![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid House of Blues Chicago Friday - April 26, 2024 The band still lives, thank god. They're as fierce and as committed as ever- that being Christopher Hall and Walter Flakus of Stabbing Westward. So refreshing, so invigorating to see them performing live, and in their element of embracing high energy with solid songs in a live and intimate venue such as House of Blues Chicago. It's like you have to take a deep breath of sorts- that the band is still intact, after some 35 or more or so years of some serious tumult, and rugged ups and downs of staying together, staying intact as a band. ' I'm not in their shoes obviously, but from interviews, and knowing the guys somewhat over the years- you get a sense that they understand emphatically the amount of courageousness it takes to make attempts throughout to keep things going, let alone find that creative spark to continue to write solid songs, let alone perform. And it's like the oddball potholes never let up, including their Facebook page, let alone other social media sites, which before entering, have this kind of disclaimer: "Are you sure you want to continue? This search may include content that's graphic or violent, which may be sensitive to some people". All because the word "Stabbing" is in the name of the band. And it's not as if there's a hotline or a customer service to Facebook and other social media companies to explain your case direct- let alone if any knucklehead who came up with the disclaimer has investigated their website or social media home pages further to check what they're about, and realize that the statement upon entering said website or homepage is the dumbest thing known to man, or at least pretty close, when actually viewing the website or home page firsthand. Now you have a brief idea of what Christopher and Walter are up against, compared to other bands of similar genre and feel. The definition of oddball- stuff like that to comprehend and overcome. However they certainly know how to rise above so to speak, and just get on with it. And when performing live, with the additions of Bobby Amaro on drums, along with Cyamak Ashtiani on guitars- they have that spark, that chemistry to elevate things, with an 18 song set that delivers, no let up in sight. ![]() An invigorating show, with amped up enthusiasm from the main floor brethren, with Christopher Hall delivering flawlessly throughout, and Walter getting his fair share of letting loose when the moment strikes, keyboards not stopping the limited feel of space- hit a solid note and notes, and move around accordingly stage wise. A simple set up at the House of Blues, not much clutter, the four of them, with a white backdrop that had solid visuals to amp up the mood even more, followed by solid musicianship. And their songs, their catalog to the present day- A wide breadth of coolness, with nothing seeming dated whatsoever. Gotta like that about a band like Stabbing Westward, who since 1985 have persevered, and have continued to deliver songs flawlessly, even while under attack from incompetent this, incompetent that. Christopher and Walter- two guys who know a thing or two about like minded vision- like minded intuitiveness to see things through to the end, done their way. Touring on the strength of their latest release, from 2022- "Chasing Ghosts"- and yet their setlist reflects a lot from their back catalog, with "Dead & Gone" being the only song from "Chasing Ghosts" performed live- no matter. The song selections were bangers throughout, including an invigorating cover from The Cure in "Burn"- a song that has the inkling and understated firepower of expansion, done with propulsive firepower followed by heavy backbeat, and made even more dark than the original. Their whole set had that same sort of feel, where the songs matter lots, that taking deep dives into overall mood and striking delivery should be equal in measure. My opinion- the band deserves more and more. They are still that good and solid as all get out. Makes you want to stand up and take notice, to get the word out- no slights whatsoever. My kinda show that leaves a memorable mark in your cranium. Bobby Talamine - JBTV Music Television Chicago Stabbing Westward, Bobby Talamine, House of Blues, JBTV Music Television, Fiza Javid, Chicago, Live Music, House of Blues, Jerry Bryant
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![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Vic Theatre Chicago - Thursday April 11, 2024 Finally, Young Fathers are in Chicago. So looking forward to this show- for months on end. And they don't disappoint, even on a weekday / workday night, at The Vic Theatre in Chicago. What's cool from the start, is the amount of real estate they use on The Vic Theatre stage- which is minimal. The setup for gear, main floor mics, drums, floor wedges- that's all in the absolute center, recessed back from the main lip of the stage by about seven feet. Same with stage left and stage right- total dimensions of the main stage floor setup looked like maybe ten feet to twelve feet deep, twenty feet or so in width. And they utilized that space comfortably virtually for the entire show. Large stage, small setup, making things more concise, more tight. This works on many levels, especially for such a unique band as Young Fathers. And they've been around for awhile, honing their craft in all aspects of renegade hip hop thought, with crafty beats, subdued emphasis on percussion, along with a walloping drummer to provide the necessary fills when needed. Touring on the strengths of their latest release "Heavy Heavy"- from back in early 2023, the Scottish trio of Alloysious Massaquoi, on Vocals and occasional floor tom percussion, along with Kayus Bankole, also vocal duties and some percussion, and lastly Graham "G" Hastings, with vocal, percussion and other instruments- the three of them being together as Young Fathers since technically 2008- have constantly redefined their sound, all the while upping the ante in communal hip hop, shared vocal, heavy backbeat electronica, with a solid tribal feel. A lot to take in in regards to description, sure, but meaningful, nevertheless. You can't pigeon hole them, nor in my belief do they wish to be- let alone having a multitude of social subjects to talk about, to shout out about. "Heavy Heavy" in particular, the strengths of that record alone- hit hard and deep. Performed live, even more so, especially with the unique and concise floor setup, with songs such as "Rice", "I Saw", and "Drum" in particular. ![]() Especially for me throughout- the procedural and communal choruses, followed by shout out call and responses were just mesmerizing to witness live, stopping you in your tracks, and with a sonic punch that never wavered whatsoever. Just so unique and raw, let alone the slow build from opener "Get Started", from "White Men Are Black Men Too"- in 2015, and then off to the races with "The Queen is Dead", and into "Get Up", which by all intent and purposes is a barnburner, with an oh so catchy buildup four to the floor beat. And these first three on the set for tonight- not even from "Heavy Heavy". Yes, their back catalog up to the present day equally up for the challenge, and still noteworthy and powerful. Some seventeen songs total, ending with "Toy", all the while immersed in solid optimism, even for troubled times, and navigating though landmines which seem to be coming at you from everywhere. Their blend of optimism, followed by deep rooted soul, added with raw emotions and a commitment to perform as if its your last day on earth...all of this leads up to the simplicity of the whole presentation, the layout of the band, that the songs matter, and the delivery thereof, with minimal lighting, mostly orange hues with the occasional white strobes- all of this is meant for the songs and delivery, not nauseating bells and whistles and flashy pizzazz. The overall feel they present to you, just so damn heartfelt- they don't need all that extra bullshit whatsoever. Suffice it to say- easily one of the best shows, one of the most anticipated shows of the year. So cool that the delivery was from an intimate and awesome venue such as The Vic Theatre- where sound in an intimate listening room such as The Vic matters. It matters lots, especially for a band as uniques and astounding as Young Fathers. Bobby Talamine - JBTV Music Television Chicago Young Fathers, Heavy Heavy Tour 2024, JBTV Music Television Chicago, Fiza Javid, Bobby Talamine, Graham "G" Hastings, Kayus Bankhole, Alloysious Massaquoi![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Sleeping Village Chicago - Sunday, April 7, 2024 A stunning showcase was presented this past Sunday at Chicago's Sleeping Village with Brittany Bindrim, celebrating "Velella Velella", an album release showcase, one of two, at Chicago's Sleeping Village. The first showcase was held a couple nights before, up in Madison Wisconsin at the Crucible. From all intent and purposes, a jumping off point of sorts, to celebrate this amazing new album by Brittany, with a sort of local homecoming, more intimate, more celebratory and most of all supportive. Even for a Sunday night, a great turnout, and very enthusiastic, and like me, want to see Brittany succeed, and to see her perform live. She has a solid history, with I:Scintilla- a post- industrial workhorse of a band dating back to 2003. And as the band evolved and incorporated other musical styles, backed with solid touring throughout- all of this just established feet planted firmly on the ground, solid performing and commitment, and most of all confidence. Refreshing to see Brittany stretch out on her own, and making headway into by the looks of things from Sunday night, a promising and solid solo career. I'm sure there's plenty of challenges, not just in recording and actual songwriting, but also in artistic expression, and how to convey the new songs in such a way that what you see in your head, what you hear in your head, can be expressed in a way that captivates and holds an audience, let alone reaching out a bit and adding to the overall sound and aesthetic with some amazing musician friends. Trust me- there's most likely more questions and answer than that. But still- love that she made the push, love that she's making the attempt. Certainly the first volley of singles and videos, prior to Velella Velella being released- starting with "Obelisk" back in early December of last year, followed by "Fever Dreams" mid January, and then "One Fixed Point" back in February- the lead up to the album release on March 8th was so worth it, each song uniquely different and captivating, showcasing Brittany's breadth of musical tastes and talents, let alone vocal range. This encapsulates a wide and splendid musical path, one with many doors to open, and most of all succeeds, not making you feel impatient, and hear partial- just the opposite- take your time and truly listen, these songs are that strong- at least for me and my take on things. And now for the hard part. Since they're so intricate, these songs- the entire album- how to make this work performing live, and not make them feel somewhat dead in the water surrounded by backing tracks this, backing tracks that. "Go live", they say. Go live with a couple musician pals who certainly know how to back you up. None other than Jim Cookas on guitar, and occasional programming. And also Alex Klausner- a beast of a drummer, with impeccable timing. These two guys- they certainly provided the "Oomph", to get these majestic songs over the top. The setlist- some eleven songs in total, opening with "Obelisk" (which certainly set the mood), followed by "Cast", and then into "Fever Dream"- and by this time the cast has been set, the band full on, and the striking visuals in the background are on full display. And before you know it, it was over in a flash. Around an hour total, ending with "Volcano". The beauty of it all (amongst many things)- there was no time to waste, nothing meandering, or going sideways. A showcase of Brittany's many talents performing live, letting us into her personal world, filled with honest intent. ![]() And Jack Armondo, and his project Panic Priest- have known Jack for years, and just love how passionate he is, even when performing solo, no band, just equipped with a mighty electric twelve string guitar, and programmed backing tracks, followed by a heavy ba boom baritone voice that makes you stand up and pay attention. He's fearless in his approach, been this way for years. Certainly Jack has command of a stage, large or small, has fun chatting with his audience, and asking kindly from the crowd for the occasional shot of tequila- which of course, a couple people comply. Always interacting, Jack Armondo, and with showmanship that transcends, with songs that have punch, followed by some serious swagger. And of course to have DJ Jeff Moyer open the festivities, with a solid playlist that fit the mood of the entire proceedings, making you say "Let's make this a party!" Yeah- It was that kind of night- even on a Sunday night- a night you wished would never end. Bobby Talamine- JBTV Music Television Chicago Brittany Bindrim, Velella Velella, Jack Armondo, Panic Priest, Jeff Moyer, JBTV Music Television Chicago, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Radius Chicago Saturday - March 23, 2024 Orbital- Phil and Paul Hartnoll. A show in Chicago, only amongst three dates total before their appearance at Coachella this coming April. How lucky are we. Even though they don't go on until a bit after midnight, like most prominent EDM artists are prone to do. I assume it makes things more "Festival Like", like their promo for the show suggests. The other title for the tour- from their web homepage- "Orbital: Green/ Brown Album Tour 2024". Yes, their set at Radius included prominent