![]() 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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![]() 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![]() 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![]() 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![]() 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![]() 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![]() 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 TalamineLive Review: Dark Lord Day with High On Fire, Abbath, Fugitive, 1349, Spirit World & Sybris5/20/2024 ![]() 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![]() 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.![]() 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 Sessanta, Maynard James Keenan, Primus, Puscifer, A Perfect Circle, Carina Round, Les Claypool, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid House of Blues Chicago Friday - April 26, 2024 The band still lives, thank god. They're as fierce and as committed as ever- that being Christopher Hall and Walter Flakus of Stabbing Westward. So refreshing, so invigorating to see them performing live, and in their element of embracing high energy with solid songs in a live and intimate venue such as House of Blues Chicago. It's like you have to take a deep breath of sorts- that the band is still intact, after some 35 or more or so years of some serious tumult, and rugged ups and downs of staying together, staying intact as a band. ' I'm not in their shoes obviously, but from interviews, and knowing the guys somewhat over the years- you get a sense that they understand emphatically the amount of courageousness it takes to make attempts throughout to keep things going, let alone find that creative spark to continue to write solid songs, let alone perform. And it's like the oddball potholes never let up, including their Facebook page, let alone other social media sites, which before entering, have this kind of disclaimer: "Are you sure you want to continue? This search may include content that's graphic or violent, which may be sensitive to some people". All because the word "Stabbing" is in the name of the band. And it's not as if there's a hotline or a customer service to Facebook and other social media companies to explain your case direct- let alone if any knucklehead who came up with the disclaimer has investigated their website or social media home pages further to check what they're about, and realize that the statement upon entering said website or homepage is the dumbest thing known to man, or at least pretty close, when actually viewing the website or home page firsthand. Now you have a brief idea of what Christopher and Walter are up against, compared to other bands of similar genre and feel. The definition of oddball- stuff like that to comprehend and overcome. However they certainly know how to rise above so to speak, and just get on with it. And when performing live, with the additions of Bobby Amaro on drums, along with Cyamak Ashtiani on guitars- they have that spark, that chemistry to elevate things, with an 18 song set that delivers, no let up in sight. ![]() An invigorating show, with amped up enthusiasm from the main floor brethren, with Christopher Hall delivering flawlessly throughout, and Walter getting his fair share of letting loose when the moment strikes, keyboards not stopping the limited feel of space- hit a solid note and notes, and move around accordingly stage wise. A simple set up at the House of Blues, not much clutter, the four of them, with a white backdrop that had solid visuals to amp up the mood even more, followed by solid musicianship. And their songs, their catalog to the present day- A wide breadth of coolness, with nothing seeming dated whatsoever. Gotta like that about a band like Stabbing Westward, who since 1985 have persevered, and have continued to deliver songs flawlessly, even while under attack from incompetent this, incompetent that. Christopher and Walter- two guys who know a thing or two about like minded vision- like minded intuitiveness to see things through to the end, done their way. Touring on the strength of their latest release, from 2022- "Chasing Ghosts"- and yet their setlist reflects a lot from their back catalog, with "Dead & Gone" being the only song from "Chasing Ghosts" performed live- no matter. The song selections were bangers throughout, including an invigorating cover from The Cure in "Burn"- a song that has the inkling and understated firepower of expansion, done with propulsive firepower followed by heavy backbeat, and made even more dark than the original. Their whole set had that same sort of feel, where the songs matter lots, that taking deep dives into overall mood and striking delivery should be equal in measure. My opinion- the band deserves more and more. They are still that good and solid as all get out. Makes you want to stand up and take notice, to get the word out- no slights whatsoever. My kinda show that leaves a memorable mark in your cranium. Bobby Talamine - JBTV Music Television Chicago Stabbing Westward, Bobby Talamine, House of Blues, JBTV Music Television, Fiza Javid, Chicago, Live Music, House of Blues, Jerry Bryant![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Vic Theatre Chicago - Thursday April 11, 2024 Finally, Young Fathers are in Chicago. So looking forward to this show- for months on end. And they don't disappoint, even on a weekday / workday night, at The Vic Theatre in Chicago. What's cool from the start, is the amount of real estate they use on The Vic Theatre stage- which is minimal. The setup for gear, main floor mics, drums, floor wedges- that's all in the absolute center, recessed back from the main lip of the stage by about seven feet. Same with stage left and stage right- total dimensions of the main stage floor setup looked like maybe ten feet to twelve feet deep, twenty feet or so in width. And they utilized that space comfortably virtually for the entire show. Large stage, small setup, making things more concise, more tight. This works on many levels, especially for such a unique band as Young Fathers. And they've been around for awhile, honing their craft in all aspects of renegade hip hop thought, with crafty beats, subdued emphasis on percussion, along with a walloping drummer to provide the necessary fills when needed. Touring on the strengths of their latest release "Heavy Heavy"- from back in early 2023, the Scottish trio of Alloysious Massaquoi, on Vocals and occasional floor tom percussion, along with Kayus Bankole, also vocal duties and some percussion, and lastly Graham "G" Hastings, with vocal, percussion and other instruments- the three of them being together as Young Fathers since technically 2008- have constantly redefined their sound, all the while upping the ante in communal hip hop, shared vocal, heavy backbeat electronica, with a solid tribal feel. A lot to take in in regards to description, sure, but meaningful, nevertheless. You can't pigeon hole them, nor in my belief do they wish to be- let alone having a multitude of social subjects to talk about, to shout out about. "Heavy Heavy" in particular, the strengths of that record alone- hit hard and deep. Performed live, even more so, especially with the unique and concise floor setup, with songs such as "Rice", "I Saw", and "Drum" in particular. ![]() Especially for me throughout- the procedural and communal choruses, followed by shout out call and responses were just mesmerizing to witness live, stopping you in your tracks, and with a sonic punch that never wavered whatsoever. Just so unique and raw, let alone the slow build from opener "Get Started", from "White Men Are Black Men Too"- in 2015, and then off to the races with "The Queen is Dead", and into "Get Up", which by all intent and purposes is a barnburner, with an oh so catchy buildup four to the floor beat. And these first three on the set for tonight- not even from "Heavy Heavy". Yes, their back catalog up to the present day equally up for the challenge, and still noteworthy and powerful. Some seventeen songs total, ending with "Toy", all the while immersed in solid optimism, even for troubled times, and navigating though landmines which seem to be coming at you from everywhere. Their blend of optimism, followed by deep rooted soul, added with raw emotions and a commitment to perform as if its your last day on earth...all of this leads up to the simplicity of the whole presentation, the layout of the band, that the songs matter, and the delivery