Pitchfork Music Festival 2023 - Day Three Highlights

7/25/2023

Sunday 7/23/23

Day Three from the Pitchfork grounds had so many highlights along with surprises.
A fine surprise-
The band Palm, who's set was cancelled from Saturday, because of pending storms, was a disappointment.

But lo and behold upon entering the grounds on Sunday, it came as a nice surprise to find out they were added to Sunday's lineup, opening up the Blue Stage to start the day.
It also speaks volumes that Palm decided to stick around, considering they're also breaking up, following a slew of farewell shows.

Their art rock / pop music speaks volumes in independent thought, with discorded time changes, dueling melodies that counter react, let alone wicked and unconventional song structures- all n' all, couldn't pass up this opportunity to witness them live.
A great set from the Philadelphia based band Palm, before they are no more.
And now for all things headliner Bon Iver-
Opening with scratched and distorted auto tune, followed by silence.
And then repeated.
Elegantly.

The hush from the crowd, through that sophisticated PA that Pitchfork provided- such a memorable and downright unforgettable take on all things that's Bon Iver.
Opening then with "Yi".
Then followed by "iMi", and into "Lump Sum".
Justin Vernon (Bon Iver), surrounded by a band that dissolves and evolves, disappears and strikes like a well oiled machine.
Over and over again- a wall and wash of melodies, and strung from the heart and soulful singing.

Combined, all of this is remarkable when presented live, along with the added luster of how Justin's voice just aches and aches, the pain of melody, harmony, let alone lyric, let alone surviving.

All the songs come off as confessionals, sincere honesty in attempts to break away from past pains, past wrongs, let alone isolation, no community.
Tough living equals morbid reflection.

To come out the other end, with bits and pieces- everyone walks this earth with a million questions, most of them remaining unanswered, some not knowing any path whatsoever to relieve the pain of the mind.
They talk the talk, they don't walk the walk.

There's no action and more action, finding a place to resolve and evolve.
But you get blindsided by Bon Iver, because again and again he delivers in painstaking detail the travails of failure, feeling wounded, and yet finding some modicum of recovery with his intimate songwriting.

Hard to describe the overall feel of things, especially when people attempt to label him, as "Indie Folk", and such.
Not that I think Justin cares- I do know he's not the kind of guy that enjoys solo acoustic, or at least a full set of that thereof.

His set and rig are more than anything vertically displayed, all the more easier for him to twist and turn his sounds, add distortion and abrasive hues, followed by samples and occasional electric and acoustic guitar, followed by sincere vocal.
He's a bit buried on stage behind his rig, a vertical comfort zone to proceed with the hallowed dread, followed by light.

And as for light- vertical strobes, horizontal strobes, on cue, leave their mark depending on song selection.

Bottom line, all of this is well thought out, both musically and visually.
The whole set, breathtaking in scope, incorporating the many sides of Bon Iver, showing just how versatile he is, how essential he is.

Nothing like a guy who reckons his feelings of heartbreak, pen to paper, and composition matters of the utmost.
Stuff like that never gets old, never gets outdated.

It sticks with you like glue, especially when completely honest and ugly, nothing added later to soften the mood, or articulate through outside influences and the like.
They're your own -
And you make and made it so.

Another Pitchfork nugget that will definitely make the year end lists as far as live performance.

As for the other 12 notable acts that appeared throughout the day-
Standouts after shoutouts-

How about Killer Mike?

All gospel related, mostly presenting his latest release, titled "Michael", which was perfect for a Sunday, everything set wise and costume attire wise, bathed in white, like right out of an Atlanta Georgia chapel.

That his latest release is bathed in all things gospel, with a mix of soul and funk, followed by intelligent rap musings, and a bit of preaching here and there- all of it was sermon uplift, positive vibes, with a mix of good and orderly direction.

Mdou Moctar, who headlined the Blue Stage on Sunday as well-
A guy who trailblazed throughout his set, upping the ante time and time again with intricate and downright captivating shred modality, all the while forcing his band to comply, and add on strikingly in tone and feel.
Another significant highlight from Pitchfork Day Three, from a guy who's doing his best in transmitting messages from a higher power and electrified throughout for the whole world to see.
I'm not kidding when I say that.
Mdou Moctar's music is life changing, life affirming, on a higher and spiritual level.

Same with JPEGMAFIA, even with fighting though hiccups that were sample and music related, the heat of the western sun making things not positive for the poor guy, to the point where they had to move his setup completely stage left, to get a bit of shade on the rig, so that it didn't melt completely away.

