a full band that knows key elements of jazz and the use of modular old school synths to add to their sophisticated palette of ambience.

And so Pitchfork Music Festival comes to a memorable end, heaped in musical styles and genres, all embraced with a welcoming attiude.
Such was the three days, even though physically exhausted, deadlines on my ass, and still- I don't want to decompress.
I want to relive the memorable experiences just so etched in my brain.
Bobby Talamine - JBTV Music Television Chicago

Pitchfork Music Festival, Bobby Talamine, Fiza Javid, Chicago, Live Music, JBTV Music Television, Jerry Bryant, MUNA, Brittany Howard, Model, Actriz, Grandmaster Flash, Nala Sinephro, Maxo, Akenya, 2024

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Pitchfork Music Festival 2024: Day Two Highlights

7/21/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Union Park Chicago
Saturday - July 20, 2024

And this gorgeous weather continues to hold.
Unusual considering Pitchfork's of yore, with usually one day or two out of the three ending up being kinda messy with rain.
Not the case this year, enlivening the overall positive mood and jovial atmosphere.
Pitchfork Day Two always elevates everything electric, with this year being no different- emphasis towards the later afternoon forward with all things "DANCE".
Get up off your feet and celebrate "DANCE".
The artists involved in all things "DANCE":

Jessie Ware.
Followed by Carly Rae Jepsen.
Ending with headliner Jamie xx.

Yes, there's a wide variety of musical tastes from the start of the day going forward as well, with cool indie rock provided by local faves Lifeguard, along with trailblazing instrumentalist L'Rain, and also some fun and angst with Hotline TNT, and some more cool indie rock with zig zags provided by Feeble Little Horse.

Also by way of Indie Pop with a genre smattering of sounds with Water from Your Eyes.
And of course, everyone's fave, cool unclassifiable hip hop by way of jazz rap with De La Soul.
So, if provoked with push and pull of a one word synopsis for all things Day Two: "PARTY".
With emphasis on "DANCE".

So yeah, my breakdown of all things Pitchfork Day Two should surround ourselves with fun, since it was that kind of day.

Starting with headliner Jamie xx,, and all things that make events something fun, mix something fun, entertain the crowd, bring some joy and high energy, and well, make everybody move and dance.
From the pit- terrific lighting, solid strobe lighting, heavy on the stark black and whites, with a video LED backdrop that provides even more contrasty images of all things black and white, and sometimes all white.

And it works, visually showcasing Jamie's twists and turns and catchy beats, one song easily blending into another with no serious pause.
After vacating the pit to take in the ambience- the main stage lawn- dance was ever evident, all shapes and sizes and age groups.

Damn, that was fun, taking in that gorgeous aspect of this Jamie xx party as well.
Nice to see Jamie let out an occasional smile as well- he has this tendency of coming off all serious throughout his sets, even with The xx.
Not tonight- on this perfect night, to let loose on a gorgeous Saturday evening in Chicago's Union Park.

Put your bodies on the dance floor I tell ya.
Don't let up.
Foot on the gas.
Yeah- Jamie xx was that kinda show.
Before Jamie xx-
Enter Carly Rae Jepsen headlining the Red Stage.

Tough act to follow, following the high energy set just before from none other than Jessie Ware.
But a girl's gotta do what a girl's gotta do.
Maybe not as high intensity with overall flow like Jessie Ware- but still captivating nonetheless, with Carly still trailblazing forward with her version of sophisticated synth pop, and embracing joyful, playful and vibrant songs.

That she performs with such confidence throughout just adds to her charm and sexiness- every song a theatrical counterpoint narrative, occasionally even coming forward to command everything front and center, like right in front of me, literally nose to nose while singing her lungs out on top of the pit standing subwoofers.
Didn't expect that- wrong size lens included.

Still- outrageously awesome to see Carly take some risks and let loose, emphasis on extroverted attitude.

But right before- definitely the performance of the day / late afternoon-
The goddess Jessie Ware.
Of the triumvirate undercard headlining "DANCE"- the award goes to Jessie Ware.
That was a Vegas show I tell ya- with more Vegas on top of Vegas.
But not dialed in- personal attitude required for a festival setting such as Pitchfork, all the while reminding everyone the joys of the city of Chicago, which she obviously adores.
Jessie Ware was having a damn good time, with no letup whatsoever, utilizing her dancers, her backing band, her backup singers as one big gigantic family, from opener "That! Feels Good!", all the while fearless in the sexy.

I mean sexy sexy sexy, with an all encompassing retro mood, with such cool and glossy pop songs.
Such a commanding vocal attack throughout her set, even down to an awe inspiring rendition of Cher's "Believe", with literally everybody, I mean everybody all the way to the back- like a 100 yards from the stage swinging along to the dance party.
I mean, how do you top that?
How do you even follow that?

So she starts her set on time, but it's a little after 6pm in the early evening, with the sun still out, the entire time, hitting the west facing Green Stage.
And this is one big gigantic party at Pitchfork- no letup in sight.
I kept imagining- what if this was Jessie headlining, like after the sun goes down, and you have "Bada Badass Boom!" kinda lighting and sexy theatrics?
Pitchfork in my opinion, would never be the same.
Just constant mirror ball lit songs throughout her set, emphasis on solid choreography and with a vocal attack with no letup.

Yes- Jessie Ware was a transformative and oh so memorable experience.
Oh you guys in De La Soul- a fun art rap party- chill, yes, but with a lot of crowd interaction push and pull, brought to you by the two surviving members- Posdnuos and of course Maseo.
Such cool guys- the kinda rap that you can dance to- an arty and witty vibe, with positive attitude and originality, nothing fake, nothing dialed in.

Water from Your Eyes, a band that has the feel of keeping you at arm's length, and yet provide some tight interplay, although dialed down- nothing jagged, in regards to their brand of indie/ alternative.
Same with Feeble Little Horse- but the delay between songs in their set just lessened the overall mood and energy from the crowd, although still enthusiastic, don't get me wrong, but still, this band has some serious tight energy when performing- just wished the energy flow wasn't diminished with awkward breaks between.