thereof, with minimal lighting, mostly orange hues with the occasional white strobes- all of this is meant for the songs and delivery, not nauseating bells and whistles and flashy pizzazz. The overall feel they present to you, just so damn heartfelt- they don't need all that extra bullshit whatsoever. Suffice it to say- easily one of the best shows, one of the most anticipated shows of the year. So cool that the delivery was from an intimate and awesome venue such as The Vic Theatre- where sound in an intimate listening room such as The Vic matters. It matters lots, especially for a band as uniques and astounding as Young Fathers. Bobby Talamine - JBTV Music Television Chicago Young Fathers, Heavy Heavy Tour 2024, JBTV Music Television Chicago, Fiza Javid, Bobby Talamine, Graham "G" Hastings, Kayus Bankhole, Alloysious Massaquoi![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Sleeping Village Chicago - Sunday, April 7, 2024 A stunning showcase was presented this past Sunday at Chicago's Sleeping Village with Brittany Bindrim, celebrating "Velella Velella", an album release showcase, one of two, at Chicago's Sleeping Village. The first showcase was held a couple nights before, up in Madison Wisconsin at the Crucible. From all intent and purposes, a jumping off point of sorts, to celebrate this amazing new album by Brittany, with a sort of local homecoming, more intimate, more celebratory and most of all supportive. Even for a Sunday night, a great turnout, and very enthusiastic, and like me, want to see Brittany succeed, and to see her perform live. She has a solid history, with I:Scintilla- a post- industrial workhorse of a band dating back to 2003. And as the band evolved and incorporated other musical styles, backed with solid touring throughout- all of this just established feet planted firmly on the ground, solid performing and commitment, and most of all confidence. Refreshing to see Brittany stretch out on her own, and making headway into by the looks of things from Sunday night, a promising and solid solo career. I'm sure there's plenty of challenges, not just in recording and actual songwriting, but also in artistic expression, and how to convey the new songs in such a way that what you see in your head, what you hear in your head, can be expressed in a way that captivates and holds an audience, let alone reaching out a bit and adding to the overall sound and aesthetic with some amazing musician friends. Trust me- there's most likely more questions and answer than that. But still- love that she made the push, love that she's making the attempt. Certainly the first volley of singles and videos, prior to Velella Velella being released- starting with "Obelisk" back in early December of last year, followed by "Fever Dreams" mid January, and then "One Fixed Point" back in February- the lead up to the album release on March 8th was so worth it, each song uniquely different and captivating, showcasing Brittany's breadth of musical tastes and talents, let alone vocal range. This encapsulates a wide and splendid musical path, one with many doors to open, and most of all succeeds, not making you feel impatient, and hear partial- just the opposite- take your time and truly listen, these songs are that strong- at least for me and my take on things. And now for the hard part. Since they're so intricate, these songs- the entire album- how to make this work performing live, and not make them feel somewhat dead in the water surrounded by backing tracks this, backing tracks that. "Go live", they say. Go live with a couple musician pals who certainly know how to back you up. None other than Jim Cookas on guitar, and occasional programming. And also Alex Klausner- a beast of a drummer, with impeccable timing. These two guys- they certainly provided the "Oomph", to get these majestic songs over the top. The setlist- some eleven songs in total, opening with "Obelisk" (which certainly set the mood), followed by "Cast", and then into "Fever Dream"- and by this time the cast has been set, the band full on, and the striking visuals in the background are on full display. And before you know it, it was over in a flash. Around an hour total, ending with "Volcano". The beauty of it all (amongst many things)- there was no time to waste, nothing meandering, or going sideways. A showcase of Brittany's many talents performing live, letting us into her personal world, filled with honest intent. ![]() And Jack Armondo, and his project Panic Priest- have known Jack for years, and just love how passionate he is, even when performing solo, no band, just equipped with a mighty electric twelve string guitar, and programmed backing tracks, followed by a heavy ba boom baritone voice that makes you stand up and pay attention. He's fearless in his approach, been this way for years. Certainly Jack has command of a stage, large or small, has fun chatting with his audience, and asking kindly from the crowd for the occasional shot of tequila- which of course, a couple people comply. Always interacting, Jack Armondo, and with showmanship that transcends, with songs that have punch, followed by some serious swagger. And of course to have DJ Jeff Moyer open the festivities, with a solid playlist that fit the mood of the entire proceedings, making you say "Let's make this a party!" Yeah- It was that kind of night- even on a Sunday night- a night you wished would never end. Bobby Talamine- JBTV Music Television Chicago Brittany Bindrim, Velella Velella, Jack Armondo, Panic Priest, Jeff Moyer, JBTV Music Television Chicago, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Radius Chicago Saturday - March 23, 2024 Orbital- Phil and Paul Hartnoll. A show in Chicago, only amongst three dates total before their appearance at Coachella this coming April. How lucky are we. Even though they don't go on until a bit after midnight, like most prominent EDM artists are prone to do. I assume it makes things more "Festival Like", like their promo for the show suggests. The other title for the tour- from their web homepage- "Orbital: Green/ Brown Album Tour 2024". Yes, their set at Radius included prominent songs from both albums, dating back to the "Green Album"- dating back to 1991, then followed by the "Brown Album", which was released in 1993. Guess what? They don't sound dated whatsoever. Songs included from both albums were mostly buried in the set, such as "Belfast", "Chime", "Lush" (which was the encore), "Impact (The Earth is Burning)" (With a Greta Thunberg sample), and "Halcyon and On and On" (Samples: Bon Jovi and Belinda Carlisle). The bulk of the set is on their latest release- "Optical Delusion", from February of 2023- and they are equal to the heavy hitter bangers of the past- the Hartnoll brothers having not skipped a beat. When they're ready to release any songs whatsoever, whether they be album cuts, single promos, extended remixes- all of it is well thought out, sent forth with polish and clean, ready for the brave new world to pounce and discover and always wanting more. The overall stage aesthetic- a simple setup, machines prominent, synths and sample prominent, elegant steal table to hold all the equipment, along with a shelved vertical rack to Paul's left. The rest is a clean stage, with of course a gigantic LED backdrop immediately behind the Hartnoll brothers, ever evident to display exquisite graphics and video, making you fully immersed in the world of their sound and visuals. It works on so many levels, including the gigantic PA brought in for this show- the breakbeat thumps and twists and turns equal in amazement from the soundboard towards the back as to like eight rows of people deep from the stage. Ventured everywhere possible on the main floor, including the pit, to capture Phil and Paul doing their thing, head led flashlights full on throughout the proceedings. Orbital- their catalog, that beautiful catalog from over the years - just so approachable, even for ambient fare. They succeed so well with captivating and solid melodies- melodies with a message, both environmental and also political. The Hartnoll brothers expand and expand sonically, year after year, without losing their initial innocence without confounding expectations and going all out aggressive- (even though the occasional song ("Dirty Rat") can induce that claim. But it's not like that throughout their catalog- they pounce when they feel the need to. It truly depends on their desires to convey whatever message of angst comes to mind- and proceed from there. ![]() As for "Dirty Rat", sung by