 Amyl & the Sniffers - Bobby Talamine (c) 2022  Amyl & the Sniffers - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid I was forewarned about this show in advance, from fellow rock n' roll photographers, fellow music writers, and from music hound friends who've seen them perform live over the past few years. And before their show at the Logan Square Auditorium, in the midst of their current North American Tour, I did my own investigating of them performing live on various social media platforms, and other sources. And yes- Amy Taylor is the definition of volatile, no matter if the show is indoors at an intimate venue, or outdoors at whichever festival, whether they're headlining, or whether they're opening, or lined up in the middle. It just doesn't matter. I could imagine this further, considering their set at Logan Square Auditorium was a setlist consisting of 20 songs bulldozed through, with no brakes, all songs incendiary, even with the attempt of a couple slower tunes (which for all intent and purposes were still full on Ramones style). No breathers- just punishers. My point is this- you're at a festival, in the middle of a band pow wow- your set is approximately 30 to 40 minutes in length. Can only imagine that huddle- what to include songwise, what not to include. I assume, by what I've witnessed prior to their show here in Chicago on a Saturday night, that the shorter the setlist, the more they feel they want to be remembered. Big wide grins throughout- smoking the audience and critics alike with bazooka songs like "Guided By Angels", and "I'm Not a Loser", into "Don't Need a Cunt (Like You to Love Me), and so on. In the huddle, you are all in agreement that the next 30 to 40 minutes should be a bludgeoning. And then off you go.
 Amyl & the Sniffers - Bobby Talamine (c) 2022 So yeah- a seasoned photographer like me, up in age, wonders what to expect in an older and rather charming and yet antiquated building such as the Logan Square Auditorium, with no pit barricade, audience up to the lip of the stage, plus Amy Taylor working the crowd into a nutty frenzy on a warm Saturday night in Chicago...better suck it up dude- and get to know your neighbors. Not that they would have your back or anything, but just have some sanity knowing in your little pocket of real estate for the show, that we will try to manage, And by all means, it wasn't all that bad. Yes- the show was barnstorm intensity throughout, with a mix of young and old in attendance, and most of the moshing and body surfing was female related believe it or not, including the stage diving. And depending on the the song, even when standing still, you could feel yourself swaying a bit- up and down- left and right, from the floor beams below you holding forth from the rumble of the crowd. So yes, it was that kind of exhilarating show, brought forth by a powerful front woman, who although dresses sexy, uses tight fashion, such as short shorts, and a crocheted crop top, more as a gymnast, than full on gratification. Her clothes choices strike me as body armor, knowing full well the sex appeal, and yet for concise physical movement, brought on by anger (name whichever tune), and bandmates that are protective- all of this adds up to unleashing of the hounds and work up a mighty sweat, 30 seconds into the first song selection called "Snakes". and just don't let up from there whatsoever. And you have to have a tight rhythm section to sustain the freight train, that being steady bass provided by Gus Romer, and of course a consistent and heavy backbeat provided by Bryce Wilson.