songs from both albums, dating back to the "Green Album"- dating back to 1991, then followed by the "Brown Album", which was released in 1993. Guess what? They don't sound dated whatsoever. Songs included from both albums were mostly buried in the set, such as "Belfast", "Chime", "Lush" (which was the encore), "Impact (The Earth is Burning)" (With a Greta Thunberg sample), and "Halcyon and On and On" (Samples: Bon Jovi and Belinda Carlisle). The bulk of the set is on their latest release- "Optical Delusion", from February of 2023- and they are equal to the heavy hitter bangers of the past- the Hartnoll brothers having not skipped a beat. When they're ready to release any songs whatsoever, whether they be album cuts, single promos, extended remixes- all of it is well thought out, sent forth with polish and clean, ready for the brave new world to pounce and discover and always wanting more. The overall stage aesthetic- a simple setup, machines prominent, synths and sample prominent, elegant steal table to hold all the equipment, along with a shelved vertical rack to Paul's left. The rest is a clean stage, with of course a gigantic LED backdrop immediately behind the Hartnoll brothers, ever evident to display exquisite graphics and video, making you fully immersed in the world of their sound and visuals. It works on so many levels, including the gigantic PA brought in for this show- the breakbeat thumps and twists and turns equal in amazement from the soundboard towards the back as to like eight rows of people deep from the stage. Ventured everywhere possible on the main floor, including the pit, to capture Phil and Paul doing their thing, head led flashlights full on throughout the proceedings. Orbital- their catalog, that beautiful catalog from over the years - just so approachable, even for ambient fare. They succeed so well with captivating and solid melodies- melodies with a message, both environmental and also political. The Hartnoll brothers expand and expand sonically, year after year, without losing their initial innocence without confounding expectations and going all out aggressive- (even though the occasional song ("Dirty Rat") can induce that claim. But it's not like that throughout their catalog- they pounce when they feel the need to. It truly depends on their desires to convey whatever message of angst comes to mind- and proceed from there. ![]() As for "Dirty Rat", sung by Jason Williamson of Sleaford Mods- a juggernaut of a song, with a bit of punk rock, but still a full on ranging dance track- the kind of song where you want to mix it up a bit with your next door neighbor standing right next to you. A song of caffeinated energy, and lyrics that have a bite, and breakbeats and mixes with a punch. That song, number four on the setlist, just amped up everything on the main floor where I was standing- people moving to the beats manically like me. Damn good fun- the kinda of song that should never end- just extend extend, with Jason's gnarly face prominently displayed on the LED screen behind the brothers. The festival show was like this in overall feel visually, with bangers such as "Satan/ Beelzedub", followed by "Requiem for the Pre- Apocalypse", amongst others. All of these songs with a solid message - intellectual exercises involving left brain/ right brain- meant for everyone, especially the connoisseurs of all things "electronica". Can't give a higher recommendation than that. The Hartnoll brothers are that good, that well thought out, that polished. All the while by the looks of things, having fun and a damn good time, equal to their fanatical fanbase on the main floor. That show could've gone on all night I tell ya- and they have the albums dating back to 1991 to back that up, with again, nothing dated whatsoever. Gotta love the Hartnoll brothers. Opener Greg Haus- Got there nice and early, when the doors opened at 10pm to catch his set. A well thought out mix for that hour he had. Had a nice exchange on my Facebook page with Greg, posting some photos of him performing and such. But Greg said it best in response, and I would rather he explain things on his approach opening for Orbital: "About 2/3rds of my set were '90's and early 2000's electronica, progressive house and trance tracks, which seemed appropriate for the crowd. Orbital were absolutely phenomenal". That's Greg for ya- Well thought out, wearing his heart on his sleeve. All n' all- a most memorable night throughout, with a sophisticated venue such as Radius, and a PA with a wallop. Bobby Talamine - JBTV Music Television Chicago Orbital, The Green/ Brown Tour 2024, Paul Hartnoll, Phil Hartnoll, Greg Haus, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Saturday - March 16, 2024 Matt Skiba. Dan Andriano. Atom Willard. All decked out in business suits. And ready for business. Business at hand- "Blood, Hair, and Eyeballs" related- their latest release from this past January. Lots to say apparently, up to the present day, all shock / horror style, like diving into local and national news with depictions of violence of all shapes and sizes, local, national, worldwide. Refreshing to know that they're as confused and confounded as we are, not having answers on the current state of affairs, and maybe writing new songs to depict this, and commence on a tour to accentuate like minded feelings can help ease the mind a bit. At least for a couple hours or so. But the tensions are evident, horrorlit high energy punk set to mighty and pounding backbeats. Take your pick on songs that are true to this- opener "Hot for Preacher", "We've Had Enough", "Take Lots with Alcohol", then into "Bad Time", also from their latest release, let alone "Mr. Chainsaw", and of course, "Blood, Hair, and Eyeballs", deep into their set, which by this time your ears are ringing, you're a sweaty mess in a massive ballroom, ventilation be damned, welcome to the Thunderdome, and good luck surviving. Although all of this with surrounding sophisticated polish- lighting, PA, overall feel and vibe. ![]() But the message matters, even in professional looking suits and attire. No time to waste, as Matt Skiba, ducks, dodges and weaves, both guitar and vocal, scathing at a moment's notice. The other two- Dan on Bass and vocal, and of course Atom on drums, provide the necessary machine gun backbeats to make you shiver and quake. Controlled chaos throughout. Time to let loose- massive moshpits when it's appropriate, body surfers coming and going. Lyrics depending on song, encounter nervous breakdowns of multiple sorts, inspired by real time CNN- ish events, all coming at you of nowhere, on a 24 hour cycle. It's like there's no chance you can get off this bullet train, heading to inevitable armageddon. I know- a lot to take in, especially from the ground up pop punk to intelligent hardcore (and yet pop sensibilities) punk advanced. But it's not like these are dumb numbnuts kinda guys- They wear their hearts on their sleeves, know some shit, definitely have some brains, have grown up lots, and again, are as world weary as we are. To make sense of this, through deeply personal songs, and diving deep into nutty behavior of the psychotic mind, let alone making some sense of harsh realities all around- they succeed. They succeed on many levels. And we're right there with them, a blood army of sorts, when given the call, as a communal group, we can make you pay attention, and get you off your ass to take action. "Are you in- or are you Out?", as they say. Guess what- even for an older guy like me- I'm all in. Especially with these guys at the helm. As for Blood Church- Lots to say as well. Lead by lead singer Patrick Kindlon- also a band with a message. Mostly though, even the hardcore / brazen messages unfold musically and lyrically, Patrick knows how to make a bit of sense through all of this, between songs especially, insisting that we all have some fun, and making sure time and time again to pay attention to the headliner Alkaline Trio, and their message, and not to waiver, or go take bathroom breaks. Stay focused. That's Patrick's message- and to me- that's a classy guy, who's also volatile, like the rest of the band. They know how to punish and hurt as well, and like Patrick says- both performing and writing songs- "This is all made to order. No Buffet". Damn right. Learn how to pivot accordingly. Openers Worriers have a cool sense of things as well, led by Lauren Denitzio- with solid songwriting and a band that delivers a variety of punches as well. All well and good, this triple bill of fun and games. Bobby Talamine - JBTV Music Television Chicago Alkaline Trio, Matt Skiba, Dan Andriano, Atom Willard, Drug Church, Worriers, JBTV Music Television, Fiza Javid, Bobby TalamineLive Review: Ministry: "Hopiumforthemasses" Tour 2024 - With Gary Numan & Front Line Assembly3/16/2024 ![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Byline Bank Aragon Ballroom Chicago Thursday - March 14, 2024 The main tell right off the bat with Al Jourgensen and his juggernaut of a band Ministry- And the constant push and pull to maintain relevance: The first three songs from the setlist. "B.D.E." Followed by "Just Stop Oil". And then "Goddamn White Trash". Hard hitting the three of them, from Ministry's latest release, and the tour in support of- "Hopiumforthemasses". It's furious sounding. It's lyrically compounding". It's a Doc Martens boot stomping thrashing of sorts. The Aragon, especially on a Thursday night- well those in attendance were not necessarily youngins- not the bodysurfer types from back in the day- intense push and pull off a heated main floor such as the Aragon from let's say anything 1988 and forward related- that kind of has seen its day so to speak. Not that this is a bad thing- had the show been more intimate, such as the Riviera or something similar- my assumption is the main floor would've been more intense, more wilder. Again, this is not a knock whatsoever. The music, the band, the overall feel is different from early Minsitry, unhinged behavior not like years and years before. Which brings me to Al Jourgensen- and Al Jourgensen up close. From the pit- he's downright animated. Like a wicked doomsday preacher with a message- play the part of scary, by all intent and purposes scary, but with a wicked sense of humor thrown in for good measure, but the tent revivals revolve around a six piece band with a message to say, like dropping carpet bombs from B-52's, the flying fortresses of "scare". Yeah- no time for bullshit. The setlist proves this. Even after the third song, we're still diving deep into current releases and the latest release with songs of good measure and a solid message to say- "Aryan Embarrassment", "New Religion", and especially "Alert Level"- a song with stomping riffs, and a message of "How concerned are you?"- Still an important question to the present day. Still, as always politically minded, and questioning everyone and everything. It's not until the middle and latter part of the set that we get to classic Ministry, and still, with his current band, they punish, and punish some more. The whole damn set is like this- a relentless juggernaut of amped energy and intense electric. And even for troublesome Aragon acoustics- have to say Al's sound engineer knows a thing or two in how to conquer that beast, from pit to back of the main floor. Getting back to my point of Al and all of his mannerisms (current day)- I could see clearly the shock, the spite, the fear laden mannerisms from Al's demeanor, up close and personal. Same with the one's who arrived early to get front rail positioning, maybe even 6 or 7 rows deep. But this is lost unfortunately, from the back of the main floor, and witnessing thereof. From there, great visuals, great audio. But not intimate, to see Al convey quite clearly what is deeply personal lyrically wise. These current songs- they're protest upper cut wallops, with a heavy duty message. From a main floor such as the Aragon, it works on some levels to re-wire your brain- and I guess for the late arrivals, it doesn't. Again, not a knock on Al whatsoever- I guess what I'm saying for the dates remaining on this tour through early April- get your ass to whatever venue early- just to see Al up close and personal, and witness that firsthand. You won't be disappointed. To sum up- Ministry and Al Jourgensen- Immense pleasure in lashing out. ![]() Same goes with Gary Numan, and also openers Front Line Assembly. Setlists that were both whittled down a bit, more concise, more attack laden, no time for fillers. For Gary Numan- more up front and center, main vocals being the precedent, delivery and angst intact. His band proves this, having been with Gary for around ten years or so now. They're delivering, having fun no doubt, allowing Gary to feel more relaxed, not nervous on possible mishaps, and to dive deeper and deeper into the songs, both old and new- making everything current day relevant- "Metal" in particular. That song has "menace" now written into its veins, along with the newer material. And again, same goes for Bill Leeb and Rhys Fulber of Front Line Assembly, packing a wallop with a full band- bludgeoning drums provided by Jon Siren and wicked guitar from Matthew Setzer. A full band- able to trailblaze away through songs such as "Vigilante", "Mindphaser", and especially "Killing Grounds" and "Millennium". As a full on touring band- they certainly know a thing or two on change, let alone pivoting to up the ante in energy, coinciding with terrific visuals. Just heavy swing, with big gnarly beats throughout. Bobby Talamine - JBTV Music Television Chicago Al Jourgensen, Ministry, Gary Numan, Bill Leeb, Rhys Fulber, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Thalia Hall - Tuesday, February 6, 2024 - Chicago, Illinois How lucky are we that Brittany Howard decided to open up her "What Now Tour" right here in Chicago, at Thalia