Jason Williamson of Sleaford Mods- a juggernaut of a song, with a bit of punk rock, but still a full on ranging dance track- the kind of song where you want to mix it up a bit with your next door neighbor standing right next to you. A song of caffeinated energy, and lyrics that have a bite, and breakbeats and mixes with a punch. That song, number four on the setlist, just amped up everything on the main floor where I was standing- people moving to the beats manically like me. Damn good fun- the kinda of song that should never end- just extend extend, with Jason's gnarly face prominently displayed on the LED screen behind the brothers. The festival show was like this in overall feel visually, with bangers such as "Satan/ Beelzedub", followed by "Requiem for the Pre- Apocalypse", amongst others. All of these songs with a solid message - intellectual exercises involving left brain/ right brain- meant for everyone, especially the connoisseurs of all things "electronica". Can't give a higher recommendation than that. The Hartnoll brothers are that good, that well thought out, that polished. All the while by the looks of things, having fun and a damn good time, equal to their fanatical fanbase on the main floor. That show could've gone on all night I tell ya- and they have the albums dating back to 1991 to back that up, with again, nothing dated whatsoever. Gotta love the Hartnoll brothers. Opener Greg Haus- Got there nice and early, when the doors opened at 10pm to catch his set. A well thought out mix for that hour he had. Had a nice exchange on my Facebook page with Greg, posting some photos of him performing and such. But Greg said it best in response, and I would rather he explain things on his approach opening for Orbital: "About 2/3rds of my set were '90's and early 2000's electronica, progressive house and trance tracks, which seemed appropriate for the crowd. Orbital were absolutely phenomenal". That's Greg for ya- Well thought out, wearing his heart on his sleeve. All n' all- a most memorable night throughout, with a sophisticated venue such as Radius, and a PA with a wallop. Bobby Talamine - JBTV Music Television Chicago Orbital, The Green/ Brown Tour 2024, Paul Hartnoll, Phil Hartnoll, Greg Haus, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Saturday - March 16, 2024 Matt Skiba. Dan Andriano. Atom Willard. All decked out in business suits. And ready for business. Business at hand- "Blood, Hair, and Eyeballs" related- their latest release from this past January. Lots to say apparently, up to the present day, all shock / horror style, like diving into local and national news with depictions of violence of all shapes and sizes, local, national, worldwide. Refreshing to know that they're as confused and confounded as we are, not having answers on the current state of affairs, and maybe writing new songs to depict this, and commence on a tour to accentuate like minded feelings can help ease the mind a bit. At least for a couple hours or so. But the tensions are evident, horrorlit high energy punk set to mighty and pounding backbeats. Take your pick on songs that are true to this- opener "Hot for Preacher", "We've Had Enough", "Take Lots with Alcohol", then into "Bad Time", also from their latest release, let alone "Mr. Chainsaw", and of course, "Blood, Hair, and Eyeballs", deep into their set, which by this time your ears are ringing, you're a sweaty mess in a massive ballroom, ventilation be damned, welcome to the Thunderdome, and good luck surviving. Although all of this with surrounding sophisticated polish- lighting, PA, overall feel and vibe. ![]() But the message matters, even in professional looking suits and attire. No time to waste, as Matt Skiba, ducks, dodges and weaves, both guitar and vocal, scathing at a moment's notice. The other two- Dan on Bass and vocal, and of course Atom on drums, provide the necessary machine gun backbeats to make you shiver and quake. Controlled chaos throughout. Time to let loose- massive moshpits when it's appropriate, body surfers coming and going. Lyrics depending on song, encounter nervous breakdowns of multiple sorts, inspired by real time CNN- ish events, all coming at you of nowhere, on a 24 hour cycle. It's like there's no chance you can get off this bullet train, heading to inevitable armageddon. I know- a lot to take in, especially from the ground up pop punk to intelligent hardcore (and yet pop sensibilities) punk advanced. But it's not like these are dumb numbnuts kinda guys- They wear their hearts on their sleeves, know some shit, definitely have some brains, have grown up lots, and again, are as world weary as we are. To make sense of this, through deeply personal songs, and diving deep into nutty behavior of the psychotic mind, let alone making some sense of harsh realities all around- they succeed. They succeed on many levels. And we're right there with them, a blood army of sorts, when given the call, as a communal group, we can make you pay attention, and get you off your ass to take action. "Are you in- or are you Out?", as they say. Guess what- even for an older guy like me- I'm all in. Especially with these guys at the helm. As for Blood Church- Lots to say as well. Lead by lead singer Patrick Kindlon- also a band with a message. Mostly though, even the hardcore / brazen messages unfold musically and lyrically, Patrick knows how to make a bit of sense through all of this, between songs especially, insisting that we all have some fun, and making sure time and time again to pay attention to the headliner Alkaline Trio, and their message, and not to waiver, or go take bathroom breaks. Stay focused. That's Patrick's message- and to me- that's a classy guy, who's also volatile, like the rest of the band. They know how to punish and hurt as well, and like Patrick says- both performing and writing songs- "This is all made to order. No Buffet". Damn right. Learn how to pivot accordingly. Openers Worriers have a cool sense of things as well, led by Lauren Denitzio- with solid songwriting and a band that delivers a variety of punches as well. All well and good, this triple bill of fun and games. Bobby Talamine - JBTV Music Television Chicago Alkaline Trio, Matt Skiba, Dan Andriano, Atom Willard, Drug Church, Worriers, JBTV Music Television, Fiza Javid, Bobby TalamineLive Review: Ministry: "Hopiumforthemasses" Tour 2024 - With Gary Numan & Front Line Assembly3/16/2024 ![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Byline Bank Aragon Ballroom Chicago Thursday - March 14, 2024 The main tell right off the bat with Al Jourgensen and his juggernaut of a band Ministry- And the constant push and pull to maintain relevance: The first three songs from the setlist. "B.D.E." Followed by "Just Stop Oil". And then "Goddamn White Trash". Hard hitting the three of them, from Ministry's latest release, and the tour in support of- "Hopiumforthemasses". It's furious sounding. It's lyrically compounding". It's a Doc Martens boot stomping thrashing of sorts. The Aragon, especially on a Thursday night- well those in attendance were not necessarily youngins- not the bodysurfer types from back in the day- intense push and pull off a heated main floor such as the Aragon from let's say anything 1988 and forward related- that kind of has seen its day so to speak. Not that this is a bad thing- had the show been more intimate, such as the Riviera or something similar- my assumption is the main floor would've been more intense, more wilder. Again, this is not a knock whatsoever. The music, the band, the overall feel is different from early Minsitry, unhinged behavior not like years and years before. Which brings me to Al Jourgensen- and Al Jourgensen up close. From the pit- he's downright animated. Like a wicked doomsday preacher with a message- play the part of scary, by all intent and purposes scary, but with a wicked sense of humor thrown in for good measure, but the tent revivals revolve around a six piece band with a message to say, like dropping carpet bombs from B-52's, the flying fortresses of "scare". Yeah- no time for bullshit. The setlist proves this. Even after the third song, we're still diving deep into current releases and the latest release with songs of good measure and a solid message to say- "Aryan Embarrassment", "New Religion", and especially "Alert Level"- a song with stomping riffs, and a message of "How concerned are you?"