![]() 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
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![]() 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![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Friday 7/21/23 All things considered- A different approach is needed in describing and writing about the highlights from Pitchfork Music Festival Day One. The reason- Thom Yorke, Jonny Greenwood and Tom Skinner of The Smile, headlining Day One. No buildup to headliner in this highlighted review- Fire the volleys now. Nothing buried in the mix. The "Take Notice" sign in my head happened earlier in the late afternoon, when Jonny Greenwood gave an interview from Pitchfork's Backstage Dash Pass Interview Stage- And multiple times he gave props to drummer Tom Skinner, and how he is intrinsic to the overall shape and sound of The Smile, bleeding forth with improvisation and jazz roll complex drum fills. He didn't say this lightly or matter of fact. Jonny meant every word of it. And he should know better than anyone, ear to the ground and steeped in melody and cohesive collaboration, with whatever he approaches and takes part of. So that was ingrained in my head while immersed in their headlining set, following the path of Tom Skinner, and watching the three of them collaborate and twist and turn everything setlist wise. This clearly by my take on things, not the same band that travelled through Chicago back on the first of December from last year. They have evolved considerably, all the while taking chances with their crafty songs, and doing their best in making them anew. Their setlist has also changed somewhat, having by now, to close out their North American Tour at Pitchfork, provided twists and turns and re- imagining things material wise. Opening with "Pana- Vision", with Robert Stillman on Saxophone, and then followed by "The Opposite", and also "Hairdryer", all three not quite sounding the same from previous sets I've witnessed, courtesy of yet again, Tom Skinner, followed by Jonny Greenwood and Thom Yorke. Some fifteen songs in total, most likely shorter because of Festival curfews, but that's a minor quibble. ![]() All n' all, this is a chance for Jonny and Thom to get back into their heavier roots, stretch out a bit with simple setup, expound on the aura of mystery, blending genres of music all so seamlessly, and taking deep dives in their panoramic vision of subdued and yet complex soundscapes. All the more breathtaking when hearing all things emanating from them succinctly in an outdoor setting, with a sophisticated PA to back up the juice coming from the stage. It's for these reasons that I wanted no buildup to headliner. This has to be the prominent news of the day, not buried in the mix, lest I forget what the hell I'm writing about. Again- with The Smile- one of the best live performances of the year, and so happy that it was Pitchfork making that happen, on a perfect summer evening in Chicago. As for the other sets, all well and prominent in the images immersed throughout- Lots of excitement and buildup with the Canadian band Alvvays- with Molly Rankin, their front and center singer- songwriter in fine voice, staying put like the rest of the band, and letting their music do the talking. Chicago's Ric Wilson as well, having now over the past few years developed his sound, and amped up the party with sophisticated songwriting and dance inflected four to the floor beats with attitude and mystique. He developed a lot of that with previous performances at JBTV Studios back in the day, taking nothing for granted whatsoever. And yes he has every right to convey to the masses or to anyone within earshot that he's an "electrified motivational funka hop pop poet", with attitude to spare, crowd participation a priority. Same as well with Mike Hadreas, otherwise known as Perfume Genius, who also blends and melds his songwriting, finding and developing a band that adds the "electric" to all things considered. And as for Mike's voice... man does that guy have range, and range to spare, from ultra high falsetto and low baritone thump to throw at you through his ultra rich fantasy landscapes. Same with Trevor Powers, otherwise known as Youth Lagoon- although a bit subdued, sitting behind his flank of synths and samples, but able to convey honesty and depth of songwriting with that band of his. Other acts of note, who made a mark throughout the day: Nourished by Time, who opened Pitchfork Day One, along with Contour, and of course full on band with Sen Morimoto, and also Mavi, and Grace Ives, Axel Boman, and his rich and improvisational electronic soundscapes, and even Nation of Language, with their bopping synth pop melodies, and brazen rapper LEIKELI47, and her push forth rapping style. The weather- delightful throughout. The crowd- attentive and chill for a Friday in Union Park. More coverage of the next two days at Pitchfork to follow accordingly. Bobby Talamine - JBTV Music Television Chicago Pitchfork Music Festival, The Smile, Thom Yorke, Jonny Greenwood, Tom Skinner, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Salt Shed Chicago Fri 7/7/23 Jenny Lewis is finally back in town, at The Salt Shed in Chicago, on a whirlwind North American tour, celebrating her latest release, "Joy'All". The album is well represented setlist wise, as well as it should. Terrific and captivating songwriting, so heartfelt, and true to her roots, and celebrating country swing, for lack of a better term. To set the mood: Lots of fire engine red throughout the stage. Fire engine red vertical and shiny striping backdrops, to the ceiling- like twenty feet in height to the stage floor. Fire engine red carpeting. Fire graphics on a couple of the floor