Hall. The timing- It coincides with Brittany's latest release, of course titled "What Now", which will be released this Friday the 9th of February. As for the album- you float. As for the performance at Thalia Hall to open this leg of her tour- you float even more. As a seasoned photographer in all things "music"- you learn to anticipate and judge the pit with variances of navigation, all the more to utilize the tight space and get a wide variety of angles and shots that are captivating to the performance. But also as a die hard music hound, you can't help but be swept away by that aspect as well- some performers clearly standing out above the herd, no matter the genre of music. And you have to take a step back, to soak it all in, camera gear can wait a few seconds or more. Such was the case last night at Thalia Hall- the first of two sold out shows for Brittany- with a band in tow that transcends and transfixes, subtle cues intact. The hooks- even from the get go, with "What Now"- aplenty. A delicious throwback of sorts- all of it from "What Now"- the melodies so lush and soulful, done to pristine elegance. Lost in my words, I know- but how to convey all of this without sounding over the top. Hard to do. You win me over with melodies, followed by nuances in vocals, then if I can grasp it all, emotion to lyrics. The elevated nature of Brittany and her compositions just make you stop and take notice- yes, she emotes and conveys emotional heartbreak and pain like it's on her sleeve from yesterday, captivating you in all her questioning of relationships and not so positive end results. I find myself rethinking what I just witnessed, throughout her entire set, and the lyric aspect of this- the melodies and emotions conveyed so strong and true- hadn't much time to reel that all in unfortunately. Makes you want to hear the entire show over again to get a grasp of that as well, if I were so honest in writing this up. But you find yourself gobsmacked in amazement, as was clearly the entire main floor at Thalia Hall- also from my perspective equally caught up in the emotions of it all, a true listening room, with not much talk between folk- seemed like everyone was in hush silence throughout, except at the end of each and every song with loud and rapturous applause. Brittany Howard- and "What Now"- a show with deep fulfillment, surrounded by a band equal in measure, undertones and sophisticated and elegant restraint the order of the day. Such a show with Brittany- just so damn liberating. This review- My apologies if it seems convoluted or a bit over the top. But no time to take notes. All from memory- the entire show. Mistakes and sideways thinking good. ![]() Like Brittany, navigating a minefield of disruptive relationships, all the while accentuating the positive- well so am I - warts n' all. This part of her North American Tour- continuing after Thalia Hall to Toronto on the 9th- with stops in Boston, New York and Washington DC. A must see. As for her opener- Becca Mancari- another fine example of honest and emotional songwriting, Very clever, her emotional storytelling, portrayed delicately and succinctly throughout her set- sometimes jagged in tone and beat, and sometimes you can hear a pin drop. And out comes occasionally that radiant smile, letting you know that all is well and good, at least band wise, with nods and winks that we'll all get through this together. That she's tight with Brittany Howard speaks volumes as well, sharing a bond of sisterhood love, being there for one another, fighting for their very existence, encouraging one another in fleshing out songs from the head into actual recordings. Nothing beats questions from the heart songwriting. And following through with your instincts, and not being constantly swayed by outside detractors. All of it is meaningful- especially standing up for yourself, and getting used to the word "No". I love this about Becca, finding her voice and seeing things through the way they ought to be, through your deeply personal singing/ songwriting. Makes you as an avid listener wanting to make sure you do right by her, especially when it comes to captivating photography. Like her performance- let's try our best to make things memorable. What a way to start off the year in regards to live performance. Two artists that certainly know how to captivate in their own unique way. Bobby Talamine- JBTV Music Television Chicago Brittany Howard, Becca Mancari, Thalia Hall, JBTV Music Television, Fiza Javid, Bobby Talamine, Jerry Bryant, Chicago, Live Music![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Vic Theatre Chicago Wednesday - November 15, 2023 The mighty Baroness, on the road and as mighty and as tight as ever. A band's band. Worthy of your attention. And here goes: John Baizley- Lead Vocals, Rhythm Guitar. Gina Gleason- Lead Guitar, Backing Vocals. Nick Jost- Bass, Keyboards, Backing Vocals. Sebastian Thomson- Drums, Synths. Again- a band's band. Excitement thereof? Of course- more worthy of your attention, simply because the same members intact for consecutive records, leading up to their latest release, "Stone", which came out back in mid September. That says, lots, getting into a comfort zone with your mates, and fleshing out the cause and effect with the new songs, let alone doing whatever the fuck they want in zig zagging through the new material, much represented in tonight's show at the Vic, and also the tour in general. As for the new material from "Stone", opening with "Embers" on the PA as they enter the stage, followed by the mighty "Last Word". A barn stomp of a song, a crash and burn juggernaut of high end melody and slashing guitars. Yes, in the 15 songs for the set tonight, a lot on display from the "Red", "Blue", "Yellow & Green", "Purple", and of course "Gold & Grey". Make note though- John Baizley and company are advancing and capturing your attention. ![]() Tension builds, obviously, even with such a simple setup as there's outside of the cool backdrop lit up bright red, with "Baroness" beholden front and center. Locked in, throughout, emphasis on the mighty riff on top of the riff. Whiplash smiles between everyone, including audience- a resounding yes. Sweaty and radiator heat related vibes- of course. Wouldn't expect anything less from these guys. The cool thing about them as well- they never wish to repeat themselves- making something noteworthy (constantly), something you'll remember from them for years to come, including their live performances. Brute force with righteous intent- the theme throughout the night, no need for flashy displays, and costumey bullshit. With Baroness, all things Baroness- music always front and center. I'd rather not dive deeply into song witchcraft, and the glories and entrails of all that. With Baroness in particular, the simpler in regards to actual acknowledgment of a damn worthy show. The pictures presented- hopefully they can do some of the talking as well. Baroness- United and motivated to crack a whip, and snap your neck, at least for an hour and a half. Bobby Talamine - JBTV Music Television Chicago Baroness, John Baizley, Nick Jost, Sebastian Thomson, Gina Gleason, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid United Center Chicago Monday - November 13, 2023 The show at the United Center this past Monday with Depeche Mode- the second time through town in a span of over about six months- In my opinion, two completely different shows. Not a knock on the show back in April, which I attended as a fan, not to review, just to take it all in celebratory style. And yes- so grateful to see Martin and Dave perform together again, back I think in April of this year. That show was downright fun, a benchmark of sorts in seeing the lads up close and personal. As for Monday's show at the United Center, on their second leg of their North American tour, a whole different animal in energy and feel. The takeaways- the urgency of it all, song wise, performance wise, setlist wise. The drums- from their tour mate Christian Eigner- proplulsive blast furnace. Dialed up loud and menacing. Dave Gahan certainly knew it and enjoyed it, prancing about the stage as per usual, however making noticable pit stops off and on by the lip of the drum riser, and brandishing a vote of confidence on the proceedings. That's important to note- this is a full fledged band man. A band worth exploring more, high energy and all, if I feel compelled to scope out new material, and see where this goes. Look at it this way. The show was Monday the 13th. Here I am, contemplating this review some 36 hours later, having just completed my edit of images, over 50 or so. And I'm still reeling from the quartet of Depeche Mode, and the importance of all things Depeche Mode, and thinking that this can't be the end- no way. If I'm Dave, if I'm Martin- I know I've found a spark in Christian, let alone true multi tasker in Peter Gordeno, a guy who's confident and complex on all things keyboards and synths, all things bass. If I'm Martin, songwriting chops and all, I'm relieved that I got two guys who can carry the load that Depeche demands, especially live. If I'm Martin, it allows me to have fun onstage yet again, Dave as well, all smiles. So yeah- clearly one of the best, I mean best shows of the year, even if it's the inevitable end. They were not playing like they are in their mid sixties. They were playing like they were 24 year olds yet again. And yes, once again, that was so godamn fun to watch live, to the point of dreaming to join a caravan of Depeche faithful and head west and contemplate the revelry of it all just to confirm my enjoyment, my satisfaction of the show from Monday at the United Center. ![]() These guys, and that awesome setlist. All songs- even the awesome sparkly ones such as "Wagging Tongue", let alone "My Favorite Stranger", both from their latest release "Memento Mori"- came across as more post punk and a bit of restrained sinister. Then they up the ante with conviction, songs blast furnace style, such as "I Feel You", "It's No Good", "Walking In My Shoes", and "John The Revelator" in particular. All sung and performed with urgency, more an intimate club feel, not an massive indoor arena, with lots and lots of angst and loud urgency. Pushed to the limits, these songs, with heavy drumming, followed by punishing and pulsating synth beats, thank you very much. The more intimate songs, the ones to catch your breath a bit, also demanding your attention, with understated angst. Songs such as "Ghosts Again", "Black Celebration", followed by "Stripped". The tension builds, yes it does. "Enjoy the Silence"? Always fun filled celebratory. Same with the innocent ones from their innocent times, such as "Everything Counts". Push and pull yin yang angst, with some more angst. Swing through the electronica and bop your ass off in place at your seat. Of course to end the show with their encore "Never Let Me Down Again", and ending with the concrete boot stomps from "Personal Jesus". The oomphs parlayed with commanding lyric always makes the 18,000 or so faithful release the heat from the indoor arena. ![]() 23 songs total for the night. And I'm not alone in looking around the section I was in, and everyone wants more. The guy in front of me, a row down- looks up at me, and screams, "How F'ing awesome is Depeche Mode!!!" I laugh in agreement, and give him a solid fist bump chest slap. He grabs my hand, makes a fist of it, and slaps his forehead with my fist, like a dozen times, smiling, while I'm laughing my ass off, not wanting to leave, and letting the guy know that we're not in a dream- what we just witnessed is the real deal. Yes yes yes. A show of high energy fun and games, band wise, certainly audience wise, with all the camaraderie ever evident from where I was standing taking it all in. Sure, I could've written a review that was methodical and technical, taking concise notes of this and that. But this show with Depeche was just off the rails oh so different- making me feel good inside, like I'm a kid again, young and youthful at heart. Have to relish shows like these, performances with artists like Martin and Dave, who clearly give it their all, gave it their all. So yeah- no notes, no outline to follow. I'm writing from inspiration, from the heart. Martin and Dave, the awesome touring quartet of Depeche deserves as such. And like I stated before- one of the best shows of the year. Up there in the Top Ten, somewhere towards the top, if not thee top. They're in the process of heading west with the "Memento Mori Tour", some 14 or so dates total. You're nuts not the see then live while you have the chance. Bobby Talamine - JBTV Music Television Chicago Depeche Mode, Martin Gore, Dave Gahan, Christian Eigner, Peter Gordeno, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Bottom Lounge Chicago Sunday - November 12, 2023 The fierce and honest Periphery, from Washington D.C., back on the road (thank god), and going about things a bit unorthodox. First off- they're also fighters. That needs to be said. As complex as all get out, heavy on sustained melody, along with power pack drumming, followed by hellaciously good singing, up or down, high or low, courtesy of Spencer Sotolo. And on top of all that, seconded, they are again fighters. The unorthodox part- intimate venues throughout this tour. Two night stands at each stop (except for a few dates), with a different setlist each night. It's also more personal, that being each individual band member has a chance throughout the set to explain honestly a certain song that's meaningful to them, that brings back a floodgate of memories that pertains to the specialness of that individual song, and more importantly, where their headspace was at during the fruition and cultivation of that particular song. So yes, all of this is different and unique compared to your typical metal show, with a full on