- Still an important question to the present day. Still, as always politically minded, and questioning everyone and everything. It's not until the middle and latter part of the set that we get to classic Ministry, and still, with his current band, they punish, and punish some more. The whole damn set is like this- a relentless juggernaut of amped energy and intense electric. And even for troublesome Aragon acoustics- have to say Al's sound engineer knows a thing or two in how to conquer that beast, from pit to back of the main floor. Getting back to my point of Al and all of his mannerisms (current day)- I could see clearly the shock, the spite, the fear laden mannerisms from Al's demeanor, up close and personal. Same with the one's who arrived early to get front rail positioning, maybe even 6 or 7 rows deep. But this is lost unfortunately, from the back of the main floor, and witnessing thereof. From there, great visuals, great audio. But not intimate, to see Al convey quite clearly what is deeply personal lyrically wise. These current songs- they're protest upper cut wallops, with a heavy duty message. From a main floor such as the Aragon, it works on some levels to re-wire your brain- and I guess for the late arrivals, it doesn't. Again, not a knock on Al whatsoever- I guess what I'm saying for the dates remaining on this tour through early April- get your ass to whatever venue early- just to see Al up close and personal, and witness that firsthand. You won't be disappointed. To sum up- Ministry and Al Jourgensen- Immense pleasure in lashing out. ![]() Same goes with Gary Numan, and also openers Front Line Assembly. Setlists that were both whittled down a bit, more concise, more attack laden, no time for fillers. For Gary Numan- more up front and center, main vocals being the precedent, delivery and angst intact. His band proves this, having been with Gary for around ten years or so now. They're delivering, having fun no doubt, allowing Gary to feel more relaxed, not nervous on possible mishaps, and to dive deeper and deeper into the songs, both old and new- making everything current day relevant- "Metal" in particular. That song has "menace" now written into its veins, along with the newer material. And again, same goes for Bill Leeb and Rhys Fulber of Front Line Assembly, packing a wallop with a full band- bludgeoning drums provided by Jon Siren and wicked guitar from Matthew Setzer. A full band- able to trailblaze away through songs such as "Vigilante", "Mindphaser", and especially "Killing Grounds" and "Millennium". As a full on touring band- they certainly know a thing or two on change, let alone pivoting to up the ante in energy, coinciding with terrific visuals. Just heavy swing, with big gnarly beats throughout. Bobby Talamine - JBTV Music Television Chicago Al Jourgensen, Ministry, Gary Numan, Bill Leeb, Rhys Fulber, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Thalia Hall - Tuesday, February 6, 2024 - Chicago, Illinois How lucky are we that Brittany Howard decided to open up her "What Now Tour" right here in Chicago, at Thalia Hall. The timing- It coincides with Brittany's latest release, of course titled "What Now", which will be released this Friday the 9th of February. As for the album- you float. As for the performance at Thalia Hall to open this leg of her tour- you float even more. As a seasoned photographer in all things "music"- you learn to anticipate and judge the pit with variances of navigation, all the more to utilize the tight space and get a wide variety of angles and shots that are captivating to the performance. But also as a die hard music hound, you can't help but be swept away by that aspect as well- some performers clearly standing out above the herd, no matter the genre of music. And you have to take a step back, to soak it all in, camera gear can wait a few seconds or more. Such was the case last night at Thalia Hall- the first of two sold out shows for Brittany- with a band in tow that transcends and transfixes, subtle cues intact. The hooks- even from the get go, with "What Now"- aplenty. A delicious throwback of sorts- all of it from "What Now"- the melodies so lush and soulful, done to pristine elegance. Lost in my words, I know- but how to convey all of this without sounding over the top. Hard to do. You win me over with melodies, followed by nuances in vocals, then if I can grasp it all, emotion to lyrics. The elevated nature of Brittany and her compositions just make you stop and take notice- yes, she emotes and conveys emotional heartbreak and pain like it's on her sleeve from yesterday, captivating you in all her questioning of relationships and not so positive end results. I find myself rethinking what I just witnessed, throughout her entire set, and the lyric aspect of this- the melodies and emotions conveyed so strong and true- hadn't much time to reel that all in unfortunately. Makes you want to hear the entire show over again to get a grasp of that as well, if I were so honest in writing this up. But you find yourself gobsmacked in amazement, as was clearly the entire main floor at Thalia Hall- also from my perspective equally caught up in the emotions of it all, a true listening room, with not much talk between folk- seemed like everyone was in hush silence throughout, except at the end of each and every song with loud and rapturous applause. Brittany Howard- and "What Now"- a show with deep fulfillment, surrounded by a band equal in measure, undertones and sophisticated and elegant restraint the order of the day. Such a show with Brittany- just so damn liberating. This review- My apologies if it seems convoluted or a bit over the top. But no time to take notes. All from memory- the entire show. Mistakes and sideways thinking good. ![]() Like Brittany, navigating a minefield of disruptive relationships, all the while accentuating the positive- well so am I - warts n' all. This part of her North American Tour- continuing after Thalia Hall to Toronto on the 9th- with stops in Boston, New York and Washington DC. A must see. As for her opener- Becca Mancari- another fine example of honest and emotional songwriting, Very clever, her emotional storytelling, portrayed delicately and succinctly throughout her set- sometimes jagged in tone and beat, and sometimes you can hear a pin drop. And out comes occasionally that radiant smile, letting you know that all is well and good, at least band wise, with nods and winks that we'll all get through this together. That she's tight with Brittany Howard speaks volumes as well, sharing a bond of sisterhood love, being there for one another, fighting for their very existence, encouraging one another in fleshing out songs from the head into actual recordings. Nothing beats questions from the heart songwriting. And following through with your instincts, and not being constantly swayed by outside detractors. All of it is meaningful- especially standing up for yourself, and getting used to the word "No". I love this about Becca, finding her voice and seeing things through the way they ought to be, through your deeply personal singing/ songwriting. Makes you as an avid listener wanting to make sure you do right by her, especially when it comes to captivating photography. Like her performance- let's try our best to make things memorable. What a way to start off the year in regards to live performance. Two artists that certainly know how to captivate in their own unique way. Bobby Talamine- JBTV Music Television Chicago Brittany Howard, Becca Mancari, Thalia Hall, JBTV Music Television, Fiza Javid, Bobby Talamine, Jerry Bryant, Chicago, Live Music![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Vic Theatre Chicago Wednesday - November 15, 2023 The mighty Baroness, on the road and as mighty and as tight as ever. A band's band. Worthy of your attention. And here goes: John Baizley- Lead Vocals, Rhythm Guitar. Gina Gleason- Lead Guitar, Backing Vocals. Nick Jost- Bass, Keyboards, Backing Vocals. Sebastian Thomson- Drums, Synths. Again- a band's band. Excitement thereof? Of course- more worthy of your attention, simply because the same members intact for consecutive records, leading up to their latest release, "Stone", which came out back in mid September. That says, lots, getting into a comfort zone with your mates, and fleshing out the cause and effect with the new songs, let alone doing whatever the fuck they want in zig zagging through the new material, much represented in tonight's show at the Vic, and also the tour in general. As for the new material from "Stone", opening with "Embers" on the PA as they enter the stage, followed by the mighty "Last Word". A barn stomp of a song, a crash and burn juggernaut