amps. Lots of fire engine red lighting. All of this done up with class, not looking dated and schmaltzy. The overall look and feel- mid seventies vibe, back when country music had some swing, but with an overtone of tough to the bone lyrics depending on the mood and the honky tonk, and the crowd therein. One key piece to all of this is what's on top of her electric Rhodes piano- a landline phone with chord attached. But outside of that, Jenny has always immersed herself deeply through past releases, whether with Rilo Kiley back in the day, or her varied and cool solo albums, taking honest twists and turns that are true to her heart without wasting away through "dialed in" content. Jenny just writes and writes and writes, always willing to listen to suggestions, always willing to risk to try new things, even in the case of simplifying things when recording. I bring this up in regards to "Joy"All", and how the overall sound and feel is not overly complex and dragged down- it's just the opposite, especially when hearing the songs live, with added punch from that band of hers. Opening with "Psychos", a syrupy cool throwback of sorts, with a lazy mid seventies mellow feel, but addictive as all get out. The build up setlist wise just flows easily from there, with a backup band that is perfectly well suited for the intricate and mellow vibe, pushing and pulling merrily along to "Do Si Do", and "Just One of the Guys". ![]() But it's the new material that commands your attention, such as "Puppy and a Truck", and especially "Giddy Up", another song that inspires and invokes a Carole King vibe of solid music storytelling. That her influences on "Joy'All" are varied and solid, and far and wide- all of it is Jenny channeling her inner feelings, and writing so honestly, whether exploring relationships, and simply living in this complicated world while traversing your mid to late forties. Older and supremely wiser- that's Jenny Lewis. That she digs playing with her band shows throughout her set, with big grins and the occasional laugh, some extended foot kicks to dig into the beat, and letting loose with the occasional hip swing and shake. She's having a grand old time up there and diving deep into her songs, with some cool covers to boot: like during the encore and opening with "Silver Lining", a Rilo Kiley cover on her acoustic, or even midway through her set with "Lust for Life", a Girls cover song. But man, the honky tonk swing vibe throughout her set- just so damn addictive. She really means it, when she conveys joy, and wants others to get in on the joy. The Salt Shed crowd truly were in it, smiles and whoops and hollers and all. The Jenny Lewis party just kept upping the ante as the night unfolded. I for one was grateful to be in on the action- documenting the coolness of it all- simple setup as far as presentation, and yet- when you think of it, replaying the tapes in your head- it's anything but. A fittingly tight and well rounded show- like a cool summer breeze. From July 10th to July 25th- you have ten chances to catch her live, ending on the 25th in New Orleans. Highly highly recommended. Bobby Talamine - JBTV Music Television Chicago Jenny Lewis, Joy'All, The Salt Shed, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Copernicus Center Chicago Wed 7/5/23 Ron and Russell Mael of Sparks, currently on their 2023 World Tour, with a stop at the Copernicus Center in Chicago. Many takeaways from their set, and mostly revolving around dancing. Dancing in the song titles, such as "We Go Dancing", "Music That You Can Dance To" come to mind. And they do propel to you dance, and get up out of your seat. Speaking of that- seven songs in, with "It Doesn't Have to Be That Way", and the audience started to get in on the act- no more sitting, now it's time to dance in place, and furthermore now it's time to dance in the row, and yet again now it's time to dance in the aisles. All in good fun, all in favor of. All of it- the entire setlist, opening of course with "So May We Start", led by the fun, and the positive energy of Russell Mael, prancing and dancing about the stage in clever heart skip and a beat or two, infectious as all get out. A twenty song setlist in total, including encore, all of it inspiring, backed with a band that propels the Mael Brothers into a higher plane of amplified fun and games. Even their most latest release "The Girl is Crying in Her Latte", still has holding power equal to their back catalog- what with a downright addictive video featuring Cate Blanchett of all things dancing in place to the beat, and like most Sparks songs, what seems so simple is anything but, and so worthy of repeats. ![]() Same holds true with their latest single "Escalator", and the overall mood is transfixing, with a synth heavy melody, but the undercarriage of the song, along with the live presentation is captivating, done up Sparks style. I bring all this up because over the lengthy length of their storied career, nothing has changed with imaginary and infectious songwriting. These guys can write about anything, I mean anything. Very observant and bright- that's the Mael Brothers. Makes you look forward time and time again when they pivot to something else, and you get all giddy because through word of mouth you hear they're back in the studio yet again recording and writing new material. But for live shows- they leave a mark- a mark in your cranium that's ever so memorable, with a huge residual smile on your face. And of course, mister deadpan serious looking Ron Mael has a couple moments to shine, the most memorable, during the song "The Number One Song in Heaven", and he takes his turn in the "Running Man" style of dance letting his legs get all wiry and wobbly with a