 Steve Hackett - Bobby Talamine (c) 2025  Steve Hackett - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Rialto Square Theatre - Joliet, IL Thursday - November 6, 2025 Have to give Steve Hackett credits and props- lots and lots of props. To successfully and meaningfully resurrect the magnificent catalog of Genesis, over and over again, like over a decade- just amazing. This current tour, "Genesis Greats, Lamb Highlights & More", at the Rialto Square Theatre in Joliet, and still with the same band intact, except for Nick D'Virgilio on drums, replacing for the time being Craig Blundell. Nick has solid chops, as is well needed in anything Genesis related, let alone Steve's solo material, "complex" of course being the order of the day. He was a member in Spock's Beard, along with Big Big Train, and has done session work with Tears for Fears. Along with Nick on drums, the longstanding bandmates with Steve are Roger King (keyboards), Nad Sylvan on vocals, Jonas Reingold on bass and backing vocals, and Rob Townsend (saxophone, flutes, and additional keyboards and samples). Speaking of Jonas Reingold- his bass solo in particular- have to give him credit. The solo- a huge nod to the mighty Jaco Pastorius, known for his work with Weather Report of course, let alone side by side with Joni Mitchell as well with some important albums. Still, his solo, although dialed down and delicate, still vibrant with the theme of Jaco's, emphasizing fearless fret work with a nod and a wink to song snippets of yore. Very well done, especially in the Steve Hackett camp of all things. So the musicians surrounding Steve, like all in, making this such a memorable show. The evening- comprised of two sets along with encore. The first set- Steve Hackett solo material, nine songs in total, dating back to Steve's first solo album back in 1975, to the present day. All songs in the first set blended and bounded together nicely, opening with "People of the Smoke", from Steve's latest release, "The Circus and the Nightwale", back in 2024. A song that covers all bases with Steve to the present day, gnarly with twists and turns of course, but still captivating, accentuated with the divine fretwork of Steve throughout. So is much of Steve's solo material, particularly the ending to set one with "Shadow of the Hierophant", from Steve's first solo album "Voyage of the Acolyte" back in 1975. That song in particular, although edited a bit down in length, still captivates and resonates, still builds and builds and builds with sonic overdrives of immeasurable beauty, like a guitar army coming down from the heavens to convey bursts of passionate English anguish followed by blissful peace of mind. Yes, I know that last sentence speaks lots. Still, no other way to capture in writing the meaning of it, hearing it performed live and in person. Such a sonic onslaught of purpose and fortitude. A brief twenty minute break, then off into set two, and all things Genesis.  Steve Hackett - Bobby Talamine (c) 2025  Steve Hackett - Bobby Talamine (c) 2025  Steve Hackett - Bobby Talamine (c) 2025  Steve Hackett - Bobby Talamine (c) 2025  Steve Hackett - Bobby Talamine (c) 2025  Steve Hackett - Bobby Talamine (c) 2025  Steve Hackett - Bobby Talamine (c) 2025  Steve Hackett - Bobby Talamine (c) 2025 Opening of course with "The Lamb Lies Down on Broadway", now over 50 years old... Hard to comprehend that, considering just how fresh and clean and pertinent it still sounds to the present day, played with urgency, played with sonic might. All manner of Lamb songs picked and chosen for this tour- sounding superb, lyrics still fascinating and sung, courtesy of Nad Sylvan, and the keyboard work of Roger King adding the necessary sonic oversight to the proceedings, all things "bass pedals" intact. Can't overlook the woodwinds throughout as well, courtesy of Rob Townsend, and the steady backbeats from Nick as well. The Lamb songs, they just have a sense of longing to them, like being with your best friends from the past, that you haven't seen in years and years. "Fly on a Windshield", "Broadway Melody of 1974"- such was the case with the opening of set two, with three songs in particular from Lamb that still have a grip on you, like most of them do. But still, hearing the song "it" performed live...that conveys so much to me. "it", often overlooked unfortunately, especially in radio airplay over the decades since Lamb's release...why? Who knows. Maybe partly because it was buried as the last song on that double album, like a throwaway, or whatever, considering the dumbass minds of most radio programmers from the seventies and early eighties. How unfortunate. That song in particular, although a bit short in length, like a bit above four minutes- just so enlightening, so full of life and promise. What a magnificent song, played live with a band that has the same grit and DNA as Steve. And of course the mighty encore, encompassing the trailblazing "Firth of Fifth", mighty Steve guitar solo from the heavens intact. Followed by a rambunctious drum solo from Nick, and ending with a wallop - "Los Endos / Slogans / Los Endos". What and evening with Steve Hacket and band, songs they can dive in and sink their teeth into, leaving fans like me stunned, All things Steve Hackett and anything Genesis revisited, with this band of his, never never gets old. Bobby Talamine JBTV Music Television Chicago Steve Hacket, Joliet, Illinois, Genesis, Live Music, Winter 2025, JBTV Music Television, Bobby Talamine, Jerry Bryant, Fiza Javid
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 Black Cross Hotel - Bobby Talamine (c) 2025  Black Cross Hotel - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Empty Bottle - Chicago, Wednesday - October 29, 2025 Now that's how you throw a Record Release Show- A punctual and no rest for the wicked hour long set with Black Cross Hotel at the Empty Bottle, the first night of a short six date tour to introduce you to their latest release "Songs for Switches". This band, an amalgam of band members from top tier bands such as Stabbing Westward, Atlas Moth, Minsk and more- carrying along the Chicago tradition of street toughness, with chops and more chops. Like it states on their Instagram Homepage- "Industrial Strength Horror", as per definition. And such was the showcase, headlining at the Bottle, a show with pulverizing four to the floor might, no letup in sight. They actually held a preview a week prior on the 24th, a label party of sorts to introduce the Chicago masses to the album release "Songs for Switches", which comes out on the 31st, perfect timing, being halloween n' all. Still, nothing like hearing these new nuggets live and in person, and loud. I mean LOUD. The band, consisting of Marcus Eliopulos (Stabbing Westward) on guitar, Sanford Parker (Minsk, Corrections House) on bass, Mike Miczek (The Atlas Moth, Broken Hope) on drums, Andrew Ragin (The Atlas Moth) on synths, and Dee DeEmme (Whipped) on lead vocals- such a pairing, these mates, with knowledge up the kazoo to understand if anything, that songs matter, energy matters, live performance matters, the whole shebang better be damn good and to everyone's liking. No bullshit kinda guys. The songs relate to that, and in my opinion their introduction to their latest release reflects this as well. Me, I was grinning from ear to ear throughout, from various perspectives on the main floor of the Bottle, impressed throughout their rather brief set, this being an album release showcase and all, dialed down to fit the confines of the tight corner where the main stage at the Bottle is settled real estate wise, but making use with what they've got, the Bottle itself having that attitude of "prove it, if you got the songs to sway the masses" kinda vibe. And Black Cross Hotel did, like over and over and over. It's a street tough venue, sure, with a history like Lounge Ax back in the day to tighten things up capacity wise, steeped in history, but blessed with a PA that can wallop, and a vibe pre Halloween that was immersed in Halloween with all manner of interior skulls and captivating delights. True, their inspirations are horror related, amongst other fright night kinda things, embracing all manner of genres throughout, dark-wave, some punk attitude, a dash of metal, followed by dark metal, and even a taste or two of hair metal. All manners from all of the above done with good taste and thought in mind, band members again coming from a history where they've experimented and have experienced trials and errors of accomplishing said goals, and now elevating everything to start anew, to start fresh and clean. And let's not forget some industrial elements as well, with a punishing backbeat to add emphasis to song structure, let alone attitude. A powerful and commanding presence, all things Black Cross Hotel. A memorable showcase of sorts, with an album and songs worthy of your attention, and a live show that punches you in the gut, multiple times throughout  Marketing - Bobby Talamine (c) 2025  Black Cross Hotel - Bobby Talamine (c) 2025  Black Cross Hotel - Bobby Talamine (c) 2025  Black Cross Hotel - Bobby Talamine (c) 2025  Black Cross Hotel - Bobby Talamine (c) 2025  Black Cross Hotel - Bobby Talamine (c) 2025  Black Cross Hotel - Bobby Talamine (c) 2025  Black Cross Hotel - Bobby Talamine (c) 2025  Blood Lemon - Bobby Talamine (c) 2025  Blood Lemon - Bobby Talamine (c) 2025  Still Machine - Bobby Talamine (c) 2025  Blood Lemon - Bobby Talamine (c) 2025 Blood Lemon, a concise power trio by the way of Boise and Seattle, not necessarily a release party for them per se, but a positive plus having them along for this short introductory tour. Was blown away with their set as well, a subdued and lo fi charm throughout, sure, but in the undertones of everything, something sinister awaits. Stunned by how every now and then, in the interplay of the band, you hear remnants of Black Sabbath, and subdued vibes of sludge, like storm clouds off in the distance- you see the lightning, but not hear the mighty bone shaking wallop of thunder. Although it's there, lurking, just not so ever evident. For a three piece, they slay. Consisting of Melanie Radford (yes, that Melanie from Built to Spill) on bass and vocals, Lisa Simpson on guitar and vocals, and also Lindsey Lloyd on drums- they have created something special. Their set, subdued and chilling as it was, delicate and yet immersed in dark undertones, like embracing the dark, the dark is comforting. Not to say that the band may agree with that statement, but I stood there in front of them, their entire set, thinking these things, like all throughout, that subdued dark this and that- that dark is good, dark is plentiful. Hard to grasp and understand this of course unless you're there, seen them live, listened to their music in general. The subtleties work on many levels, no need for more explaining. They've captured something, like mini short films of walking into deserted towns in the middle of the night, lit by a full moon. Have to hear more from these ladies, they are that good. And openers Still Machine, also along for the ride with an album release showcase as well, with a post punk pedigree that encases their songs, done with a polish and flair, especially performed live. Simple and lush arrangements, strong sense of melody pervades with these guys. The band, consisting of Ray Dybzinski on guitar and vocals, Jason Goldberg on bass and vocals, and also Matt Martin on drums and percussion and backing vocals- they're onto something with their brand of music- hope to hear more from them soon. Bobby Talamine - JBTV Music Television Chicago Black Cross Hotel, Blood Lemon, Still Machine, Empty Bottle, Halloween, Spooky Season, Bobby Talamine, Fiza Javid, Jerry Bryant, JBTV Music Television, Chicago Live Music Rob Halford of Judas Priest - Bobby Talamine (c) 2025  Judas Priest - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Credit Union 1 Ampitheatre - Tinley Park IL Sunday - October 5, 2025 Judas Priest and Alice Cooper. Two full sets. Such a glorious Sunday night outside of Chicago in Tinley Park, at the Credit Union 1 Ampitheatre. With headliner Judas Priest, nothing left for chance whatsoever. This kind of speed metal/ heavy metal (whatever) demands it. No bullshit. Not much time for small talk. The union and meeting of the minds begins with the opening snippet of a theme song from the mighty Black Sabbath in all things "War Pigs", what with the refrain good and loud, sung by all- "Just like witches at black masses... Oh Lord yeah!!" Then- off to the races into Judas with "All Guns Blazing", which by all intent and purposes is all guns blazing and then some. The fierceness and fortitude by all on hand, Rob Halford on lead vocals, Ian Hill on bass, Richie Faulkner on guitars, Andy Sneap also on guitars, and Scott Travis on drums- these guys, they pummel as one. There's fun of course, courtesy of Rob Halford, making note of all musicians on hand, giving kudos and props and plugs to them all, up close, swaying to the beat, bowing in admiration to the mighty riffs let loose depending on song and of course timing noted to statement and mighty guitar riffs and heavy bass interludes. These ideals hold truth to the power and might of metal, all kinds of metal, and the strength within, age of course be damned. Rob is 74. Let that sink in for a minute. He hasn't lost touch with his upper register whatsoever, blanketing the crowd with his stunning array of vocal mannerisms, fitting that he knows the proper techniques to let loose when necessary, all decked in dark yet sparkly metal jacket and black everything. If anything, he's slowed down a bit to get from point A to point B, usually in a counterclockwise motion, sometimes arms outstretched to match the mighty beats and riffs, but nevertheless ALL IN, All SONGS. How long can this go? Who's to say. That setlist of there's was fourteen songs including encore, nary a letup throughout. Makes you appreciate the here and now, witnessing yet again an over the top electric and downright riveting performance from Rob and his mates. Most of their set consisted of songs of yore (as well as it should), especially from "Painkiller", released in 1990, an album just so over the top for its time, bone crushing and uncompromising, diabolical riffs wise, with Rob's incendiary vocals just adding luster to the "what the fuck did I just Hear? Must repeat if I can withstand the bludgeoning". "Painkiller" was ever evident throughout, opening with "All Guns Blazing" like I stated above, followed by the gnarly and riff heavy master "Hell Patrol", along with Night Crawler", and of course the blistering song "Painkiller". Their set, their mood, their demeanor, all things Judas Priest- startling statements from the metal overlords, metal kings by definition and intact, unrelenting and uncompromising, triumphant as all get out in approach and overall mood that the songs demand, and the mates of Judas Priest better be prepared for. Amazing when you think of it. Gobsmacked that that level of musicianship still holds true with Judas Priest, no weaknesses, no spare parts, just a whiplash snakepit from beginning to end. Long live Judas Priest in all their glory, such is what I witnessed yet again from them to the present day.  