of high end melody and slashing guitars. Yes, in the 15 songs for the set tonight, a lot on display from the "Red", "Blue", "Yellow & Green", "Purple", and of course "Gold & Grey". Make note though- John Baizley and company are advancing and capturing your attention. ![]() Tension builds, obviously, even with such a simple setup as there's outside of the cool backdrop lit up bright red, with "Baroness" beholden front and center. Locked in, throughout, emphasis on the mighty riff on top of the riff. Whiplash smiles between everyone, including audience- a resounding yes. Sweaty and radiator heat related vibes- of course. Wouldn't expect anything less from these guys. The cool thing about them as well- they never wish to repeat themselves- making something noteworthy (constantly), something you'll remember from them for years to come, including their live performances. Brute force with righteous intent- the theme throughout the night, no need for flashy displays, and costumey bullshit. With Baroness, all things Baroness- music always front and center. I'd rather not dive deeply into song witchcraft, and the glories and entrails of all that. With Baroness in particular, the simpler in regards to actual acknowledgment of a damn worthy show. The pictures presented- hopefully they can do some of the talking as well. Baroness- United and motivated to crack a whip, and snap your neck, at least for an hour and a half. Bobby Talamine - JBTV Music Television Chicago Baroness, John Baizley, Nick Jost, Sebastian Thomson, Gina Gleason, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid United Center Chicago Monday - November 13, 2023 The show at the United Center this past Monday with Depeche Mode- the second time through town in a span of over about six months- In my opinion, two completely different shows. Not a knock on the show back in April, which I attended as a fan, not to review, just to take it all in celebratory style. And yes- so grateful to see Martin and Dave perform together again, back I think in April of this year. That show was downright fun, a benchmark of sorts in seeing the lads up close and personal. As for Monday's show at the United Center, on their second leg of their North American tour, a whole different animal in energy and feel. The takeaways- the urgency of it all, song wise, performance wise, setlist wise. The drums- from their tour mate Christian Eigner- proplulsive blast furnace. Dialed up loud and menacing. Dave Gahan certainly knew it and enjoyed it, prancing about the stage as per usual, however making noticable pit stops off and on by the lip of the drum riser, and brandishing a vote of confidence on the proceedings. That's important to note- this is a full fledged band man. A band worth exploring more, high energy and all, if I feel compelled to scope out new material, and see where this goes. Look at it this way. The show was Monday the 13th. Here I am, contemplating this review some 36 hours later, having just completed my edit of images, over 50 or so. And I'm still reeling from the quartet of Depeche Mode, and the importance of all things Depeche Mode, and thinking that this can't be the end- no way. If I'm Dave, if I'm Martin- I know I've found a spark in Christian, let alone true multi tasker in Peter Gordeno, a guy who's confident and complex on all things keyboards and synths, all things bass. If I'm Martin, songwriting chops and all, I'm relieved that I got two guys who can carry the load that Depeche demands, especially live. If I'm Martin, it allows me to have fun onstage yet again, Dave as well, all smiles. So yeah- clearly one of the best, I mean best shows of the year, even if it's the inevitable end. They were not playing like they are in their mid sixties. They were playing like they were 24 year olds yet again. And yes, once again, that was so godamn fun to watch live, to the point of dreaming to join a caravan of Depeche faithful and head west and contemplate the revelry of it all just to confirm my enjoyment, my satisfaction of the show from Monday at the United Center. ![]() These guys, and that awesome setlist. All songs- even the awesome sparkly ones such as "Wagging Tongue", let alone "My Favorite Stranger", both from their latest release "Memento Mori"- came across as more post punk and a bit of restrained sinister. Then they up the ante with conviction, songs blast furnace style, such as "I Feel You", "It's No Good", "Walking In My Shoes", and "John The Revelator" in particular. All sung and performed with urgency, more an intimate club feel, not an massive indoor arena, with lots and lots of angst and loud urgency. Pushed to the limits, these songs, with heavy drumming, followed by punishing and pulsating synth beats, thank you very much. The more intimate songs, the ones to catch your breath a bit, also demanding your attention, with understated angst. Songs such as "Ghosts Again", "Black Celebration", followed by "Stripped". The tension builds, yes it does. "Enjoy the Silence"? Always fun filled celebratory. Same with the innocent ones from their innocent times, such as "Everything Counts". Push and pull yin yang angst, with some more angst. Swing through the electronica and bop your ass off in place at your seat. Of course to end the show with their encore "Never Let Me Down Again", and ending with the concrete boot stomps from "Personal Jesus". The oomphs parlayed with commanding lyric always makes the 18,000 or so faithful release the heat from the indoor arena. ![]() 23 songs total for the night. And I'm not alone in looking around the section I was in, and everyone wants more. The guy in front of me, a row down- looks up at me, and screams, "How F'ing awesome is Depeche Mode!!!" I laugh in agreement, and give him a solid fist bump chest slap. He grabs my hand, makes a fist of it, and slaps his forehead with my fist, like a dozen times, smiling, while I'm laughing my ass off, not wanting to leave, and letting the guy know that we're not in a dream- what we just witnessed is the real deal. Yes yes yes. A show of high energy fun and games, band wise, certainly audience wise, with all the camaraderie ever evident from where I was standing taking it all in. Sure, I could've written a review that was methodical and technical, taking concise notes of this and that. But this show with Depeche was just off the rails oh so different- making me feel good inside, like I'm a kid again, young and youthful at heart. Have to relish shows like these, performances with artists like Martin and Dave, who clearly give it their all, gave it their all. So yeah- no notes, no outline to follow. I'm writing from inspiration, from the heart. Martin and Dave, the awesome touring quartet of Depeche deserves as such. And like I stated before- one of the best shows of the year. Up there in the Top Ten, somewhere towards the top, if not thee top. They're in the process of heading west with the "Memento Mori Tour", some 14 or so dates total. You're nuts not the see then live while you have the chance. Bobby Talamine - JBTV Music Television Chicago Depeche Mode, Martin Gore, Dave Gahan, Christian Eigner, Peter Gordeno, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Bottom Lounge Chicago Sunday - November 12, 2023 The fierce and honest Periphery, from Washington D.C., back on the road (thank god), and going about things a bit unorthodox. First off- they're also fighters. That needs to be said. As complex as all get out, heavy on sustained melody, along with power pack drumming, followed by hellaciously good singing, up or down, high or low, courtesy of Spencer Sotolo. And on top of all that, seconded, they are again fighters. The unorthodox part- intimate venues throughout this tour. Two night stands at each stop (except for a few dates), with a different setlist each night. It's also more personal, that being each individual band member has a chance throughout the set to explain honestly a certain song that's meaningful to them, that brings back a floodgate of memories that pertains to the specialness of that individual song, and more importantly, where their headspace was at during the fruition and cultivation of that particular song. So yes, all of this is different and unique compared to your typical metal show, with a full on bludgeoning from beginning to end. I like how they consistently take risks, especially such as this tour, let alone in complex musicianship that asks and demands you to know your prospective instruments bloody damn well. So with songs such as opener "Ragnarok" or further down