wicked grin across his face from stage left to stage right, the audience always eating it up with shrieks and hollers of approval, before he settles back into his deadpan serious look behind his "Ronald" keyboard. Stuff like that with the boys in Sparks never gets old. Again, all in good fun, all in the moment of letting loose and mugging it up, making the most of their setlist dance club worthy bangers. And how about the loud and rapturous applause at the end given to the Mael Brothers? Long and loud, and so well deserved. You knew before hand that they were going to deliver. Most reassuring when they do, wishing that they won't leave the stage whatsoever. Just stay and we'll make the most of it, camp yard by the bonfire style. And something tells me in that dream, if that were so the case, they could make a song or two out of that as well. Clearly yet again, one of the best live shows of the year. Hard to beat Ron and Russell Mael of Sparks, who have a deep appreciation of their fans, reciprocated in kind with an audience in Chicago who know a thing or two about gratitude and sincere honesty when they see it. Long may the brothers Mael captivate. Bobby Talamine - JBTV Music Television Chicago Sparks, Ron Mael, Russell Mael, Sparks World Tour 2023, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Editing by Fiza Javid Photography by Fiza Javid & Tony P (Insta @ tonypphotos) Friday June 23rd - Sat June 24th Grant Park - Chicago Zedd. Zara. Practice Candy. Drama. Drag. So much electricity in this incredible atmosphere. This will overall consolidate the two days into the single most spectacular success of a celebration this was. Friday kicked off the start of this year's largest midwest pride festival at Pride in the Park 2023. The weather was absolute perfection and the sense to walk into Grant Park with pride in a post Roe v. Wade world became all the more necessary. As sections of the country bans books, gets rid of gender affirming healthcare, even fathoms a "Don't Say Gay" bill, among other restrictions being placed on life saving reproductive healthcare, we are reminded of why its important to not only be proud, but to be loud about it. Pride has never just been about rainbows and glitter. Pride, while it demands attention is also a demand for acceptance. Circuit Mom stated it perfectly when she said "we need our allies more than ever, because the news is getting a little scary!" Then there were the superstars of the festival. All the incredible drag performers: Sheeza Woman, Utica Queen, Kenya J Sanchez, Boy J, Angelíca Grace, Miss Toto on the Red Bull turntable, Platinum Carrington, XO Carrington, Enza, Irregular Girl and all the incredible backup dancers who brought all the drama with their phenomenal energy. There was a sense of fearlessness electrifying the audience with all their gorgeous looks and the attitudes to match. Zara Larsson was a genuine A-list popstar who made dancing and singing look entirely effortless. She is a natural. She wow'd the crowd with "Ruin My Life" and "Can't Tame Her," winding through each rhythm and posing for the camera with each movement. Through the DJs playing Kylie Minogue, Britney Spears and Charli XCX, it was fitting to have Zara follow the vibe created by these popstars in the mix of the music circulating the entire festival. ![]() It would be impossible to perfectly highlight each drag performer in this article, however, I need to shine a 10/10 sign to Utica Queen, Angelíca Grace and the rest of the above mentioned performers for their level of dedication. Utica was adorned in jewels as she came out in a maleficent inspired gem head piece with a backdrop screen with occasional fire displays. This definitely was a playful way to satirize the ways in which Sam Smith and Lil Nas X have both been likened to the devil for simply expressing themselves openly and beautifully. To wear devil horns with gems is definitely a way of saying "look you can either be scared of me or you can see that the fear is silly. I am beautiful and WORTHY of acceptance." Utica Queen managed to say all that with her performance, and it can be equally equated to Angelica. The level of power exhibited through Angelica's performance was unbeatable. With every split and facial expression, she had an in-your-face punch with every feminine expression. It was so powerful to watch and scream along in support for. The music carried through with Zedd, who always managed to sample and references to effortlessly. From his Squid Game backdrop and his infectious smile over the audience as he performed "Stay the Night," "Clarity," and "Break Free," he truly became the reason this crowd was able to let loose. As he performed, many fans created their own light shows while one man walked around with a gigantic "You Are Beautiful" pride flag that flew over a crowd like the genuine reminder it was. Lila Star Escada was truly epic by all degrees. She came out with a school teacher outfit telling a story to the "children" of the audience, as we were guided by the track of her reading a story to the class. This outfit was slowly stripped away as her hair unraveled into a rope and a star adorned body suit. I must note, the "Lil Kim" inspired photoshoot that was wheeled in with her face was iconic. She also showcased true theatrics and it was hands down one of the major highlights of day two. Years & Years truly showcased his truly vocal abilities. Along with his backup singers, while their dance moves were subtle, it was obvious it is due to their abilities to carry a finely trained voice without any sense of auto tuning whatsoever. His highlights included "Muscle" and "Sanctify" which carried so much weight and testament to his ability. It was nice to look