bludgeoning from beginning to end. I like how they consistently take risks, especially such as this tour, let alone in complex musicianship that asks and demands you to know your prospective instruments bloody damn well. So with songs such as opener "Ragnarok" or further down with "Zagreus", or "Reptile"- could there be mistakes (although I didn't witness any) if your mind wanders and you're not completely focused on the complexity of said songs? I assume so- since again, complex everything is the order of the day. But that's the endearing part of a band where every band member is capable of writing solid songs to bring to the table, or have mighty riffs in their head that need further exploration, let alone also writing material that can come across wildly different and out of the ordinary. ![]() Amazing, when you think of it, holding to their truths, believing emphatically in what they do, what they've created. Hence the two night stands on this tour. Won't be able to witness night number two at the Bottom Lounge unfortunately because of prior commitments- however- night number one at the Bottom Lounge: Polyrhythmic madness never sounded so good. 13 songs of sonic pummeling- crowd knows it- band certainly knows it. Besides the songs mentioned, more of a back catalog opening night, with only a couple songs from their latest release- "Periphery Number Five: Djent is Not a Genre". No matter- the sold out crowd was thirsty for the older stuff anyways- you could tell just by the heat coming off the main floor going into "Make Total Destroy", let alone the banshee wails from the Periphery faithful, and also the metal tech guys who constantly stated out loud how fucking awesome they still sound. These guys- Spencer Sotelo, guitarists Misha Mansoor, Mark Holcomb and Jake Bowen, along with drummer Matt Halpern, just continue to evolve into an unstoppable and througouly punishing and bludgeoning force. Their whole set, down to their last song "Dracul Gras"- like a constant punch to the face, played to impressive might, poor PA at the Bottom Lounge be damned. Their must be a team huddle on this, with local sound engineers, and how far can they go without everything snapping and giving in to the onslaught. Yeah- that kinda loud of a night face melt. So yes- Periphery, memorable as all get out. Highly recommend the remaining dates on this short and intimate tour, however all that remains is night number two at the Bottom Lounge, and to end the tour in Baltimore, which unfortunately are also both sold out. But if there's a will, there's a way as they always say. Bobby Talamine - JBTV Music Television Chicago Periphery, Wildfire Tour 2023, Mark Holcomb, Jake Bowen, Spencer Sotelo, Misha Mansoor, Matt Halpern, Fiza Javid, Bobby Talamine, JBTV Music Television![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Milwaukee, Wisconsin - November 1, 2023 Such a treat that you know Tool is still out on the road touring, both October and November, with some festival dates, and mostly arenas and covering secondary markets. I bring this up right off the bat in regards to fandom, and the reactions thereof, in regards to the band Tool and especially anything merch related. I travelled north to Milwaukee to catch the show, and made sure I arrived there early, like around 2pm, a few hours before doors opened. On the southeast corner of where the Fiserv Forum is located- that's where the set up the outdoor hookup trailer for all things merch- and that line....must've been a minimum 100 to 120 people deep. For all things- mostly if any limited posters were available, and of course the wide assortment of T shirts available, both long sleeve and short sleeve. And it was Milwaukee mid fall cold out- around 35 degrees or so, with a wind chill. Didn't matter. It's Tool baby- have to represent. I love this about the band and their fans, bordering on fanatical. And of course set wise, Tool didn't disappoint- from the opening salvo from Danny's drum kit for "Fear Inoculum"- and the chimed bells before the synth string arrangements proceed with the tabla drums, all done spiritual style, christening the proceedings. Gives you chills thinking back on it, how methodical the proceedings to start the show. So yes, as always, everything's so well though out, stage positions set with Adam stage right, Justin stage left, Danny front and center to the back, and of course Maynard perched in the back to the left and right of Danny on his rail platforms. Maynard's trademark mohawk configurations are evident as always lately, this time a bright yellow adorned and styled mix, and more conservative with the dress up, long sleeves rolled up white button down shirt with wide white collars, black vest, black pants, and- the raccoon and tight black burglar eye makeup. A look that transcends, and also is meant to add some wickedness to the proceedings. Having said all of that- it's still about the music, the glorious full on immersed into the wormhole and don't ever get out of dodge music, and of course the sophisticated visuals and sophisticated lasers to sink you into the wormhole even more. The setlist with break - some eleven songs. But don't let that fool you. ![]() These songs, some are twelve, fourteen minutes in length, with some breaks in the instrumentals to catch your breath before your ears burn for more technical prowess. It's audio might that's clean and unforgiving. And they as a band have to be spot on to attempt this kind of setlist show, from opener "Fear Inoculum" all the way to the end with "Forty Six & 2". And hearing "Rosetta Stoned" once again, and the vicious drum rolls from Danny knocking in the fierce lyric and bite from Maynard with "Holy Fucking Shit!", some eight times or so- yes- you feel like there's an alien in the room making advances, and proof exists, all the way down to the truth of a flaming melt banana that just split open the sky...that - and the poor guy who witnessed all this hasn't even graduated from high school. Leta alone the L. Ron Hubbard stiff upper lip thingy. All of this is my version of a Star Trek Spock mind meld- with comical purpose to ring out the bath soap that's in your ears. All the way home, a two hour drive, I'm occasionally breaking the speed limit on 94, just humming that refrain from the song, all smiles and giggles, and just how powerful it is, let alone the fucking alien, and finding the chosen one, even though he's obviously not a bright guy, and he shits the bed. I know right? Laugh out loud funny/ awesome- on repeat in my head. Have already mapped out an explanation god forbid I get pulled over on 94 for speeding- I want the officer to hear this song as an explanation, the pulverizing nature of it all- speeding ticket can wait a bit. And so it goes with the mighty Tool, emjoying their ride while they're still good and healthy. It's not like the writing's on the wall with this kind of monumental juggernaut touring- but they're getting up there in age folks. It's not like they're the band "America" with "A Horse with No Name", or the band "Bread" from back in the day- lighthearted singing / songwriting from the easy going seventies. No no no. They're the exact opposite of that, with bull horn/ megaphone stories to tell, protest style, demanding your attention with lit up lighter fluid statements to pass judgement on individualism and the occasional bite of simply being. Always a lot to take in, with nary a romantic heartbreak lyric in sight. The purpose- it's evolved meaningfully, psychologically, menacingly for a show that packs a wallop, with songwriting and a back catalog that doesn't get old, doesn't get stale. Man, these guys..I so wish I got pulled over on 94 traveling at 85 miles an hour just to explain everything to a strange officer, not that I recommend that sorta thing. But it's Tool baby...strangers and oddballs and serious folk of all shapes and sizes need to know about this band Tool, if they don't know already. Hope the images provided are worthy of your applause as well, to get the gist of the whole presentation and show of might. Some ten or so dates remain on their North American Tour, up to November 21st. Try not to miss out as they head east up to the end in Toronto Canada. Bobby Talamine - JBTV Music Television Chicago Tool, Tool (Band), Maynard James Keenan, Justin Chancellor, Danny Carey, Adam Jones, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Thalia Hall Chicago - October 31, 2023 Kazu, Amedeo and Simone of Blonde Redhead, playing Chicago's Thalia Hall on Halloween night. A documentary film crew are on hand for the proceedings, to take in all the costume revelry from Thalia Hall, this being a special night to perform, even if Halloween falls on Tuesday. And the overall mood is subdued, tranquil. Yes- there are plenty of people in costumes throughout, along with the regulars who didn't play "dress up". No matter- the band played the part for the festivities , decked out with Kazu adorned with long black rabbit ears, and the Pace brothers in what appears to be long and black hoodlum or burgler caps. Not that Amedeo and Simone comes across as renegades- their music is anything but. But still, nice to see all three get into character a bit for Halloween's sake. As for their latest release "Sit Down for Dinner", and the tour that follows this gorgeous release- They still have their magic, they still have their elegance in sophisticated and simplistic songwriting intact. ![]() A true thinking man's band, with all things mysterious and surrounded by exotic melodicisms. Hearing the actual album when it was released this past September, and then hearing some of these gorgeous songs performed live- just so memorable, justifying their rather lengthy absence since the last time they came through town. Songs such as "Snowman", and "Sit Down for Dinner", parts one and two, along with "Kiss Her Kiss Her" to close out their set- new songs worthy of your attention and taking in the beauty of it all, let alone that immense back catalog of nuggets as well, opening their show with "Falling Man", followed by "Dr. Stangeluv", before even getting to their new songs. And their earlier material still holds up, showing us all yet again that the power of beautiful melody, followed by the innocence of Kazu when she sings, and the same with Amedeo as well. Nothing beats dense and exotic arrangements, done with intelligence and sophistication and flair. Their whole set was over in a flash, leaving you in a dreamlike state when getting organized and prepared to vacate the premises- what's the rush actually, having waited this long to see them and hope they live up to your expectations. They certainly did, capturing the magic and wonderment of it all, down to the campy tombstones on the front of the stage and along the drum riser, let alone the gothic cathedral like lighting backdrops, and purplish Halloween mood. An unforgettable show, as delicate and meaningful as I ever witnessed- just so lush and genuine. Blonde Redhead- "Sit Down for Dinner"- one of the best albums of the year. Blonde Redhead- One of the best shows of the year as well. Bobby Talamine - JBTV Music Television Chicago Blonde Redhead, Kazu Makino, Amedeo Pace, Simone Pace, Thalia Hall, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Riviera Theatre Chicago Tues 10/3/23 Slowdive with Drab Majesty: The double bill you've been waiting for-and then some. Hard to explain without getting a bit nutty to the average lay person, the defining nature of a life affirming performance from two bands such as this, let alone feeling the positive vibes throughout the venue such as the Riviera Theatre, the overall mood of cordialness, and respect for one another, let alone both bands bringing along their catalogs of sonic dreamscapes that can knock your socks off, and forget your troubles for a few hours. Visually, musically, sonically, mesmerizingly, the show was brilliant throughout, impressive with bringing on the emotional textures needed to make things work, make things memorable. Headliners Slowdive, with Rachel Goswell on vocals/ guitar/ keyboards and tambourine front and center, and to her immediate left- Nick Chaplin on bass and also Neil Halstead on shared vocals and guitar, along with Christian Savill on guitar, and Simon Scott on drums- the band is tight, the band is ready to transport you throughout their set. Everything comes across gentle- the whispers, the beauty in sustained drums, let alone the guitar sonics of beauty emanating from Neil and his assortment of guitar pedals, as any sonic weaver of his stature needs to elevate things on a moment's notice. The setlist, 14 songs in total including encore, and a cool cover from Syd Barrett to end the set- "Sister Golden Hair", which should tell you lots in where their hearts lay, and who they respect (amongst many others). Full fledged and back working as a band, since 2017, up to the present day and their latest release, "Everything Is Alive", which is well respected throughout their set, with the singles "Kisses", and "The Slab", which was unfortunately cut short a bit because of technical issues. ![]() But the album- clearly Slowdive have no need to rush anything without thinking things through. The album is solid, pure escapism with impressive songwriting front and center. I can go into detail that would be wormhole related, the beauty of this band, even when coming out of hard times of personal loss, personal struggles. But that diminishes the thoughtfulness throughout in my opinion, and the fact that they're carrying and soldiering on, as all good musicians and songwriters do- taking moments of heartbreak, and somewhat getting your shit together, and doing your best to overcome. Such is the case with Slowdive, and we should be so lucky that they're still here. So to put it in layman's terms- how about "Scrumptious melodies throughout"- both old and new. The back catalog is