But JPEGMAFIA, still found a way to deliver, onslaught style, mixing it up with the crowd, mixing it up in the pit through the photographers, just mixing it up everything.
And Kelela, who headlined the red stage- a completely barren red stage.
All the more room to roam about, and convey crafty and sexy singing / songwriting.
Philadelphia's Soul Glo brought the intense onslaught as well, non- conforming and brazen, delivering a brashness and angst that brought out some serious moshpit action, with a major moshpit dust cloud to boot.

Florist- delicate as all get out, "lo- fi" the order of the day, the hushed crowd in complete observance.

Locals Areil Zetina, a fixture in Chicago's underground dance scene, brought the party to the masses, incorporating dance themes with her regulars, like it was 2am at night, not necessarily 1 to 1:45 in the afternoon, blazing sun be damned.

A pleasure to witness the likes of Jockstrap and their all over the map music leanings, along with Hooray for the Riff Raff.

Rachika Nayar, as delicate as ever, Lucretia Dalt as well, with her sophisticated samples and incorporating an exotic sounding percussionist to up the ante on dancing in place to the groove.

Pitchfork Day Three- always delivers year in year out, with an eclectic mix of memorable experiences.

Makes you long for all things Pitchfork 2024.

Bobby Talamine - JBTV Music Television Chicago

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Pitchfork Music Festival 2023 - Day Two Highlights

7/23/2023

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Saturday 7/22/23

From the grounds of the Pitchfork Music Festival Day Number Two:
Plenty of highlights, and also plenty of surprises-
Both artist related, and also weather related.

As far as weather related- the skirmishes of storms that kinda brushed by the lakefront, and look on radar that they might be lightning related- this happened a couple times earlier in the afternoon, although not complete evacuations from the Pitchfork grounds ( that would happen later, around the five o' clock hour).

But the two minor ones earlier- a new protocol was enforced- not standing alongside any barricade within a hundred feet, because of potential lightning.
Felt bad for the security guys trying to enforce this, since people have a hard time navigating anything a hundred feet distance related.

And it's unfortunate to bring up anything weather related right off the bat, because of the outcomes in delays- which means postponing or completely striking off the schedule certain artists you were looking forward to seeing, such as Palm, who were supposed to go on at 1:45pm, or shortening sets, or mixing up sets.
Troublesome- anything weather related.

But that's what you get with outdoor festivals in general- a chance well worth taking, especially with a solid lineup and bookings, which is par for the course in regards to anything Pitchfork.

And as for a main highlight of Day number Two from Pitchfork- Natalie Mering- otherwise known as Weyes Blood- we were given the option of photographing the last three songs of her set- "Do You Need My Love", "Twin Flame", and the closer "Movies".
But wouldn't you know it- a steady rain for the last three, and for literally half of her set.
No matter- the show proceeds (thank god).
And even from off in the distance- the gentle and complex melodies are the order of the day with Natalie, especially with the opener "It's Not Just Me, It's Everybody", followed by "Grapevine". both of which are standard and glorious plums from her latest release, "And in the Darkness, Hearts Aglow".

That album, released late in the fall of last year- transfixes.
Such breathtaking beauty, so well thought out in scope and magical weave.
That Natalie appears like an angel goddess as well when performing, only adds to the luster of it all, and if you think things through for a moment, why let a light and steady rain thwart you when witnessing her perform live.

She's all about mother nature, rain included.
That was my brief take on things from the pit, along with the word "Acceptance".
She's up their performing, you're down in the pit documenting.
So there. Deal with it.

Natalie Mering- meant to examine wholeheartedly these turbulent and troubling times- not by beating you over the head- just the opposite.

Gentle and sophisticated melody, followed by heart rending questions of existing, all the more so- environment related, mother earth related, relationships related.
The transfixing moments, especially towards the end of her set- is the mental image of a cracked heart, a wounded heart, and the way to make it heal.

The cover art from "And in the darkness, Hearts Aglow" reflect and make note of this recurring theme, which shows Natalie with a glowing chest, looking so angelic and spiritual.

Her take on things, especially relationship related, is that broken heart, it must emanate a light to recover, and to become anew.

Through pain, coming out the other end, comes light, the ultimate remedy.
So when she turns to the drum riser, and then turns back to the audience, there you have it- hearts aglow, and of course her devoted audience just eats it up.
Time and time again- it's just so transfixing, never lost with me whatsoever in regards to shared communal support and the gifts of acceptance, both mentally and physically and spiritually.

The word "Gifts" comes of the utmost importance, especially in trying to describe her performance, and the exquisite beauty of it all.
Without question, the highlight from Day Two for me.