over to see tears in the eyes of the audience members. Finally, the one and only Saweetie gave a short and adrenaline filled moment on stage. Perhaps it felt short as it was so exciting. From "Tap In" to "Best Friend" and "My Type" there was half a crowd screaming along to the point of nearly fainting (I'm serious, there were lots of people in deep shock), and the other half in a twerking frenzy. So much jiggle, so little time, as the pyrotechnics shined over her body suit adorned with crystal beads. From the very beginning to the end of that set, she and her backup dancers gave non stop energy and delivered the groundbreaking finale this festival deserved for 2023. Overall, it was one to truly remember and be loud and proud of. Excited to carry on this pride into Sunday's parade. Until next year! Fiza Javid - JBTV Music Television Pride in the Park, JBTV Music Television, Zara Larsson, Circuit Mom, Zedd, Saweetie, Chicago, Live Music, Fiza Javid, Tony P![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid United Center Chicago Saturday - June 6, 2023 Magical: "Beautiful and delightful in such a way as to seem to be removed from everyday life". Mystical: " Inspiring a sense of spiritual mystery, awe, and fascination". Mythical: Can get tricky. However: "Based on or described in a myth as contrasted with history" Or better yet, "existing only in the imagination, fictitious, imaginary". The three M's. And notice how some Cure titles permeate the three M's. So it goes without saying that when you don't tour for a bit, make the announcement that you're planning a major tour, and that new songs are ready willing and able to come out of hiding, after years of being on the down low- well, the mythical can easily take precedence. And with a band like The Cure, that's so easy to dive into that wormhole. If you love and adore a band that much, you rely on your memories, your dreams. Things can easily expand that way, all well and good. Whole different story when you want to be present, and witness them yet again, and capture the magic. And as the tour builds, starting back in New Orleans on May 10th, but really long before that from last year- Chicago being towards the end with them heading east, ending on July 1st in Miami- it becomes apparent that they've expanded their setlist throughout, and have been long enough together as of now to blend together as one- Just the way Robert likes it. You notice, because Robert is smiling lots, feeling the beautiful blend of all things "Cure related" musically, emotionally. And the United Center crowd- full display rapturous. And with the surprise return of guitarist and keyboardist Perry Bamonte, who last played with the band during "Wish", and specifically the gorgeous song "Trust". Although not in the setlist, but still, the quality of that song and others like it- ever evident throughout their long 31 song set, with all things ending around 11:40pm cst. Two long encores- not one or two songs, then wave goodbye. No no no - try the first encore- "Disintegration" "Plainsong" related- along with others. The second encore- even bigger and bolder. Try ten songs, even with the surprising "Why Can't I Be You"- all high notes of "Whyyyyy!" easily matched, with the crowd in utter delight. Sprinkled with "Lullaby" and "The Walk". Love that album "Japanese Whispers", swinging post punk style. That album was on repeat- LOTS, back in the day. And of course "Inbetween Days" and "Just Like Heaven", and of course "Boys Don't Cry", and "Killing an Arab". The kinda setlist you just don't want to end. And beautifully done, without much fanfare: Nice and nonchalant vertical LED screens along the backdrop, cool and moody lighting throughout, and then of course the band, all basically front and center, and somewhat close, not far apart. That in my opinion, is important to note. There's not much need for fanfare, and K Mart- ish bells and whistles to shock and awe. Music takes precedent. Above all else. Camaraderie is of the utmost- between everyone. In this day and age, when attention spans can be somewhat limited, and excitement and blasts of visuals seem to be the order of the day- The Cure, are the exact opposite of that. Their music speaks volumes- their entire catalog. Not many bands can say that. The Cure can. Even the new songs, right off the bat with "Alone"..such beautiful sadness, and melancholy. Or "A Fragile Thing". How they started there, with emphasis on gentle, also speaks volumes. Mixing the pot of Cure related sweetness and melody. Wow. Such a splendid and easy going vibe, nothing rushed, even from the pit while photographing. No need for any angst whatsoever. No pushing and shoving. ![]() Let it all flow, like The Cure onstage in front of you. Even into song five- "Like Cockatoos". Didn't see that coming, from "Kiss Me Kiss Kiss Me", again, one of my favorite albums from them, and even to this very day, an album worth revisiting, over and over. But "Like Cockatoos" has a mystical blend of seductive goodness, with a simple melody that's so downright hummable, and intoxicating. And the audience- multi generational across the board. Families. Lots of 'em, along with the diehards. Along with Robert, the Cure's other constant- Simon Gallup. Don't ever underestimate the importance of this guy. He brings the energy, sure. He molds and melds. And it's not deliberate. It's all emotion, all for the love of the band, and propelling forward. They all have their roles to play, they all have their distinctive take on the songs being played and presented, with nothing hurried, nothing pushed to extremes. Consolidated and make good of, that's the order of the day. And also with Reeves Gabrels onboard, this just adds more beauty, elevates