Hotline TNT- a band with the what the fucks- that being they don't look the part with this kind of serious and jagged songwriting.
A great set with emphasis on serious noise, with solid melody and a bit of disjointed angst.
L'Rain- concentrating on delicate and complex chill, with a backing band with power, if needed.
Her set was riveting, even at 2:30 in the afternoon, her dreamscapes setting a mood of tranquil thought and solid harmonies.

And then leading to all things Lifeguard- a local Chicago trio making some serious waves and critical acclaim, especially important considering how young they are.
Their set- opening day Two of Pitchfork believe it or not- one of the main highlights from Day Two for me.

Just intriguing and high energy singing and songwriting- brazen hooks throughout, wise beyond their years.

Such was the showcase of Saturday at Pitchfork- memorable- just so damn memorable.
Hope my photography reflects that.

Bobby Talamine- JBTV Music Television Chicago

Jamie xx, Pitchfork Music Festival, JBTV Music Television, Chicago, Bobby Talamine, Fiza Javid, Carly Rae Jepsen, Jessie Ware, De La Soul, Lifeguard, Feeble Little Horse, L'Rain

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Pitchfork Music Festival 2024: Day One Highlights

7/20/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Union Park
Friday - July 19, 2024

Pitchfork Music Festival for 2024: The overall vibe and feel- relaxing. Chill.
From when the gates opened at noon, to around 3 pm- just damn fun, leading up to the Day One headliner- Black Pumas.
Although at times a bit hot outside, with direct sunlight, no clouds.
The chance of rain for all three days- minimal to none.
The perfect backdrop for this unique music festival, with a wide assortment of acts to pick and choose from, which is always the case for Day One at Pitchfork- everything from indie instrumentals (Black Duck), to renegade rap (Angry Blackmen), to indie electronica (ML Buch)- and the list goes on from there, covering even more genres up to the headliner.

As for the headliner, that being Black Pumas- still worthy of your attention, even though it seems they play here in Chicago what seems like on repeat- the last stop in Chicago being back in January at the Salt Shed, for a multiple night residency.

Still compelling, still full of energy, especially through lead singer Eric Burton, who has "Entertain" in his DNA.
The songs- dynamic, and captivating, made even more so in an outdoor festival setting, with a crowd eager to dance along to the singalongs.
Plenty of that with a performer such as Burton, who wheels and deals from the main stage with occasional forays into the pit and along the rails to engage with his audience, and take a few moments to let everything sink in- audience to stage- sometimes as a fan of his own band looking forward to the stage, and what he's created with Adrian Quesada.

As always, co-founder Adrian Quesada remains chill and steadfast on the main stage, with guitar parts and songwriting that push and compel the audience to take part with shared vocal, with starry eyed soul front and center, made even more so with a whipsmart backing band embracing all things frenetic and electric energy.

Always with these guys, their performance seems like they're over in a flash- their musicianship just so solid throughout- making time just whiz on by.
Just a splendid time to start the Festival, with a solid band to headline Day One.
Opening on Friday- Black Duck, who know a thing or two with instrumental this, instrumental that- compelling improv being front and center. That they're local as well, with a solid pedigree in musicianship from serious bands, such as Tortoise and also Eleventh Dream Day, which should tell you lots.
Performing live- slathered and polished improv- made even more so.

And then Angry Blackmen.
Which are- downright Angry Blackmen.

Local dudes who make hip hop with fervent energy, and a strong message to boot.
They started off kinda slow, but picked up steam as their set went along, all the way to mixing it up on the grounds at the front of the stage, ever eager to bring the message with in your face (literally) and sharing in communal mosh and angst.
One of the memorable highlights from Day One, with Angry Blackmen.
Then enter composer ML Buch, who transcends all things "Chill", but done with class, all things electronica.

And again, we're all over the map music wise, followed by Tkay Maidza, a Zimbabwean born singer/ songwriter rapper, but with a gentle and sexy vibe to lay down some grooves in the middle of the afternoon on a bright summer day.
Bopping around everywhere, taking it all in, even with Doss, a sophisticated electronic DJ, who knows a thing or two with complicated and yet catchy beats.

And of course, another highlight from Day One, with American singer and DJ Yaeji, who is a firebrand, that's for sure, mixing house music and hip hop with some serious and catchy dance moves, made even more so with her two backup dancers, who are solid in elevating the set to a higher level of theatrical dance- a perfect encapsulation of her sounds and structure.
Dylan Brady and Laura Les- better known as 100 gecs- Hyper Pop ambassadors alright, even though stage costumes are dialed down this time around- simple setup and overall feel, not much fanfare and outlandishness like I've seen before- but ever evident in songs that pack a wallop.

And their fanbase- their audience- screams of hyper kinetic energy throughout their set.
British musician Jai Paul- so looking forward to his set, since he rarely tours and performs.
And his set- although dialed down a bit- didn't disappoint.
He has an elegant state of grace, that's for sure, a sophistication that doesn't need over the top bells and whistles- just some solid backing musicians with elegant songs that matter.

And then there's Jeff Rosenstock, who brings the angst, the pent up energy needed to balance the whole day out prior to Black Pumas hitting the stage.
Guess what- fun and catchy punk anthems are the order of the day- opening with a tape from System of a Down, the song "Chop Suey", the crowd eating it up, followed by Jeff Rosenstock finishing off the song live- punk n' roll style.

That should tell you lots- this band rife with anxiety and uncomfortable this- uncomfortable that.
And so goes all things Pitchfork Day One- a slice and dice foray into musical genres of all shapes and sizes, just like you'd expect from them to get the ball rolling into days two and three.
Bottom line- memorable and damn fun!
Bobby Talamine - JBTV Music Television Chicago

Pitchfork Music Festival 2024, JBTV Music Television, Black Pumas, Bobby Talamine, Fiza Javid, Chicago, Live Music, Union Park, Angry Blackmen, DJ Yaeji, Tkay Maidza, Jeff Rosenstock

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Live Review: Hawthorne Heights- 20 Years of Tears Tour with- I See Stars, Anberlin, Armor for Sleep, Emery and This Wild Life

7/1/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Salt Shed Chicago
Friday - June 28, 2024

Quite a packed lineup on a Friday night at The Shed- six bands- six bands with somewhat different styles, but still, emotion (EMO) is linked throughout.
Hawthorne Heights in particular, from Dayton Ohio, with links to Chicago through Victory Records, which helped solidify their sound and pedigree with their first three albums.
I make note of this, because JT Woodruff made note of it during their set as well, and the joy of playing in Chicago, remembering where they came from and started out back in 2001.