 Amyl & the Sniffers - Bobby Talamine (c) 2022 The undercarriage in a band like Amyl & The Sniffers has to sustain low end / backbeat punishment, and has to be consistent. Think about fellow Australians AC/DC for instance- that astounding band relies on the same- awesome drums / bass / rhythm guitar. Angus dwells in over the top because of what backs him up. And even though The Sniffers don't have (or need to have), or don't want a rhythm guitarist, they do just fine with lead from Dec Martens. So most likely friendships and brotherhood and bonding first, followed by rock band, followed by fearlessness and brashness, and mistakes are ok- it's part of the game, part of the rough edged angst that we have to fight through. And the development over the past few years- the payoff- a levitational blessing to witness live, and also to survive after the end. Refreshing though and through. And with Amy Taylor- this is a workout. There's lots to discuss. There's some disdain with the current state of affairs we as humans find ourselves in, and her observations are incendiary (obviously), and there's plenty of writing material to grow into that with this band. So coming full circle- you need a reckoning to witness live, more often than not. You need a rude / brash / riotous / working class roots band to come along more often than not to kick you in the nuts and wake you up. Yes- to wake you up out of your mamby pamby doldrums- yell a little bit- pretend yet again that your a 23 year old trapped in a 65 year old body. So yeah- Amy Taylor, Dec Martens, Gus Romer, Bryce Wilson of Amyl and the Sniffers- you're my heroes. And no matter the occasion going forward, consider me a soldier- and I have your back. Bobby Talamine - JBTV Music Television Chicago
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 Mastodon - Bobby Talamine (c) 2022
 Mastodon - Bobby Talamine (c) 2022 Writing and Photography by Bobby Talamine Edited by Fiza Javid What to expect at a Mastodon show: Lots and lots of sophisticated lasers. Lots and lots of sophisticated lighting. Lots and lots of heavy duty PA. Lots and lots of sophisticated and know your instruments musicianship. | could go on and on about this- equally both with Mastodon and Opeth, who are co- headlining this North American Tour. However, with so much to say in a concise review- your head spins in reviewing notes from the show, and to state what's relevant without sounding like a tech nerd or a gear nerd. But how can you not veer into that territory when witnessing firsthand yet again a schooling on bravado musicianship from both bands, let alone embracing sophisticated musicianship that leaves you in awe, not wanting either band to leave the stage so soon, to play on through the night until the whole Riviera Theatre implodes. Seriously- it was that kind of show. And in the back of your head, you kinda of already knew this weeks ago, and even going through the doors of the venue prior to the first note. Just look at the opening number from Mastodon to give you an idea of shock and awe: "Pain With an Anchor", from their latest release- "Hushed and Grim". A song sung with such heartfelt content from drummer Brann Dailor, and shared vocal duties from bassist Troy Sanders. You know it's heavy lyric wise, emphasizing the pain of what Mastodon has experienced the past couple years, with the passing of their former manager Nick John. If you're in the know- that was tough. Incredibly painful. Hard to fathom, let alone figure out the "Where do we go from here"- and how to proceed- let alone the timing of it all, and defining grief. All of this needs to be said clearly, in my opinion, simply because when coming out the other end, and carrying all that wait, their songs, their catalog take on greater meaning- greater depth. So Mastodon does proceed, to the delight and gratefulness of their fans, with a swagger and a fight for the ages, and with such honesty and no bullshit- no covering up of anything. And so off we go into "Crystal Skull", into "Megalodon", into "The Crux". This should give you an idea of musical punishment of the good kind- relentless and uncompromising, 14 songs blistering in total, ending with your ears and cranium burning with "Blood and Thunder". And even though their setlist was heavy on "Hushed and Grim"- some six songs total- the album is equal and then some to their mighty back catalog, worthy of display. And who am I to judge? Overall- they're ready to go with a rejuvenated mission of performance and embracing touring, which they clearly still hold so dear. So thankful for them, and coming out the other end with their spirit still intact.
 Mastodon - Bobby Talamine (c) 2022  Opeth - Bobby Talamine (c) 2022  Opeth - Bobby Talamine (c) 2022 I can say the same for Opeth as well- another stellar band who's had their fair share of personnel changes, and still massively influential and admired by their peers, let alone their fans who've stuck with them form the days of the mid nineties. Anchored solidly by longtime member Mikael Arkefeldt, and Fredrik Arkesson, the two guitar attack of blistering musicianship leaves you always trying to figure out the what- the fucks, and comprehension after the fact. And they make it look so easy, which leaves you with even more questions- just how nonchalant they are, or at least appear to be, time and time again. Opening with "Hjartat vet van handen gor", a song with blistering twists and staggering turns, with acoustic interludes to catch a breath, and then the unleashing of the hounds for the ever so mighty "Ghost of Perdition", equal in might to dark metal / black metal, and yet heavy on acoustic interludes equal in scope for stellar singing / songwriting. Not a weak link in the bunch, some eight songs in total, ending with the heavy hitter "Deliverance". Oh how I've missed these guys, and what they bring to table music wise, time and time again. So to come full circle- here you have two bands that share a common DNA and gene pool of upper echelon technically un-categorizable musicianship and songwriting- true to their roots, true to their influences. Have to say, even with openers Khemmis, from Denver Colorado, all three bands were punctuated with a display of might and a sonic onslaught of epic proportions. Try saying that fast three times.... Yeah- it was THAT kind of show. Bobby Talamine - JBTV Music Television Chicago
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