Judas Priest - Bobby Talamine (c) 2025  Judas Priest - Bobby Talamine (c) 2025  Judas Priest - Bobby Talamine (c) 2025  Judas Priest - Bobby Talamine (c) 2025  Judas Priest - Bobby Talamine (c) 2025  Alice Cooper - Bobby Talamine (c) 2025  Alice Cooper - Bobby Talamine (c) 2025  Alice Cooper - Bobby Talamine (c) 2025  Alice Cooper - Bobby Talamine (c) 2025  Alice Cooper - Bobby Talamine (c) 2025  Alice Cooper - Bobby Talamine (c) 2025 And as for Alice Cooper- Just so damned compelling as well, songs and setlist still intact, theatricality still polished and clean, a man who certainly knows how to put on a show, one song after another blending into each other as one, 21 songs, yes, 21 songs in total throughout. Again, a guy who's up there in age at 77- yes- 77 years old, and still all in as the demented ringleader in all things "Alice Cooper', reveling in the underground of nightmare culture, embracing the macabre from within. An actor who's all in, a ringleader who's all in, a purveyor of nightmare culture with the props and aesthetics to prove it, followed by a band that withstands the heat, and can also punish at a moment's notice, courtesy of guitar maestro Nita Strauss, who can slay riff wise with the best of 'em. The whole band gels to the Alice catalog of deep reveals, especially so when it comes to the anthems that hold heft and might, such as "I'm Eighteen", "Feed My Frankenstein", "Poison", and of course "School's Out". Cool that with "School's Out" in particular, Alice had the smarts to add Pink Floyd's "Another Brick in the Wall, Pt. 2", with its equally compelling lyrical refrains of angst and beat downs. The whole set with Alice, vocals and menacing drawls still intact of course, but the songs come hard and fast, horror showmanship still a sight to behold, even when not headlining, theatrical sightlines still a sight to behold. That the giant backstage LED backdrop was crisp and clean, highlighting Alice and certain musicians depending on song, framed in an amalgamation of taste and panache with the occasional skeletons, or graveyard accoutrements just added to the "All In" structure of things, especially since we're in the month of October. That Alice and "Alice's Attic" can make these attempts with class over and over again, with over all mood never so never changing just leads to smiles from me, his enthusiasm and take of always putting on a memorable show, known to entertain and always entertain, mock horror excess unraveling like over and over. These two sets from two mighty artists.....what a way to close out the summer season at the Credit Union 1 Ampitheatre. Bobby Talamine - JBTV Music Television Chicago Alice Cooper, Judas Priest, Tinley Park, Chicago Live Music, JBTV Music Television, Bobby Talamine, Jerry Bryant, Fiza Javid Shirley Manson of Garbage - Bobby Talamine (c) 2025  Garbage - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid The Salt Shed - Chicago Monday - September 29, 2025 If this is the last foray for the band Garbage, on their "Happy Endings Tour", they certainly know how to go out in style, band certainly intact, Shirley Manson still ever so commanding on lead vocals. Opening with a song from their latest release- "Let All That We Imagine Be the Light", which came out this past May, that being "There's No Future in Optimism"-A song that makes a statement on the beat down attributed to hate, all kinds of hate, and the power of love and tenderness, and the willingness and fortitude to overcome. Not an easy thing to get across without coming off even handed, let alone fake. But Shirley's take with all of this spoke volumes, not just in lyric and songwriting, but also commanding visually. There she is, center stage, not much need for theatrics, just wearing a dark leather jacket, hands in pockets at center mic, heavily strobed and backlit, looking like the badass she always is. It says lots in my opinion, not opening with a classic hit from the Garbage catalog, but with a single from their latest release, also followed by another, the song "Hold", and by this time she's removed her jacket, and you can see she's wearing an oversized black t shirt with the words "LET GAZA LIVE" on the front, in capital letters, bold and clear for everyone to see. So again, a farewell tour that also acts not like a farewell tour. Garbage, all four of them, acting out per usual in the present day, even though it seems like this is their last major go round. My opinion though- never say never. That they've made clear that current touring conditions, especially on this scale, it ain't easy production wise, and also expensive, putting themselves in a position of if doing it right, is it feasible. Clearly Garbage don't want the look and feel of a nostalgia act whatsoever, steadfastly independent and forward thinking, nothing lame and dialed in whatsoever, honest and true to the core. Still, in my opinion, it wouldn't surprise me if down the road you see them perform occasional one offs, or limited dates, or anything festival this or festival that related. Having said that, this show back on Monday night at The Salt Shed Chicago, a celebration of sorts, with Butch Vig providing the undeniable cool backbeats at his drumkit, and the yin and yang of Duke Erikson and Steve Marker on mighty fine guitars, and with the add of Nicole Fiorentino on bass to punch up the sound. A lively and concise bunch I tell ya, emphasized yet again with the heart and soul of Shirley Manson front and center. Older songs, such as "I Think I'm Paranoid", or "Push It" in particular, let alone the double whammy encore of "Stupid Girl" and "Only Happy When it Rains" certainly pack a tried and true wallop. But so do the newer tunes off of "Let All That We Imagine Be the Light" as well. Again, nothing dialed in songwriting with these guys, all roads lead to honest contributions on a level playing field to the present day, and also, most importantly, Shirley's command and resoluteness of not just putting on a memorable show, but making certain moments special, such as a snippet of the song "Parade", dedicated to a gentleman in the first row along the pit rail, who happened to be a survivor of the Pulse Nightclub shooting back in the summer of 2016. That she took the time to not only recognize him, but to play a bit of that song for him speaks volumes in regards to Shirley, and where her heart is at, sincere as all get out. And like virtually every show I've seen with Garbage, it has always been this way- just solid individuals all, honest to the core. Such resilience as well to the present day, all things Garbage, a lot wiser of course, age having something to do with it, but also coming off so damn cool and unique, their songs sounding not dated and tired at all. Have to say that even though they played Chicago on a Monday night of all things, it felt more like a weekend night throughout the show, no worries about the four more days of work ahead. Fuck all that, playing on a Monday. They came to play, and embrace their tried and true Chicago fans. Such a memorable show throughout.  Garbage - Bobby Talamine (c) 2025  Garbage - Bobby Talamine (c) 2025  Garbage - Bobby Talamine (c) 2025  Garbage - Bobby Talamine (c) 2025  Garbage - Bobby Talamine (c) 2025  Garbage - Bobby Talamine (c) 2025  Garbage - Bobby Talamine (c) 2025  Starcrawler - Bobby Talamine (c) 2025  Starcrawler - Bobby Talamine (c) 2025  Starcrawler - Bobby Talamine (c) 2025  Starcrawler - Bobby Talamine (c) 2025  Starcrawler - Bobby Talamine (c) 2025  Starcrawler - Bobby Talamine (c) 2025 Same holds true with opener Starcrawler, who came out gritty and trailblazing, and ended some ten songs later grittier and trailblazing-er, albeit a bit sweaty, courtesy of the caged lions in Arrow de Wilde on front and center vocal, followed by the equally unhinged guitarist Henri Cash. These two- they know how to put on a show, and relish in all things playing live and hellbent. Have seen them multiple times by now, and their confidence and their demeanor, their unpredictable nature makes you not look away from the stage whatsoever, big venue, smaller venue when they headline- it doesn't matter. A solid touring band by now, some ten years in. And hardworking, doing their damned best making a name for themselves. Shirley definitely made mention of it at the beginning of Garbage's set, stating just how convincing and riveting they are to see perform live, but just how cool they are as individuals offstage as well. The urgency fo their songs, the wicked stature of Arrow and her stage antics, equally measured by Henri's as well on lead guitar, what with the sweaty Chuck Berry duck walk as a case in point- these two certainly know how to feed off each other performing live, that's for sure. Starcrawler's set was equally compelling and damned fun to witness as well. Just adore these guys performing live. Such a splendid time at The Salt Shed Chicago on a Monday night. Bobby Talamine - JBTV Music Television Chicago Starcrawler, Garbage, The Salt Shed, Chicago, Live Music, Fall 2025, Bobby Talamine, Fiza Javid, Jerry Bryant, JBTV Music Television Joe Talbot of IDLES - Bobby Talamine (c) 2025  Joe Talbot of IDLES - Bobby Talamine (c) 2025 Writing by Fiza Javid Photography by Bobby Talamine Douglass Park - Chicago Sunday - September 21, 2025 Riot Fest. Day Three. Punk is NOT dead. Come and get a load of this kickass finale!! I had a chance to join my first ladies-only mosh pit thanks to Soft Play, who I’ve gotta couple up with IDLES for the amount of ENERGY they brought to this final day of the 20th Anniversary of Riot Fest. Along with other notable acts: The Effigies, Smoking Popes, Pegboy, The Linda Lindas, Lambrini Girls, DEHD, Texas is the Reason, and Inhaler. But first, IDLES, who brought Soft Play on the stage for their final song — an eruption of sound that left the entire crowd drenched, wild-eyed, and absolutely united. Joe Talbot’s guttural delivery felt like both a sermon and a brawl, and by the time they screamed out their closer, it was clear this was more than a set — it was a rallying cry. The level of cameraderie this band carries on stage only carries into the crowd. From their dance moves to their message. Vital in this time period. Next, Soft Play kept the energy pulsing with a set that was sharp, witty, and unapologetically rowdy. Their punk revivalism was matched with a cheeky edge, and when they tore into their faster tracks, the pit got bigger, faster, and hotter. That’s when the ladies-only circle broke out — and let me tell you, there’s no purer punk joy than moshing shoulder-to-shoulder with women who are there to unleash just as much fury and fun. "Punks Dead," the ultimate parody of the comments thrown their way for their name switch - it is hands down the most legendary transformation in punk rock history, and the way their sound has evolved over the years. This crowd was the ideal sounding board for their badassery.  Joe Talbot of IDLES - Bobby Talamine (c) 2025  IDLES - Bobby Talamine (c) 2025  IDLES - Bobby Talamine (c) 2025  Soft Play - Bobby Talamine (c) 2025  Soft Play - Bobby Talamine (c) 2025  Soft Play - Bobby Talamine (c) 2025  Lambrini Girls - Bobby Talamine (c) 2025 The Midwest punk spirit was well represented by The Effigies, whose legacy as Chicago punk pioneers came through loud and clear. It was gritty, stripped down, and pure electricity. Following them, Smoking Popes brought their melodic charm — the kind of band you can sing along to while still thrashing around. There’s something timeless about their balance of sweetness and angst that hit just right in the Riot Fest air. Pegboy reminded everyone why they’re Chicago punk royalty, powering through with a ferocity that proves age has nothing on attitude. Their anthemic sound had longtime fans screaming every lyric like it was 1991 all over again. On the younger side of punk’s spectrum, The Linda Lindas proved themselves as the future of the genre. Their confidence and sheer joy in shredding on stage were infectious. Songs that tackle identity and empowerment landed with punch, showing why they’ve become such icons for a new generation. Across the pond, Lambrini Girls carried the UK punk flag high with snarling riffs, chaotic humor, and a riot grrrl spirit that blended perfectly with the Chicago crowd. Their set was short but searing — the kind that leaves your ears buzzing in the best way. DEHD brought a slightly different energy, leaning into their dreamier, surf-tinged indie punk sound. It was a welcome shift, giving the crowd moments to sway and breathe while still staying locked into the Riot Fest groove. Their set felt like a cool breeze across the chaos. Reunion magic came from Texas is the Reason, delivering heartfelt post-hardcore that pulled at both nostalgia and urgency. Their songs are heavy without being overwhelming, melodic without being soft — the kind of set that makes you close your eyes and feel every note in your chest. And finally, Inhaler closed things out with style. Their sharp, polished indie rock was the perfect exhale to a weekend of furious, unrelenting sound. Frontman Elijah Hewson carried himself with the confidence of someone who has music in his blood — no surprise, since he’s the son of Bono from U2. But while the lineage is undeniable, Inhaler aren’t riding on anyone’s coattails. Their sound feels their own: sleek, urgent, and destined to fill arenas. Tracks like “My Honest Face” sent the crowd into a euphoric singalong, and in the context of Riot Fest, it was fascinating — a reminder that punk’s spirit can evolve into new forms without losing its core urgency. Inhaler felt less like a “next generation of U2” and more like a new generation of festival headliners stepping into their own.  The Effigies - Bobby Talamine (c) 2025  Smoking Popes - Bobby Talamine (c) 2025  Pegboy - Bobby Talamine (c) 2025  The Linda Lindas - Bobby Talamine (c) 2025  Lambrini Girls - Bobby Talamine (c) 2025  DEHD - Bobby Talamine (c) 2025  Texas is the Reason - Bobby Talamine (c) 2025  Inhaler - Bobby Talamine (c) 2025 As the lights dimmed on Day Three, there was no doubt left: Riot Fest’s 20th Anniversary wasn’t just a celebration of its history — it was a promise for the future. Punk is alive, thriving, mutating, and screaming louder than ever. And if this weekend proved anything, it’s that Riot Fest is still the ultimate home for every misfit, mosher, and music lover who refuses to sit down and shut up. Here’s to the next twenty years. Fiza Javid - JBTV Music Television The Effigies, Smoking Popes, Pegboy, Soft Play, The Linda Lindas, Lambrini Girls, DEHD, IDLES, Texas is the Reason, Inhaler, Green Day, Cobra Starship, Gym Class Heroes, Bobby Talamine, Jerry Bryant, Fiza Javid, JBTV Music Television, Riot Fest 2025, 20 YearsRiot Fest Day Two - The Beach Boys with John Stamos, The Damned, GWAR, Militarie Gun, Helmet & More9/20/2025  GWAR - Bobby Talamine (c) 2025  John Stamos - Bobby Talamine (c) 2025 Writing by Fiza Javid Photography by Bobby Talamine Douglass Park - Chicago Saturday - September 20, 2025 Haveeeee mercy!! We were feeling the Good Vibrations as we entered Day Two of Riot Fest's 20th Anniversary extravaganza!! Getting to the Butter Stamos statue by 3PM to catch the John Stamos Lookalike Contest was vital. Capturing all the incredible acts was even more vital: Violent Vira, Militarie Gun, The Cribs, Helmet, GWAR, James, Beach Boys with John Stamos, and the Damned! Damn, what a lineup!! All things were buzzing John Stamos as I snacked on deep fried Oreos and kept a mental count of all the Stamos references I could catch during the day. I lost count. Beyond the Stamos references and the very punk rock political T Shirts, I couldn't get enough of the wide range of performances of the day. GWAR. What can you even say? Riot Fest wouldn’t be Riot Fest without the chaos of GWAR. Sprays of fake blood and alien theatrics painted the crowd (literally), and people walked away looking like extras from a horror flick. The sheer spectacle was equal parts hilarious and unhinged—a perfect fit for the day’s vibe. Not to mention the Trump and ICE mockery. Ain't a punk rock festival unless we speak on what matters. While we can't avoid the tumultuous times we are living in, music and performances are so important in keeping morale high and speaking for the people. The mockery is necessary, and GWAR delivered every detail of what we wanted and felt! The Beach Boys—with John Stamos. Yes, you read that right. Stamos jumped behind the drums and smiled his way through one of the most surreal sets Riot Fest has ever hosted. Harmonies floated through the dusty air, and the crowd danced like it was 1965, even as punks in leather jackets shouted “UNCLE JESSE!” from the pit. It was bizarre, it was beautiful, it was peak Riot Fest. The Damned closed things out with a masterclass in punk history. Their gothic, theatrical take on the genre hit like a wave of nostalgia and menace all at once. With decades under their belts, they still command a stage like few others. It was the perfect capstone for a day that spanned everything from hardcore chaos to surf-rock sunshine.  GWAR - Bobby Talamine (c) 2025  GWAR - Bobby Talamine (c) 2025  John Stamos - Bobby Talamine (c) 2025  The Beach Boys - Bobby Talamine (c) 2025  The Damned - Bobby Talamine (c) 2025  The Damned - Bobby Talamine (c) 2025  Militarie Gun - Bobby Talamine (c) 2025 Violent Vira set the tone early with a dark but magnetic performance that pulled the crowd in. Their haunting vocals and jagged guitars felt like the soundtrack to Riot Fest’s more brooding corners. You could sense the band carving out their place among a sea of heavy hitters, and the crowd fed off that hungry energy. Militarie Gun kept the adrenaline rolling. Their set was urgent, loud, and absolutely unrelenting. Hardcore at its most cathartic, the band had fans crashing into each other with abandon, fists in the air and sweat pouring down. They’re one of those acts that sound even better live than on record, and they left the stage to a roar. The Cribs brought the jangly indie-punk swagger that only brothers in a band can conjure. Their set was filled with singalong choruses and scratchy guitar hooks that had longtime fans smiling ear to ear. It was pure charm—the kind of set that reminded us why UK indie bands always seem to translate so well in the Chicago air. Helmet stormed in with their crushing riffs and precise aggression. Heavy, groovy, and tight as ever, Helmet’s set was a brutal reminder of their legacy in shaping alternative metal. The pit was a swirling storm, and anyone who came for the heavy stuff walked away more than satisfied. James offered one of the most surprising turns of the afternoon. Their soaring, melodic alt-rock felt like a cool breeze amid the chaos. Tracks like Laid had the whole field singing along, proving that Riot Fest isn’t just about distortion and breakdowns—it’s about those transcendent moments too.  