Nothing like some post hardcore music, mixed with EMO and lots of angst, playing anywhere humanly possible when you're starting out, just playing and playing and playing, with pop up events through word of mouth, developing a following, knowing in your gut that this matters, that it's in your genes.
Bands like Hawthorne Heights, up to the present day, even though the stages and venues have gotten bigger and bigger- they still haven't lost that pedigree, that bit of looseness, realizing with hard work, a bit of luck, overcoming misfortunes, that all of this- recording to playing, is just so damn special.
Quite a few photographers in the pit for the headliner, with one old guy- that being me.

Maybe JT noticed me because I have silver hair, look a bit like his dad or grandpa- who knows, compared with the other photographers roaming around.

I tend to smile a lot when photographing bands, bands with lots of energy, with the songs to match.
I do roam the pit, don't get me wrong, full band photos being essential- but still, love making use of the time allotted.

JT- happened to catch him quite a few times in performance pose, hamming it up a bit, me giving him thumbs up and such, with smiles and eye contact as well.
So the leg kicks, the eye contact- that is ever evident in some of the pics.
I bring all this up because music matters.
Photography follows.

So that kind of energy from a band like Hawthorne Heights- I want to reciprocate somewhat- age be damned.
I think JT took note of that- I could be wrong- maybe he was wondering who was the old guy in the pit- who knows.
Either way, I don't care.

I just want damn good live photos conveying the energy from within.
I dig this band, now a four piece since the untimely death of Casey Calvert back in 2007, and how they've carried on since, knowing full well that Casey was a no bullshit kinda guy, and in spirit- "Hey you four knuckleheads- don't let go of this- this is too damn special beyond just one guy".
Although I'm not in on that whatsoever- but you kinda feel that the spirit of Casey pushed them to continue, proceed with angst, proceed honestly, and don't forget the screams.
And to the present day they produce killer choruses, followed by crafty melodies and anthems that make you rev things up for a bit.

That the band still continues to release albums showing their range and skills, and deliver the thunder when necessary, speaks volumes.
Even with a simple stage setup, emphasis on the bright backdrop, with "20 Years of Tears" most prominent, "The Silence in Black and White" displayed prominently towards the bottom of their backdrop, left and right.

And just their gear on the stage, with some cool and bright vertical tube lighting.
A refreshing and open and inviting stage, with room to roam for the guys.
Their set- some 13 songs total- opening with "Life on Standby", into "Dissolve and Decay".
The fun continues, all the way to their anthem of anthems- "Ohio Is for Lovers".
Like most of the night, their set was done before you know it.
Cool that they brought along some bands that pack a wallop, such as I See Stars, who trailblazed through their set, amping up everything throughout, body surfers by the dozens, followed by mosh pits front and center.

Anberlin had some mishaps unfortunately, all audio and mic related, shortening their set, with Matty Mullins of Memphis May Fire taking over for lead vocals- And even though the songs attempted had some serious energy- It was just so oddball how they attempted to overcome the wrongs- leading to a shortened set that pissed off a few band members.

As for Armor for Sleep- edgy energy, with nothing cheesy or dialed in- guitar runs front and center.
Emery as well packs a punch, even with a half hour set allotted- making use of full band, duo lead vocals on occasion, and some electronic samples and beats thrown into the mix as well.
And of course things started off dialed down a bit, with the acoustic duo of This Wild Life, bringing their mix of lightheartedness to the night, but still with honest energy.

All n' all, six unique bands that want to go out on the road and have a party- such was the vibe from The Salt Shed in Chicago.
Bobby Talamine- JBTV Music Television Chicago

Hawthorne Heights, I See Stars, Anberlin, Armor for Sleep, Emery, This Wild Life, Twenty Years of Tears Tour, The Salt Shed, JBTV Music Television, Fiza Javid, Bobby Talamine

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Live Review: Pallbearer with REZN & The Keening

6/28/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Thalia Hall Chicago - Wednesday June 26, 2024

Pallbearer, from Little Rock Arkansas.
Been around awhile- like some 16 years.
With five full albums under their belt, and touring on the strengths of their latest- "Mind Burns Alive", released back in May of this year.
Their sound- getting more and more complex, and more melodic- don't get me wrong, they still know how to punish, and punish some more- however if you've been around awhile, and have achieved "complex this- complex that"- let alone master your instruments- you'd feel compelled to continue to challenge yourself, courtesy of lead vocalist/ guitarist Brett Campbell.
Same with Joe Rowland, who also co- wrote the songs on the album.

Shared ideas between the two of them, on everything 'Mind Burns Alive", ever evident in the setlist as well, with four songs selected- each packing a wallop, with occasional brushes of silence, followed by thump and more thump.
But the songs in total- like little vignettes of short films, telling a story, mostly of mental unease, anxiety and paranoid forbearing.

For the show tonight, Thalia Hall bears some witness to overall feel and chilly doom- an ancient venue, like the interior of a church minus the stained glass windows, willing to punctuate a story or two, and let the ghosts fly.

A simple setup, between the four of them, held down comfortably with solid drums from Mark Lierly, and of course Joe on bass and vocals, followed by Devin Holt on guitar, and of course Brett on guitar and also lead vocal.
Shows like this- the music takes center stage.
Ambience helps of course- but still the music- followed by the chops, followed by exquisite storytelling.

The kinda show that leaves with you, for hours and hours, isolating specific nuances that ring a bell, and hold true- such was the case with the second song of the evening- of course "Mind Burns Alive", and also "Endless Place", also from "Mind Burns Alive", with Spencer Ouellette from REZN emphasizing the power of all things "Saxophone".