But there were other notable nuggets throughout-
The gifts of dancing and letting loose, with the electronic duo of Bolis Pupul and Chralotte Adigery, headlining form the Blue Stage. There set had obsessive punch, and a sincere approach of honesty permeated their set throughout.
Such an delectable mixture of sexy beats, danceable beats.
As for Archy Marshall, well known by his stage name King Krule- he still rules- thank god that his set remained undiminished through the pivots of rain delays and lightning delays.

Archy is cool in his own right, but alongside that whipsmart band of his, elevating his brand of punk jazz with electrified amped everything.
Another set from Day Two that was so downright memorable.
Hopscotching all over the place, with the mid afternoon coolness of Black Belt Eagle Scout, otherwise known as Katherine Paul- from mellow vibes to all out post punk this and that.

Her set was equally entertaining, and filled to the brim with indie rock energy.
MJ Lenderman held sway in the afternoon as well, not much stage presence and energy, sure, but the the band can delve into slide guitar everything, making songs dance and bounce with different twists and turns.

As for openers from Day Two, with Chicago's Deeper- this band can move and shake.
Nic Gohl, who is the lead singer for Deeper, and who also plays guitar and also writes the lyrics, has his ear in the right place when I hear his band perform live- you hear jagged Television, wicked Echo and the Bunnymen, chiming guitars throughout, and even a bit of power pop mixed in as well. Loved watching this band perform so early in the day.

Loved watching the headliner from Day Two as well, with Big Thief.
A gentleness was the order of the day with them, even though a couple of the guys in the band made the attempt with costume- ish clothing, to up the ante in all things fun mixed with a cool factor.

The humor of it all did not go unnoticed, especially considering the folk and acoustic vibe of main frontwoman Adrianne Lenker.

The vibe and feel was definitely "Pin Drop" related, all well and good when coming to terms with their overall aesthetic and gentleness of mood.
A day with many highlights, even when traversing through slight weather mishaps.
Bobby Talamine - JBTV Music Television Chicago

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Pitchfork Music Festival 2023 - Day One Highlights

7/22/2023

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Friday 7/21/23

All things considered-
A different approach is needed in describing and writing about the highlights from Pitchfork Music Festival Day One.

The reason-
Thom Yorke, Jonny Greenwood and Tom Skinner of The Smile, headlining Day One.
No buildup to headliner in this highlighted review-
Fire the volleys now.
Nothing buried in the mix.

The "Take Notice" sign in my head happened earlier in the late afternoon, when Jonny Greenwood gave an interview from Pitchfork's Backstage Dash Pass Interview Stage-
And multiple times he gave props to drummer Tom Skinner, and how he is intrinsic to the overall shape and sound of The Smile, bleeding forth with improvisation and jazz roll complex drum fills.

He didn't say this lightly or matter of fact.
Jonny meant every word of it.
And he should know better than anyone, ear to the ground and steeped in melody and cohesive collaboration, with whatever he approaches and takes part of.

So that was ingrained in my head while immersed in their headlining set, following the path of Tom Skinner, and watching the three of them collaborate and twist and turn everything setlist wise.

This clearly by my take on things, not the same band that travelled through Chicago back on the first of December from last year.

They have evolved considerably, all the while taking chances with their crafty songs, and doing their best in making them anew.

Their setlist has also changed somewhat, having by now, to close out their North American Tour at Pitchfork, provided twists and turns and re- imagining things material wise.

Opening with "Pana- Vision", with Robert Stillman on Saxophone, and then followed by "The Opposite", and also "Hairdryer", all three not quite sounding the same from previous sets I've witnessed, courtesy of yet again, Tom Skinner, followed by Jonny Greenwood and Thom Yorke.

Some fifteen songs in total, most likely shorter because of Festival curfews, but that's a minor quibble.

All n' all, this is a chance for Jonny and Thom to get back into their heavier roots, stretch out a bit with simple setup, expound on the aura of mystery, blending genres of music all so seamlessly, and taking deep dives in their panoramic vision of subdued and yet complex soundscapes.

All the more breathtaking when hearing all things emanating from them succinctly in an outdoor setting, with a sophisticated PA to back up the juice coming from the stage.
It's for these reasons that I wanted no buildup to headliner.
This has to be the prominent news of the day, not buried in the mix, lest I forget what the hell I'm writing about.

Again- with The Smile- one of the best live performances of the year, and so happy that it was Pitchfork making that happen, on a perfect summer evening in Chicago.
As for the other sets, all well and prominent in the images immersed throughout-
Lots of excitement and buildup with the Canadian band Alvvays- with Molly Rankin, their front and center singer- songwriter in fine voice, staying put like the rest of the band, and letting their music do the talking.