Violent Vira - Bobby Talamine (c) 2025  Crib - Bobby Talamine (c) 2025  Helmet - Bobby Talamine (c) 2025  James - Bobby Talamine (c) 2025 Day Two was Riot Fest in its purest form: unpredictable, messy, emotional, and unforgettable. And the best part? We’re only halfway through. With Day Three promising even more legends, surprises, and mayhem, the only thing left to say is: Riot Fest, have mercy on us—we’re not ready, but we’ll be there. Fiza Javid - JBTV Music Television Helmet, Militarie Gun, Violent Vira, GWAR, The Damned, John Stamos, The Beach Boys, Butter Stamos, Full House, Bobby Talamine, Fiza Javid, Jerry Bryant, JBTV Music Television, Riot Fest 2025 Weird Al Yankovic - Bobby Talamine (c) 2025 Writing by Fiza Javid Photography by Bobby Talamine Douglass Park - Chicago Friday - September 19, 2025 Riot Fest 2025. Twenty years in the making, and twenty years of surging surprises kicked off with the utmost excitement. Day one hit like a wave the moment you stepped through the gates—dust in the air, fried food in the distance, and the sound of guitars already bleeding from the stages. People were running around in patched-up vests, Blink tees, clown makeup, Rico Nasty spikes—you name it. It felt like a costume party for every corner of counterculture. And then--a Weird Al stage?! I thought it was a rumor at first. But sure enough, his name was plastered across the lineup alongside Sparks, Rico Nasty, Shonen Knife, Mac Sabbath, The Barbarians of California, Big Ass Truck IE, Puddles Pity Party…and of course, Weird Al Yankovic himself. Weird Al is a rarity. Even with songs so universally known, you’d think he toured endlessly—but no. Seeing him headline Riot Fest felt like stumbling onto a unicorn. For me, it was personal. My love for Al goes back to the early ‘90s: watching I’m Fat on TV, hearing The Saga Begins during Kristi Yamaguchi’s skating program (yes, that happened), even cat ching buskers belt out Truck Driving Song. The one track I prayed for? Smells Like Nirvana. And sure enough—we got it. Al stormed the stage in full Kurt Cobain parody gear, throwing himself to the floor, mumbling into the mic like he’d forgotten the lyrics on purpose. The crowd lost it. The medley that followed was pure whiplash: I Love Rocky Road, Canadian Idiot, polka interludes that had people skanking in the pit. No sex, no drugs, no rock ‘n’ roll—just Polkamania. His outfit changes were as wild as his energy. Every time he reappeared, the crowd screamed louder, and he gave it right back,  Weird Al Yankovic - Bobby Talamine (c) 2025  Weird Al Yankovic - Bobby Talamine (c) 2025  Weird Al Yankovic - Bobby Talamine (c) 2025  Weird Al Yankovic - Bobby Talamine (c) 2025 But Weird Al wasn’t the only legend. Shonen Knife, the queens of Osaka punk, brought pure sunshine fuzz-pop to an early crowd still shaking off beer lines. Their matching dresses, their harmonies—it was like being let into a candy-colored garage rock daydream. The Barbarians of California hit like a bar fight wrapped in surf rock. Fronted by Aaron Bruno—yes, the same wild mind behind AWOLNATION—they brought a swagger that made the set feel dangerous and fun all at once. Bruno prowled the stage, howling over fuzzed-out riffs that blended punk grit with sunburnt California surf vibes. It was equal parts chaos and charisma, the kind of set where you didn’t know whether to slam dance or just stand there in awe. For fans who came up on Sail, this was a whole other beast—Bruno unchained, raw, and built for Riot Fest. Then came Rico Nasty, who immediately flipped the vibe. She tore onto the stage like she owned it, and within thirty seconds, the pit exploded. Her screams, her thrashing, the way the bass shook through the dust—this wasn’t just a rap set, this was punk spirit incarnate. A kid next to me shouted, “She’s the future!” and honestly, he wasn’t wrong. Mac Sabbath? Absolutely deranged—in the best way. Imagine Ronald McDonald belting out “Frying Pan” to the riff of Iron Man. The crowd was head banging and laughing at the same time, a sea of horns thrown up in irony and admiration. Riot Fest doesn’t just embrace weird—it demands it. Then came a 180: Puddles Pity Party walked onstage, a giant sad clown, and suddenly it was dead silent. His operatic cover of Bowie filled the park, and people stood frozen, some with tears. The emotional whiplash was insane—only at Riot Fest do you go from parody metal to crying over a clown. As dusk hit, Sparks took the stage, and their cult energy was undeniable. Ron’s deadpan keyboard stance, Russell’s falsetto soaring over the Chicago air—it was like watching art school weirdos turn into gods. Fifty years in, they were as sharp as ever, and the crowd gave them the worship they deserved. The day rolled on with curveballs. Camper Van Beethoven brought their offbeat alt-rock and jangly violins, reminding everyone why the college radio underground still worships them. Songs like Take the Skinheads Bowling hit with a strange, nostalgic energy—half singalong, half history lesson. Their set felt like a love letter to the kind of bands that helped Riot Fest even exist. The Hold Steady followed later, turning the crowd into one giant drunken choir. Craig Finn doesn’t just sing—he preaches, and the audience shouts every word back at him like scripture. Stuck Between Stations hit especially hard, people throwing arms around strangers, beers spilling everywhere, pure catharsis. It was sweaty, sloppy, and absolutely beautiful—everything a Hold Steady set should be. Sparks were nothing short of surreal. Ron Mael sat stoic at the keyboard, expression fixed like a statue, while his brother Russell Mael bounded across the stage with the kind of energy you’d expect from someone half his age. The juxtaposition was classic Sparks—the deadpan wit next to falsetto theatrics. When they broke into This Town Ain’t Big Enough for Both of Us, it felt like a time machine back to their glam-rock heyday, when their sharp suits, outrageous hair, and arch humor put them on Top of the Pops next to Bowie and Roxy Music. Their 80s work—full of synth shimmer and theatrical excess—hung heavy in the air, and when Russell hit those falsetto peaks, it was like hearing the ghosts of glam reawakened in Chicago. Newer tracks slid in effortlessly, reminding everyone why Sparks never got stuck in nostalgia—they’ve always been ahead of the curve, constantly reinventing themselves while still dripping in that campy, glam absurdity. It wasn’t just a set; it was a reminder that Sparks don’t age—they just add another bizarre chapter to their legend.  Shonen Knife - Bobby Talamine (c) 2025  Barbarians of California - Bobby Talamine (c) 2025  Mac Sabbath - Bobby Talamine (c) 2025  Mac Sabbath - Bobby Talamine (c) 2025  Puddles Pity Party - Bobby Talamine (c) 2025  Camper Van Beethoven - Bobby Talamine (c) 2025  The Hold Steady - Bobby Talamine (c) 2025  Rico Nasty - Bobby Talamine (c) 2025  Sparks - Bobby Talamine (c) 2025 And then…the main event. Blink-182. By the time the lights cut, the entire park was shaking with anticipation. You could feel it—people on shoulders, drinks flying, strangers hugging because we all knew this was about to be one of those sets. Tom’s voice cut through first, Mark’s banter was filthy as ever, and Travis played like a machine possessed. From I Miss You to What’s My Age Again? to All the Small Things, it was a singalong frenzy. Tens of thousands screaming until our throats burned, fireworks lighting up the sky, dust clouds rising from the pits—it felt like Riot Fest had come full circle. By the time we stumbled out of Douglass Park—ears ringing, voices shot, shoes caked in dirt—it was clear: day one wasn’t just an opener. It was a victory lap. Twenty years of mayhem, parody, chaos, and catharsis bottled into one perfect kickoff. Cheers to the Saturday and Sunday that awaits! Fiza Javid - JBTV Music Television Rico Nasty, Shonen Knife, The Barbarians of California, Weird Al Yankovic, Blink-182, Sparks, Shonen Knife, Puddles Pity Party, Fiza Javid, Bobby Talamine, Jerry Bryant, JBTV Music Television, Riot Fest 2025, 20 Years, Chicago Live Music Wet Leg - Bobby Talamine (c) 2025  Wet Leg - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid The Salt Shed Fairgrounds- Chicago Wednesday, - September 10, 2025 The band Wet Leg. Boy how this band has evolved over a few short years. Starting off back in the day with cool and catchy indie singing and songwriting, and now blessed with a boatload of confidence, turned into a formidable foe. Fighting words of choice. Like in a boxing ring, hype before the event, a throwdown before the throwdown. The main tell before Wednesday's show at the Fairgrounds of The Salt Shed- the album cover art for their latest release for "Moisturizer', from back in July of this year. Provocative- the pose, the stance, the wicked smile from Rhian Teasdale- sexy, sure, but also appearing a bit crazed, like you're looking for a fight, a bit of unpredictable chaos to ensue. Then came the late night show appearances to promote "Moisturizer", both in the UK and of course the states. Nothing subtle appearances wise, what with sexy clothes, the tattoos from Rhian, the look and feel of pin up- ish, but don't you dare approach, all of it by the looks of things volatile. And of course the song of choice from their late night appearances was "Catch these Fists" - a swashbuckling ride of merriment melody wise, but underneath, lyrically, a lot more to tell, specifically knuckle-headed (and maybe a bit inebriated) men doing there best (Most awkwardly) of trying to pickup Rhian at either a bar, or bars, or on the dancefloor, when on a night on the town. Catch these fists, and then some. So there's the answer kinda, even now on the their current North American Tour, and the opener- but of course the song "Catch these Fists". Laying the groundwork for what's to come, heavy beats intact, sexy clothing ever evident, brandishing sexy moves throughout, with a layer of snarl and of course when the song starts, Rhian at the drum riser, slowly walking to center mic, arms out, fists of course out. And the Salt Shed crowd- in rabid fandomness with lots and lots of screams, reciting lyrics verbatim. Yes, on a Wednesday night, we are in for a wild ride.  Wet Leg - Bobby Talamine (c) 2025  Wet Leg - Bobby Talamine (c) 2025  Wet Leg - Bobby Talamine (c) 2025  Wet Leg - Bobby Talamine (c) 2025  Wet Leg - Bobby Talamine (c) 2025  Wet Leg - Bobby Talamine (c) 2025 Wet Leg - Bobby Talamine (c) 2025  Wet Leg - Bobby Talamine (c) 2025  Wet Leg - Bobby Talamine (c) 2025 Another tell, song eight for the evening, "Ur Mom", and the banshee yells from the audience about 3 minutes in, drowning out the band in cathartic release.. From the main floor, a sight to behold, to witness in unison and let loose like everyone else. The whole evening had this vibe, of frisky, of slightly uninhibited, even when dancing in place, especially towards the end, with their captivating song "Chaise Longue", the definition of post punk, sure, but with aloof overtones lyrically, met with melodies that start simple, catchy, but it just builds and builds and builds, especially when performed live, all fresh and clean and anew. The whole evening, just ping ponging about from various vantage points, upstairs, downstairs, like everywhere for me, and the joy of it all- the Chicago Wet Leg faithful are all in. How this band has reinvented itself, amped up the energy for sure, now being even more so a full fledged band beyond the core of Rhian and Hester Chambers certainly helps. Another note- solid drumming from Henry Holmes. Rhian sure made note of that throughout the evening as well, bouncing about in time in front of Henry's kit, all smiles, all energized like she's hearing their songs live like the first time. The new material from Moisturizer", has lots of punch of course, but added to all of this is their new attitude, amping up the entire setlist, older songs included. Wet Leg, they aren't wannabees whatsoever. They came to play and brandish melodies of a sarcastic wit with a smidgeon of charm, and of course attitude. I mean wicked attitude. Hope my photos reflect this energy to some level- after all, while in the pit for the first three, I was laughing my ass off at the energy, the excitement of it all. Like lightning in a bottle, all things Wet Leg. Easily one of the best shows of the year. Bobby Talamine - JBTV Music Television Chicago Wet Leg, Salt Shed, Chicago Live Music, Bobby Talamine, Fiza Javid, Jerry Bryant, JBTV Music Television, 2025 System of a Down - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Soldier Field - Chicago Sunday - August 31, 2025 System of a Down. Still intact. Still tried and true, still making boot stomping statements to the present day, original band intact and as solid as ever. What boggles the mind- multiple things obviously. Like the overall stage aesthetic, Looks like its meant for a smaller club feel, what with risers stage left and stage right, meant for amped and elevated guitar and bass profiles depending on song, let alone minimal stage clutter. Yes, this is Soldier Field for crying out loud, and yes, it's actually a gigantic stage with gigantic LED screens also stage left and stage right, let alone an even bigger one at the back of the stage, carrying the messages of band ideals with striking graphic intent. However, yet again, the simplicity of things, it still has an intimate arena feel, which I find most appealing. The System of a Down catalog, the demeanor of all things Serj Tankian, Daron Malakian, Shavo Odadjian and John Dolmayan, still trailblazing along like days of yore, playing music of a punishing nature, with emphasis on community, of fun, and- let's mosh. Lots and lots of mosh. The main floor crowd, from the get go with opener "Soldier Side- Intro", into "B.Y.O.B.", into "Suite-Pee"- no letup in letting loose, with multiple mosh pits, and igniting everything yet again into song number four of the evening with "Prison Song", followed by "Aerials". From the 100 level of the bowl, a sight to behold, watching the moshes equal to watching the band. The simplicity of it all with System, the fact that they haven't toured through Chicago in like six or so years, the Chicago crowd just so damn antsy in anticipation, and maybe the fact that it's Labor Day Weekend- maybe all of this made things things spontaneous and just wild to witness firsthand. System of a Down, still popular as ever, with an Armenian metal attitude that sticks to you like glue, the fact that when you think of it, everything about them is just so unorthodox, not just the big picture obviously, but also the small microcosms depending on song within a song, bursting at the seems one minute, scaring the pants off you yet another, followed by intimate musical breathers, and so on. That's the special sauce and weave that sets SOAD apart, that they are so unique in their tastes and feels, standing apart from the crowd with song structures that are true to their homeland, let alone soaking everything in via the west coast of the USA. It works, these guys performing live, some 26 songs total in their setlist. What boggles the mind even more- relying on tried and true original catalog songs of yore, with nothing new release wise since like 2005. And they've sold out two night at Soldier Field. You don't think these guys are still popular, let alone sorely missed? Think again. They have attitude, that's for sure. Like in your face we're from Chicago kinda attitude, even though again, they reside in California. No matter. The songs- all of them- still a wicked punch to the gut, with no need for pyro or flash bombs, or stage props to distract from the message, the appeal of the songs itself. The appeal- kinda like early AC/DC, a band with a heavy rock/ metal aesthetic, but still by way of punk via underground brought up to the masses with music elevated with a PA that can wallop you. Such was the show with SOAD, the first of two nights in Chicago on a gorgeous lakefront evening, with a packed, I mean packed crowd all in and energized. With all things SOAD, still a breath of fresh air to the present day in metaldom, with forthright rage still intact, with the musicians punch to prove it, and the view of "Are you in on the fun- or are you out?" Put it this way. No one left to the exits early. From my vantage point, you left Soldier Field sweaty and drained. The way a metal show should be.  System of a Down, Crowd Shot - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025  Avenged Sevenfold - Bobby Talamine (c) 2025 Same goes for Avenged Sevenfold, and their overall appeal with wicked theatrical fun elevated with musical styles that complicate everything, trailblazing all over the map obviously, but statements made throughout with an elevated nature of a theatrical story, all laid out to bare to reel you in, suck you in, then- let F'ing loose. Their latest release, "Life is But a Dream" from 2023, ever evident setlist wise, what with especially opener "Game Over", into "Mattel", further emphasizing how these guys love to challenge themselves musically, consistently breaking the rules in regards to songwriting. The yin and yang of it all is plain to see between both bands- an appreciation in breaking barriers, staying true to themselves, nothing fake whatsoever. Avenged Sevenfold- all the guys- immersed in definitive artistic statements, meant again to make you pay attention, reel you in, and then slay you with massive fire bombs of wicked guitar interludes, presented with an over the top vocalist who can deliver the goods, courtesy of M. Shadows. Just like SOAD- Avenged are still the real deal. You are excited, cuz you don't know what they're going to do next.  Avenged Sevenfold - Bobby Talamine (c) 2025  Avenged Sevenfold - Bobby Talamine (c) 2025  Avenged Sevenfold - Bobby Talamine (c) 2025  Avenged Sevenfold - Bobby Talamine (c) 2025  Avenged Sevenfold - Bobby Talamine (c) 2025 Such was the night at Soldier Field- two bands that were (and still are) just so damn memorable. Bobby Talamine - JBTV Music Television Chicago Bobby Talamine, Jerry Bryant, Fiza Javid, JBTV Music Television, Live Music Chicago, Soldier Field Linkin Park - Bobby Talamine (c) 2023  United Center Chicago Monday - August 11, 2025 Most of you likely already know the timeline of events dating back to last September of 2024, with the unexpected release of a new single, "The Emptiness Machine", followed by further announcements of a new album release, and also- a new vocalist. That's the short of it, outside of commentary (both positive and negative- without much thought on the negative), sort of contempt before investigation, which leads to why bother reading such tripe from apparent knuckleheads. First off, the band can do what it wants. They have the power to figure things out creatively, through songwriting of course, followed by performing. No one can replace a Chester Bennington, that's obvious. That they introduced into the mix a lead singer such as Emily Armstrong, from a band Dead Sara, a singer who has vocal chops aplenty, along with an energetic stage presence....to all the doubters still out there- there's plenty of exits. Sayonara to ya. The important yin and yang of it all- that being in the past with Mike Shinoda and Chester Bennington, to the present, with Mike and Emily- still foremost, still solidly intact. That's the juice that propels these songs of anxiety and anguish, at a moments notice, a cathartic release. So at the United Center in Chicago on a Monday night, the band in the round on the main floor, opening intro to juice up the crowd with The Fratellis song "Chelsea Dagger", which is the song the Chicago Blackhawks use after scoring a goal, and the entire United Center all in on the refrain from beginning to end. Then, they waste no time after settling in onstage to make a solid and don't look back point, with "Somewhere I Belong". That statement, with Emily in full vocal- just love that entirely. Nothing soft, or a slow build. Come in, gates crashing, and, don't let up whatsoever. Reinvigorated, all charged, built like beginners with a fight to prove, even though they've been around since 2000. That's what matters most, the feel of fresh, the feel of energetic angst laid bare, made even more so performing in the round, so everyone in the arena is front and center on the present, and Linkin Park being of course LINKIN PARK.  