Yes, I know that seems radical to some extent, the concept of Saxophone over melodic doom to emphasize a particular passage- but man- does it work, especially live and in person.
And such was the evening with all things Pallbearer- that they continue to harness their craft, keep things sharp and twisted, but still provide sonic melody and witness to honest lyric to elevate things to another level.

Not many bands of that genre can do that- stuck in a void of constant repeats.
But bands such as Pallbearer- they truly deserve so much more.
And also a round of applause to Pallbearer, for putting together a bill with solid openers prior- that being REZN, and also The Keening, both bands equal in heavy melody, along with an acute understanding of elevated thought when it comes to singing and songwriting.

Both openers were transfixing as well, immersed in their own worlds of working out the pains of the past, with words that don't wallow in shame and doom and gloom- but rather some glimmers of hope, with enveloping sound.
Such was the show at Thalia Hall- three bands that deliver, and deliver some more.

Bobby Talamine - JBTV Music Television Chicago

Pallbearer, REZN, The Keening, Thalia Hall, JBTV Music Television, Fiza Javid, Bobby Talamine

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Live Review: Miki Berenyi Trio with Lol Tolhurst, Budgie & Jacknife Lee

6/10/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Bottom Lounge Chicago
Friday - June 7, 2024

So lucky to have Chicago in the itinerary for this short tour with Miki Berenyi, along with openers Lol Tolhurst and Budgie-
Only eight stops total, since May 29th, with not much of a breather between dates.
Zip zip zoom and gone, with apparently a post on Facebook stating that she's looking forward to returning in 2025.
For a three piece, consisting of Miki on twelve string guitar, along with Oliver Cherer on guitar, and lastly Mick Conroy on bass.
The missing element would be Moose, who was not involved in the US tour because of the anxiety of flying along with environmental concerns.

Such delicate overtones throughout their 19 song set, with of course lots of Lush covers, opening with "Stray", form their debut album back in 1992- "Spooky"- wistful musings and reverberated guitars still intact.
Followed by other Lush nuggets, such as "Leaves Me Cold", and further on down the line with "Covert", "Kiss Chase", and of course "For Love", amongst others.
Interspersed with Piroshka covers and of course a Moose cover in "Suzanne", and lastly some Miki Berenyi Trio songs, highlighted by their single release in "Vertigo", which fits in ever so nicely into the overall mood of the set.

This version of the Trio, by this time in Chicago and seven dates into the tour, in my opinion gelling along nicely, even without the use of a live drummer.
What that means is intricate and dreamy guitars dominate, although drum patterns are evident in the mix of backing tracks, just not energized into a live band feel.
My opinion that dials down on the energy from the crowd at the Bottom Lounge, still enthusiastic, don't get me wrong, happy to be in Miki's presence with all things "Lush this, Lush that".
But by intimate club standards, a more hushed crowd, subdued to hear the delicate vocal washes from Miki. let alone the intricate guitar overlays.
And so their set was like this throughout, ending with another Lush cover- "Baby Talk"- from their mini- album "Scar", in 1989.

"Scar" from back in the day....such a splendid affair, a work of art for the band Lush, setting the stage for bigger things to come.
And to the present day, with this trio, Vertigo being ever evident in the overall mood of the evening- emphasis on mood and melody, mood and melody.
And all of this is cool by any standard- better even in my opinion, enhanced because of the intimate club setting.

A larger venue- would have downplayed the mood and chatter form the crowd, with distractions complicating everything for the avid listener.
And that's what it is- music hounds and avid listeners, excited to see how Miki presents this trio format live, new songs prepped with older songs.
Just a remarkable and captivating evening, made even more so with openers Lol Tolhurst and Budgie in support, having a blast with their eight song set, with all things "Los Angeles"- their collaborative studio album, which was released back in November of '23.
The songs- approached differently than Miki's Trio format- the obvious being two accomplished live drummers, and yet no singers present, as the album suggests.
The drumming- the electronic drumming- nary a problem, especially with the lighthearted all in fun showmanship from Budgie.

These songs from "los Angeles"- packed with punch,
A worthy listen or two, with the likes of James Murphy from LCD Soundsystem, or let alone Bobby Gillespie letting out some angst and discord in "This Is What It Is (To Be Free)" in particular.
But live, without the main vocals, just samples thereof...just so soft and buried unfortunately.
You can tell by the crowd immediately.

They're digging it, that's a given- but five songs in, by the time of "Uh, Oh"- it's like they want more.
They get it, sort of, towards the end of their set, with "A Forest", a mighty Cure cover, but even that is somewhat subdued, even the female vocal parts are like whispers- but still....that damn song captivates, even with Lol out front and center, with the electronic drum stand as his main constant.
Then ending with "Skins", which is the most energized song of the night.
Had the vocal sampled elements been more amped into the mix- my opinion, this would've been a party with these two- crowd bouncing around and dancing in place, even with extended versions of the songs, just to get into a sweaty mood.

"Los Angeles", with Lol and Budgie- thrilling and riveting stuff.
It deserved so much more when performed live.
But overall- Miki Berenyi's Trio, along with Lol and Budgie performing in an intimate venue such as The Bottom Lounge- you can't beat that.
Here's to seeing everyone again in 2025, hopefully.
Bobby Talamine - JBTV Music Television Chicago

Miki Berenyi, Mick Conroy, Oliver Cherer, Lol Tolhurst, Budgie, Kacknife Lee, JBTV Music Television, Fiza Javid, Bobby Talamine

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Live Review: The Damned with The Dictators

6/4/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Concord Music Hall Chicago - Sunday, June 2, 2024

The Damned.
The mighty Damned.
In full force- with their classic 80's lineup:
Captain Sensible
Dave Vanian
Rat Scabies
Paul Gray.

And talk about a setlist-
Heavy on the heavy hitters, encompassing lots and lots from albums such as "Strawberries"('82), "Machine Gun Etiquette"('79), "The Black Album"('80), and of course their debut- "Damned Damned Damned", from '77, along with some nuggets from "Phantasmagoria" ('85), with a smattering of others thrown in for good measure.

So yeah- this setlist, this solid band, also along with Monty Oxymoron on all things keyboards- doesn't matter the size of the venue apparently, doesn't matter if it's an outdoor festival, doesn't matter if they're playing on a Sunday for crying out loud.
The show was incendiary, with an open book for a sense of humor, lots of fun and also the key element of camaraderie between bandmates.
Older and lots wiser, these guys.
Which certainly helps.