the overall mood of things, and beefs up the sound. Another point that should not go unnoticed. So yes, there's mournfulness portrayed throughout, but that it's done so exquisitely, so honestly, just touches the heart, that you know, when paying attention, witnessing the evidence and facts in front of you- that we're delicate human beings if we want to be. We have choices, even when comprehending loss, and that our time on this mortal coil is rather limited. Do your best to make use of it. Robert Smith, his songwriting of past, and more so of late, packs a payload of hurt. A lot of it personal, a lot of it family related. But to convey all of that pain in such beauty, and with such honesty emphasizes to me yet again that Robert knows how to write with lots to say, lots to convey, without being pushy, without bludgeoning with angst. This is why their show at the United Center, this tour in particular, will remain ingrained in my head forever- the gentleness of it all, embracing reckonings of all kinds with despair, and done so from the heart. Bobby Talamine - JBTV Music Television Chicago The Cure, Robert Smith, Simon Gallup, Reeves Gabrels, Perry Bamonte, Roger O' Donnell, Jason Cooper, JBTV Music Television, Fiza Javid, BobbyTalamineClick To Add Text![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Riviera Theatre Chicago Tuesday 6/6/23 Love and Rockets baby. Daniel Ash- All sorts of guitars, vocals, and all around cool vibe, with a wicked and striking fashion presence. David J Haskins- bass guitar, and also vocal, followed by a debonair and elegant fashion sense, as well, and also a cool vibe. Kevin Haskins- All sorts of drums, and also synthesizers- (also perfect timing on samples), and a simple, yet elegant vibe as well. May look simple on paper, but when up close and personal, from the front stage pit for a bit, and you see the layout of the stage, and floor plan, and you then see lights go down, and the show is about to begin...some moments are memorable, sure, and then some are downright fantastic and F'ing way way more memorable, to the point of- "The show's already over?" Like - fast. It's hard to really define and describe the importance and coolness of all this, without kind of getting lost in the weeds. But age be damned, I guess is first and foremost. Some rockers look tired, aged to the point of mummification. Some rockers look beaten down, after years and years of hard living. And then some rockers look so cool, so clean, so elegant, where they can (and will) be cool into their eighties. Bryan Ferry is one. If David Bowie was still alive, he'd be another. I put Daniel, David and Kevin in this camp as well. It has a lot to do with the songs. They are mysterious. They are at times dark, at times psychedelic freakouts. They are at times acoustic jams followed by sexy electric. Go ahead, fill in the blank of whichever song fits the mold, because there's lots and lots of them. And the beauty of it all, Love and Rockets style- nothing is dumbed down. Nothing is dialed in. It's all thought out, thought out to the point of cosmic wisdom. And sexy. This show, with a stop at the Riviera Theatre in Chicago, was just so damn sexy. The setlist- hasn't changed since Cruel World a couple weeks back. And there's nothing wrong with that. Not that these guys couldn't surprise and tweak- they're definitely capable. No need though. ![]() Immerse yourself in the setlist, and explore. Explore some more, while on the road. Let's make this work. Let's mold and meld, this established setlist of eighteen songs. Opening with "I Feel Speed". Followed by "No Big Deal". And then "Kundalini Express". Then into "The Dog- End of a Day Gone By". By now, you should get the gist. This is wicked pop music, for lack of a better term. And these songs aren't boring. They're well thought out, molding genres with serious backbeats depending on mood, courtesy of Kevin Haskins. That's the juice, in my opinion. You make this work with a solid drummer- a drummer who knows sexy beats, then the rest of the band can add to the sexy as well. All of this show, and from what I've read leading up to their show at the Riviera- they still sound so vital. They still sound vital and important and meaningful. What an enjoyable grab bag of songs to pick and choose from- with more nuggets midway through their set, particularly with "Haunted When the Minutes Drag", which had moments of psychedelic freakouts, and also "No New Tale to Tell", followed by again, the oh so sexy "So Alive". "My Dark Twin", and of course "Mirror People" have an understated presence as well. Eighteen songs total, including the two encores. And again, it felt like it was over in a minute. For this show at the Riviera- every aspect resonates. It resonates in a such a good way- seeing these guys play together again, an intimate venue, the extraordinary lighting and overall presentation, the mood throughout- just so astonishing. You should feel lucky that you saw them, or will see them, with the seven or so dates remaining, because apparently this will be their last time out together. I can go on, but the focus the past 48 hours since the show has been the images, and how to convey what I saw the best way possible, and not produce anything "boring". Like the band, I want the photos to pop off the page. And the same goes for the delightful opening act on this tour- Vinsantos. Such a blend of all things cool as well- a bit of cabaret, moments of heartfelt presentation, a display of wicked eye makeup and bright aqua blue lipstick- and to start the show while walking out, and before playing his keyboard, he has to get comfortable by removing his white shoe pumps. I love how Vinsantos experiments- not just in musical tastes, but