with "Zagreus", or "Reptile"- could there be mistakes (although I didn't witness any) if your mind wanders and you're not completely focused on the complexity of said songs? I assume so- since again, complex everything is the order of the day. But that's the endearing part of a band where every band member is capable of writing solid songs to bring to the table, or have mighty riffs in their head that need further exploration, let alone also writing material that can come across wildly different and out of the ordinary. ![]() Amazing, when you think of it, holding to their truths, believing emphatically in what they do, what they've created. Hence the two night stands on this tour. Won't be able to witness night number two at the Bottom Lounge unfortunately because of prior commitments- however- night number one at the Bottom Lounge: Polyrhythmic madness never sounded so good. 13 songs of sonic pummeling- crowd knows it- band certainly knows it. Besides the songs mentioned, more of a back catalog opening night, with only a couple songs from their latest release- "Periphery Number Five: Djent is Not a Genre". No matter- the sold out crowd was thirsty for the older stuff anyways- you could tell just by the heat coming off the main floor going into "Make Total Destroy", let alone the banshee wails from the Periphery faithful, and also the metal tech guys who constantly stated out loud how fucking awesome they still sound. These guys- Spencer Sotelo, guitarists Misha Mansoor, Mark Holcomb and Jake Bowen, along with drummer Matt Halpern, just continue to evolve into an unstoppable and througouly punishing and bludgeoning force. Their whole set, down to their last song "Dracul Gras"- like a constant punch to the face, played to impressive might, poor PA at the Bottom Lounge be damned. Their must be a team huddle on this, with local sound engineers, and how far can they go without everything snapping and giving in to the onslaught. Yeah- that kinda loud of a night face melt. So yes- Periphery, memorable as all get out. Highly recommend the remaining dates on this short and intimate tour, however all that remains is night number two at the Bottom Lounge, and to end the tour in Baltimore, which unfortunately are also both sold out. But if there's a will, there's a way as they always say. Bobby Talamine - JBTV Music Television Chicago Periphery, Wildfire Tour 2023, Mark Holcomb, Jake Bowen, Spencer Sotelo, Misha Mansoor, Matt Halpern, Fiza Javid, Bobby Talamine, JBTV Music Television![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Milwaukee, Wisconsin - November 1, 2023 Such a treat that you know Tool is still out on the road touring, both October and November, with some festival dates, and mostly arenas and covering secondary markets. I bring this up right off the bat in regards to fandom, and the reactions thereof, in regards to the band Tool and especially anything merch related. I travelled north to Milwaukee to catch the show, and made sure I arrived there early, like around 2pm, a few hours before doors opened. On the southeast corner of where the Fiserv Forum is located- that's where the set up the outdoor hookup trailer for all things merch- and that line....must've been a minimum 100 to 120 people deep. For all things- mostly if any limited posters were available, and of course the wide assortment of T shirts available, both long sleeve and short sleeve. And it was Milwaukee mid fall cold out- around 35 degrees or so, with a wind chill. Didn't matter. It's Tool baby- have to represent. I love this about the band and their fans, bordering on fanatical. And of course set wise, Tool didn't disappoint- from the opening salvo from Danny's drum kit for "Fear Inoculum"- and the chimed bells before the synth string arrangements proceed with the tabla drums, all done spiritual style, christening the proceedings. Gives you chills thinking back on it, how methodical the proceedings to start the show. So yes, as always, everything's so well though out, stage positions set with Adam stage right, Justin stage left, Danny front and center to the back, and of course Maynard perched in the back to the left and right of Danny on his rail platforms. Maynard's trademark mohawk configurations are evident as always lately, this time a bright yellow adorned and styled mix, and more conservative with the dress up, long sleeves rolled up white button down shirt with wide white collars, black vest, black pants, and- the raccoon and tight black burglar eye makeup. A look that transcends, and also is meant to add some wickedness to the proceedings. Having said all of that- it's still about the music, the glorious full on immersed into the wormhole and don't ever get out of dodge music, and of course the sophisticated visuals and sophisticated lasers to sink you into the wormhole even more. The setlist with break - some eleven songs. But don't let that fool you. ![]() These songs, some are twelve, fourteen minutes in length, with some breaks in the instrumentals to catch your breath before your ears burn for more technical prowess. It's audio might that's clean and unforgiving. And they as a band have to be spot on to attempt this kind of setlist show, from opener "Fear Inoculum" all the way to the end with "Forty Six & 2". And hearing "Rosetta Stoned" once again, and the vicious drum rolls from Danny knocking in the fierce lyric and bite from Maynard with "Holy Fucking Shit!", some eight times or so- yes- you feel like there's an alien in the room making advances, and proof exists, all the way down to the truth of a flaming melt banana that just split open the sky...that - and the poor guy who witnessed all this hasn't even graduated from high school. Leta alone the L. Ron Hubbard stiff upper lip thingy. All of this is my version of a Star Trek Spock mind meld- with comical purpose to ring out the bath soap that's in your ears. All the way home, a two hour drive, I'm occasionally breaking the speed limit on 94, just humming that refrain from the song, all smiles and giggles, and just how powerful it is, let alone the fucking alien, and finding the chosen one, even though he's obviously not a bright guy, and he shits the bed. I know right? Laugh out loud funny/ awesome- on repeat in my head. Have already mapped out an explanation god forbid I get pulled over on 94 for speeding- I want the officer to hear this song as an explanation, the pulverizing nature of it all- speeding ticket can wait a bit. And so it goes with the mighty Tool, emjoying their ride while they're still good and healthy. It's not like the writing's on the wall with this kind of monumental juggernaut touring- but they're getting up there in age folks. It's not like they're the band "America" with "A Horse with No Name", or the band "Bread" from back in the day- lighthearted singing / songwriting from the easy going seventies. No no no. They're the exact opposite of that, with bull horn/ megaphone stories to tell, protest style, demanding your attention with lit up lighter fluid statements to pass judgement on individualism and the occasional bite of simply being. Always a lot to take in, with nary a romantic heartbreak lyric in sight. The purpose- it's evolved meaningfully, psychologically, menacingly for a show that packs a wallop, with songwriting and a back catalog that doesn't get old, doesn't get stale. Man, these guys..I so wish I got pulled over on 94 traveling at 85 miles an hour just to explain everything to a strange officer, not that I recommend that sorta thing. But it's Tool baby...strangers and oddballs and serious folk of all shapes and sizes need to know about this band Tool, if they don't know already. Hope the images provided are worthy of your applause as well, to get the gist of the whole presentation and show of might. Some ten or so dates remain on their North American Tour, up to November 21st. Try not to miss out as they head east up to the end in Toronto Canada. Bobby Talamine - JBTV Music Television Chicago Tool, Tool (Band), Maynard James Keenan, Justin Chancellor, Danny Carey, Adam Jones, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Thalia Hall Chicago - October 31, 2023 Kazu, Amedeo and Simone of Blonde Redhead, playing Chicago's Thalia Hall on Halloween night. A documentary film crew are on hand for the proceedings, to take in all the costume revelry from Thalia Hall, this being a special night to perform, even if Halloween falls on Tuesday. And the overall mood is subdued, tranquil. Yes- there are plenty of people in costumes throughout, along with the