Along with rehearsals, which by the looks of things, they spent some serious time on.
Can't think of one fault with their set whatsoever.
Paul Gray on bass- he was in fine form, handling the low end with that Rickenbacker bass of his- all bright fire engine red and ready to go.
To have him in the fold, along with Rat Scabies on the drums- the definition of a mighty fine rhythm section I tell ya.

As for Captain and Dave- holding down their own throughout, occasionally reaching out with arms, winks and smiles between the two of them.
That's the cool thing with up close pit photography, and photographing bands you've grown up with- bands you cherish and love and support.
You see that kinda thing up close, regularly, and you feel good, just like them.
No bad and negative energy.

A setlist with punch and piss and vinegar, all presented with a debauched elegance, with smatters of garage rock, punk rockabilly, and god knows what else that's genre related.
Everything about this show at the Concord Music Hall with The Damned was just so damn clever- and just so damn tight.

22 songs in total setlist wise, ending with a crash and burn cover of "Looking at You", from the MC5.
But to hear barnburner openers "Ignite", into "Wait for the Blackout", and then "History of the World (Part 1), like thunderclaps of solid aggressive energy, truth foretold, done with a display of panache and showmanship.
Age doesn't matter at all.

They came to play, they came to slay, as they say.
Look at it this way, from none other than Chris Connelly, a phenomenal singer/ songwriter from the Chicago music scene-
This is his quote from his Facebook Page after the show:
"GOOD LORD! The Damned were ON FIRE last night, they are the best they have ever been, I am SURE they curated the setlist with me in mind!"
I think that sums it up nicely.

As for The Dictators who opened the show-
Even with just two main members remaining, that being Ross "The Boss" Friedman on guitars, and Andy Shernoff on bass- with added punch on the drums with Albert Bouchard (original member of Blue Oyster Cult)- have to say that they had a solid set as well.
Keith Roth on lead vocals and guitar provided the necessary swagger and added punch to bring the songs to life.

Have to say it couldn't be easy for them, figuring your way through things with a diluted original personnel hanging over your heads.
Certainly the packed crowd on the main floor ate it up, dancing and pogoing in place.
Nothing came off fake or dialed in throughout their set.
For their allotted time- one word- polished.
So yeah, like Chris said getting back to The Damned.....
Bobby Talamine - JBTV Music Television Chicago

The Damned, Dave Vanian, Captain Sensible, Paul Gray, Rat Scabies, Monty Oxymoron, The Dictators, JBTV Music Television, Fiza Javid, Bobby Talamine

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Live Review: Dark Lord Day with High On Fire, Abbath, Fugitive, 1349, Spirit World & Sybris

5/20/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

3 Floyds Brewing - Munster, Indiana
Saturday May 18, 2024

Talk about a well run metal festival.
An A Plus as far as logistics, such as getting into the festival, let alone leaving, along with overall layout and feel.

I don't say this lightly, especially how some metal festivals I've been to in similar size are more cramped, with not many areas to chill, and especially for the summer months, areas to find shade when things get hot and sweaty.
But we're talking all things metal, so you have to expect some of those things no matter what- metal being "Metal".

Yes, 3 Floyds Brewing has been making this an annual "Go To" event since 2004, so they've been able to adapt accordingly, tweak things, make this a more memorable metal festival in relation to celebrating all things "Dark Lord"- 3 Floyds famous Russian Imperial Stout, let alone exclusive yearly event offerings, such as limited edition and uniques art prints, let alone varieties of and variants of certain brews.

And the fans- they come in from all over, especially from overseas.
While traversing the grounds, taking things all in besides the main music stage- I met people from Belgium, from Germany, all the Scandinavian countries you can think of, let alone Latin America.
I mean from all over.

By the looks of things, people definitely arrived super early to claim the main bench tables at the huge beer tent- I mean rows and rows and rows of benches that had bottles upon bottles of a wide variety of beers- what looked like to infinity.
And no one was moving out of their space, even for the bands.
And overall just so celebratory, and super friendly.

The vibe was that way no matter where I went to get proper pictures of the festival, and the goings on.
You have to give credit to the 3 Floyds staff, their management and ownership, let alone the production crew for the bands at the main music stage, and also the hospitality.
Way above board, in all aspects.

As with most music festivals of this size, there's bound to be hiccups- and getting a proper crew together to pivot accordingly is key, to do your best to keep things on track in regards to set times, let alone curfews.

The main issue from my vantage point was with the set changes the band 1349 into Fugitive, and two main floor wedges not working properly, let alone lead guitar cables crackling into the same wedges.
And when things are kinda on a tight schedule set wise and band wise, it takes time to replace all of the above, and getting them to work properly, knowing full well that shit happens.
Kudos to the production team in getting things worked out, and back on track, even if it means cutting some set times down a bit to accommodate the timing of it all.

Have been photographing festivals of all kinds for decades now, and have seen the bottomless pit of disturbances that can derail a show such as this, with tempers flying from the higher ups, then circulating down to the actual crew setting up shop.
Again- shit happens.
It's inevitable.

But the fun and experience of it all, at least for me, is watching crews work, getting to know them a bit, and seeing how they pivot to solve problems, from front of house to back of house, and making sure not to get in their way, but also to be supportive.
So it goes without saying, before even discussing anything artist and band related, that 3 Floyds know what they're doing, and doing their best to make this weekend in May such a special event, known worldwide.

And as for the bands, starting with headliner High On Fire, courtesy of the one and only Matt Pike- He's just as renegade as ever, brandishing crack the whip guitar riffs with nary a break in sweat, uprooted with gnarly and gutteral howls to try to outmatch his super sludgy notes, followed by a rhythm section that knows how to stay afoot of said notes and produce the concrete block pounding, courtesy of Jeff Matz on bass, and Coady Willis on drums.
Not much fanfare needed as well in regards to signage, let alone anything special effects related- just plug in and play kinda guys.