also with costume, and presentation, and the simpler the better in my opinion, not too extravagant, but to have the sense enough to detach a bit, and listen to the songs, and show support. That's the beauty of Chicago- not detrimental to an intimate performer, especially the opener, with lots of nauseating crosstalk from the main floor. It's quiet, and respectful. As short as the set was, it was meaningful, and memorable. Bobby Talamine - JBTV Music Television Chicago Love and Rockets, David J, Daniel Ash, Kevin Haskins, Vinsantos, JBTV Music Television, Fiza Javid, Bobby Talamine![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Subterranean Chicago, Sat 6/3/23 Sean Payne. A man of many hats. A man who knows how to create and build upon, whether it be his from "the ground up" label, Glitch Mode Recordings, to his many bands, Cyanotic most likely being the best well known, although there's plenty of others. Let alone contributing and throwing his hat into the ring with multiple side projects- one of the coolest being Vampyre Anvil from back in the day- I think they performed at Cold Waves V- consisting of Jason Novak and Sean Payne. I bring this all up because as you can start to tell, Sean Payne is a creator, a guy who has his eyes and ears in the underbelly of dark and heavy electronica, or what he likes to convey to all - "Angry Robot Music". Tragedy struck back on May fourth, when Sean and his wife Anastasia Payne were involved in a deadly rollover accident on Interstate 90 near St. Charles Minnesota. Unfortunately, Anastasia did not survive the car accident. Sean received life threatening injuries from the rollover, and was airlifted to the Mayo Clinic Hospital of St. Mary's campus in Rochester Minnesota, and remained there for a few weeks until he was stable, and comfortable enough from all of the internal trauma. That one simple sentence on the tragedy- that's a lot to take in. And it happened so suddenly. Jason Novak, a man of many hats like Sean, was on the road at the time, managing Front Line Assembly, on their North American Tour with Ministry and Gary Numan. He posted the tragedy on Facebook while on the road, a post that didn't mention names and such- a post about a punch to the gut revelations about just being told about the tragedy, and the struggle to comprehend, amplified by living in this cruel world at times. The post I believe was taken down after a few hours. But I felt it as well, without knowing who was involved, from Jason's post. Without re- tracing his steps, It needs to be conveyed how much Jason wears his heart on his sleeve, and conveys the brutal truth, both positive and negative on the current state of things, that being the world we're living in. The post that I believed followed, was sympathetic in tone, announcing what led up to that post, that being a rough day, and that he doesn't pray often, bit if he did, he would now. Like praying in your best way possible, such as screaming out metal lyrics that convey agony and doom, or the simpler type of prayer, on your knees, bedside, through the meditative quiet, message out to all who are involved that are a bigger spiritual force than me. I think he needed to convey with the message of current state of living, brutal how human life can be at times, But he'd be there to assist anyone who wanted to walk through this tragedy, and that we have each other's backs. It's important to note how all of that struck me, not knowing anything about what happened to Sean and Anastasia at the time, and following Jason's lead, that more would be revealed when the people involved are ready. So I myself didn't ask questions, or want to call people blindly, and find out what's up, And when you do find out eventually what happened, it's like a punch to the gut. Like Jason said in a post a bit after- I agree wholeheartedly in what he said about Anastasia- that wherever she went, whatever she was involved in, she just brought light, and she did that for Sean in spades. So us like minded folk, we reciprocate, and we're there, indefinitely, with love and support, leading up to this magnificent fundraiser for Sean Payne, and provide a benefit show with like minded acts that convey so dearly what we've come to love and be a communal part of. The actual show itself, was a display and an up the ante mix and match of solid DJ's and individual recording artists and bands from the industrial and heavy EBM electronica genres, opening with Jeff Moyer, and his set being solid as always, followed by Martin Atkins, who mixed and matched post punk this and that with some heavy and gnarly beats, followed by Mutilato- (Jim Marcus), who by the way focused his set on new material which was downright captivating and awesome to hear, followed by Morgue VVitch, who certainly knows how to embrace dark electronica enhanced by sophisticated vocal, and then followed by DJ Flesh_Bot, who has a downright awesome command of conveying and and playing some serious spins of Industrial, dark techno, and lots of rhythmic noise, all done so elegantly in clothing and presentation. The dance floor was busy when she was at the booth, for her entire set. ![]() Next up was Choke Chain, who brought the angst, conveyed the angst, lived in performance perpetual angst. Milwaukee Industrial represent: I'll say. And he's a cool and quiet guy when not performing. So goes to show yet again how guy like Mark Trueman can create sinister and punishing soundscapes with a level of intensity that needs to be witnessed firsthand. Acucrack immediately followed, the brainchild of Jason Novak and Jamie Duffy from back in the day. So sorely miss the likes of Jamie Duffy, and what he brought to the heavy mix of not only Accucrack, but a mind blowing