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023 From my perspective, perched on the main floor for four songs, two on each side of the stage- from every vantage point, the United Center crowd, all in, and roaring throughout. The second song of the evening, "Crawling"- no let up in sight. The band could've stopped at a moment's notice for a sing along, the crowd was that juiced and singing verbatim word for word. And so it goes throughout the evening, Linkin Park has yet again won their freedom from restraint, from a long layover of sorts, having not appeared in Chicago since almost a decade. Amazing, the brashness of intent, the strength and purpose of delivery, and the inevitable solid follow through. All of them, Emily, Mike, Brad, Dave, Joe and Colin- having the time of their lives, all smiles, all in on the cathartic reaction. Can't truly reflect on previous "From Zero" dates, but I assume the same, even though they have to win over the masses in person, city by city by city. No matter. I relish seeing in person their fighting spirit, and stomping to the ground all naysayers with cement block boot stomps. A thumping of sorts, followed by a release of the negative energy with a delivery from all involved, blessed with a touring PA that delivers the goods with a sternum punch over and over. Another cool moment was involving Chicago's Tim Mcllrath of Rise Against, at the end of Act II with "One Step Closer", and more energetic angst aplenty in the chorus with Emily and Tim going full throttle. Linkin Park still propels, still maintaining their luster followed by gigantic reveals, all of a positive kind. Once the dust settles from this tour, sometime in mid 2026, and they have a chance to catch their breath, and rehash the positives of what they just experienced prior- all the more I say to continue with new material, and push the envelope some more. Linkin Park are that kind of band, creating a genre of music that's way beyond contemporary, made even more so with a lead singer in Emily who can challenge them some more. Such is this band. That show on Monday night at the United Center- it kicked all ass. Bobby Talamine - JBTV Music Television Chicago Linkin Park, Emily Armstrong, Mike Shinoda, Chester Bennington, United Center, Chicago Live Music, Live Nation, JBTV Music Television, Jerry Bryant, Bobby Talamine, Fiza Javid, Summer 2025,  Cage the Elephant - Bobby Talamine (c) 2025 Presented by Bobby Talamine and Fiza Javid Photography by Bobby Talamine Still catching my breath from exactly one week ago on Thursday, and the three days that followed in regards to all things Lollapalooza 2025. Certain bands and artists stick with you days after, whether it be the headliners, or the amazing undercard from when the gates opened daily until the late afternoon. What follows is something a little different, something that encapsulates that feeling of not letting go, and celebrating the positives (which are many). So what follows are snippets and nuggets pertaining to day, in chronological order, with a few pictures pertaining to the thoughts of the bands and artists highlighted. Lollapalooza Day One - Thursday July 31st Cage the Elephant. Talk about a band that fights. A band on constant trying to prove themselves, like over and over and over. Like the Shultz brothers are on a mission en masse, ramping up the high energy, riveting the crowd on constant, wasting no time whatsoever getting their point across with glee. Their set, at like 6:45 or so- doesn't matter if it's day or night with them. Same with their songs, from a deep well of a catalog, all brave and front and center, with bravado. Like previous Lolla performances of yore, just so damn memorable. Girl Tones. From the BMI Stage, at 1pm. Early start to the day, and it doesn't matter. Sisters Kenzie and Laila- they know how to RAWK, and RAWK some more. Cool thing about the BMI Stage- nothing fancy production wise, in regards to lighting and aesthetics. Makes you focus on the music, like you're in the Empty Bottle or Bottom Lounge witnessing a band who you'll remember years after, making a name for themselves, proving themselves. Their set- high energy incendiary. The Blessed Madonna. As far as DJ's, appearing early on at the Perry's Stage (renamed on Thursday as the "Dollapalooza Stage, in regards to the headliner Dom Dolla). The Blessed Madonna- just so badass, so celebratory, always presenting a wicked house infused throwdown, even in the blazing sun at 4:30 in the afternoon. That she brought out a few of the finest from Chicago's drag scene front and center speaks volumes as well, adding to the overall celebratory mood and making a statement yet again in amping up the mood and atmosphere. Her performance, her track selection throughout- just so badass.  Cage the Elephant - Bobby Talamine (c) 2025  Girl Tones - Bobby Talamine (c) 2025  Girl Tones - Bobby Talamine (c) 2025  The Blessed Madonna - Bobby Talamine (c) 2025  The Blessed Madonna - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025 Lollapalooza Day Two- Friday August 1st All roads lead to Olivia Rodrigo, headlining Lolla day 2 from the T-Mobile Stage. Such a set. 20 songs total with encore. Intro opening through the PA- The Go Go's "We Got the Beat". Nice and loud. Like you know where her hearts at with artists and musicians she admires. Talk about the feel goods, even before she hits the stage. Midway through her set, she brings out the boys in Weezer as well, playing songs such as "Buddy Holly", and "Say it Ain't So", renditions thereof spot on, blessed with tons of enthusiasm. Olivia is well aware as of now in establishing a rapport with her audience, no matter the gargantuan size, such as this night headlining at Lollapalooza. Everything about her set, her songs, her presentation- just so damn ambitious, just so joyful and inviting. Bleachers. Jack Antonoff of Bleachers- always up for the show, always up to entertain, entertain wholeheartedly. Another set from Day Two at Lolla that was supercharged, songs written for every occasion imaginable, a live performance that sometimes had the feel of a pop up show outside a 1950's diner parking lot, and yet masterfully encased in the present. Otoboke Beaver. Japanese punk rock that's brazen, high energy, even if the gigantic Bud Light Stage looks like it could overwhelm them at any minute. Hard to conquer a stage like that, with a band that has the look and feel of enjoying playing at sweaty and gnarly smaller venues. No matter, They make fun while having fun in the enjoyment of fun. Their approach to playing- play fierce. All four of them. Lots of blistering guitar shreds followed by walloping drums, with a singer who can screech with the best of them. Such a band, such a memorable set.  Olivia Rodrigo - Bobby Talamine (c) 2025  Bleachers - Bobby Talamine (c) 2025  Bleachers - Bobby Talamine (c) 2025  Otoboke Beaver - Bobby Talamine (c) 2025  Otoboke Beaver - Bobby Talamine (c) 2025  Clairo - Bobby Talamine (c) 2025 Lollapalooza Day Three- Saturday August 2nd. Clairo, Such a mesmerizing and chill kind of set for late Saturday afternoon with Clairo. Everything presented as lo-fi, everything crafted as if playing with best friends in your backyard after a day of picnicking and having fun. Elements of gentle instrumentals, followed by whimsical singing on a warm summer day. Undeniable warmth pervades to overall mood throughout her set, walking away feeling refreshed and cleansed followed by spiritual uplift. Chance the Rapper. Talk about a surprise appearance on the Perry's Stage, inbetween acts no less, with maybe fifteen minutes at most to market and promote a new release "Star Line", out on August 15th. The time allotted for us was minimal in regards to photography, but still, what I witnessed was a guy who utilized his short time to maximum effect, like trailblazing through snippets of songs live from the upcoming release, with some occasional chatter and explanations. Have to say it was impressive what he tried to convey in such a short period of time. Chicago Youth Symphony Orchestra. A full orchestra from the Tito's Stage, on a early evening at 7:45 for start time. Amazing, booking this wonderful orchestra at Lollapalooza, led by conductor Allen Tinkham. What did the audience get? Starting off with Strauss, "Also Sprach Zarathusttra". Followed by Shostakovich. Followed by Stravinsky. You get the picture. All of it (and then some), presented with heart, with focus, and the sound- just beautiful. Just so captivating. Absolutely amazing, their entire set.  Clairo - Bobby Talamine (c) 2025  Clairo - Bobby Talamine (c) 2025  Chance the Rapper - Bobby Talamine (c) 2025  Chance the Rapper - Bobby Talamine (c) 2025  Chicago Youth Symphony Orchestra - Bobby Talamine (c) 2025  Chicago Youth Symphony Orchestra - Bobby Talamine (c) 2025  Chicago Youth Symphony Orchestra - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025 Lollapalooza Day Four- Sunday August 3rd. A$AP Rocky. Headlining the Bud Light Stage to close out Lolla Day Four. The urgency of his message- just pay attention exhilarating and exhausting (of the positive kind). A$AP's use of a bullhorn as a lead microphone speaks volumes in regard to conveyance of message, and the importance thereof. Yes, it's a show of course, with tons of vertical pyro to prove a point, but also to prove a point- the angst, the anxiety within. Compelling when you think of it- urgency of message followed by wicked stage aesthetics. The Marias. Another band led by Maria Zardoya, a lead singer that captivates, compels, seduces. All with minimal energy, thoughts conveyed by gentleness and overall mood. A performance that captivated to the end, barrier between audience and performer invisible, all the way to the back of the lawn. You can't help but sink into the music. BoyNextDoor. The next sparkler in all things K- Pop. That set of theirs- just full on energy. Lightning from a bottle energy. That they commanded a smaller stage in the blazing sun in the mid afternoon, with limited real estate stage wise to make their concise choreographed moves, with not a mistake or hiccup throughout, that speaks volumes on their appeal and drive, all the while making things look nonchalant. Clearly one of the highlights from Lolla 2025. Floweovlove. Oh this girl is so so awesome. So chic, so fun, so fashionable and proud. Yes. She definitely knows how to entertain, even with a limited set time, making do with unique props, like starting the show popping out from a gigantic and oh so fashionable handbag. The Criticals. Nashville rock at its finest, even at 1pm in the afternoon, led by a lead singer who has the look and appeal and demeanor of a Julian Casablancas mixed with Liam Gallagher. That adds and ups the ante on the look and feel at any moment of a guy who could snap, go renegade, mix things up a bit. Their set- danger is at every corner. Make use of it, and also, watch your back. Such a set from Sunday in the early afternoon.  A$AP Rocky - Bobby Talamine (c) 2025  The Marias - Bobby Talamine (c) 2025  The Marias - Bobby Talamine (c) 2025  BoyNextDoor - Bobby Talamine (c) 2025  BoyNextDoor - Bobby Talamine (c) 2025  Floweovlove - Bobby Talamine (c) 2025  Floweovlove - Bobby Talamine (c) 2025  The Criticals - Bobby Talamine (c) 2025  The Criticals - Bobby Talamine (c) 2025 Overall- Of course there was more that was unique and fun to witness. But about all of the above- They hold special powers, all genres of music. Such is the eclectic feel of Lollapalooza 2025 throughout all four days. Presented By Bobby Talamine and Fiza Javid- JBTV Music Television Chicago Bobby Talamine, Fiza Javid, Lollapalooza Day Four Recap, Jerry Bryant, JBTV Music Television, Grant Park, Chicago Live Music, Olivia Rodrigo, Bleachers, Chance the Rapper A$AP Rocky - Bobby Talamine (c) 2025  Landon Barker - Bobby Talamine (c) 2025 Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - Chicago, IL Sunday - August 3, 2025 Day four already? I was exhausted, but genuinely bummed that the fun has to come to an end. This year was not only astronomical attendance wise, with a sea of fans everywhere you turned. It was astronomical in the sense that every single act was here performing like it was their absolute last. Bobby and I couldn't be more grateful for the incredible performances we marveled at, and we will post an all encompassing highlight reel this week, because these daily highlights only allowed us to go so far. In a time where the media landscape is increasingly chaotic and heavy, Lollapalooza feels like a refuge, fenced off from the noise. A breathing space for art. Chicago, in all its grit and brilliance, becomes a sanctuary every August—and this festival? It’s the shining star on top of the tree. A cultural mainstay. The benchmark for what a music festival should be. Bobby and I couldn’t be more grateful for the artists, the crowd, and the moments we captured. While these daily highlight recaps have given you a taste, stay tuned—we’ll be sharing a full video highlight reel this week. Because honestly? We barely scratched the surface. Day Four Highlights? Let’s go out with a bang: Landon Barker – Yes, Travis Barker’s son, but please don’t box him in. Landon brought a punk-pop charisma all his own, blending raw vocal emotion with Y2K flair. He’s got the attitude, but he’s also got the chops. The Criticals – Pure Nashville cool with the kind of crunchy guitar-driven rock that makes you want to grab a cheap beer and scream into the sky. Think early Strokes meets modern angst. Flowerovlove – A dreamlike set full of glittery alt-pop bops and Gen Z softness. Her energy was infectious, her vocals buttery. She’s one to watch, no question. Post Animal – A Chicago hometown hero moment. Psychedelic grooves, magnetic chemistry, and the tightest live set we saw all weekend. If you missed it, please look up their JBTV performance. Trust. Boynextdoor – K-pop excellence meets indie edge. Their choreography was razor sharp, but their presence felt refreshingly organic. The crowd was losing it. Wild Rivers – Sweet, harmony-rich Americana that hit us right in the heart. Their acoustic moments were so sincere it almost felt like church. Folk-pop heaven. KATSEYE – A massive debut moment for HYBE’s new global girl group. Sleek, stylish, and vocally stunning—this wasn’t just a performance, it was a statement. Expect to see them everywhere soon. Artemas – A DJ set with otherworldly visuals, space-age sonics, and an emotional arc that felt more like a film score than a festival set. She pushed boundaries and the crowd followed every beat.  Landon Barker - Bobby Talamine (c) 2025  The Criticals - Bobby Talamine (c) 2025  Flowerovlove - Bobby Talamine (c) 2025  Post Animal - Bobby Talamine (c) 2025  Boynextdoor - Bobby Talamine (c) 2025  Wild Rivers - Bobby Talamine (c) 2025  KATESEYE - Bobby Talamine (c) 2025  Artemas - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025 If there was ever a set that felt like a lucid dream, it was The Marías. As the sun began to dip below the skyline, the stage melted into hues of deep red and dusky purple — the perfect backdrop for María Zardoya’s sultry, effortless vocals. Every note felt like a secret being whispered directly into your soul. They opened with “Calling U Back,” and the crowd swayed in near silence, entranced by the band’s signature blend of bilingual lyricism, woozy guitar lines, and smooth, loungey percussion. María floated across the stage in a silk number that shimmered with every slow step. “Hush” turned the entire lawn into a slow-burn trance, with fans locking arms and falling into rhythm like it was a spell they didn’t want to break. I kid you not, I have never seen a crowd of CRYING fans as much as I did for the Marias. When I say people were sobbing as the band walked down the aisle, I truly mean they had the para-social experience of a lifetime. What makes The Marías special isn’t just the music — it’s the mood they create. It was cinematic, it was sensual, it was nostalgic. They aren’t just performing songs, they’re setting scenes. And at Lollapalooza, under the fading Chicago sun, they set the scene of the weekend. Now for the chaos. The good kind. The kind that makes you forget how tired you are and suddenly find yourself in the middle of a mosh pit shouting lyrics you didn’t even know you remembered. Because A$AP ROCKY didn’t just perform. He detonated. He burst onto the stage in a helicopter amidst fire bursts and flashing strobes, and smiling like he knew he was about to burn it all down. From there, it was hit after hit — the entire park transformed into a mass of bouncing bodies. Every drop hit harder than the last. Every beat switch was met with screams. What made Rocky’s set electric wasn’t just the energy — it was the command. He controlled the crowd like a conductor in a symphony of madness. He paused mid-set to talk about Chicago’s role in shaping hip-hop, called for crowd respect and safety (“we lit, but we look out for each other”), and even teased new music, sending shockwaves through the audience. A$AP Rocky closed out Lollapalooza 2025 with the exact kind of fire and finesse you'd expect from someone who isn’t just an artist — he’s a movement.  