But again, with 3 Floyds and budgeting for a festival of this type- that PA they brought in....talk about packing a mighty wallop- from subwoofers to floor stacks- that was sternum punch amazing.
Let alone the sophisticated lighting for the stage.

The enhancement of all this does not go unnoticed- Matt Pike was side stage off and on most of the afternoon, taking in the bands in support, let alone getting a feel of the backstage and how things are handled, and also soaking in the vibes from the stage looking out to the main floor in the gigantic stage tent.

Loved how he shared his thoughts, saying time and time again how much he digs Dark Lord Day, and wanting to play here.
But High On Fire's set- just so blistering and punishing, teeth rattling awesome.
Same with Abbath, and all things Abbath Doom Oculta.
And Abbath strikes me as the kinda guy that prefers to play when the sun is down, not when the sun is up.

No matter- not much idol chat before he hits the stage with his band- from the coach to the stage- play your heart out- from the stage back to the coach- in the need of air conditioning.
Abbath- poor guy- he was sweating bullets thirty seconds into the first song- "Acid Haze".
Abbath- he's the real deal- heavy corpse paint as always, followed by sinister and heavy chest armor, followed by lots of thick black leather, and also knee high and sinister black boots.
So yeah- eighty degree heat, followed by intense stage presence, followed by that gigantic PA pounding, and ultra heavy red strobe lighting- Abbath brings an inferno to an inferno.
Amazing when you think of it- nothing changes for these guys, sun up, or late at night.
Abbath brings the bludgeoning, and then some, occasionally cracking a wicked smile through the heavy sweat.

As for the boys of Fugitive- Hardcore as hardcore gets, with songs such as "Blast Furnace" which is well - a blast furnace.
Not much coaxing needed, especially for that song in particular, however when main vocalist Seth Gilmore wants a mosh pit for that song- the faithful oblige.
And it was huge.

Left the pit to document that, right along the edge of the mosh, and into the eye of the storm.
How else to document that equal to the punishment of the band?
And yes, I paid a price- got walloped in the back and forced forward, but all well and good.
Doesn't matter if I got a bit of a beating- mosh pits ad to the excitement of it all- risk taking is part of the deal, especially with a band like Fugitive in the middle of a hot and sweaty afternoon.
Same with the Norwegian Black Metal band 1349- who at around 3:30 in the afternoon provided a pounding of their own, just oh so nasty and harsh riffs throughout, and a stage presence heavy on the fog, just to add some more sinister luster.

Clouds of doom, in my opinion- great for photography, great for making things feel like you're in an old growth forest north of Oslo while summoning demons to dance.
They've been around awhile, like since 2003 / 2004- so they know a thing or two in bringing an onslaught of Scandinavian Death to the folks in the midwest.
As for Spirit World, which went on around 2:30 or so- they bring a party as well, decked out in rhinestone cowboy suits- kinda like hardcore mixed with country punk, if there is such a thing.
Definitely full on metal electric- but with a gnarly twang that is catchy and barroom brawl kinda worthy in attitude.

They certainly have boatloads of confidence playing live, immersed in a bit of western horror.
As for Sybris, couldn't make it in time for their set- the ultra long freight trains off of the Borman Expressway and south on Calumet put a kabash on that.
So overall- the look, the feel, the overall vibe of all things Dark Lord Day- yeah- just oh so memorable.
This yearly event, brought to you by 3 Floyds Brewing- a must see, if you haven't seen.
The kinda event that you have to go back to, putting it on your yearly calendar, up there with all the holidays you have checked off.

Bobby Talamine - JBTV Music Television Chicago

Dark Lord day, 3 Floyds Brewing, High On Fire, Matt Pike, Abbath, Fugitive, 1349, Spirit World, JBTV Music Television, Fiza Javid, Bobby Talamine

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Live Review: Kerry King

5/8/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Reggie's Chicago - Tuesday - May 7, 2024

Lots of things definitive of rock shows, especially of the metal kind, that make things memorable.
One offs, limited short runs of dates, reunions, and on and on.
Special, truly special shows, of the magical kind, even before a note is played, and prior amped up energy of the "I can't wait" kind- those are rare.
Let alone anything intimate venue related.

Made evident even more so where said band wants to make its debut in the heart of the Midwest, such as Chicago.
Gives you chills when you think about it- the kind where you have to arrive a bit early to take it all in, along with your metal brethren faithful, all lined up in their traditional black attire, also feeling the same said excitement.

That it revolves around a guy such as Kerry King, debuting his solo project "From Hell I Rise", at Reggie's in Chicago- well let's just say there's magic in the air, eagerly awaiting entry into all things "mighty".
By the looks of things from the exterior of Reggie's- Not your typical load in for a typical and intimate metal show.
The semi parked to the north of the venue- the kinda freight that you would see arrive for a larger venue- which tells you lots of things- that this show is gonna be downright special, up to Kerry King standards, minus the typical heavy fire and pyro.

But excluding that- the lighting- the stage schematic- the fact that Paul Bostaph's drumkit is not on a riser of any sort, that' it's ground level, also says lots.
This is a full fledged band alright.
A five piece, ready willing and able.

What you have:
A fierce and dynamic vocalist in Mark Osegueda, from the band Death Angel.
Phil Demmel on guitars- from Vio-Lence and also Machine Head.
Kyle Sanders on bass- from Hellyeah.

And of course Paul Bostaph on drums - from Testament, Forbidden , Exodus and of course Slayer.
So Kerry King has surrounded himself with men that think like him, punishing and unforgiving- elevating the mood in everything.
You can tell that they've rehearsed a shitload.
Nothing seemed out of place whatsoever- however I'm not privy to any band pow wow / huddle after- knowing full well that in accordance to this level of thrash musicianship, mistakes do happen, and there's need to tweak or correct a few things.
To play at this level of might and fortitude requires serious attention and physical attributes.
The metal faithful knows this full well.

That's why the metal faithful are a solid bunch, especially of the rough and tumble Chicago kind.
The setlist- seventeen songs total, mostly reflecting the solo release from Kerry King- "From Hell I Rise", but also punctuated throughout with heavy hitters from the Slayer canon, such as "Repentless", "Hate Worldwide", "Chemical Warfare", amongst others.
But the crowd was eager to hear the new stuff as well- to see and hear if they deliver.
Oh man, do they ever deliver.