well represented, what with "Star Roving", "Catch the Breeze" and "Souvlaki Pace Station" in particular as standouts. Lovely to hear "Alison" in full glory as well. Just so joyful, hearing them perform live, especially in such an intimate theatre such as the Riv. Same can be said with Deb Demure and Mona D of Drab Majesty. Even though just seven songs for their set, they bring the majesty that's in their name Drab Majesty. An aloofness detachment, both Deb and Mona, a compelling and sincere music collective, which in my opinion, holds no barriers or boundaries to this and that, the somewhat anonymous detachment being able to convey things freely, and allowing the opportunities to expand on any ideas whatsoever, limits be damned. Which makes them even more enduring, the back catalog along with their latest ep "An Object in Motion" being just as fresh and clean as their earlier work. Opening with "Dot in the Sky", followed by "Oxytocin", and then into "Ellipsis", let alone "Cold Souls"..all of these songs hold such power and grace with solid rhythms, not dated whatsoever. And such a delight to have Rachel Goswell come out to sing shared vocal in "Vanity", a song that's like a breath of fresh air, just so delicate and serene. Their entire set- a swirling mix of sonic delights, accompanied with visuals that enhance, and make things even more cool and artsy. So both bands- Yes- They deliver on all counts, assuring us yet again that they're creative as all get out, with lots and lots to say. New sounds with new ideas, which leads to otherworldly realms- which for me, is oh so pleasurable. Clearly one of the shows of the year for me. Bobby Talamine - JBTV Music Television Chicago Slowdive, Rachel Goswell, Neil Halstead, Drab Majesty, Deb Demure, Mona D, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Sunday - September 17, 2023 - Douglass Park All things The Cure and Riot Fest on Day Three (and of course all the other bands covered). First- Heavy rain. Heavy rain in the early morning compounding problems on actually opening and starting the festival. Riot delayed the opening until 2pm, and acts performing didn't get going until 3pm. So bands either got rescheduled or were stricken from the schedule. Most unfortunate, not witnessing live Empire State Bastard- a band that's ferocious, with Dave Lombardo on drums. Outside of that hiccup- All things The Cure. The buildup to this magical show- weeks on end prior, the hype and the love. What makes Riot Fest so cool (amongst many things), is what they did schedule wise- blocking off in entirety all other acts performing after 7:45pm, slotting it all to The Cure, and nothing but The Cure. What also made this show so magical was that this date at Riot Fest is the only date they'll be playing in North America for round number two, before heading to South America in mid November. So, that's what makes this show at Riot Fest so extra special. The takeaways: Opening with one of their new songs (like they did back in June of this year on their proper North American Tour)- with "Alone" - which gives Robert a chance to observe and welcome his audience, before even singing or picking up his guitar. Have to say right off the bat how magical that was to witness yet again. The setlist was heavy on the hits, as most festivals are, but also lots of nuggets throughout, such as "Cold", from "Pornography", "Burn", from "The Crow" soundtrack, and also the two last songs before the encore, with "From the Edge of the Deep Green Sea", from "Wish", and another new song "Endsong". Interspersed throughout- just lots and lots of lovely. And the band, even for a one off festival gig- true to form and magical. ![]() What makes the band tick: Simon Gallup. Propulsive and low end everything as always, checking on his bandmates, and Robert in particular throughout. Same with Reeves Gabrels on guitar, adding luster to the proceedings. Same with Jason Cooper on drums, Perry Bamonte on synths and occasional guitar, and of course Roger O' Donnell on all manner of keyboards as well. These guys together- a band worth watching- (again and again on repeat). The whole set- the entire evening- from the pit, to the back of the house- the back of the field from the main stage- compelling, and also so rewarding. Hard to not forget this show, and the meaning of it all. Has to be said the importance of The Cure, and what they mean so vividly and emotionally to so many people- not just the Chicago faithful, but all over the world faithful. The other acts documented, in descending order from headliner The Cure: The Dresden Dolls- Amanda Palmer and Brian Viglione (and accompanied by one song with special guest Mellisa Auf der Maur- Happy to see them perform live again, as intensely magical as they are with their brand of straight up wicked electric cabaret. The Mars Volta- No photographers allowed- however that set was all encompassing jam worthy awesomeness. AFI (A Fire Inside) - well that's still burning apparently. A Packed pit with photographers, and a rapturous crowd, equals excitement and energy and a certain amount of mayhem, Riot Fest style. L.S. Dunes- and they deliver their own special brand of mayhem as well, what with Anthony Green mixing it up with the crowd one song into their set, let alone the intensity of their brand of post- hardcore whatever you want to call it. Fun guys, making the most of Riot Fest, just like last year. And of course RIDE- consisting of the one/ two punch from Mark Gardener and Andy Bell- and for the time that they were given, they succeeded. Wished they could play a longer set though, their music just builds and builds and builds. Same with Alex Maas and The Black Angels- even in mid afternoon, they have a sound that morphs into '60's psychedelia, mixed with their own personal tastes in dark garage rock reverie. Also the same for The Cults- consisting of Madeline Follin and Brian Oblivion- way too short of a set- but still, with their captivating and striking visuals- just a pleasant Sunday afternoon surprise, and a band like the others that just always delivers. Such a magical Day Three of Riot Fest, let alone a magical all over the three days of Riot Fest- just so memorably splendid. Hard to truly describe and take in the magnificence of it all But man, coming full circle....Robert Smith and The Cure.... Bobby Talamine - JBTV Music Television Chicago Riot Fest 2023, The Cure, JBTV Music Television, Bobby Talamine, Fiza Javid, Dresden Dolls, Cults, AFI, Chicago![]() Writing and Photography by Bobby Talamine and Wesley Nott Edited by Fiza Javid Saturday - September 16, 2023 - Douglass Park And so forth comes Day Number Two from the Riot Fest grounds of Douglass Park, and the lineup doesn't disappoint. It starts mellow, from what I chose to cover, and just builds and builds from there. Opening with LA's ultra cool and laid back Warpaint- a band that knows how to blend ethereal dream pop with a modicum of psych rock and mixed with some chill. That they've maintained a cool camaraderie over the years, like sisters one and all, even with long periods of inactivity speaks volumes in shared musical ideas, let alone performing live. In other words, they looked like they were having fun at Riot Fest, which makes us feel like we're having fun. A special band- that is Warpaint. Then off to the races to catch the one and only Corey Feldman at the Rebel Stage. 'Tis a headscratcher- Corey Feldman. Heard many people say about his performance- "it was so bad which made it so damn good", and variations thereof. A psychologist if given the time to catch up with obvious demons running through Corey's poor head- would be troubling to make the attempt. And yet he's a survivor, and you want to root for the guy. But the self sabotaging of his brief half hour set, troubled by a definitely not working large inflatable white screen backdrop, followed by berating of his fellow musicians, and multiple lapses in costume changes for each and every song....question: What was the thought process in all of this? Is anyone in Corey 's camp allowed to voice opinions and say "No" to this, "definitely NO" to that? Apparently not. So, inevitably, trouble ensues, trouble lurks around the corner. And yet there's charm- Corey Feldman charm, followed by dozens (I'm not kidding) body surfers. Didn't matter to the fans. This was a party. The main reason I was mad and frustrated was the overlap between Corey Feldman, the delays with that godforsaken stupid inflatable white backdrop, and missing Jehnny Beth's set. ![]() Talk about a mad scramble over to the Roots stage- and was lucky enough to catch her last song, "I'm the Man". Fine enough for me. A full on participatory mix between fans and stage, a communal gathering where Jehnny has to get one on one, with fierce eye to eye contact, even directly to me, five feet away in the crowd as she surveyed her audience. She pulses with such undeniable power, convincing I might add, even for quarter to three in the afternoon. So happy and relieved that I at least was able to catch one song. And then- watch out people- Viagra Boys are taking the stage. Drenched in beer soaked anger, and a mix of cool aloofness, depending on which band member (minus lead singer Sebastian Murphy) you are looking at. Opening with "Ain't no Thief", which- Sebastian ain't no thief. Followed by "Slow Learner", and as you know, Sebastian is a slow learner. And then comes "Punk Rock Loser", which as you know by now, Sebastian portrays himself as a punk rock loser. Not complicated stuff- all A to B to C, beer anthem righteous party music, lets' all body surf and swig some beers if you can, and body surf some more. Damn it's addicting watching these guys, watching the nutty crowd at Riot Fest watching these knuckleheads in Viagra Boys. And then, you want intense? Mix it up seething intense? Political anger, societal anger, world forsaken anger? Welcome to Death Grips. Like Jehnny Beth, one of the definite highlights of what I was looking forward to at Day Two from Riot Fest. Noise, Industrial, Hip Hop, Punk Rock with pounding drums, courtesy of Zach Hill, and Stefan Burnett providing the biting lyrics and vocal ferocity, mixed by Andy Morin, providing occasional samples and background keyboards. Heavy throughout. Ferociously heavy. Much needed, seeing / hearing / documenting these guys. One of the best sets from Day Two at Riot Fest. Then off to the Radical Stage for 100 gecs- ( Laura Les and Dylan Brady), who know how to mix heavy backbeats with shrill vocals and make things their own, in a genre now known as "Hyper Pop". Chaotic and springboard lifted catchy throughout their hour set, with nary a let up. They let things rip midway through, with of all things "I Got my Tooth Removed", which, the title says it all. Same with "The Most Wanted Person in the United States". A delightful heavy blend of angst. And of course the crowd ate it up as well. Ended the day with Faygo soaked Insane Clown Posse, who started late headlining the Rebel Stage, what with security and roadies draping everything possible exterior wise for the inevitable Faygo soda launch, what with a dozen or so Juggalos coming out two minutes into the first song- "The Show Must Go On"- and spraying everybody (and I mean everybody) with Faygo, Faygo, Faygo. But Violent J and Shaggy 2 Dope certainly know how to throw a party, what with the Juggalo faithful heavy in attendance, waiting for their heroes to hit the stage even earlier in the day when Corey Feldman played on the same stage. Some 18 Faygo soaked songs total - what with mainstays "Chicken Huntin", and "Down With the Clown", let alone "My Axe". Insane Clown Posse- not for everybody, sure. But try telling that to this crowd. Fightin' words. So ends Day Two from Riot Fest 2023. Bobby Talamine - JBTV Music Television Chicago Riot Fest, 2023, Chicago, Live Music, Corey Feldman, Jehnny Beth, Viagra Boys, 100 Gecs, Death Grips, Insane Clown Posse, Bobby Talamine, Fiza Javid, JBTV Music Television![]() Writing and Photography by Bobby Talamine & Wesley Nott Writing and Editing by Fiza Javid Friday - September 15, 2023 - Douglass Park Riot Fest is back for the 2023 season and ready to cause a scene! The heart and soul of rock n' roll is in this lineup, and JBTV had a chance to cover incredible acts for day one. These photo highlights include: Olivia Jean, Say Anything, Parliament Funkadelic, Yard Act, Quasi, Code Orange, Kim Gordon, Quicksand, The Breeders and Turnstile. There is no doubt that Foo Fighters are an honorable mention as well, with their first return to Chicago since the passing of their drummer Taylor Hawkins, we were ready to show them all the love and support. Olivia Jean, while she is the wife of Detroit rocker Jack White, her roots are grounded in music. Hailing from Nashville, she showcased her badass rockabilly / garage rock vibes with serious swing. Her songs were tight, with songs including "Spider" and "Garage Bat," and her band is genuinely tight knit. It way too short of a set, 30 minutes. Should've been an hour. Next, Parliament Funkadelic. Led by leader George Clinton (Red Hat). George is 82 years old, Imagine that. And still emphasizing all thinks "Funk" , and making all things a "Funk Party", even at 2 in the afternoon. Yard Act is a proto punk indie UK band, with fierce opposition and making a mockery of everything, including their brand of music mixed with jovial and humorous lyrical revelry. Dark humor with crafty beats from a tight band abound through their entire set. They were an absolute blast to watch, and trust got the crowd moving. Quasi was truly an exciting one to unveil this year, led by ex Sleater Kinney drummer Janet Weiss, and her former husband Sam Coomes. For a duo- some fun noisy with emphasis on noisy rock mixed with some electronic rock, and Janet's booming kick drum followed by thunder thwack propulsive drumming. Code Orange were absolute