The Marias - Bobby Talamine (c) 2025  The Marias - Bobby Talamine (c) 2025  The Marias - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025 Thank you for another incredible year Lollapalooza!!! Until next year. Fiza Javid - JBTV Music Television Lollapalooza 2025, Grant Park, Chicago, Illinois, Bobby Talamine, Sabrina Carptener, A$AP Rocky, Jerry Bryant, Perry Farrell, JBTV Music Television, Bobby Talamine, Fiza Javid Clairo - Bobby Talamine (c) 2025  Chance the Rapper - Bobby Talamine (c) 2025 Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - Chicago, IL Saturday - August 2, 2025 What a wild ride it has been entering day THREE of Lollapalooza 2025. We were reeling from the joy of Olivia Rodrigo and Korn and preparing for the surprises in store for the day. Holy crap – Winnetka Bowling League, Kickflip, Daniel Allan, LAYZ, Flux Pavilion, Clairo, Chicago Youth Symphony, and freakin' Damiano David. As the sun hit peak scorch, LAYZ and Flux Pavilion tag-teamed with thunderous sets, proving that bass isn't just something you hear — it’s something you survive. Daniel Allan spun a more emotional set, perfect for that golden hour introspection we didn’t know we needed. Clairo came in like a breeze — soft, wistful, and somehow commanding. Her live version of “Amoeba” felt like a collective exhale from a crowd that had just been through several sonic rollercoasters. And then there was the Chicago Youth Symphony — a surprise and deeply moving interlude in the middle of the madness. Hearing strings fill the air over Grant Park felt like a reset. A reminder of the talent this city cultivates and the versatility this festival offers. And just when we thought the day had peaked... Out came Chance the Rapper. The energy erupted. Nobody saw it coming, and yet it made perfect sense — his city, his people, his legacy. He performed a medley of classics from Acid Rap and Coloring Book, and brought out Jamila Woods for a quick but electric duet. It was the kind of hometown lovefest that reminds you why live music still matters. Earlier in the day, nestled between the explosive sets and bass drops, the Chicago Youth Symphony Orchestra took the stage — and what a stunning pivot it was. It wasn’t just a performance, it was a moment. In a weekend built on hype and chaos, their presence brought a calm, reverent energy to Grant Park that rippled through the crowd like a hush in a cathedral. The violins soared, the timpani thundered, and for a second, Lollapalooza became a cinematic dreamscape. You could see festival-goers who had clearly stumbled onto their set by accident slowly stop, listen, and stay. Phones went down. Eyes widened. People laid in the grass, completely still, taking it in. But the best part? Watching these insanely talented young musicians — many of them from right here in Chicago — hold their own on a stage usually reserved for global headliners. It was a beautiful reminder that music festivals can be about more than hype. They can be about heart, artistry, and investing in the next generation. And speaking of heart… Winnetka Bowling League brought theirs in spades. The day wasted no time in delivering energy. Winnetka Bowling League opened their set with “CVS,” and it felt like a perfectly sarcastic love letter to the mundane, sung from the middle of a mosh pit. Kickflip followed with a set that was equal parts chaotic and cathartic — it’s always a good sign when the crowd knows every word to a song that dropped two months ago. You could feel the shift the second they walked out. There’s something deeply charming about their stage presence — no posturing, no gimmicks — just pure, clever indie pop played with sincerity and a little smirk. They kicked things off with “On the 5”, which instantly turned the crowd into a chorus. It was like hanging out in a coming-of-age movie — one of those late-summer scenes where everything feels nostalgic while it’s still happening.  Chance the Rapper - Bobby Talamine (c) 2025  Clairo - Bobby Talamine (c) 2025  Winnetka Bowling League - Bobby Talamine (c) 2025  Chicago Youth Symphony - Bobby Talamine (c) 2025  Flux Pavillion - Bobby Talamine (c) 2025  LAYZ - Bobby Talamine (c) 2025  Kickflip - Bobby Talamine (c) 2025 By the time Damiano David took the stage, the sun had dipped just enough to cast a cinematic glow over Grant Park. And then he arrived — shirtless, draped in glitter, leather pants clinging to his every movement, exuding that signature mix of Italian swagger and unapologetic glam rock chaos. This wasn’t Damiano from Måneskin — this was Damiano unleashed. His solo debut at Lolla was a masterclass in reinvention. With his new material, he’s leaning fully into his theatrical instincts, balancing dark, sultry ballads with explosive punk-fueled anthems that had the crowd gripping the barricades. The band behind him? Tight. Loud. Dangerous. At one point, he pulled a fan on stage, danced with them, and kissed their hand like a gothic prince in a fever dream. The crowd was all his — hypnotized, screaming, filming, living. What made it electric wasn’t just the performance — it was how much he owned the moment. Lolla has seen its fair share of solo breakouts, but this felt different. This felt like the birth of something bigger. Damiano David didn’t just close out the day — he scorched it into our memory.   Lolla Day 3 was a fever dream — one that kept peaking, kept surprising, and somehow still left us wanting more. See you tomorrow for the final chapter! Fiza Javid - JBTV Music Television Lollapalooza 2025, Grant Park, Chicago, Illinois, Bobby Talamine, Rüfus Du Sol, Twice, Jerry Bryant, Perry Farrell, JBTV Music Television, Bobby Talamine, Fiza Javid Olivia Rodrigo - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025 Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - Chicago, IL Friday - August 1, 2025 Day two kicked off with a line of raging fans in Korn and Olivia Rodrigo shirts ready to sprint post security line. Considering the immense heat of Lollapalooza 2024, the cooler breeze kept this incredibly excited and heated crowd ready for a day of incredible performances. Bobby and I were reeling from day one, but were completely lit up for the highlights of day two: Jane the Remover, Old Mervs, Winyah, Isabel Labrosa, Otoboke Beaver, Gigi Perez, Bunt, Foster the People, Bleachers, Wallows, and Olivia Rodrigo! We started things off with Jane the Remover, whose dreamy-yet-gritty sound filled the early afternoon air like a hazy daydream. Her set was raw, vulnerable, and impossible to ignore—perfect for easing us back into the festival flow. From there, Old Mervs brought the surf-rock vibes with enough guitar fuzz to make even the most heat-dazed crowd member start headbanging. Winyah and Isabel Labrosa were two artists we didn’t plan on seeing but were so glad we did. Winyah’s vocals were buttery and commanding, and Labrosa’s genre-fluid set left us buzzing—equal parts alt-pop and witchy R&B. Otoboke Beaver, on the other hand, turned everything up to 100. That set was pure, glorious chaos—tight, fast, unrelenting punk rock that made everyone question whether we were sweating from the sun or the energy alone. Gigi Perez and BUNT brought the kind of emotional release only live music can deliver—one moment you’re dancing like no one’s watching, and the next you're wiping away a tear. Foster the People gave us a perfect mid-evening pick-me-up, running through hits like “Pumped Up Kicks” but also dropping material that had the whole park grooving. Bleachers? Nothing short of cathartic. Jack Antonoff knows how to work a crowd, and between the sax solos, Springsteen-style anthems, and his all-heart performance, it felt like the most communal singalong of the weekend. Korn’s set was pure, undiluted chaos in the most satisfying way possible. They hit the stage like a thunderclap. Jonathan Davis stormed out, bagpipes in hand, and within seconds the pit had erupted. If anyone thought nu metal didn’t have a place at Lolla 2025, Korn shut that idea down fast. The crowd closest to the stage became a seething wave of limbs, screams, and cathartic release—metalheads and curious onlookers alike throwing themselves into the noise like it was therapy. They tore through classics like “Freak on a Leash” and “Got the Life” with a brutal precision that left you both breathless and wide-eyed. There was no gimmick—just power, sweat, and a band that’s been perfecting the art of sonic assault for decades. I looked around and saw people laughing maniacally, eyes wide, fully alive. It was that kind of set. Even Bobby, who swore he was just going to “pop in for a few songs,” ended up headbanging until his sunglasses flew off.  Jane Remover - Bobby Talamine (c) 2025  Old Mervs - Bobby Talamine (c) 2025  Winyah - Bobby Talamine (c) 2025  Isabel Labrosa - Bobby Talamine (c) 2025  Otoboke Beaver - Bobby Talamine (c) 2025  Gigi Perez - Bobby Talamine (c) 2025  Bunt - Bobby Talamine (c) 2025  Foster the People - Bobby Talamine (c) 2025  Bleachers - Bobby Talamine (c) 2025  Wallows - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025 I ran over to the other side, and like a complete 180, came the glow-up: Olivia Rodrigo taking the stage, and the world felt like it tilted into some dreamy, glittery, emotionally volatile dimension. Grant Park was packed shoulder to shoulder, with fans draped in purple, handmade shirts, and eyeliner running from preemptive tears. The sun had set, the skyline was twinkling, and her stage lit up in soft pastels like a coming-of-age movie climax. From the very first note of “bad idea right?” Olivia had the crowd locked in. You could hear every lyric being sung back to her in full voice—no phones in the air for content, just thousands of fans screaming like they’d waited their whole lives to belt this stuff out with her. She moved between aching ballads like “drivers license” and pure punch-in-the-gut bangers like “vampire” and "deja vu" with ease, showing off not just vocal range, but emotional range. There was a quiet moment during “traitor” when the entire crowd went still—just her voice, soft guitar, and the collective sound of hearts breaking. And then moments later, she flipped the switch into full pop-punk princess mode, bounding across the stage, flipping her hair, and winking into the camera like a seasoned rockstar. You could feel it in the crowd—she wasn’t just performing, she was living it in real time with us. It was intimate and explosive all at once. Then it freaking happened. She called Weezer on stage to do "buddy holly" and "say it ain't so" which sent the crowd into a screaming jolt of happiness, myself included. Standing there after midnight, still humming “vampire,” it hit me: Korn and Olivia Rodrigo in the same night sounds ridiculous on paper. But that’s the beauty of Lolla. It’s the chaos. The collision. The genre whiplash that somehow works perfectly. Where one moment you're screaming out your angst to detuned guitars, and the next you're crying under city lights to the sound of teenage heartbreak.  Olivia Rodrigo - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025 Day three is calling. And we’re ready. Until tomorrow - Fiza Javid with JBTV Music Television Lollapalooza 2025, Grant Park, Chicago, Illinois, Bobby Talamine, Korn, Olivia Rodrigo, Jerry Bryant, Perry Farrell, JBTV Music Television, Bobby Talamine, Fiza Javid Cage the Elephant - Bobby Talamine (c) 2025  Silly Goose - Bobby Talamine (c) 2025 Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - Chicago, IL Thursday - July 31, 2025 A sold-out Lollapalooza kicked off on a brisk-leaning Thursday, the kind of summer day that whispers “layer up” but still bursts with festival fever. Bobby hit the ground running—camera in hand, ready to capture the color, chaos, and incredible acts of Day One. Grant Park always sparkles on opening day, buzzing with the thrill of thousands of travelers, locals, and music lovers who’ve been counting down all year. There's something beautifully unpredictable about that first day—where the setlist of your soul might change forever, thanks to a surprise performance, a new band discovery, or the simple magic of live music against a Chicago skyline. Let’s get into it—because I ran (yes, sprinted) toward Silly Goose, a nu metal band from Atlanta who felt like they crash-landed straight from a chaotic house show into a festival main stage. Their energy was untamed, their sound was feral, and you couldn’t pry me away from screaming along to “Bad Behavior.” Honestly, I haven’t moshed in a minute—but they made it impossible not to. After the Goose madness, I caught early standout sets from some names you’ll want on your radar: The Symposium, bringing their signature Chicago flavor with a hazy-rock cool; Girl Tones, with Brad Schultz of Cage the Elephant bringing gritty guitar vibes and underground heat; Julie, dreamy and dissonant in all the right ways; Azzeca, repping the electronic scene with dark, hypnotic beats; And of course, The Blessed Madonna, who turned a sunlit afternoon into an ecstatic dance floor. As the day unfolded, the lineup just kept delivering:  Silly Goose - Bobby Talamine (c) 2025  Silly Goose - Bobby Talamine (c) 2025  The Symposium - Bobby Talamine (c) 2025  Girl Tones - Bobby Talamine (c) 2025  Julie - Bobby Talamine (c) 2025  Azzecca - Bobby Talamine (c) 2025  The Blessed Madonna - Bobby Talamine (c) 2025  Cage the Elephant - Bobby Talamine (c) 2025 Barry Can’t Swim provided shimmering house vibes for golden hour; Glass Beams had us tripping into another dimension with their psychedelic instrumentals; Magdalena Bay brought a synth-pop explosion complete with choreographed surrealism; Cage the Elephant (Brad again!) lit up the stage with their signature chaos-meets-charisma performance; Luke Combs gave the country fans their moment—and what a moment it was; And finally, Dom Dolla closed the night with a bass-driven, laser-lit finale that left everyone buzzing into the afterhours.  Barry Can't Swim - Bobby Talamine (c) 2025  Glass Beams - Bobby Talamine (c) 2025  Magdalena Bay - Bobby Talamine (c) 2025  Cage the Elephant - Bobby Talamine (c) 2025  Luke Combs - Bobby Talamine (c) 2025  Dom Dolla - Bobby Talamine (c) 2025 Until tomorrow Lolla--- holla! - Fiza Javid and JBTV Music Television  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Credit Union 1 Ampitheatre - Tinley Park IL Saturday - July 19, 2025 "The Heaviest Tour of the Summer". So let it be told, let it be done. Song number three for the evening, "Strength Beyond Strength". Simple words, song title and all, but convincing related to the bludgeoning, followed by brute force honesty, led by Phil Anselmo. Their type of fierce and no compromising metal is gut punch related, more action than contemplation, more of a cathartic release compared to say, getting lost in the weeds. That they've come this far on their own terms, sorting through personal loss first and foremost, and letting time do some healing of sorts before resurrecting the beast yet again, also speaks volumes. Phil Anselmo and Rex Brown, the two remaining original members of Pantera, know full well what's needed to proceed, let alone the shoes to fill with the loss of the Abbott brothers, Dimebag and Vinnie. Has to be true to the spirit and love of the band. Enter Zakk Wylde and Charlie Benante, two guys with formidable talents, guys who can play and play some more. Since 2022 forward, that's what they've done, especially rewarding considering their other projects and bands that need tending to as well. Makes things extra special going into 2025, and a full fledged tour through North America, with a stop in Tinley Park on a Saturday night. Such was the show on Saturday night, meaningful and impactful, a case in point in convincing solidarity, related to their presence, the visuals displayed on their gigantic LED screen, let alone feel of all band members gelling as one. The crowd- nutty and overly enthusiastic in seeing and hearing their heroes once again. Phil made special note of it two songs in, how he always digs Chicago, the fans, the energy. Sincere, that's Phil to the core. Not that he needs to roam the stage like a bloodhound like back in the day, like the Aragon Ballroom back in the winter of 1997, and the utter chaos of that show from the main floor. As much as that was body surfers on repeat throughout the night, followed by what felt like 110 degrees two songs in, the current feel is not immersed in that, but still unrelenting and steadfast nevertheless. Phil ain't 24 anymore. Phil's 57 now, and wear and tear on the body over decades allows you time to look at things differently, especially in approach to a mighty catalog such as Pantera's and how to emulate sincerely the look and feel and vibe to get the songs across convincingly, and of course menacingly. From the pit, first three songs in particular, Phil's mannerisms, his demeanor, more introspective, more dark and sinister without much fuss. Loved witnessing this firsthand when photographing, seeing how he contemplates every lyric, every decisive move throughout. Yes, once a badass, always a badass. But Phil out of the four, when he gels, the band gels. I mean just look at him, This speaks volumes as well, a simple black t shirt, shorts, no shoes or socks, roaming throughout barefoot. Just Phil and his mic, not much need for anything else. Same goes with the other guys as well. Everything about the current incarnation with all things Pantera- equals no bullshit. Tried and true, reflecting on the songs, their history, surrounded by ghosts of sorts, Vinnie and Dimebag in particular, doing right by them, staying true to the Pantera schematic, and yet, to each his own as individuals, finding your own path with the songs, making them your own. That to me is just so damn refreshing throughout their set, followed by a PA that can provide the wallop needed, punishing in all things audio from the pit to the back of the house up through the lawn. This show- the stuff of heavy hitters, powerful riffs throughout, unrelenting in force and overall might. Of course their encore was full boat strong, still no sign of weakness, or anything dialed in whatsoever, entering with "Cowboys From Hell", followed by "A New Level", and then into the mighty "Walk", which whacked you in the sternum, punched you in the gut, and still, not done yet, two more songs to go before close. So yes, coming full circle with these guys, Phil in particular- the rage is still there, obviously seething underneath a bit. And yes, the overall mood is just as primal as ever before. Music that is not just for weekend headbangers, that's for sure. The heaviest of the heavy, staying true to their metal spirit is forever lodged in my brain, made more so with the caged animal restraint from Phil in particular, and not knowing when he will explode and or punish the shit out of you. That kind of tension throughout, convincing, with a mind that reels out the demons, laser focused and yet thought of mind. Just stunning to witness, the brute force honesty. Such was the show at Tinley Park over the weekend.  