Chicago's Ric Wilson as well, having now over the past few years developed his sound, and amped up the party with sophisticated songwriting and dance inflected four to the floor beats with attitude and mystique.

He developed a lot of that with previous performances at JBTV Studios back in the day, taking nothing for granted whatsoever.

And yes he has every right to convey to the masses or to anyone within earshot that he's an "electrified motivational funka hop pop poet", with attitude to spare, crowd participation a priority.

Same as well with Mike Hadreas, otherwise known as Perfume Genius, who also blends and melds his songwriting, finding and developing a band that adds the "electric" to all things considered.

And as for Mike's voice... man does that guy have range, and range to spare, from ultra high falsetto and low baritone thump to throw at you through his ultra rich fantasy landscapes.

Same with Trevor Powers, otherwise known as Youth Lagoon- although a bit subdued, sitting behind his flank of synths and samples, but able to convey honesty and depth of songwriting with that band of his.

Other acts of note, who made a mark throughout the day:
Nourished by Time, who opened Pitchfork Day One, along with Contour, and of course full on band with Sen Morimoto, and also Mavi, and Grace Ives, Axel Boman, and his rich and improvisational electronic soundscapes, and even Nation of Language, with their bopping synth pop melodies, and brazen rapper LEIKELI47, and her push forth rapping style.

The weather- delightful throughout.
The crowd- attentive and chill for a Friday in Union Park.

More coverage of the next two days at Pitchfork to follow accordingly.
Bobby Talamine - JBTV Music Television Chicago

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Live Review: Jenny Lewis- Joy'All Tour 2023

7/9/2023

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Salt Shed Chicago
Fri 7/7/23

Jenny Lewis is finally back in town, at The Salt Shed in Chicago, on a whirlwind North American tour, celebrating her latest release, "Joy'All".
The album is well represented setlist wise, as well as it should.
Terrific and captivating songwriting, so heartfelt, and true to her roots, and celebrating country swing, for lack of a better term.

To set the mood:
Lots of fire engine red throughout the stage.
Fire engine red vertical and shiny striping backdrops, to the ceiling- like twenty feet in height to the stage floor.
Fire engine red carpeting.
Fire graphics on a couple of the floor amps.
Lots of fire engine red lighting.

All of this done up with class, not looking dated and schmaltzy.
The overall look and feel- mid seventies vibe, back when country music had some swing, but with an overtone of tough to the bone lyrics depending on the mood and the honky tonk, and the crowd therein.

One key piece to all of this is what's on top of her electric Rhodes piano- a landline phone with chord attached.

But outside of that, Jenny has always immersed herself deeply through past releases, whether with Rilo Kiley back in the day, or her varied and cool solo albums, taking honest twists and turns that are true to her heart without wasting away through "dialed in" content.

Jenny just writes and writes and writes, always willing to listen to suggestions, always willing to risk to try new things, even in the case of simplifying things when recording.
I bring this up in regards to "Joy"All", and how the overall sound and feel is not overly complex and dragged down- it's just the opposite, especially when hearing the songs live, with added punch from that band of hers.

Opening with "Psychos", a syrupy cool throwback of sorts, with a lazy mid seventies mellow feel, but addictive as all get out.

The build up setlist wise just flows easily from there, with a backup band that is perfectly well suited for the intricate and mellow vibe, pushing and pulling merrily along to "Do Si Do", and "Just One of the Guys".

But it's the new material that commands your attention, such as "Puppy and a Truck", and especially "Giddy Up", another song that inspires and invokes a Carole King vibe of solid music storytelling.

That her influences on "Joy'All" are varied and solid, and far and wide- all of it is Jenny channeling her inner feelings, and writing so honestly, whether exploring relationships, and simply living in this complicated world while traversing your mid to late forties.
Older and supremely wiser- that's Jenny Lewis.

That she digs playing with her band shows throughout her set, with big grins and the occasional laugh, some extended foot kicks to dig into the beat, and letting loose with the occasional hip swing and shake.

She's having a grand old time up there and diving deep into her songs, with some cool covers to boot: like during the encore and opening with "Silver Lining", a Rilo Kiley cover on her acoustic, or even midway through her set with "Lust for Life", a Girls cover song.
But man, the honky tonk swing vibe throughout her set- just so damn addictive.
She really means it, when she conveys joy, and wants others to get in on the joy.
The Salt Shed crowd truly were in it, smiles and whoops and hollers and all.
The Jenny Lewis party just kept upping the ante as the night unfolded.

I for one was grateful to be in on the action- documenting the coolness of it all- simple setup as far as presentation, and yet- when you think of it, replaying the tapes in your head- it's anything but.