regulars who didn't play "dress up". No matter- the band played the part for the festivities , decked out with Kazu adorned with long black rabbit ears, and the Pace brothers in what appears to be long and black hoodlum or burgler caps. Not that Amedeo and Simone comes across as renegades- their music is anything but. But still, nice to see all three get into character a bit for Halloween's sake. As for their latest release "Sit Down for Dinner", and the tour that follows this gorgeous release- They still have their magic, they still have their elegance in sophisticated and simplistic songwriting intact. ![]() A true thinking man's band, with all things mysterious and surrounded by exotic melodicisms. Hearing the actual album when it was released this past September, and then hearing some of these gorgeous songs performed live- just so memorable, justifying their rather lengthy absence since the last time they came through town. Songs such as "Snowman", and "Sit Down for Dinner", parts one and two, along with "Kiss Her Kiss Her" to close out their set- new songs worthy of your attention and taking in the beauty of it all, let alone that immense back catalog of nuggets as well, opening their show with "Falling Man", followed by "Dr. Stangeluv", before even getting to their new songs. And their earlier material still holds up, showing us all yet again that the power of beautiful melody, followed by the innocence of Kazu when she sings, and the same with Amedeo as well. Nothing beats dense and exotic arrangements, done with intelligence and sophistication and flair. Their whole set was over in a flash, leaving you in a dreamlike state when getting organized and prepared to vacate the premises- what's the rush actually, having waited this long to see them and hope they live up to your expectations. They certainly did, capturing the magic and wonderment of it all, down to the campy tombstones on the front of the stage and along the drum riser, let alone the gothic cathedral like lighting backdrops, and purplish Halloween mood. An unforgettable show, as delicate and meaningful as I ever witnessed- just so lush and genuine. Blonde Redhead- "Sit Down for Dinner"- one of the best albums of the year. Blonde Redhead- One of the best shows of the year as well. Bobby Talamine - JBTV Music Television Chicago Blonde Redhead, Kazu Makino, Amedeo Pace, Simone Pace, Thalia Hall, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Riviera Theatre Chicago Tues 10/3/23 Slowdive with Drab Majesty: The double bill you've been waiting for-and then some. Hard to explain without getting a bit nutty to the average lay person, the defining nature of a life affirming performance from two bands such as this, let alone feeling the positive vibes throughout the venue such as the Riviera Theatre, the overall mood of cordialness, and respect for one another, let alone both bands bringing along their catalogs of sonic dreamscapes that can knock your socks off, and forget your troubles for a few hours. Visually, musically, sonically, mesmerizingly, the show was brilliant throughout, impressive with bringing on the emotional textures needed to make things work, make things memorable. Headliners Slowdive, with Rachel Goswell on vocals/ guitar/ keyboards and tambourine front and center, and to her immediate left- Nick Chaplin on bass and also Neil Halstead on shared vocals and guitar, along with Christian Savill on guitar, and Simon Scott on drums- the band is tight, the band is ready to transport you throughout their set. Everything comes across gentle- the whispers, the beauty in sustained drums, let alone the guitar sonics of beauty emanating from Neil and his assortment of guitar pedals, as any sonic weaver of his stature needs to elevate things on a moment's notice. The setlist, 14 songs in total including encore, and a cool cover from Syd Barrett to end the set- "Sister Golden Hair", which should tell you lots in where their hearts lay, and who they respect (amongst many others). Full fledged and back working as a band, since 2017, up to the present day and their latest release, "Everything Is Alive", which is well respected throughout their set, with the singles "Kisses", and "The Slab", which was unfortunately cut short a bit because of technical issues. ![]() But the album- clearly Slowdive have no need to rush anything without thinking things through. The album is solid, pure escapism with impressive songwriting front and center. I can go into detail that would be wormhole related, the beauty of this band, even when coming out of hard times of personal loss, personal struggles. But that diminishes the thoughtfulness throughout in my opinion, and the fact that they're carrying and soldiering on, as all good musicians and songwriters do- taking moments of heartbreak, and somewhat getting your shit together, and doing your best to overcome. Such is the case with Slowdive, and we should be so lucky that they're still here. So to put it in layman's terms- how about "Scrumptious melodies throughout"- both old and new. The back catalog is well represented, what with "Star Roving", "Catch the Breeze" and "Souvlaki Pace Station" in particular as standouts. Lovely to hear "Alison" in full glory as well. Just so joyful, hearing them perform live, especially in such an intimate theatre such as the Riv. Same can be said with Deb Demure and Mona D of Drab Majesty. Even though just seven songs for their set, they bring the majesty that's in their name Drab Majesty. An aloofness detachment, both Deb and Mona, a compelling and sincere music collective, which in my opinion, holds no barriers or boundaries to this and that, the somewhat anonymous detachment being able to convey things freely, and allowing the opportunities to expand on any ideas whatsoever, limits be damned. Which makes them even more enduring, the back catalog along with their latest ep "An Object in Motion" being just as fresh and clean as their earlier work. Opening with "Dot in the Sky", followed by "Oxytocin", and then into "Ellipsis", let alone "Cold Souls"..all of these songs hold such power and grace with solid rhythms, not dated whatsoever. And such a delight to have Rachel Goswell come out to sing shared vocal in "Vanity", a song that's like a breath of fresh air, just so delicate and serene. Their entire set- a swirling mix of sonic delights, accompanied with visuals that enhance, and make things even more cool and artsy. So both bands- Yes- They deliver on all counts, assuring us yet again that they're creative as all get out, with lots and lots to say. New sounds with new ideas, which leads to otherworldly realms- which for me, is oh so pleasurable. Clearly one of the shows of the year for me. Bobby Talamine - JBTV Music Television Chicago Slowdive, Rachel Goswell, Neil Halstead, Drab Majesty, Deb Demure, Mona D, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Sunday - September 17, 2023 - Douglass Park All things The Cure and Riot Fest on Day Three (and of course all the other bands covered). First- Heavy rain. Heavy rain in the early morning compounding problems on actually opening and starting the festival. Riot delayed the opening until 2pm, and acts performing didn't get going until 3pm. So bands either got rescheduled or were stricken from the schedule. Most unfortunate, not witnessing live Empire State Bastard- a band that's ferocious, with Dave Lombardo on drums. Outside of that hiccup- All things The Cure. The buildup to this magical show- weeks on end prior, the hype and the love. What makes Riot Fest so cool (amongst many things), is what they did schedule wise- blocking off in entirety all other acts performing after 7:45pm, slotting it all to The Cure, and nothing but The Cure. What also made this show so magical was that this date at Riot Fest is the only date they'll be playing in North America for round number two, before heading to South America in mid November. So, that's what makes this show at Riot Fest so extra special. The takeaways: Opening with one of their new songs (like they did back in June of this year on their proper North American Tour)- with "Alone" - which gives Robert a chance to observe and welcome his audience, before even singing or picking up his guitar. Have to say right off the bat how magical that was to witness yet again. The setlist was heavy on the hits, as most festivals are, but also lots of nuggets throughout, such as "Cold", from "Pornography", "Burn", from "The Crow" soundtrack, and also the two last songs before the encore, with "From the Edge of the