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Amon Amarth - Bobby Talamine (c) 2025  Amon Amarth - Bobby Talamine (c) 2025  Amon Amarth - Bobby Talamine (c) 2025  Amon Amarth - Bobby Talamine (c) 2025 Amon Amarth- Their immersion into "Viking Metal", Norse mythology front and center, led by a guy Johan Hegg- a guy who looks like he can snap you in two, proud as all get out, like the rest of his mates in Amon Amarth- make do with what you got, bring the show, even if it's only 9 songs in total. And so they do, wicked light show and all, protected stage left / stage right with giant inflatable Nordic Viking warriors, protectors of all whom to enter. It works, it really does, their version of anthemic Viking Metal that sounds furious and precise, all at once. The only hiccup- song number five- "Put Your Back Into the Oar"- a recognized staple of audience/ pit participation, with the crowd down on the ground, usually all of them, pretending as one to be rowing the mighty Viking ships of lore, preparing to land as one. Usually, that's the case. But that Tinley Park pit man....unfortunate how tiny it was square footage wise, let alone the pit crowd not having enough room to organize and get their shit together to accomplish this as one. Like it went over their heads on what the fuck was going on. I praise Johan Hegg for attempting to give it a go- still, the definition of awkward, both pit size and crowd. Still, the band, full force tight knit Viking Metal, polished and true to their spirit and vibe. Bobby Talamoine - JBTV Music Television Chicago Amon Amarth, Pantera, Bobby Talamine, Fiza Javid, Tinley Park, JBTV Music Television, Jerry Bryant, Live Music, Summer 2025 Yo La Tengo - Bobby Talamine (c) 2025  Yo La Tengo - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid The Salt Shed Chicago Sunday - July 13, 2025 Yo La Tengo out and about again, along with Built to Spill in town. Both bands- headliner sets. Yo La Tengo- 14 songs including encore. Built to Spill- 13 songs total. Talk about appreciative of each others talents, let alone friendship along with like minded singing/ songwriting. Since Yo La Tengo quote / unquote "headlined"- let's start with them. Lots of walk ins before they came on the stage. Asked if the show was sold out with fellow security friends at The Shed- all said no. But still, if you were to ask me, the main floor was packed. Same with most of the Grandstands (back balcony), along with the Premium Seating. Very gratifying to see this, the fandom for all things Yo La Tengo. Same with Built to Spill- crowded main floor for their set as well, even for a Sunday Summer night, and opening the show. Yo La Tengo- they open with "Ohm". True to their "mixing things up" as they go on from city to city- a unique setlist. And with "Ohm" in particular- what a start to the show. That song, from their album "Fade", from back in 2013- so gentle, so atmospheric, so convincing performed live, extended a bit to kick out the fuzzy and intoxicating jams. Such was the night going forward, simple setup like a tried and true Yo La Tengo show- not much need for fancy LED backdrops, let alone display on the stage. The music matters obviously, to the present day. An added bonus- The Salt Shed and their exquisite lighting providing some luster to the proceedings. Song number two- "Sinatra Drive Breakdown". Another song that captivated and commands, from their latest release "This Stupid World" from 2020, a time when Yo La Tengo were re-invigorated yet again to experiment and jam along accordingly in their Hoboken studio, what with the Pandemic in plain view. That album in particular, all songs, very lively, very satisfying in the Yo La Tengo world of compelling singing/ songwriting. Two other songs will be performed as well from that album- "Fallout", along with "This Stupid World", both equal to the ideal of experimentation amplified by unique melody. This is what sets Yo La Tengo apart from their contemporaries- not much fuss in looks and such, emphasis on the music. That Ira and James and Georgia continue to churn out such emotionally satisfying songs after all these years...just goes to show yet again "age be damned"- playfulness and humor fully intact. Case in point- song number three for the evening, "Mr.Tough", with Ira on his electric keyboard. Ira likes to keep a beat obviously, what with his left knee in constant motion, to the point where towards the end of the song, he accidentally knocks over said keyboard. No need to panic, James and Georgia included. Take the necessary time to get things fixed and upright, including cables. And James was having fun with this slight mishap as well, what with referencing Keith Emerson of all things, that being his tendency back in the days of ELP by throwing around and dragging his Hammond B3 all over the place. Don't know how many people caught the joke on particular, for me, I was laughing out loud, having been a huge ELP fan from way b ack when. And to add even more light heartedness to the proceedings- they get back to finishing the song- all of ten seconds remaining. Just goes to show yet again how much I adore these three, James, Ira and Georgia, knowing full well that they are music hounds as well, just normal folk with the unique ability to craft unique songs over and over and over, let alone the spirit of solid friendship and banter like you're sitting down at a coffee shop with deep rooted friends, along with the occasional razzing that's certain to follow. Of course, heartfelt times ten- Song number thirteen for the evening- "Autumn Sweater". Such magical vibes that song, live or recorded, a song that pervades the psyche, seeps into the soul, gorgeously performed, remaining gentle with purity at its heart. The encore was cool as well, what with a fantastic cover of Fleetwood Mac's "Dreams", along with Doug Martsch of Built to Spill, and then ending all things for the evening with "Yellow Sarong", a definitive Yo La Tengo staple. Coming full circle with all things Yo La Tengo, on a gorgeous Sunday evening in Chicago, at a gorgeous listening venue such as The Salt Shed- a lovely evening immersed in sounds and moods, with a band that continues to mix things up musically speaking, and yet remain playful.  Yo La Tengo - Bobby Talamine (c) 2025  Yo La Tengo - Bobby Talamine (c) 2025  Yo La Tengo - Bobby Talamine (c) 2025  Yo La Tengo - Bobby Talamine (c) 2025  Yo La Tengo - Bobby Talamine (c) 2025  Yo La Tengo - Bobby Talamine (c) 2025  Built to Spill - Bobby Talamine (c) 2025  Built to Spill - Bobby Talamine (c) 2025  Built to Spill - Bobby Talamine (c) 2025  Built to Spill - Bobby Talamine (c) 2025  Built to Spill - Bobby Talamine (c) 2025  Built to Spill - Bobby Talamine (c) 2025 As for all things Built to Spill- that crowd on the main floor, their entire set, enthusiastic as all get out. Doug Martsch certainly took notice, with sincere thank yous like over and over and over. And like Yo La Tengo in regards to a trio format, besides Doug front and center providing his usual and captivating wall of sounds from his guitar and electronica, a mighty fine bass player in Melanie Radford, a constant energetic force throughout, wielding her bass like a staff, fleshing out the Built to Spill underbelly along with the human metronome on drums Teresa Esguerra, making it all worthwhile since she's not buried to the back of the stage- she's planted stage left, drum kit facing Doug and Melanie. Their set as well, full of energetic playing from all three, let alone witty and immersive songwriting and lyric writing. Compelling intellectually speaking, elevated with top shelf music making and playing. Doug Martsch, like Ira in Yo La Tengo, not much need for fancy this or that, being clothes and costumes or made up hair styles, or even current trends of whatever- they speak the need of orderly conduct, appearance reflecting their age, sure, but with a heart of gold, a heart of creative output that compels you, reels you in to the present day. Built to Spill's set- over in a flash, like Yo La Tengo's. Both bands- Could've played all night into the wee hours. No one would've left, their catalogs so full of nuggets and surprises. Bobby Talamine - JBTV Music Television Chicago Yo La Tengo, Built to Spill, Salt Shed, Chicago, Live Music, Summer 2025, JBTV Music Television, Bobby Talamine, Fiza Javid, Jerry Bryant Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Huntington Bank Pavilion - Chicago, Illinois Saturday - June 21, 2025 Wow. Such a show at Huntington Bank Pavilion / Northerly Island Chicago on a very hot and sweaty Saturday night. Made memorable for lots of reasons- One that comes to mind first and foremost- the limited and no fuss stage presentation- that being lighting and backdrops. Everything at a minimum, with a stellar band such as this- the emphasis is on music baby. Nothing but ultra cool music presented by ultra cool musicians. This current lineup- heavy hitters all. Troy Van Leeuwen. Jon Theodore. Dean Fertita. Michael Shuman. Josh Homme. Such a band. A solid solid band. The setlist- gnarly and wonderous. Opening with "A Song for the Deaf" and then into "No One Knows"- (Usually flipped from the previous show- if for anything to keep each and every show tight and unique). Those songs in particular, the title from their third release back in 2002 and in particular "No One Knows"- Mind blowing when you think of it, their relevance, their staying and slaying power to the present day, songs that command, make you stand up and pay attention. Back then, everyone was in agreement at how genre demolishing the band was (and still is), along with that album in particular. Josh and his band mates- branching out in all directions, and taking mighty risks. "No One Knows"- Killer riffs swirl around all over the map. Hard to keep up, let alone dealing with the gusty and hot winds which didn't seem to let up all night. Made the festivities on the grounds more like a desert experience throughout the evening, even on the shores of Lake Michigan. No matter- 19 songs in total, with nary a letup in sight. Easy and catchy grooves prevailed, everyone seemingly laser focused on command related to song, highlights abound, all the way down to "Little Sister", which by the looks of the things fandom wise, Huntington's main floor was crazy/ nutty in exuberant dance, hot and gnarly sweaty equal to Josh Homme and band. This band matters? What do you think! They haven't aged a bit musically wise, age wise kinda as well, even though it looked like Josh got a tight marine buzzcut by the looks of things, if for anything he looked more menacing than per usual. This band- they ain't a last gasp rerun. They came to play, they came to have fun, finding again and again that hook laden sweet spot of melodic hard rock into occasionally some heavy metal. And yes the entire band- up for the challenge, enjoying this catalog of wonders, frothing at the bit to unleash the hounds when necessary. The bonafides on my part are deliberate. You leave a show like this, it sticks to you like glue for days. Took me like forever to compose myself in regards to editing the photos in an orderly fashion. picking through most of the red lighting that looked like they would pop off the page, let alone getting to write about this show, and what it means to a guy like me who's followed the band since way back when, since the likes of Kyuss back in I think 1991 or thereabouts. Amazing when you think of it, the Queens of the Stone Age trajectory, to the present day, and relishing in all things band related.  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  The Kills - Bobby Talamine (c) 2025  The Kills - Bobby Talamine (c) 2025  The Kills - Bobby Talamine (c) 2025 Mortality can ring its ugly head and make you change things on a personal level, making you appreciate the little things a little more than you're used to for example. It clearly shows in the overall vision and attitude with all things Queens, grown ups, all of them, followed by grown up playing. The Queens crowd certainly understands this in spades. That Chicago stop tour poster and the line before the gates opened, into the line for merch in the Pavilion- unbelievably long. This show- easily one of the best shows of the year, hands down electrifying, ratcheting up the tempo on proceedings over and over and over. Queens of the Stone Age- Still a band for our times, times ten. And as for Alison Mosshart and Jamie Hince of The Kills- What an opener for a show like this, even though they played with the sun still out- no matter, the gnarly and sexy and scuzzy feel of the songs still held sway, and given a longer set than per usual, which was cool in itself- some twelve songs with bite and bare boned power, even for a two piece. "Dark and kick ass garage rock", as some would say. Well yeah, of course. Sneering and sexy grooves abound, made even more so with the sweaty heat and gusts of winds throughout their set as well. Love this band, even though they played in daylight. That says something about their demeanor and playing style as well. Bobby Talamine - JBTV Music Television Chicago Queens of the Stone Age, Huntington Bank Pavillion, Lake Michigan, The Kills, Chicago Live Music, Summer 2025, JBTV Music Television, Jerry Bryant, Bobby Talamine, Fiza Javid, Josh Homme Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Huntington Bank Pavilion Northerly Island - Chicago Friday - June 20, 2025 All things Simple Minds. The final scene in the movie "Braveheart:, after the passing of William Wallace, and his men alongside Robert the Bruce on the fields of Bannockburn, the year 1314- and the mystical and profound voiceover from William Wallace: "Patriots of Scotland, starving and outnumbered, charged the fields of Bannockburn. They fought like warrior poets, they fought like Scotsmen, and they won their freedom". Cue to the present day, and you have Jim Kerr and Charlie Burchill of Simple Minds, Glaswegians through and through, holding truth to that definition of the fight to the present day, on the delivery of their message through some mighty fine and powerful songs. And they have that same kind of fighting spirit as William Wallace and his men, along with a community of like minded folks, all in the quest of spiritual uplift. And it's honest, their presentation and delivery, the scope of performing their majestic songs, and regal delivery. Opening their North American Tour with the song "Waterfront"? That should speak volumes in the communion of all things Simple Minds. A song with fight and grit and spirit, encompassed with communal belonging. The heart and soul of Simple Minds- Jim Kerr on lead vocals, Charlie Burchill on lead guitars. But still, like back in the day, the euphoric nature of "New Gold Dream (81/82/83/84)", and of course "Sparkle in the Rain" released in 1984- the band, their style, their signature- encompassed with solid drumming. Back then, it was all things Mel Gaynor. Damn, this guy.- he was something else. Met him outside the Vic Theatre in Chicago when they were unloading and getting ready for soundcheck, I think in 1991- A beast of a man. I mean physical as all get out. An upper body and core like a linebacker, or a tight end. I understood immediately the nature of that, the physical demeanor of Mel Gaynor, followed by Simple Minds songs, and a solid drummer to put forth the punishing sound. The beat of the drums times ten, elevates everything. And to the present day, and with Cherisse Osei behind the kit. Don't underestimate her whatsoever. She can swing with the best of them, along with bringing the power and might. Simple Minds as a band, Jim and Charlie clearly know this. The drums, the beat of the drums, elevates their performances tenfold, nothing fake or limp, or dialed in. So yes, from my perspective, witnessing her play with the mates of Simple Minds, everything impressively energized from the opening song "Waterfront", on Chicago's waterfront. How 'bout that! And the barrel rolls continued from there, going early in their catalog with "I Travel" which was a delight, followed by "Glittering Prize", with Jim ever the showman, working the stage from left to right/ right to left, brandishing his microphone stand like a swashbuckling patron of Scotland. The force and nature of the songs throughout their set, even the ballads, all performed and sung with heart and conviction, the band still fighting like days of yore, making a name for themselves. Define success? Hard to wrap my head around their trajectory, and the coulda shouldas, and what might have been. Still, they have had their fare share of giant stadium revelry from back in the day, but still...a tough call on maintaining momentum, if that was even in the cards. But they have their reputation, mostly surrounded by no bullshit, and a camaraderie that still shines through and clear to see, such as a Charlie Burchill solo (amongst many), and with Jim providing neck massages and the occasional tweaking of Charlie's ears. All in good fun of course, but still, showing these mates care about each other.  Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025  Soft Cell - Bobby Talamine (c) 2025 Such is the band of Simple Minds, elevating their songs all the way to "Don't You (Forget About Me)", alongside the heavy encore of "Book of Brilliant Things", "Alive and Kicking", and ending with "Sanctify Yourself". All of them noteworthy for their singalongs, and the power of shared vocal. So as for Simple Minds and all things Simple Minds- sorely needed, their intentions still noteworthy, will full on delivery, with a band that delivers. And lets not forget that Soft Cell, Marc Almond and David Ball, along with their backup singers, had a short and concise set that delivered, although a bit heavy on the ballads, and not on the bangers, except for of course "Tainted Love", which closed their set. Still- Marc Almond man....even at like just before sunset- just happy to see him perform, and get his stage legs a goin'. Same with Modern English, and especially their solid front man Robbie Grey, and doing his best in regards to crowd interaction throughout, even though the sun's still out. No matter, celebratory good times, down to closer "I Melt With You". Bobby Talamine - JBTV Music Television Chicago Northerly Island, Simple Minds, Soft Cell, Modern English, Chicago Live Music, JBTV Music Television, Bobby Talamine, Fiza Javid, Jerry Bryant, Summer 2025, Huntington Bank Pavillion  Writing and Photography by Bobby Talamine Edited by Fiza Javid Van Andel Arena - Grand Rapids Michigan Wednesday - May 28, 2025 Sessanta V2.0- A 60ish Birthday Celebration for Maynard James Keenan, ramped up and revisited by yours truly. This version of Sessanta still maintains the integrity and heart and soul of all three bands from last year, that being Primus, Puscifer and of course A Perfect Circle. The hits from all three bands, sure, but also some added nuggets abound, such as: A Perfect Circle, with "Blue" (such an underrated song), or how about "The Doomed", and "The Noose", and also "Kindred". Primus, with "Duchess and the Proverbial Mind Spread" (thought I's never hear that live), or "Little Lord Fentanyl" (with Maynard and Corina), or "Welcome to This World", "Pablo's Hippos", and "Wynona's Big Brown Beaver" (with Billy Strings believe it or not). And of course Puscifer had some cool adds as well, with "Man Overboard", "Horizons", "Postulous", "No Angel", and also "The Algorithm" and "Polar Bear". A nice mix, a cool smattering of solid songs to punch up Maynard's Birthday Celebration that much more. So, this new and enhanced touring extravaganza continues to set phasers on stun, all three bands, still blending through each other continually without a hitch or hiccup, ping pong table still intact, although adding some fancy LED strip lighting, the couches stage left / audience right, along with the senior citizen electric stair chair lift, also stage left, which is downright funny to observe being used amongst the live performances. The overall mood and feel is also solidly intact, all three bands, so splendid in live performance and attention to detail. Just a unique setup, like last year, where there are no headliners, the bands play with each other, the continual feel of no long stretches of equipment having to come and go with breaks, songs and bands blending into songs and bands. Keep in mind, as Maynard so well states- this is a collective. The artists involved, all of them- they clearly understand that. All equals on footing and overall approach. A breath of fresh air in my opinion, egos camped out at the door. Each artist, each band, displaying their fun in artistic revelry.        More than anything else, worth the drive to Grand Rapids to experience the V2.0, since they still have so much to say, let alone all three bands being near and dear to me since the get go. And most of all, Maynard set out to do this version of Sessanta to have some serious fun. Fun fun fun. Now that he has collaborated full tilt with the likes of Les Claypool from last year's touring of Sessanta, let alone Corina and all things Puscifer, they certainly know each other's tells enough to let loose a bit, hence the addition of some mighty fine songs added to the setlist, as stated above. Had to make things clear about that at the top of this review, that this Sessanta is not the same as last year's Sessanta, and that makes it equally delightful to experience live yet again. There's no complaints whatsoever from me, the music hound front and center, the bands all knowing since their start to the present day, the fact that I can relish and relax to watch and listen to their entire sets, before photographing the encore- "Grand Canyon", where all three bands are together on stage, and just chill and have fun like a normal fan. Fan of the bands, first and foremost, unlike some knuckleheads (always are), who don't think positive to one band or the other- which is why I like Maynard even more, telling all naysayers to fuck off. No need to get into fancy details and whatnot, since is the technically a melding of all three bands on and off- my approach is the transformative feel and aesthetic to the overall concept, the appreciation of equals, the appreciation of creative concepts, and most importantly, thinking outside of the box. Revelatory, when you think of it, and your head still spins from certain songs ever evident from the entire set, nothing sounding dated or washed over or overlooked- a worthy presentation of all things Primus, Puscifer and A Perfect Circle, demanding your undivided attention. Just a delight of perfect escapism, sorely needed in this day and age. And Maynard at 60? Les Claypool at 61? And on and on with the others- all- still young at heart, thinking like young'uns out of the box, with something to say, something to prove. My kinda guys. Hope the images reflect that a bit, not just normal- ish in regards to the slide show. I dipped my toe in the water to experiment a bit as well, not all images obviously- just some, to keep with the theme of creative discovery, and take some risks. Such is the case with all things Sessanta, and Sessanta V2.0 Think like Maynard everybody- creative discovery is at your doorstep if you're ready willing and able. Bobby Talamine JBTV Music Television Chicago  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Sleeping Village Chicago Night One of Two Tuesday - May 20, 2025 That most of beloved bands- Baroness, still continuing to do their own thing, marching to their own drum, following no one's principles but their own. Makes you love the band that much more when you think of it. Consider Night One of Two at Chicago's Sleeping Village in the community of Avondale. A- Of course it was sold out. Same with Night Two. B- Of course on the main floor you're packed in like sardines, real estate to stand at the bare minimum, like a tried and true metal show of up and coming artists making a name for themselves, lest you're like the band Baroness, who continue to make a name for themselves and adhere to tours in intimate venues. Such as, in the past- the Cobra Lounge in Chicago, or Subterranean back in the day, or Reggie's from back in the day- these venues around 300 to 500 capacity. Amazing when you think of it- how lucky we are, a band such as Baroness, with musical chops that'll make your head spin, a back catalog containing six albums that still compel you for the occasional deep dives, and on and on. Got their early at Sleeping Village to get a spot to photograph up close, between Gina Gleason (stage right), and of course John Baizley front and center). Yes, all four band members were kinda sandwiched in, as to be expected, followed by straightforward red lighting as the prominent hue throughout. To be expected as well, you work with what you're given. No matter, the music is important, the overall feel of attempting their two albums "Red" and "Blue" the main point of all of this as well.  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025 Damn if that "Red" album from 2007 still crackles with intensity, especially since it was their debut. Epic- an understatement, considering the looks from all four of them, trading smiles throughout, from opener "Rays on Pinion", and then into "The Birthing" (which brought out the bodysurfers), and of course the mighty "Isak"- a monster of a song, with solid melodies on top of melodies. Ten tracks in total from "Red", closing with "Grad", which just went by in a flash. Same with the "Blue" record, 12 songs of solid musicianship and audio punishment, a perfect companion to "Red", with a range of dynamics and a flow through song after song after song that is impeccable, just so well thought out in scope and significant meaning. A larger than life kinda album, even more mind boggling when considering this is a four piece of a band, sounding like a marching army of a band, that wall of sound they create. I mean shessh-! Hooks and melodies (yet again) make their presence known, from opener "Bullhead's Psalm", and lurking midway through with "Swollen and Halo", which just burns into your psyche, a must hear of a song without a doubt, let alone closing out with "the Gnashing" into "Bullhead's Lament". And like I said before, their entire set was over in a flash, no fillers whatsoever. You leave a hot and sweaty mess, as per usual with all things Baroness. And let it be known these four mates are solid, what with punch through to your gut drumming from Sebastian Thomson, who's shirtless at the start of the second song, let alone all things "BASS" from Nick Jost, and of course the brilliant Gina Gleason on lead guitar, followed by John Dyer Baizley, who covers the gamut of rhythm guitar and of course lead vocal. All things to the present day Baroness- an ideas heavy band of the utmost, truly special, truly ideal. This current tour ends May 31st with a stop in Pittsburgh, seven dates total remain. Worth catching, worth investigating, if so inclined. As well you should. Bobby Talamine - JBTV Music Television Chicago Baroness, Red and Blue, Chicago Live Music, JBTV Music Television, Bobby Talamine, Fiza Javid, Jerry Bryant, Sleeping VillageLive Review / Recap: DARK LORD DAY M M X X V with YOB, Pig Destroyer, Drab Majesty, Ghoul, Vastum5/19/2025  YOB - Bobby Talamine (c) 2025  YOB - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid 3 Floyds Brewing - Munster Indiana Saturday - May 17, 2025 Dark Lord Day- M M X X V As they so state: "Prepare ye the way of the Lord....." Well yet again, they got that right. The lineup (as per usual)- spot on and full on energy, even with the opening acts, and the occasional dust cloud surfacing from the circle pit and some serious slam dancing. All in fun of course, and also respectful by the way. Also a sign of tidings to come, what with Pig Destroyer later in the afternoon, followed by headliner YOB. And the Dark Lord faithful- of course they showed up early to get the coveted picnic tables inside the gigantic tent just south of the main stage tent. Fun and chill vibes with them as well, basking in the tastes from the special Imperial Stouts that come with admission, especially the top tier deluxe ticketing, where you get variations of four different bottles to savor. 3 Floyds Brewing- they know how to throw a metal festival, year in/ year out. From the actual layout of the grounds, to the staff, including production, to the timing of bands, let alone the bookings. Keep in mind, most of the bands on the bill are currently not on tour- they're here as a special one off event, which goes to show the stature of the Dark Lord Day Festival, and overall vibe. Of course I got there early to catch the opening acts, which we'll get to shortly. But the essence of a metal festival is the bands, and proper coverage of them of course, starting with the headliners. As for Michael Scheidt and all things YOB, along with bandmates Aaron Rieseberg and Dave French- just so damn powerful and cathartic as ever, followed by rabid howls from Michael ever present. For a three piece, they churn the doom, spit out the doom, and yet to the present day with a solid ear for melody. Just a solid and enjoyable set, opening with the blistering "Prepare the Ground", from their release "Atma", from back in 2011. That song in particular, let alone the album- hard to pin them down, what with genres and sub genres flying about at a moment's notice, wicked as they come. And man, like the rest of their seven song setlist, they indulge and partake in a wallop that wallops. Songs such as "The Screen", followed by "Nothing to Win"- YOB go the distance. The crowd knows this as well, from various sighting points throughout the floor, most stood in place head thrashing, and yet stunned at the mighty wall of sound. And keep in mind the nugget later on in their set, with "Adrift in the Ocean", also from "Atma", which by all intent and purposes is worth the price of admission alone, 16 or so minutes of thick and gnarly sounds, with bursts of glorious and punishing momentum. likened to an old mast ship from the 1400's. with lots of canons and firepower prepared for battle when necessary. I know that's a bit over the top in explanation, but still, these guys- they have a taste for conceptual thinking that's old school, followed by twists and turns that are like a wet towel neck slap. Gotta love YOB in all their glory, prepared to take you on a journey that is menacing and and dominating and powerful.  YOB - Bobby Talamine (c) 2025  YOB - Bobby Talamine (c) 2025  YOB - Bobby Talamine (c) 2025  YOB - Bobby Talamine (c) 2025  Drab Majesty - Bobby Talamine (c) 2025 Pig Destroyer, hailing from Alexandria Virginia- they also know a thing or two on full on bludgeoning, developing a sound that's kinda grindcore, and yet so much more. Whiplash fast tracks? They have that down I tell ya. Downright ugly in demeanor and don't give a shit if you like our music or not attitude? But of course, they relish in that revelry of misguided understanding as well. Just take a look at them. Nothing special- normal guys in shorts and jeans and t shirts, nothing fancy. Which goes to show their attitudes are meant for their hardcore and abrasive sounds, full on energy and approach to their guitar and sample based violence. Upping the ante- the antics from the costumed men of Dark Lord day, beating the crap out of each other first song on in. embracing the menace from Pig Destoyer, all the while having fun destroying themselves. A gloriously destructive time throughout their set, all manner of instruments utilized as weapons of noise, gnarly spit in your face vocals included. Drab Majesty- consisting of Deb Demure (Andrew Clinco) and Mona D (Alex Nicolaou)- Had to do a double take when I saw the release of the lineup- like- how f'ing cool is this? Love love love this band, what with their otherwordly chill wave into dream pop into god knows what songs and sounds of elegance. And that the Dark Lord crowd was into their set as well speaks volumes, that there's more than metal to appeal to a bill that experiments with bands meant for a festival such as this- that other genres of music can work as well. Opening with a wall and wash of guitar sounds and heavy synths with "Dot in the Sky"- A song that delivers on a higher dimension, a higher plane of reasoning and elevation of the senses. Like Andrew and Alex's makeup and appearance as well- meant for detachment and overall stylistic appeal- it goes without saying how much this enhances their theatrics and sophisticated vibes. Their whole set, some 9 songs or so, held to this appeal without becoming cliche, the songs are that strong, their playing that much in sync to immerse you and keep you attentive through their entire set. Such a treat to witness them playing at Dark Lord Day, even it was in the late afternoon with the sun still out.  Pig Destroyer - Bobby Talamine (c) 2025  Pig Destroyer - Bobby Talamine (c) 2025  Pig Destroyer - Bobby Talamine (c) 2025  Drab Majesty - Bobby Talamine (c) 2025  Drab Majesty - Bobby Talamine (c) 2025  Drab Majesty - Bobby Talamine (c) 2025  Ghoul - Bobby Talamine (c) 2025 Ghoul. Old school (with a story) kind of crossover thrash metal. That they're anonymous (kinda), adds to their appeal and stage presence- more for the taking to shape and twist people's attitudes for the bludgeoning to come. Lots of humor involved as well, with an opening that's militia- ish- a wolf head costumed up kinda guy, ready to knee cap you at a moment's notice, spitting blood to make the point, all the while brandishing a weapon if needed. All in fun folks, even if the diatribe of an intro is menacing. Metal with motivation, metal with a message of fun in all things thrash- followed by a circle pit on the main floor that whipped up a mini dust storm. And these guys- they know how to write good songs, unrelenting in solid sound, solid appeal. Quite the set, over before you can even catch a breath. Vastum. Prepare for the gnarly. Fronted by a subdued (yet also manic and crazed) Daniel Butler, who can navigate real estate stage wise, floor wedge wise, pit wise let alone first three rows of main stage floor and yet body surf and sing banshee howls while never hitting the floor. A special talent from all of the above, and making it work to elevate the unpredictable, all the while a full onslaught band egging you on to elevated death metal interspersed with high melodic shifts in sounds and attitude. What a set to start the day- gnarly from the get go, with a pure and unrivaled intensity to make their point in all the grinding grooves, and unrelenting energy. Such a great way to open Dark Lord Day, with a band that knows how to push boundaries and keep you paying attention and on your toes.  