A fittingly tight and well rounded show- like a cool summer breeze.
From July 10th to July 25th- you have ten chances to catch her live, ending on the 25th in New Orleans.

Highly highly recommended.

Bobby Talamine - JBTV Music Television Chicago

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Live Review: SPARKS - 2023 World Tour

7/6/2023

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Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Copernicus Center Chicago
Wed 7/5/23

Ron and Russell Mael of Sparks, currently on their 2023 World Tour, with a stop at the Copernicus Center in Chicago.
Many takeaways from their set, and mostly revolving around dancing.
Dancing in the song titles, such as "We Go Dancing", "Music That You Can Dance To" come to mind.

And they do propel to you dance, and get up out of your seat.
Speaking of that- seven songs in, with "It Doesn't Have to Be That Way", and the audience started to get in on the act- no more sitting, now it's time to dance in place, and furthermore now it's time to dance in the row, and yet again now it's time to dance in the aisles.

All in good fun, all in favor of.

All of it- the entire setlist, opening of course with "So May We Start", led by the fun, and the positive energy of Russell Mael, prancing and dancing about the stage in clever heart skip and a beat or two, infectious as all get out.

A twenty song setlist in total, including encore, all of it inspiring, backed with a band that propels the Mael Brothers into a higher plane of amplified fun and games.
Even their most latest release "The Girl is Crying in Her Latte", still has holding power equal to their back catalog- what with a downright addictive video featuring Cate Blanchett of all things dancing in place to the beat, and like most Sparks songs, what seems so simple is anything but, and so worthy of repeats.

Same holds true with their latest single "Escalator", and the overall mood is transfixing, with a synth heavy melody, but the undercarriage of the song, along with the live presentation is captivating, done up Sparks style.
I bring all this up because over the lengthy length of their storied career, nothing has changed with imaginary and infectious songwriting.
These guys can write about anything, I mean anything.
Very observant and bright- that's the Mael Brothers.

Makes you look forward time and time again when they pivot to something else, and you get all giddy because through word of mouth you hear they're back in the studio yet again recording and writing new material.

But for live shows- they leave a mark- a mark in your cranium that's ever so memorable, with a huge residual smile on your face.

And of course, mister deadpan serious looking Ron Mael has a couple moments to shine, the most memorable, during the song "The Number One Song in Heaven", and he takes his turn in the "Running Man" style of dance letting his legs get all wiry and wobbly with a wicked grin across his face from stage left to stage right, the audience always eating it up with shrieks and hollers of approval, before he settles back into his deadpan serious look behind his "Ronald" keyboard.

Stuff like that with the boys in Sparks never gets old.

Again, all in good fun, all in the moment of letting loose and mugging it up, making the most of their setlist dance club worthy bangers.
And how about the loud and rapturous applause at the end given to the Mael Brothers? Long and loud, and so well deserved.
You knew before hand that they were going to deliver.

Most reassuring when they do, wishing that they won't leave the stage whatsoever.
Just stay and we'll make the most of it, camp yard by the bonfire style.
And something tells me in that dream, if that were so the case, they could make a song or two out of that as well.

Clearly yet again, one of the best live shows of the year.
Hard to beat Ron and Russell Mael of Sparks, who have a deep appreciation of their fans, reciprocated in kind with an audience in Chicago who know a thing or two about gratitude and sincere honesty when they see it.
Long may the brothers Mael captivate.

Bobby Talamine - JBTV Music Television Chicago

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THE JBTV BLOG

Pitchfork Music Festival 2023 - Day Three Highlights

Pitchfork Music Festival, Bon Iver, JPEGMafia, Killer Mike, JBTV Music Television, 2023, Bobby Talamine, Fiza Javid, Chicago

Pitchfork Music Festival 2023 - Day Two Highlights

Pitchfork, Pitchfork Music Festival, Natalie Merring, Weyes Blood, Big Thief, King Krule, JBTV Music Television, Fiza Javid, Bobby Talamine

Pitchfork Music Festival 2023 - Day One Highlights

Pitchfork Music Festival, The Smile, Thom Yorke, Jonny Greenwood, Tom Skinner, JBTV Music Television, Fiza Javid, Bobby Talamine

Live Review: Jenny Lewis- Joy'All Tour 2023

Jenny Lewis, Joy'All, The Salt Shed, JBTV Music Television, Fiza Javid, Bobby Talamine

Live Review: SPARKS - 2023 World Tour

Sparks, Ron Mael, Russell Mael, Sparks World Tour 2023, JBTV Music Television, Fiza Javid, Bobby Talamine

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