headbangers. Heavy duty metalcore outfits, led by lead vocalist Jami Morgan. They truly got the moshing started. With in your face gigantic moshpit onslaught- the band growing more abrasive with each and every album release, reflecting the mood of the times. Just look at Jami's t shirt for emphasis- "I'm a Librarian". That should tell you lots in regards to where they stand on book bannings, and "woke this, woke that". These guys are angry, with the punishing beats to prove it. The one and only, legendary, Kim Gordon. She came to Riot Fest- she conquered. All on her terms. Drawn from the secular, into the vernacular. Fierce and uncompromising, with moody beats and electronica mixed with drums and sometimes chaotic backbeat vocals, emphasizing restraint, followed by some serious vocal wallops. Again, one of the major highlights from Riot Fest Day One. ![]() Quicksand turned Riot Fest on its head with a full Album Play- "Slip". JBTV alumni from back in the day, and still uncompromising, led by guitarist / vocalist Walter Schreifels, with a sound that's still polished and crafty, reminding you of Helmet, with solid melody, all songs, and yet emphasis on LOUD. They were incredible. The Breeders were led by Kim and Kelley Deal, who are twin sisters. Kim Deal is known for her previous band, Pixies. Another Riot Fest Full Album Play- "Last Splash", from 1993, this was epic. The album still holds up, and they're faithful to the original, even down to the fuzzy "old school" mic that Kim occasionally yells into. This album is a cautionary tale, and yet so enduring and relevant to the present day. Looked like they were having lots of fun throughout their set, even with the blazing sun beating down on them. Last but certainly not the least was Turnstile. They are a barn burner of a band, hailing from Baltimore. In it to win it, always, and ready to play, as were the entire crowd witnessing them perform live, yelling and whooping and hollering throughout. Security had their hands full, running this way and that. Lucky we were able to stay in the pit for the three songs- this band is that volatile, led by jumping all over the place Brendan Yates, never losing his vocals, even mid twirl. Day one was overall filled with hardcore sounds, with tight grooves on top of grooves. We couldn't be more excited for day two! Fiza Javid & Bobby Talamine - JBTV Music Television ![]() Writing and Photography by Curt Baran Edited by Fiza Javid September 8th, 2023 - Chicago, Illinois "I found grace inside a sound." Buzz Osborne is walking tight circles, stage right side at Chicago’s venerable club Metro. He and his band Melvins have played the space countless times before, but there’s something about a sold out show that helps amp up the energy. His guitar belches out spacious, scuzzy riffs perfectly placed for maximum effect. Now entering their fourth decade as a band, it seems improbable that they still exist. Melvins do not make polite music and there isn’t anything remotely mainstream about their material. Yet, here they’ve found themselves, 40 years later, still rupturing ear drums and free of apologies. Both Osborne and drummer Dale Crover have remained the only constant members, yet somehow the band’s aesthetic has rarely changed. Bass player Steven Shane McDonald held down the menacing low end during “It’s Shoved,” “Ligature” and “Your Blessened.” He even brought a sense of showmanship, dropping a handful of requisite rock posses. Underneath it all, for the entirety of the evening, was Crover, hitting his cans with what sounded like fireplace logs. Over the course of a tight and profoundly ugly set of 11 songs, Osborne and his droogs were a sobering reminder that sometimes there’s an audience out there for everyone. Curt Baran - JBTV Music Television The Melvins, Buzz Osbourne, Dale Crover, Metro, Chicago, JBTV Music Television, Jerry Bryant, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Salt Shed Chicago - Night Number Two Thursday - 8/31/23 Walking in during the intro, to The Beatles song "You Know My Name (Look Up the Number)"- They all begin to settle into their respective places. Opening with "Cecilia Ann" (a Surftones cover), then into "You're Such a Sadducee", and then into the song "Tame", which was anything but. Just let it rip man- let it rip. Have to say how rambaffling this all is- almost a completely different setlist than from night one the night before, just some switching up and burying of certain songs to fit the mood, what if a full on Blue Moon rising from the east, some five songs into their set. And they make note of that on night number two from The Salt Shed as well, with the imperial nugget "There's a Moon On". So as the night unfolds, it's full on electric, full on rabid vocals from the push and pull of Black Francis, making it known two songs in when he tightly rolls up his sleeves that we're headed to some heavy heavy. The aggressive songs demand it- what with the Pixies having over the years refreshed their dynamic between "Quiet and Loud", with some more "Quiet and Loud". The formula works, never ever getting stale, never ever getting boring. My take is Black Francis, Joey Santiago, David Lovering and Paz Lenchantin wouldn't tolerate it. Pixies remain whipsmart, live badass. Minimal set and backdrops, just some fancy strobes old and new encompassing the back of the stage. Music counts, the band commits, their audience of oh so many years commits. Wicked smiles are seen from them, when something catchy and jagged in the interplay catches their ears and eyes, as only solid improvisation can ensue when paying attention. No fancy clothes, like coming out of a cab from Elston, head a bit east into the venue, strap on instruments, and away we go. A tried and true formula, with contemplative and wacky songwriting intermixing with some twisted humor, and electrifying full on noise. Indie as all get out, the Pixies, not beaten down and held hostage by A&R men wanting hits and catchy this and that. The thought of that would repel them to the point of taking a shower. Better still, as a middle finger fuck you, you most likely would enter their universe, and not on a positive note, but rather buried in a song like a casket going six feet underground. They have their menacing and enlightening ways, like Isaac Brock in Modest Mouse, where everything holds fodder, especially when paying attention to the outside world, and bizarre newspaper clippings that catch your eye. From the biblical to the fanatical, to the humorous to the comic book comical. All of it is welcome news to both bands, with sinister pop and the hard and heavy offering thrills and chills. ![]() This review- It doesn't matter really about song selection, and this and that. It matters greatly that Pixies still want to play together, and let it be known they know what the hell they're doing, having some damn outright fun, and even if they don't, and mistakes are made, no matter. That can be entertaining as well. Such a blast- such a downright energetic set from these guys. Same with Modest Mouse, even though the sun was kinda still out setting to the west. 15 songs total, with catchy and quirky beats throughout. After the three songs from the pit, I roamed around the main floor a bit, catching the crowd taking it all in, especially along the rail riverfront of The Salt Shed. It was there that I found a batch of Modest Mouse diehards, a bit older, like in their fifties, dancing a style similar to the Grateful Dead and their shows back in the day. And dancing not in a humorous way, but serious / sweaty shit. Multiple songs, until they got plum tuckered tired out. Dancing like around a campfire listening to a jug band, and spot on to the beats. Fascinating stuff, elevating the mood in my head in what Isaac Brock and Modest Mouse means to so many people. Here's another songwriter, like Black Francis, who has his eyes and ears to the ground, noting the what the fucks when attempting another song to create, from the mystical to the mythical to the fanatical to the comical. You know his heart's in it - Isaac is a sweaty mess right after song three, spitting out words fervently at his mic. Also cool to note that he was wearing the same satin jacket that Cat Power came out with, the logo of Cat Power ever evident on the back for all to see. Support thereof, with all three bands. A solid lineup as all get out. Look man, there's some eleven or so dates left on this tour as it heads west- I highly recommend you check them out- all bands- and get their early for Cat Power- she's awesome as well, embraced with a tight knit band. Bobby Talamine - JBTV Music Television Chicago Pixies, Black Francis, Joey Santiago, David Lovering, Paz Lechantin, Modest Mouse, Isaac Brock, The Salt Shed, JBTV Music Television, Fiza Javid, Bobby Talamine, Chicago, Live Music![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Huntington Bank Pavilion at Northerly Island Chicago 8/15/23 With Ghost, currently in the mix with their summer "Re- Imperatour U.S.A.- I knew something was up when I arrived a bit early- Apparently I wasn't the only one. They came in droves, earlier than me. That line, not even for the G.A. pit- we're talking reserved seating- by my estimation- easily a half mile long, and this even on a Tuesday evening in Chicago. Talk about a solid fanbase! And everything about their show is still a spectacle. A small bit has changed since their last run through the states, back in February of 2022, with a stop at the Allstate Arena in Rosemont. The one thing that I found more appealing this time around was the runway jutting out through the main floor. The height was a bit of a nuisance back in February- like six feet or so. And the length of the runway looked like to be cut in half, which also made things more appealing photography wise, with the hopes of getting the bulk of the nameless ghouls in the frame, along with the gorgeous stained glass windows backdrop, and of course the one and only Tobias Forge, aka "Papa Emeritus", amongst many other titles and incarnations. All of this helps in my opinion, especially with more active main floor crowd involvement- like the closer to the audience, the better. What a show I tell ya. The three heavy hitter/ life is a party mainstays, after the volley of "Klara stjarnor"- a delicate Jan Johansson instrumental, followed by "Miserere mei, Deus"- a choral Gregorio Allegri song, and then the instrumental from Ghost- "Imperium", which has the stage shrouded in a gigantic white curtain- Then comes the trifecta of ripping good tunes- "Kaisarion", into "Rats", into "From the Pinnacle to the Pit". So okay, the same openers from back in 2022. But who cares? These songs are strong, hell bent. Meant for worshipping and camaraderie followed by communal party, all presented right off the bat with three nameless ghouls parked at the lip of the runway stage center- letting it rip with guitar, bass, and more guitar. Followed by Papa blending in and then holding court, all confident, all mindful of empowerment and might. And the screams and shouts from the lip of the barricade- virtually every vantage point- for those three banger / crushing songs, it didn't let up one bit, like it was a Friday or Saturday night, not a Tuesday night. Add lots and lots of theatricality, and you have one very memorable show. Some twenty or so songs total, with nary a letup. And maybe that's why this go around with Ghost is what's needed and hearty- that they've worked out the kinks a bit, took a deep breath, made some conscientious changes, and then decided to give it a go- pedal to the metal. That the night was absolutely perfect along the lakefront just added more charm and mystique to the spectacle, and the gorgeous saturation of colors and schematic no matter what the vantage point when looking at the stage. Even when writing this from memory, I feel caffeinated and full of energy, like the show ended just minutes ago, and not well over 14 hours. It doesn't matter, especially with Papa and the nameless ghouls, and the varied costume changes of notable notoriety, specifically Papa's various versions thereof of delighted intent. Yes, there's a lot to take in with the hierarchy of all things "Papa", as is well and good to immerse in the minute details, if you're into that sorta thing. I'm sure Tobias relishes the deep dive amongst his gigantic fanbase as well. The songs have heft, even from the early days to present. The lyrics and overall mood represent that as well. Everything in relation to Ghost, and overall presentation, is just so well thought out. I mean think about it: right now we're on the incarnation of "Papa Emeritus IV" with all the luster and mystery, equal to the first. Why wouldn't you want to eat that up, knowing full well that there's going to be a rather complicated storyline, with a plethora of clues, followed by mystery. Makes you relish what else Papa has up his sleeve, going forward into the unknown of otherworldly. Hard to not get lost in all of this while attempting to write a decent review, and doing your best to keep it simple. ![]() No matter- equal to the live performance, is the actual cast of characters and evolvement as well. And to have the second leg in the states with the mighty Amon Amarth just adds more onslaught punishment to the mix as well, what with a gigantic set, with 15 foot pillars of Vikings guarding the flanks of stage left and stage right, a drum kit on a riser of massive viking horns, and ending with a gigantic mythical dragon stage left, during the song "Twilight of the Thunder God', with lead vocalist Johan Hegg beating it down with a massive viking hammer. All the stuff of mystical fantasy, followed by wicked and punishing melodic death metal. Cool that they let us photographers photograph their set after the first three from the pit- if anything getting a chance to document "Put Your Back Into the Oar", where, by