Eleven new songs in total- all tight, all fierce, all in your face.
Of course we've heard the first single from the long awaited album from back in early February- "Idle Hands"- a fast and oh so punishing barn burner of a song- worthy of many repeats.
To hear "Idle Hands" live, which come along as song number eight in the setlist- by this time, a couple of months after its debut- it feels like it's part of the core and family of Slayer- old school, refreshing, full of might and piss and vinegar when played live, with amped up steroid attitude.
Matter of fact, all the songs played "From Hell I Rise"- the same feels.

With so many nuggets and gems to choose from- you leave Reggie's scatterbrained- more so than your typical metal show, simply because the new material is so damn good, and like you've never heard any of this before, everything starts anew, and of course, where the fuck do you go from here.
Look at it this way- The first three songs of the evening- opening with "Where I Reign", into "Toxic", and then into "Rage"- all bangers- from the latest release- unrelenting, concrete block pulverizing.
Now you get the gist of all things Kerry King / solo project.
Definitive.

Exclamation point observatory- throughout.
A five piece with serious bona fides.
The whole set- level upon next level of brutality, followed by a PA that could whoop your ass, and a tightknit approach to minimal clutter onstage, making the music all things front and center.
Deeply honest, this approach- this fast and concise riffage of thunder with blistering intent.
I know I'm throwing around words that are gushing with praise, more so than usual.
But it's not like there's a question and answer period after a show like this, with some amount of definitive closure.

I guess in some aspects, that's necessary, all well and good, with lots and lots of questions left unanswered, figure it out yourself and make do.

But I've come into this live review with Kerry King with my head still spinning, finding it hard to decompress, and make some seminal thoughts of what the fuck I just witnessed.
But damn if the whole night, even prior to the show was downright magical, and just so special.
This is beautiful and frightful heavy thrash, of the no bullshit kind.
Played live- even more so.
Again- the band is tight.
The songs are tight.

The venue- the perfect debut for such a release as this, even on a weekday night.
Easily, easily, one of the best most unforgettable shows of the year.

Bobby Talamine - JBTV Music Television Chicago

Kerry King, From Hell I Rise, Paul Bostaph, Mark Osegueda, Kyle Sanders, Phil Demmel, JBTV Music Television, Fiza Javid, Bobby Talamine.

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Live Review: Sessanta - A 60th Birthday Celebration For Maynard James Keenan with: Primus, Puscifer and A Perfect Circle

5/3/2024

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Wintrust Arena Chicago
Wednesday - May 1, 2024

Lots of fun.
Lots of laughs.
Lots of ribbing.
As a 60th Birthday Celebration should be.
Starting with the tour poster: "A Primus Circle! A Perfect Puscifer! A Puscifect Primcle!".

Followed by what looks like an old school graphic illustration embodying all things campy and yet well worn- "B- Movie style".

Kinda like a just turned 60 year old, such as Maynard James Keenan, the monthlong tour Birthday Boy.
Although he's not alone in the 60 and up society / brotherhood- Les Claypool making that clear from their first foray of four songs in their portion of the set, Act I.
The ribbing of "Barnacles on the ass" not going unnoticed, with laughs of course, joining the 60 and up crowd, prompting a revised refrain of a slight apology late on in the set, which by all intent and purposes, proposes that a roast of the Maynard is proper fun, adding to the chicanery that you kinda know in is par for the course with a show that's set up like this.
To wit- no headliners. No "1- 2- 3".

Bands play, and play amongst and between themselves, collaborating being part of the game, in equal measure to accomplished heavy hitter songs for all three bands having their own just do of course.
And when you add to that, all three drummers are perched above on a backstage riser, staircases left and right, interspersed with relaxing and comfy couches, followed by a mini ping pong table stage left, and also to vividly display a nice competitive game of Rock 'em Sock 'em Robots between Carina Round and Maynard, which, when on the LED screens left and right, got resounding applause at the fight- I mean good and loud watching this from the main floor.
So- a show that's all things fun, as a birthday party should be.

Including Carina Round rolling out a cart with a lit up cupcake for Maynard to blow out- one candle only.
Again- lots of ribbing throughout.
And I haven't even gotten to the songs yet.
Overall- I did my homework a bit prior to the show in Chicago- not just reviews, and YouTube this, YouTube that, especially for the last song of the evening- "Grand Canyon".
The issues reared their ugly head on this tour, as any typical tour extravaganza usually does- mostly weather and Mother Nature related.
That they know how to pivot and make due and problem solve- that says lots about crew, and solution solving, let alone character.

That says lots also about the brotherhood of musicians, and coming in to add support in times of need, especially of the instrument kind.
I bring all of this up, without attending to the song selections and overall review from the Wintrust Arena in Chicago, because it was amazing witnessing the play by play of the problems with the shows at Red Rocks outside of Denver, and the snow storm that entangled their trucks and equipment and gear to make it to "Sick New World" 24 hours later- and- what to do. How to proceed.
Billy Howerdel, lead guitarist for A Perfect Circle, put the plea and word out like literally in transit- asking for assistance, since they're literally going to make the attempt to play at Sick New World, and do their best to make a go of it.
And the amount of brotherly assistance....just amazing.
I mean gobsmacked amazing.

So many people, good people, coming to their aid in time of need.
The way Billy told it- the phone calls and help went out like at 8am, contacting anyone and everyone, from borrowing gear, borrowing instruments, let alone assistance from talented technicians, and all assisting in pulling this show together for Sick New World, with literally zero seconds for help right up to show time.

So from my perspective, all that does is amp you up even more before their stop in Chicago, knowing that problem solving, what looks like insurmountable hurdles- all of that can be overcome, with the simple ask- and coming through in a clutch.

And to add to that, a well oiled machine of a show by this time towards the tour end, at the Wintrust Arena in Chicago, with the deep breath blessing of being indoors, not outdoors, where they have control of a few things, especially near freezing temperatures with anything "outside".
And the show works, works on many levels, specifically on overall view and display, nary a hiccup in sight, a methodical procedure where all three bands come and go, mainfloor / mainstage not being problematic whatsoever in anything transition related.