Ghoul - Bobby Talamine (c) 2025  Ghoul - Bobby Talamine (c) 2025  Ghoul - Bobby Talamine (c) 2025   Vastum - Bobby Talamine (c) 2025  Vastum - Bobby Talamine (c) 2025 Dark Lord Day 2025- and it succeeds yet again, oh so memorable from beginning to end. Bobby Talamine - JBTV Music Television Chicago Dark Lord Day, Festival, Vastum, Ghoul, Mosh Pit, Drab Majesty, Pig Destroyer, YOB, Chicago, Indiana, Live Music, Bobby Talamine, JBTV Music Television, Jerry Bryant, Fiza Javid, 3 Floyds Ministry - Bobby Talamine (c) 2025  Ministry - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid The Riviera Theatre Chicago Friday - May 9, 2025 Al Jourgensen is a bona fide shape shifter. Who would've thought, dating back to last year's Cruel World Festival, followed by the announcement of this tour and the re- imagining and revved up to today's standards anything related to "With Sympathy", and also its followup "Twitch', and this immensely glorious live tour. YouTube is one thing, tolerable, to catch the live performances and whatnot, but for audio, and anything in person, a whole nother level of fun entirely live an in person, with a PA providing enough bass to pummel us into oblivion with dark synth pop OOMPH. First three songs from the pit- fun and games galore visually speaking, industrial- ish shenanigans dialed down a bit- what with the centerpiece metallic cross showing a bit of beauty encased in roses as a good measure of sharing the love, in order to "Work for Love". Let alone the throwback sparkly jackets, worn by Al Jourgensen and also Pau D'Amour. The visual cues musician wise, by everyone, made this is a costume affair reflecting the times of yore, circa 1983 thru 1986, a time when "Party" was on the mind 24/7, what with the clockwise tour of specific haunts back in the day, from Club 950, Smart Bar, Neo, and lastly Exit on Wells, with the occasional pit stop at all things Medusa's . Ministry of course was front and center before anything Sire Records, what with English synth pop being ever evident, along with more choppy and catchy material, the likes of The The in particular, and of course early Cure and Joy Division, followed by New Order (amongst plenty of others). A world of crazed dance, depending on venue- like minded brotherhood of dangerous men ready to mop the streets of Chicago, before the age of cell phones, or anything internet/ social media related. Music, especially from locals making a name for themselves- Chicago related, equals a badge of honor, to the present day. Yes, Arista and its brass back then drove Al nuts, to the point of having a hard time identifying himself with them, conforming to them. Wanting out, those two records, "With Sympathy" and "Twitch"- all of the above made it difficult for him to embrace whatsoever. For decades. And then, the inevitable- Some modicum of closure. With everything. One more album in the works apparently, hopeful release date of 2026, with Paul Barker and the others- then- Sayonara. Although, never say never with recordings and pivots- you just never know. But Al's demeanor when asked this is nothing caustic with the answer- more a sense of relief and relaxation, which spells definitive.  Ministry - Bobby Talamine (c) 2025  Ministry - Bobby Talamine (c) 2025  Ministry - Bobby Talamine (c) 2025  Ministry - Bobby Talamine (c) 2025  Ministry - Bobby Talamine (c) 2025 Ministry - Bobby Talamine (c) 2025  Ministry - Bobby Talamine (c) 2025 Which punches up to this "Squirrely Years Tour", and a sense of everyone, I mean everyone is all in on the fun, embracing these danceable nuggets and letting loose on a Friday night in Chicago. Lost count how many people I bumped into at the Riv, let alone getting to the venue early for some nice chats, and witnessing a line of excited folk all dressed up in their dark costume gear, with lots and lots and lots of Wax Trax! shirts worn for fashion statements. Everyone- accentuating the positive, both audience and band. And on a side note- who knew that Paul D'Amour had wicked dance moves? Blew me away from the pit watching him gyrate about to the catchy beats of "Work for Love", "Here We Go", and "All Day". Damn fun watching him, let alone the backup singers in their sexy black body suits living it up from the back of the stage as well. And the crowd, equally immersed in all the dark synth pop fun. AL too was in on the action, not full body dance, more upper arm twists and turns and sophisticated microphone flips, followed by campy love logoed sunglasses, and a fur hat to add stylistic appeal. Love how he's mellowed. taking the time to let the historic venue such as The Riv and its patrons sink in, working them up for the occasional sing alongs and impromptus, and also taking the time to share some smiles with me from the pit- me being "The Old Guy" with grey hair, dating back to when Ministry started out, let alone anything Wax Trax! related. A somewhat shared history with Al and coming out the other end, a bit unscathed, with current day flaws sure, but still- in your mid sixties and up- honestly, not much time left knock on wood health wise. So like this current tour, and the folks in the crowd being in almost the same age bracket- enjoy your time while you can people- times like these, playing early albums from Ministry you thought you'd never hear again ever- come full circle please, and- let loose while you still have gas in the tank. The setlist- 14 songs total including encore, billowing smoke out of my head, ears burning to whirling dervish moves to the likes of towards the end setlist wise, with "Effigy (I'm Not An))" and also "Revenge" for sure- me becoming an uncontrollable and sweaty mess, lest we forget "Over The Shoulder" as well. Next thing you know, the show is done in roughly 90 minutes or so, but who's complaining- no filler and sad sac interludes. This show was hits on top of hits, the catchy and dark synth pop kind, back when no one knew what the fuck they were doing, outside of becoming studio rats, or all out night clubbing like me. So with this review, kinda different of sorts, reflecting the times, the past, come full circle, show some respect to all things AL, the band Ministry, let alone Jam Productions, the Riv,, Broadway and Lawrence and its history, and of course the Ministry faithful. Respect time ten for all of the above, no need for technical details on this and that for this review. The essence of this event, this tour- "A DANCE PARTY", lest you forget it. Also, for those of you on the fence- show some love there as well- Ministry is currently heading east, then up through Canada, before heading out west by June 3rd. Go see- because this show is a must see. You got it? Good. Bobby Talamine - JBTV Music Television Chicago Ministry, Live Music, Chicago, JBTV Music Television, Bobby Talamine, Fiza Javid, Jerry Bryant, Party, The Riviera Theatre, 2025 Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid The Salt Shed Chicago - Night #2 Tuesday - April 29, 2025 The gospel according to St. Nick. Theologically speaking, I can see how certain people might misinterpret that statement. In rock n' roll circles, a whole different animal entirely. I say that with the utmost praise. A guy like Nick Cave, let alone the members of The Bad Seeds, specifically his close friend and fellow musician Warren Ellis, have seasoned themselves over the years to get to a place of constant trust, followed by joyous experimentation, followed by exuberance produced tenfold on anything they wish to perform live. Again, I don't say this lightly, noting in particular the wonderment of this current tour with The Seeds, and also their fervent opening song of this tour- "Frogs", followed by of course, "Wild God". Both songs, bookends of spiritual uplift, gospel revival uplift, emphasized extraordinarily so with a backup choir that pushes both songs to new levels of reverie. And things just unfurl mightily from there, with wonderful give and take between Nick and audience, with a mini runway protruding out from the main stage center, followed by mini wings that traverse horizontally the entire width of the stage at the rail to the audience, ever more pleasing to the eye for Nick to traverse whichever/ whenever, to make serious contact with his audience, making technically the whole venue come alive time and time again. A whirlwind of emotions, less than twenty fours after for me, doing my best to take it all in, and write all this the way I experienced it firsthand. Back to the first sentence- "The Gospel" which is considered "Good News". Positive News. News meant to be relived and re-kindled, over and over, finding certain passages that elevate and resonate, look for salvation and solutions to the spiritual and human condition., even to express feelings of tidings and joy, followed by shared beliefs with like minded folk. Enter a clearer picture of Nick Cave, and you can now get the sense of his message through song, and sharing of "The Good News". I love this quote he gave in regards to the album "Wild God:- "Wild God- There's no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it". So besides the two openers, another six songs played from "Wild God" throughout the set, all fitting in nicely with certain Bad Seeds nuggets and also a couple Nick Cave and Warren Ellis covers. The entire set- energetic, and energetic some more, but clearly with thought in mind in regards to vulnerability and tenderness throughout. Funny how Nick views things on older songs as well, such as "Jubilee Street", and how he writes songs on occasion that can be morbid, murder ballads lined up at the ready. But still, the way he explains it to the current day- they're there all right, ever certain upon creation, but not necessarily looked at with contempt, depending on the year or timeframe, but with a sense of "Spiritual Hovering", as I like to call it, where you see the actions and reactions of a troubling time, and now look at things completely differently, with a new eye, or with a new answer. And even with Nick's demeanor and refrain on explaining things such as this, his overall mood is relaxed, possibly noting mentally "It is what it is". All of this makes Nick more endearing, more jovial, more lovable, although from way way back in the day, he's always had that singular wizened owl charm about him. For me, live photography has been in my flesh and blood since working professionally in all things "underground" since the early eighties. Pose photography- a different animal entirely. One pose photographer I truly admire, the Dutch photographer Anton Corbijn- He photographed the cover of Nick for the album "The Boatman's Call" back in 1997. Such rich and inviting detail, all things black and white, like super contrasty black and white. A guy like Nick Cave- human expression is everything. The album cover pose is everything all at once- sly, mischievous to some extent, like a story within a story.  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025 The extent of this to the present day, attempting to write a decent review from last night's show at The Salt Shed"- visually Nick is a constant contrast of gentlemanly charm followed by a modicum of blessed wickedness, older and wiser sure, but still a guy who comes off with sophisticated wit and charm, a guy who wouldn't bore you and look dated going into his eighties. Like most recent releases from Nick Cave & The Bad Seeds, the songs encompass a stark look with all that he's been through, a timeless snapshot of deep and honest writing that compels, that sucks you in, ever reminding you on your own takes on survival, followed with a slice of wicked humor. So a show like last night at the Salt Shed, Night Number Two, it's like the gospel of humanity, flawed and wounded, but surrounded by band members who relish in the brotherhood of spiritual pickup, elevated with song and fervent upkeep to keep belonging. Yes, this show was anticipated months ago when announced, this tour, this statement on current affairs of all things The Bad Seeds. It did not disappoint whatsoever, even the lighthearted banter between songs, catching your breath. Hard to top a show like this, still reeling less than twenty four hours later. Makes you want to join some of the brethren in attendance who've made it a pilgrimage to witness each and every stop on this North American Tour, who were in attendance last night. Yep- It was that good, that life affirming. On the tour goes, with dates heading west though the middle of May. Not to be missed. Bobby Talamine - JBTV Music Television Chicago Nick Cave & the Bad Seeds, Salt Shed, Bobby Talamine, Fiza Javid, Jerry Bryant, Chicago Live Music, JBTV Music Television Luke Steele of Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Radius Chicago Thursday - April 24, 2025 Luke Steele and Nick Littlemore of Empire of the Sun, currently on their "Ask That God Tour', with a stop in Chicago at Radius. And even on a weekday night, the faithful, known as Empyreans, came out in droves, and early, hours before the doors opened. And they dressed up in razzle dazzle style, to express their overall mood and excitement of getting up close on the main floor to equal the otherworldy party atmosphere that encompasses Empire of the Sun performing live. Can't blame them, since it seems like years and years since we've seen them together performing in the states. And as for the show- It sparkles. It levitates. It never feels old or outdated or awkward, that being Luke's Kubuki style of clothing, let alone ever elaborate headgear. In the wrong hands, this kind of aesthetic could come off schmaltzy, or fake, or dialed in. Not these guys. Proud to perform, proud to be who they want to be, proud to present themselves as fantastical and divine. And it works on so many levels. First off, history and thought in mind before proceeding on anything above the great beyond, presented with flash and grace. Look at the word Kabuki for instance- a historical form of Japanese Theatre, encompassing dramatic performance along with traditional dance. So right there, you know they've done their homework, with backdrops and a set that is striking and bold, followed by a gigantic backdrop LED screen display, with vivid graphics thought out to a storyline involving 4 acts, presented with honesty, and also attention to detail. So the show, all amped and elevated, focusing on their latest release of course, "Ask That God", with some 6 or 7 songs on full display, including openers "Changes", followed by "The Feeling You Get". And the overall appeal from anything "Ask That God" related- equal to the overall appeal and mood of past nuggets, specifically the magnificent "We Are the People", and of course "Walking on a Dream". Such fun throughout, both raptured audience, let alone Luke and Nick trading smiles and enjoying themselves in this whole experience. The feelings you get, seeing them perform live once again....they took their time to get where they are to the present day, finding out more about themselves, exploring solo projects, waiting patiently for the right time to pursue anything new, anything that is challenging, and to go from there. Nothing pushed or left uneasy. You can tell that speaks volumes, simply by their camaraderie and overall demeanor. Their fanbase certainly knows as well- from the pit on the main floor, looking out at the crowd- all smiles, all dancing in place, ever enthusiastic throughout, troubles certainly left behind, at least for a few hours.  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025 This whole experience with Empire of the Sun- universal revelry, a sonic and visual spectacle that wraps you in a soothing warm blanket, invites you in, fusing fantasy and reality all at once. That's the truth to a magnificent production of this kind, where Luke and Nick fuse their fantastical dreams and ideas and make it reality. And so it goes on from there, each of the four acts displaying different moods followed by costume changes, ever releasing layers of clothing throughout, if for anything the temperature certainly was dialed up from hot to hotter still. No matter- Empire of the Sun was not letting back whatsoever, music and technology and sweat transcending at a breakneck pace, audience to band, band to audience. Have to say this show was timeless in appeal and mood and presented in such a way as to a higher plane of hyper reality. realizing afterwards that with so much going on, some parts were probably sorely missed. No matter- the astral wizardry of Empire of the Sun has released the endorphins needed to soldier on, ever present in the present day, and hoping the friendship and partnership of Luke and Nick will continue as well, rest assured that their rabid fan base is ready willing and able to come along for the ride. But as for now- how do you top this spectacle? The answer- Stay current. Their isn't one. Embrace this current incarnation, don't worry and think about future plans. This show with Empire of the Sun- one of the highlights of the year for me. So so good live and in person. Lots of stops left on this North American Tour, heading to Colorado by all things the West Coast, before heading southeast and up the Atlantic Coast by late May. A show not to be missed. Bobby Talamine - JBTV Music Television Chicago Empire of the Sun, Radius, Chicago, Live Music, JBTV Music Television, Luke Steele, Bobby Talamine, Fiza Javid, Jerry Bryant |
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