command of Johan Hegg, you sit down on the main floor of the pit, and make like your rowing a massive viking ship to uncharted territory, or better yet, showing the power at sea, to intimidate, to take command thereof. What a sight to see that, virtually the entire main floor pit in on the viking rowing action. So we have two bands, both equal to the task to put on a show, not relegated to blasé this, blasé that. No no no- this is first rate big things spectacle, first rate slam dunk. Some eighteen or so dates remain in the states, heading a bit south, and of course west, ending in Englewood California, on September 12th. Go see? What do you think? Don't be nutty. Just go. Bobby Talamine - JBTV Music Television Chicago Ghost, Tobias Forge, Nameless Ghouls, JBTV Music Television, Fiza Javid, Bobby Talamine, Amon Amarth![]() Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - Sunday August 6, 2023 I need to throw a Happy Fit for the final day of Lollapalooza 2023. I can't stop, I'm addicted to the shindig. Although the weather had us all tip toeing around Grant Park, we squished our shoes in determination for the pure adrenaline of this final day. JBTV followed many incredible artists that were purely worth the photo highlights: Ingrid Andress, the Happy Fits, Matroda, DEHD, Magdalena Bay, Mt. Joy, Afrojack, A Boogie with Da Hoodie, and the ultimate spice in the form of Red Hot Chili Peppers, who officially saw the return of legendary guitarist John Frusciante a year ago. We wishfully drank up the moments of Ingrid Andress as she performed her incredible hits "Wishful Drinking" and "Feel Like This" prior to the adrenaline that kicked in for the excitement of the Happy Fits. She was truly a joyful start to the day and she showcased just how easily country music can fit into the Lolla atmosphere. ![]() Then through the mudslide we saw fans rush over to the Happy Fits. These rockstars, at first glance, could convince you that classical rock is their primary focus, however, their set proved just how much more original they are than that. The JBTV alums came to the JBTV studio in 2019 where they were already major showstoppers. Watching frontman Calvin Langman light up this stage from his soul, as he intensely strummed the cello, was like a dose of caffeine hitting the audience. Luke Davis's passion on the drum kit matched this level of joy. They were having so much fun up there and man we the audience were having just as much fun being able to witness this phenomenon. Particularly with "Heart of a Dancer" and "Grow Back" came on, every single song felt like a grand finale, with a set you would have never wished come to a conclusion. The only mistake is that Lollapalooza didn't put them on the T-Mobile stage prior to Red Hot Chili Peppers, since their virtuoso musicality and originality would make them the ultimate opener for RHCP. At this rate, I wouldn't be surprised if RHCP opened for them. These are true artists we are witnessing shoot to the moon. Raina Mullen was rocking out in guitar. We definitely missed Ross Monteith, but to see the charisma and true talent that was Raina Mullen (who is also the guitarist and singer for philly based band Ghost Light) was what made this set all the more perfect. ![]() Before I end up writing a dissertation, I'll sing my praises. Dehd came in full attitude and made a wave of new fans, they had the greatest showmanship. Mt. Joy was the ultimate mushroom trip with their purely mesmerizing kaleidoscope backdrop hypnotizing us to their music. Their covers of "Ain't No Sunshine" by Bill Withers and "Crazy" by Gnarles Barkley added to this ultimate vibe. Magdalena Bay busted out a keytar and was in her element through her incredible set. Afrojack remixed us into oblivion as he got the party into full swing closer to the evening, with his major hit "Turn Up The Speakers" and "Rock the House" getting everyone moving. The Boogie with Da Hoodie was a true surprise. The rapper had the audience bopping in unison and screaming along like no other. Then there was the anticipation for Red Hot Chili Peppers. That hour waiting for them to come on felt like a lifetime due to the excitement. ![]() Nothing is more magical than a RHCP jam session. What truly sets them apart as live performers from the entire world of legends they are part of is their ability to jam out in front of a live audience. Their jams along tailors a truly unique experience for their fans that doesn't just repeat what they recorded on to their albums, along with the unpredictability of what any one of them might say, Flea burst into handstands at moments along with a pirate theme spoken word section that had our eyes truly locked with fervor. And just when you think they might only just play their funky hits like "Can't Stop" or "Dani California" they bust out the vibing jam session of a lifetime. The intro to "Californication" had a three-minute showcase of John Frusciante playing against Flea's bass. They faced each other and just made pure magic happen. This was like watching a songwriting session right before our eyes and showed...this band didn't copy anyone. They were never a gimmick. They were destined to be exactly who they are: pure musicians through and through. Frusciante showcased just how iconic and mastermind he is with melody, and Flea is a bass-line mastermind. Combine that with the vocals and forever rock hard persona of Anthony and the endless cardio bashing drum skills of Chad, and its no wonder these guys will never go out of style, ever. They proved that they couldn't pretend. They hear the music. Their rehearsals are out of this world, and we are lucky enough we get to be in on it. Thats the feeling they invoke, along with the intensive history their breakups and emotions reunions have given us. It is a gift that they were able to return to Lollapalooza and give Chicago the performance of a lifetime, which crazy enough, included a cover of the Clash's "London Calling" as an intro to "Right on Time." This was a season that will never be forgotten. While next year will also give us a highly anticipated 3 part docuseries of the story of Lollapalooza on Paramount+, we will be eager for that lineup ASAP. Until next year! Is it 2024 yet? Signing off. Fiza Javid - JBTV Music Television Lollapalooza, 2023, Bobby Talamine, Fiza Javid, JBTV Music Television, The Happy Fits, Mt Joy, Boogie With the Hoodie, Red Hot Chili Peppers, Anthony Kiedis, Chas, Flea, John Frusciante, Chicago, Live Music![]() Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - Saturday August 5, 2023 We had all the elements working together on this fine Saturday of Lollapalooza day three. Who know water can go with electricity? That is, if the electricity comes with a solid day of electronic music. The rain didn't dampen the festival in the slightest and we were ready to go. We were so excited for the upcoming Odesza headliner which we knew would also bring the fire. The vibes through the air were palpable. This also included the pure excitement for Tomorrow X Together who was surely going to own the night. Major photo highlights of day three that continue to give us the elements and awaken our senses: Suki Waterhouse, Solardo, Destroy Lonely, Nora En Pure, Maggie Rogers, Morgan Wade, Alex G, Tomorrow X Together and Pusha T. ![]() Tomorrow x Together took an elemental day to another planet. They opened with "0X1=LOVESONG (I Know I Love You)." Not only did they do "Happy Fools" and "Players" with Coi Leray, they performed a new version of their Jonas Brothers cover "Do it Like That." They closed with "Sugar Rush Tide" The entire set was a space like spectacular feat to watch. They shined like stars as they danced across the stage and the audience sang along the lyrics in the backdrop. We couldn't thank them enough. Odesza returned to Lolla after their incredible performance in 2018 that truly hallmarked as a top ten in the history of Lollapalooza performances. They blasted the audience into the future with a spectacular light show. This time was almost like a battle of the DJs seeing the way Harrison Mills and Clayton Knight moved together on stage with the futuristic light show going full blast. They gave a nod to day two with an incredible Sudan Archives cover of "Selfish Soul" along with "One Day They'll Know" by Pretty Lights. Major songs of theirs included a VIP remix of "All We Need" and closing the night out with "The Last Goodbye." Please don't be the last goodbye Odesza. Until an incredible final day Lolla, see you Sunday! Fiza Javid - JBTV Music Television Lollapalooza, 2023, Bobby Talamine, Fiza Javid, JBTV Music Television,![]() Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - Friday August 4, 2023 Here we go day two! Upon completing this blog, I know for a fact I am going to check Google to make sure Jared Leto is okay post performance after his stage-dive-to-end-all-stage dives. But if that jump showcased anything, its the bang that Lollapalooza 2023 continued on in day two. Major photo highlights from JBTV Alumni like 30 Seconds to Mars, along with the 1975. With the first Democratic Gen Z Congressman Maxwell Frost being among the fan base who must have surely been excited for their headlining of this fine Friday afternoon. Beyond 30STM and the 1975, JBTV highlighted: Band Maid, Sudan Archives, Beabadoobee, Foals, Diesel (Shaquille O' Neil), and many more major highlights of the day. ![]() Didn't I tell you this year is full of surprises? From the one and only Shaquille O'Neill showcasing his DJ ability to 30STM paying for a plane ad to fly over Grant Park as a set list reminder, you wouldn't believe the final act hadn't arrived yet. Then there were the earlier acts, in respective order. Band Maid truly dominated their set with incredible songs like "DOMINATION," Don't You Tell ME," and "Dice" being among their showcase. Sudan Archives made a pure Lolla festival mark with the crowd vibing to their major hit "Selfish Soul," "Milk Me," and "Traditional Irish Jig" with Brittany Denise Parks truly OWNING the violin virtuosity along with her diverse, eclectic style and range for music. Who could set a better scene than her? Unstoppable. TRULY. Beabadoobee was hit after hit and another force to be reckoned with. With "Apple Cider," and "Last Day on Earth," we would have been totally stoked if our last day on earth included her music. Foals were also absolutely phenomenal, waking us all up with "Wake Me Up" and closing their set with "What Went Down." We were down for that true Oxford British rock sweeping the Chicago stage. Then, as previously mentioned, 30 Seconds to Mars literally shot Jared Leto from the roof of the stage, and I hope he could see mars from there. No matter the punches thrown at him regarding his previous acting roles, 30STM never fails to put on an unforgettable show. Jared puts his entire heart and soul into being a true performer and we NEEDED our emo nostalgic fix hearing "The Kill" again. His vocals will never be matched. Jared 'truly believed he could walk on water' as he took this god-like persona to a new level rising himself up to new heights for that son. Then to close with JBTV Alumni the 1975, Matt Healy was the true essence of a show man and they truly earned their headline spot. He seduced us with their song "Sex," and other major songs "Happiness," "Chocolate" and "Oh Caroline" being song incredible songs they played. Matt Healy is a truly modern day crooner. It was a truly soulful sing-a-long experience to see them again on the Lolla stage. It was effortless for him. With his hair slicked back and his flask, Matt knows what he is doing, and they are truly the star powers that deserve their accolades. If this is only day two, we are pinching ourselves about the dream that will be day three. Until tomorrow - Fiza Javid with JBTV Music Television Lollapalooza, 2023, Bobby Talamine, Fiza Javid, JBTV Music Television, Matt Healy, The 1975, Foals, Beabadoobie, Sudan Archives, Diesel, Thirty Seconds to Mars![]() Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - Thursday August 3, 2023 Few years back, Bobby covered Billie Eilish's first Lollapalooza performance in Chicago. The accolades she has seen as an artist since has been tremendous, and this first day proved to be her day. The mentions and the sea of fans were everywhere and it was truly exciting to see a wave of festival goers show up for her. This did not mean that there was any shade placed on the other acts. While Billie was surrounded by a tight squad of her own photographers, JBTV had the opportunity to capture other incredible acts that will surely have their accolades to come as well. The highlights of day one: Bad Neighbors, Finish Ticket, The Beaches, Lovejoy, Tomorrow X Together, Lainey Wilson, Spacey Jane, Timmy Trumpet, Portugal the Man, Dom Dolla with Nelly Furtado and Diplo were TRULY some show stoppers of day one. The Beaches in particular were true rockstars. With their set at the JBTV Studios few years back and being at Lolla few years later, they rocked out like no other. The Beaches, along with artists like the Happy Fits are JBTV Alumni truly being appreciated this year, and we are so excited to cover them this Sunday. ![]() The variety of performers was truly a marvel, but the one genre that deserves a spotlight this year is K-Pop, and its growing prevalence within the Lolla festival. With New Jean's set at the T-Mobile Stage, providing a real sense of the trajectory of the music industry of today. The crowd showcased their love for them as they sang along "OMG," "Attention," "Cookie," and "Hype Boy," and the love and talent was paid ten fold in return. Following New Jeans was Portugal the Man, and needless to say, they brought so much soul to day one. The essence of a festival that was ever Woodstock's notoriety, Portugal the Man gives to Lolla. Their songs gave a jam band air that reminded me of the feeling