number of projects and bands as well. That Jason has taken the time to continue with this project speaks volumes, what with how Acucrack has evolved, with the use of in your face vocal in the mix, followed by some downright heavy and punishing beats, yet done with a solid core rhythmic base that forces you to move, and to entrance. That was some heavy shit that took precedence for the evening, in my opinion. Next up was Subspace, a multi media force of mixing deep and colorful visuals, all the while spinning everything from industrial, dark and burning electro, and doing it all with such a flare for presentation. The raffle portion of the event immediately followed, with Jean Shock at the helm, giving away to the lucky winners pairs of tickets to Love and Rockets, Sisters of Mercy, and of course Cold Waves XI. Nest up was Caustic- which by their moniker says lots: "Unpopular Music for Unpopular People". Yes, they're in your face, with heavy back breaking beats, followed by lots and lots of participatory chants. A great set from them as well. And then to close things out, we have EchoDroides (Miguel Martin), and DJSJ (Steve Jansen), taking the controls of all things ambient and dark and heavy industrial, enhanced with some serious EBM and electronica to elevate the mix until closing. So to come full circle- this community of like minded folk, have come together yet again to help one of their own get back on his feet, and make sure he's taken care of, and then some. When you witness this in person, see the love in the room, have a chance to support and to just "be there"- that's gratifying. Everyone doing their small part for Sean. Coming out in support there of. Sean is that kind of guy to lend out a helping hand to assist. Hope you all like the photos everyone. Bobby Talamine - JBTV Music Television Chicago Sean Payne, Jason Novak, Kelly Britton- Novak, Martin Atkins, Jeff Moyer, Mutilato, Acucrack, Caustic, JBTV Music Television, Bobby Talamine, Fiza Javid![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Salt Shed Chicago Sat 4/22/23 Chicago's very own Ganser, opening for none other than Bikini Kill, at The Salt Shed- make no mistake, this was a big deal for them. This show, a warmup gig a few weeks before they began their West Coast Spring Tour in Boise, on My 12th, was just so energetic, and full on push the envelope of emotional outbursts of a solid wall of guitars, heavy and rhythmic drumming, solid low end bass grooves, and added punch with synths and strained, (and also melodic vocals). I know, a lot to take in with that one sentence. But that sentence encompasses lots, in my opinion. To put things more succinctly from the above: "Solid wall of guitars"- That would be Charlie Landsman. "Heavy and rhythmic drumming": That would be Brian Cundiff. "Solid low end bass grooves": That would be Alicia Gaines, who also occasionally sings lead, and backup vocal. "Added punch with synths and strained (and also melodic vocals): That would be new addition Sophie Sputnik. I meant what I said- Ganser is just something else live. And the beauty of all of it, having witnessed some aspects from the inside a bit, along with peripheral, live performances prior to The Salt Shed, the Pandemic, a brilliant album released back in 2020 with Just Look at That Sky"- I can sum it up pretty succinctly: These guys are fighters. They're fighters and survivors. And you so wish and want them to succeed, especially with so much devotion and hard work put in to the Ganser camp up to now. So by all accounts, their West Coast Spring Tour, which just wrapped up last Friday the 26th in Denver, was a complete success. Partly because of that tour, and their stop at Jerry Bryant's JBTV Studio for a lengthy sit down interview, plus the release of a cool live performance video from The Salt Shed show for the song "People Watching"- all of this, is why I delayed the post with Ganser up to now. It just goes to show that as for 2023, up to now, there's so much going with Ganser, all of it good and positive. The show itself at The Salt Shed- One big big takeaway was the early arrivals. ![]() The place looked packed for their set, prior to headliners Bikini Kill. And lots of enthusiasm from the crowd as well. After the first three songs in the pit, I ventured up into the rear balcony seating, directly behind the soundboard to take in the remainder of their set. Such a pleasant surprise, with seeing the main floor packed to the back, a sea of heads jovially dancing in place as one to the beat of each and every song. The Ganser sound- so dense and so heavy, and yet moments of melodic, sophisticated melodic, finding a way to breath through the mix. The yin and yang of it all, whether they are headlining, or opening, just makes you crave more and more. So again, this is why I waited to post this mini review, and also remind you of a couple things: Go see Ganser play live, if given the chance. Also- their interview with Jerry Bryant of JBTV is up on all platforms- an easy google search, or just go to our website. Hope the live photos do justice to what I witnessed. And- a special shout out to Alicia Gaines, for making this all possible. Bobby Talamine - JBTV Music Television Chicago Ganser, Alicia Gaines, Brian Cundiff, Charlie Landsman, Sophie Sputnik, The Salt Shed, JBTV Music Television, Bobby Talamine, Fiza Javid![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Salt Shed Chicago Sun 5/7/23 Fever Ray, with opener Christeene. Quite the combination of all things performance art. Coming form different perspectives- sure. But performance art nevertheless. Christeene's set is minimal, flanked by her synths / sample keyboardist stage right, and her saxophone player stage left. Christeene commands