Deep Green Sea", from "Wish", and another new song "Endsong". Interspersed throughout- just lots and lots of lovely. And the band, even for a one off festival gig- true to form and magical. ![]() What makes the band tick: Simon Gallup. Propulsive and low end everything as always, checking on his bandmates, and Robert in particular throughout. Same with Reeves Gabrels on guitar, adding luster to the proceedings. Same with Jason Cooper on drums, Perry Bamonte on synths and occasional guitar, and of course Roger O' Donnell on all manner of keyboards as well. These guys together- a band worth watching- (again and again on repeat). The whole set- the entire evening- from the pit, to the back of the house- the back of the field from the main stage- compelling, and also so rewarding. Hard to not forget this show, and the meaning of it all. Has to be said the importance of The Cure, and what they mean so vividly and emotionally to so many people- not just the Chicago faithful, but all over the world faithful. The other acts documented, in descending order from headliner The Cure: The Dresden Dolls- Amanda Palmer and Brian Viglione (and accompanied by one song with special guest Mellisa Auf der Maur- Happy to see them perform live again, as intensely magical as they are with their brand of straight up wicked electric cabaret. The Mars Volta- No photographers allowed- however that set was all encompassing jam worthy awesomeness. AFI (A Fire Inside) - well that's still burning apparently. A Packed pit with photographers, and a rapturous crowd, equals excitement and energy and a certain amount of mayhem, Riot Fest style. L.S. Dunes- and they deliver their own special brand of mayhem as well, what with Anthony Green mixing it up with the crowd one song into their set, let alone the intensity of their brand of post- hardcore whatever you want to call it. Fun guys, making the most of Riot Fest, just like last year. And of course RIDE- consisting of the one/ two punch from Mark Gardener and Andy Bell- and for the time that they were given, they succeeded. Wished they could play a longer set though, their music just builds and builds and builds. Same with Alex Maas and The Black Angels- even in mid afternoon, they have a sound that morphs into '60's psychedelia, mixed with their own personal tastes in dark garage rock reverie. Also the same for The Cults- consisting of Madeline Follin and Brian Oblivion- way too short of a set- but still, with their captivating and striking visuals- just a pleasant Sunday afternoon surprise, and a band like the others that just always delivers. Such a magical Day Three of Riot Fest, let alone a magical all over the three days of Riot Fest- just so memorably splendid. Hard to truly describe and take in the magnificence of it all But man, coming full circle....Robert Smith and The Cure.... Bobby Talamine - JBTV Music Television Chicago Riot Fest 2023, The Cure, JBTV Music Television, Bobby Talamine, Fiza Javid, Dresden Dolls, Cults, AFI, Chicago![]() Writing and Photography by Bobby Talamine and Wesley Nott Edited by Fiza Javid Saturday - September 16, 2023 - Douglass Park And so forth comes Day Number Two from the Riot Fest grounds of Douglass Park, and the lineup doesn't disappoint. It starts mellow, from what I chose to cover, and just builds and builds from there. Opening with LA's ultra cool and laid back Warpaint- a band that knows how to blend ethereal dream pop with a modicum of psych rock and mixed with some chill. That they've maintained a cool camaraderie over the years, like sisters one and all, even with long periods of inactivity speaks volumes in shared musical ideas, let alone performing live. In other words, they looked like they were having fun at Riot Fest, which makes us feel like we're having fun. A special band- that is Warpaint. Then off to the races to catch the one and only Corey Feldman at the Rebel Stage. 'Tis a headscratcher- Corey Feldman. Heard many people say about his performance- "it was so bad which made it so damn good", and variations thereof. A psychologist if given the time to catch up with obvious demons running through Corey's poor head- would be troubling to make the attempt. And yet he's a survivor, and you want to root for the guy. But the self sabotaging of his brief half hour set, troubled by a definitely not working large inflatable white screen backdrop, followed by berating of his fellow musicians, and multiple lapses in costume changes for each and every song....question: What was the thought process in all of this? Is anyone in Corey 's camp allowed to voice opinions and say "No" to this, "definitely NO" to that? Apparently not. So, inevitably, trouble ensues, trouble lurks around the corner. And yet there's charm- Corey Feldman charm, followed by dozens (I'm not kidding) body surfers. Didn't matter to the fans. This was a party. The main reason I was mad and frustrated was the overlap between Corey Feldman, the delays with that godforsaken stupid inflatable white backdrop, and missing Jehnny Beth's set. ![]() Talk about a mad scramble over to the Roots stage- and was lucky enough to catch her last song, "I'm the Man". Fine enough for me. A full on participatory mix between fans and stage, a communal gathering where Jehnny has to get one on one, with fierce eye to eye contact, even directly to me, five feet away in the crowd as she surveyed her audience. She pulses with such undeniable power, convincing I might add, even for quarter to three in the afternoon. So happy and relieved that I at least was able to catch one song. And then- watch out people- Viagra Boys are taking the stage. Drenched in beer soaked anger, and a mix of cool aloofness, depending on which band member (minus lead singer Sebastian Murphy) you are looking at. Opening with "Ain't no Thief", which- Sebastian ain't no thief. Followed by "Slow Learner", and as you know, Sebastian is a slow learner. And then comes "Punk Rock Loser", which as you know by now, Sebastian portrays himself as a punk rock loser. Not complicated stuff- all A to B to C, beer anthem righteous party music, lets' all body surf and swig some beers if you can, and body surf some more. Damn it's addicting watching these guys, watching the nutty crowd at Riot Fest watching these knuckleheads in Viagra Boys. And then, you want intense? Mix it up seething intense? Political anger, societal anger, world forsaken anger? Welcome to Death Grips. Like Jehnny Beth, one of the definite highlights of what I was looking forward to at Day Two from Riot Fest. Noise, Industrial, Hip Hop, Punk Rock with pounding drums, courtesy of Zach Hill, and Stefan Burnett providing the biting lyrics and vocal ferocity, mixed by Andy Morin, providing occasional samples and background keyboards. Heavy throughout. Ferociously heavy. Much needed, seeing / hearing / documenting these guys. One of the best sets from Day Two at Riot Fest. Then off to the Radical Stage for 100 gecs- ( Laura Les and Dylan Brady), who know how to mix heavy backbeats with shrill vocals and make things their own, in a genre now known as "Hyper Pop". Chaotic and springboard lifted catchy throughout their hour set, with nary a let up. They let things rip midway through, with of all things "I Got my Tooth Removed", which, the title says it all. Same with "The Most Wanted Person in the United States". A delightful heavy blend of angst. And of course the crowd ate it up as well. Ended the day with Faygo soaked Insane Clown Posse, who started late headlining the Rebel Stage, what with security and roadies draping everything possible exterior wise for the inevitable Faygo soda launch, what with a dozen or so Juggalos coming out two minutes into the first song- "The Show Must Go On"- and spraying everybody (and I mean everybody) with Faygo, Faygo, Faygo. But Violent J and Shaggy 2 Dope certainly know how to throw a party, what with the Juggalo faithful heavy in attendance, waiting for their heroes to hit the stage even earlier in the day when Corey Feldman played on the same stage. Some 18 Faygo soaked songs total - what with mainstays "Chicken Huntin", and "Down With the Clown", let alone "My Axe". Insane Clown Posse- not for everybody, sure. But try telling that to this crowd. Fightin' words. So ends Day Two from Riot Fest 2023. Bobby Talamine - JBTV Music Television Chicago Riot Fest, 2023, Chicago, Live Music, Corey Feldman, Jehnny Beth, Viagra Boys, 100 Gecs, Death Grips, Insane Clown Posse, Bobby Talamine, Fiza Javid, JBTV Music Television |
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