of watching a Jimi Hendrix performance, but then they went full swing into a euphoric cover of "In Bloom" by Nirvana. Then there was Dom Dolla x Nelly Furtado with her first comeback in over 5 years. This was a collab made in heaven. "Eat Your Man" brought a club pulsing mix to an audience who with "Maneater" equally were in the zone. She was hands down the least expected and greatest surprise of Lolla thus far, showing what surprises are in store for festival goers. If she is the surprise of day one, we are truly in for an incredible weekend. Until tomorrow, Fiza Javid - JBTV Music Television Lollapalooza 2023, JBTV Music Television, Bobby Talamine, Fiza Javid![]() Sunday 7/23/23 Day Three from the Pitchfork grounds had so many highlights along with surprises. A fine surprise- The band Palm, who's set was cancelled from Saturday, because of pending storms, was a disappointment. But lo and behold upon entering the grounds on Sunday, it came as a nice surprise to find out they were added to Sunday's lineup, opening up the Blue Stage to start the day. It also speaks volumes that Palm decided to stick around, considering they're also breaking up, following a slew of farewell shows. Their art rock / pop music speaks volumes in independent thought, with discorded time changes, dueling melodies that counter react, let alone wicked and unconventional song structures- all n' all, couldn't pass up this opportunity to witness them live. A great set from the Philadelphia based band Palm, before they are no more. And now for all things headliner Bon Iver- Opening with scratched and distorted auto tune, followed by silence. And then repeated. Elegantly. The hush from the crowd, through that sophisticated PA that Pitchfork provided- such a memorable and downright unforgettable take on all things that's Bon Iver. Opening then with "Yi". Then followed by "iMi", and into "Lump Sum". Justin Vernon (Bon Iver), surrounded by a band that dissolves and evolves, disappears and strikes like a well oiled machine. Over and over again- a wall and wash of melodies, and strung from the heart and soulful singing. Combined, all of this is remarkable when presented live, along with the added luster of how Justin's voice just aches and aches, the pain of melody, harmony, let alone lyric, let alone surviving. All the songs come off as confessionals, sincere honesty in attempts to break away from past pains, past wrongs, let alone isolation, no community. Tough living equals morbid reflection. To come out the other end, with bits and pieces- everyone walks this earth with a million questions, most of them remaining unanswered, some not knowing any path whatsoever to relieve the pain of the mind. They talk the talk, they don't walk the walk. There's no action and more action, finding a place to resolve and evolve. But you get blindsided by Bon Iver, because again and again he delivers in painstaking detail the travails of failure, feeling wounded, and yet finding some modicum of recovery with his intimate songwriting. Hard to describe the overall feel of things, especially when people attempt to label him, as "Indie Folk", and such. Not that I think Justin cares- I do know he's not the kind of guy that enjoys solo acoustic, or at least a full set of that thereof. His set and rig are more than anything vertically displayed, all the more easier for him to twist and turn his sounds, add distortion and abrasive hues, followed by samples and occasional electric and acoustic guitar, followed by sincere vocal. He's a bit buried on stage behind his rig, a vertical comfort zone to proceed with the hallowed dread, followed by light. And as for light- vertical strobes, horizontal strobes, on cue, leave their mark depending on song selection. Bottom line, all of this is well thought out, both musically and visually. The whole set, breathtaking in scope, incorporating the many sides of Bon Iver, showing just how versatile he is, how essential he is. Nothing like a guy who reckons his feelings of heartbreak, pen to paper, and composition matters of the utmost. Stuff like that never gets old, never gets outdated. It sticks with you like glue, especially when completely honest and ugly, nothing added later to soften the mood, or articulate through outside influences and the like. They're your own - And you make and made it so. Another Pitchfork nugget that will definitely make the year end lists as far as live performance. As for the other 12 notable acts that appeared throughout the day- Standouts after shoutouts- How about Killer Mike? All gospel related, mostly presenting his latest release, titled "Michael", which was perfect for a Sunday, everything set wise and costume attire wise, bathed in white, like right out of an Atlanta Georgia chapel. That his latest release is bathed in all things gospel, with a mix of soul and funk, followed by intelligent rap musings, and a bit of preaching here and there- all of it was sermon uplift, positive vibes, with a mix of good and orderly direction. Mdou Moctar, who headlined the Blue Stage on Sunday as well- A guy who trailblazed throughout his set, upping the ante time and time again with intricate and downright captivating shred modality, all the while forcing his band to comply, and add on strikingly in tone and feel. Another significant highlight from Pitchfork Day Three, from a guy who's doing his best in transmitting messages from a higher power and electrified throughout for the whole world to see. I'm not kidding when I say that. Mdou Moctar's music is life changing, life affirming, on a higher and spiritual level. Same with JPEGMAFIA, even with fighting though hiccups that were sample and music related, the heat of the western sun making things not positive for the poor guy, to the point where they had to move his setup completely stage left, to get a bit of shade on the rig, so that it didn't melt completely away. But JPEGMAFIA, still found a way to deliver, onslaught style, mixing it up with the crowd, mixing it up in the pit through the photographers, just mixing it up everything. And Kelela, who headlined the red stage- a completely barren red stage. All the more room to roam about, and convey crafty and sexy singing / songwriting. Philadelphia's Soul Glo brought the intense onslaught as well, non- conforming and brazen, delivering a brashness and angst that brought out some serious moshpit action, with a major moshpit dust cloud to boot. Florist- delicate as all get out, "lo- fi" the order of the day, the hushed crowd in complete observance. Locals Areil Zetina, a fixture in Chicago's underground dance scene, brought the party to the masses, incorporating dance themes with her regulars, like it was 2am at night, not necessarily 1 to 1:45 in the afternoon, blazing sun be damned. A pleasure to witness the likes of Jockstrap and their all over the map music leanings, along with Hooray for the Riff Raff. Rachika Nayar, as delicate as ever, Lucretia Dalt as well, with her sophisticated samples and incorporating an exotic sounding percussionist to up the ante on dancing in place to the groove. Pitchfork Day Three- always delivers year in year out, with an eclectic mix of memorable experiences. Makes you long for all things Pitchfork 2024. Bobby Talamine - JBTV Music Television Chicago Pitchfork Music Festival, Bon Iver, JPEGMafia, Killer Mike, JBTV Music Television, 2023, Bobby Talamine, Fiza Javid, Chicago![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Saturday 7/22/23 From the grounds of the Pitchfork Music Festival Day Number Two: Plenty of highlights, and also plenty of surprises- Both artist related, and also weather related. As far as weather related- the skirmishes of storms that kinda brushed by the lakefront, and look on radar that they might be lightning related- this happened a couple times earlier in the afternoon, although not complete evacuations from the Pitchfork grounds ( that would happen later, around the five o' clock hour). But the two minor ones earlier- a new protocol was enforced- not standing alongside any barricade within a hundred feet, because of potential lightning. Felt bad for the security guys trying to enforce this, since people have a hard time navigating anything a hundred feet distance related. And it's unfortunate to bring up anything weather related right off the bat, because of the outcomes in delays- which means postponing or completely striking off the schedule certain artists you were looking forward to seeing, such as Palm, who were supposed to go on at 1:45pm, or shortening sets, or mixing up sets. Troublesome- anything weather related. But that's what you get with outdoor festivals in general- a chance well worth taking, especially with a solid lineup and bookings, which is par for the course in regards to anything Pitchfork. And as for a main highlight of Day number Two from Pitchfork- Natalie Mering- otherwise known as Weyes Blood- we were given the option of photographing the last three songs of her set- "Do You Need My Love", "Twin Flame", and the closer "Movies". But wouldn't you know it- a steady rain for the last three, and for literally half of her set. No matter- the show proceeds (thank god). And even from off in the distance- the gentle and complex melodies are the order of the day with Natalie, especially with the opener "It's Not Just Me, It's Everybody", followed by "Grapevine". both of which are standard and glorious plums from her latest release, "And in the Darkness, Hearts Aglow". That album, released late in the fall of last year- transfixes. Such breathtaking beauty, so well thought out in scope and magical weave. That Natalie appears like an angel goddess as well when performing, only adds to the luster of it all, and if you think things through for a moment, why let a light and steady rain thwart you when witnessing her perform live. She's all about mother nature, rain included. That was my brief take on things from the pit, along with the word "Acceptance". She's up their performing, you're down in the pit documenting. So there. Deal with it. ![]() Natalie Mering- meant to examine wholeheartedly these turbulent and troubling times- not by beating you over the head- just the opposite. Gentle and sophisticated melody, followed by heart rending questions of existing, all the more so- environment related, mother earth related, relationships related. The transfixing moments, especially towards the end of her set- is the mental image of a cracked heart, a wounded heart, and the way to make it heal. The cover art from "And in the darkness, Hearts Aglow" reflect and make note of this recurring theme, which shows Natalie with a glowing chest, looking so angelic and spiritual. Her take on things, especially relationship related, is that broken heart, it must emanate a light to recover, and to become anew. Through pain, coming out the other end, comes light, the ultimate remedy. So when she turns to the drum riser, and then turns back to the audience, there you have it- hearts aglow, and of course her devoted audience just eats it up. Time and time again- it's just so transfixing, never lost with me whatsoever in regards to shared communal support and the gifts of acceptance, both mentally and physically and spiritually. The word "Gifts" comes of the utmost importance, especially in trying to describe her performance, and the exquisite beauty of it all. Without question, the highlight from Day Two for me. But there were other notable nuggets throughout- The gifts of dancing and letting loose, with the electronic duo of Bolis Pupul and Chralotte Adigery, headlining form the Blue Stage. There set had obsessive punch, and a sincere approach of honesty permeated their set throughout. Such an delectable mixture of sexy beats, danceable beats. As for Archy Marshall, well known by his stage name King Krule- he still rules- thank god that his set remained undiminished through the pivots of rain delays and lightning delays. Archy is cool in his own right, but alongside that whipsmart band of his, elevating his brand of punk jazz with electrified amped everything. Another set from Day Two that was so downright memorable. Hopscotching all over the place, with the mid afternoon coolness of Black Belt Eagle Scout, otherwise known as Katherine Paul- from mellow vibes to all out post punk this and that. Her set was equally entertaining, and filled to the brim with indie rock energy. MJ Lenderman held sway in the afternoon as well, not much stage presence and energy, sure, but the the band can delve into slide guitar everything, making songs dance and bounce with different twists and turns. As for openers from Day Two, with Chicago's Deeper- this band can move and shake. Nic Gohl, who is the lead singer for Deeper, and who also plays guitar and also writes the lyrics, has his ear in the right place when I hear his band perform live- you hear jagged Television, wicked Echo and the Bunnymen, chiming guitars throughout, and even a bit of power pop mixed in as well. Loved watching this band perform so early in the day. Loved watching the headliner from Day Two as well, with Big Thief. A gentleness was the order of the day with them, even though a couple of the guys in the band made the attempt with costume- ish clothing, to up the ante in all things fun mixed with a cool factor. The humor of it all did not go unnoticed, especially considering the folk and acoustic vibe of main frontwoman Adrianne Lenker. The vibe and feel was definitely "Pin Drop" related, all well and good when coming to terms with their overall aesthetic and gentleness of mood. A day with many highlights, even when traversing through slight weather mishaps. Bobby Talamine - JBTV Music Television Chicago Pitchfork, Pitchfork Music Festival, Natalie Merring, Weyes Blood, Big Thief, King Krule, JBTV Music Television, Fiza Javid, Bobby Talamine |
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