By the looks of things, poster art wise- it's like also a perception of an old school three ring circus, down to the funny "10 Cents" encircled in the upper right hand corner of the poster artwork.
Again, the timing between all three bands was impeccable, starting of course with three songs from A Perfect Circle to set the overall mood- "The Package", "Disillusioned", and "The Contrarian", with Carina Round contributing.

Such a delicate, yet forceful way to start the proceedings, Maynard in fine voice, decked out in a comfortable three piece suit front and center.
Then immediately up to bat- Les Claypool and the mighty Primus- "Act 1"- an ever ready boot stomping bass onslaught- as tight as they've ever been- drum beat fills equal in measure to sub woofer thumping pulverizing bass this- bass that.

Clever these guys.

On vinyl and CD- anything Primus related? Decent- kinda cool. How about Primus live?- That's where things get amped and elevated and memorable. Four songs in Act I- opening with "Those Damned Blue- Collar Tweekers", and ending Act I with "Follow the Fool".
Such damn gnarly fun, all things Primus.

Then of course- Puscifer's turn at the wheel. Opening with "Galileo", into "Tiny Monsters", and then "Indigo Children". A desolate and observant view of the shape of things, both on a personal level, and also outwardly, at your surroundings and environment.
Of the three, Puscifer is the more introspective and analytical thinking of the mind, and creative stream of consciousness writing.

Compelling, when you think of it, how through all of the "Acts" in sequence (there are three, followed by the "Sessanta E.P.P.P., and of course the finale, "Grand Canyon"), the song selections go from high energy/ let loose, to delicate and sophisticated art rock at a moment's notice.
And it all works, some 30 songs total, where, with music hounds like me, of the oh- so- observant kind- it bears repeats, if so inclined, if anything to resonate the nuances, and little things that are equal to the big moments.

A big moment for me- "Weak and Powerless", from A Perfect Circle, in Act II.
That song- crafty cranium synapses exploding- that kinda song, especially presented live, fresh and clean.

Equal in might with of course "Judith" from APC, coming later in Act III, where the slow build of intensity is equal in measure with Maynard's passionate plea vocals.
So when examined in full on unity, all three bands- a deep dive immersion to steady the ship with mighty songs, followed by sophisticated production, followed by high IQ judgement of making things a goofy birthday party, intentional that the professors on stage will zip some jokes by you that will go over your head.

But the appeal is beyond standoffish intent- all three bands incorporate a style and appeal that is discovery related, topics of concern well worth investigating, and well worth the deep dive in knowledge and learning beyond the scope of a mighty riff, followed by a mighty lyric.
Look no further than Maynard's other band Tool as a case in point.
Intellectual shenanigans, sure- for all three. Followed by "let's just have a damn good time, and- "Are in or are you out?"

Well, I'm a devotee, is the correct answer- so of course I'm in.
I'll cover all three of these bands in equal measure, even if I'm on crutches and arthritic pain, as the years progress, and they're still around.
Unforgettable-
That's the order of the day with Sessanta.

Bobby Talamine - JBTV Music Television Chicago

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Blink 182, Pierce the Veil, Dominik Fike, Melanie Martinez, Zedds Dead, Two Door Cinema Club, Vince Staples, JBTV Music Television, Bobby Talamine, Chicago, Live music, Lollapalooza 2024, Fiza Javid, Jerry Bryant, Grant Park

IVE, ROMY, Jerry Nunn, Ava Maybee, Nico Vega, Dasha, The Killers, Skrillex, Tate McCrae, JBTV Music Television, Bobby Talamine, Chicago, Live music, Lollapalooza 2024, Fiza Javid, Jerry Bryant, Grant Park, Hippo Campus, Deftones

Lollapalooza 2024, Bobby Talamine, Fiza Javid, JBTV Music Television, Grant Park, Sza, Sexyy Red, PawPaw Rod, Brandi Cyrus, McKenna Grace, Stray Kids Zedd, Perry Farrell

Lollapalooza 2024, Bobby Talamine, Fiza Javid, JBTV Music Television, Grant Park, Kesha, Been Stellar, Brandi Cyrus, Saint Levant, Hozier, Megan Thee Stallion, Perry Farrell

Pitchfork Music Festival, Bobby Talamine, Fiza Javid, Chicago, Live Music, JBTV Music Television, Jerry Bryant, MUNA, Brittany Howard, Model, Actriz, Grandmaster Flash, Nala Sinephro, Maxo, Akenya, 2024

Jamie xx, Pitchfork Music Festival, JBTV Music Television, Chicago, Bobby Talamine, Fiza Javid, Carly Rae Jepsen, Jessie Ware, De La Soul, Lifeguard, Feeble Little Horse, L'Rain

Pitchfork Music Festival 2024, JBTV Music Television, Black Pumas, Bobby Talamine, Fiza Javid, Chicago, Live Music, Union Park, Angry Blackmen, DJ Yaeji, Tkay Maidza, Jeff Rosenstock

Hawthorne Heights, I See Stars, Anberlin, Armor for Sleep, Emery, This Wild Life, Twenty Years of Tears Tour, The Salt Shed, JBTV Music Television, Fiza Javid, Bobby Talamine

Pallbearer, REZN, The Keening, Thalia Hall, JBTV Music Television, Fiza Javid, Bobby Talamine

Miki Berenyi, Mick Conroy, Oliver Cherer, Lol Tolhurst, Budgie, Kacknife Lee, JBTV Music Television, Fiza Javid, Bobby Talamine

The Damned, Dave Vanian, Captain Sensible, Paul Gray, Rat Scabies, Monty Oxymoron, The Dictators, JBTV Music Television, Fiza Javid, Bobby Talamine

Dark Lord day, 3 Floyds Brewing, High On Fire, Matt Pike, Abbath, Fugitive, 1349, Spirit World, JBTV Music Television, Fiza Javid, Bobby Talamine

Kerry King, From Hell I Rise, Paul Bostaph, Mark Osegueda, Kyle Sanders, Phil Demmel, JBTV Music Television, Fiza Javid, Bobby Talamine.