the stage front and center, sometimes highlighted on her plastic case to elevate everything genre bending, everything that's renegade, front and center. Eight songs total to commend, eight songs total to prove the point of reckless and uninhibited abandonment. All of her set though, carefully thought out, and from the heart believe it or not. She has lots to say between songs, nothing scripted, nothing planned, down to her opinions on Chicago style hot dogs, and specifically Celery Salt, compared to say, Bath Salts. It's wicked stand up humor, and it does bring the laughs of support, again, because there's nothing fake about Christeene- she's making up as she goes along her own world of righteous abandon, down to the multiple shedding of colorful onesies for this and that song. Christeene has been a mainstay of New York's underground club scene for awhile now, developing her performance art with in your face reckoning, take it or leave it style. That kind of fierce reckoning only adds to the confidence of power, a power to act in a way that's uninhibited, both in performance, and in actual lyric. The songs- "AKTION TOILET". "GUTT IT". "BEAUCOUP MOROCCO". "BUTT MUSCLE". All the way to the last: "FIX MY DICK". All in caps the way it read on the setlist. All in caps to show action, and the for the feint of heart- there's the exits. The image of Christeene, like the wicked child from the Exorcist, kinda, but not really- more like the facial makeup is warpaint style, down to the choice of eye lenses that look ill fitting. But again, that's the point with Christeene. She makes it known that all of this in your face performing, juggernaut style, is a way for you to ask questions, find some happiness in letting out anger, try to feel some sense of normalcy in a raging world gone wrong through "Woke this", "Woke that". Her points throughout are well taken, especially hearing her demeanor throughout her set, a Brooklyn- ish feminine take on all matters of life. Have to say the yin and yang of it all is downright captivating. Only better things to come in my opinion- if given a bigger budget when it come to performance, all the better to unleash the hounds of confrontational, ever expressing yet again- "Don't fear art. Don't fear art of any kind". As for Fever Ray- a whole nother world of sophisticated and artistic performance art, at a level of seduction and restrained and captivating exotica immersed in seductive beats, presented in a way to transfix, and move and send out spells and sway to the mighty beat. Yes, that sentence is a lot to take in, but meaningful, nevertheless. This is complex art, coming from Fever Ray, showing deliberate flaws in makeup, choice of clothing with two sizes too large suits, let alone choice of color of said two piece suit and tie. The keen perceptions of "Not standing out", well, make you stand out. Imagine being on the Red Line CTA train, northbound, out from the subway at North and Clybourn, heading up the metal tracks, during rush hour, heading to the Fullerton Station. You have roughly ten minutes or so to observe fellow passengers on said train, and it's still sunny out. Towards the back of the train, standing, you see someone dressed like Fever Ray and fellow bandmates. What's the first perception? Artistic in nature? Down and out? Coming from a low level impromptu theatre group, and no time to change? Can you give a second look? First assumptions- always the wrong assumptions, without having a sincere conversation with the said individual. ![]() Any conversation like that would have to be overcoming anxieties and fears, let alone the release of second guessing. I bring this up because individuals like this, artistically inclined, yet kind of starving, living hand to mouth, paycheck to paycheck, or maybe a once a month commission of some sort, are everywhere around you, and have been since- ages. Just look at Basquiat as a fine example of this. Had you not known his relevance and history, prior to becoming a famous artist, and you bumped into him on the street, you wouldn't even give him notice- assumptions ever present. So with Fever Ray, it's deliberate, they/them view of things, and how to present said songs, after pivoting from The Knife. I obviously have no proof of all of this- this is clearly my take on perceptions- perceptions while performing, perceptions from album release art, perceptions from promo photos. Like all good performance artists, and exceptional musicians- I have questions. Questions such as visions of an older male, with bald head, and disfigured makeup. Questions of looking beyond the visual, and attempt at conversion, with the deliberate portrayal of defects. Rising above defects to show the art from within. All of this is captivating, and well worth mentioning when hearing they/them songs performed live, and presented the way they were. There was a change of plans, when entering The Salt Shed, and getting notice of which songs we were allowed to photograph. The head of security at The Salt Shed laid down the rules- "Songs 6, 7 & 8 from the pit only". "Songs 1 though 5, from the back of the house". Not your usual first three, then gone kinda vibe. But again, it's Fever Ray, they/them rules. And I have to say, song six- "To the Moon and Back", presented so delicately, with a few roses, and a stance from Fever Ray that was stationary, yet exhibiting sensual front and back movement, before dispersing of the roses was downright captivating, and just so memorable. Same goes with the seventh song "Shiver", Fever Ray bathed in red, surrounded by backup singers, swaying left and right to the beat. And same with song eight- "Kandy", alone, under the streetlamp with heavy and isolated backlit lighting. All of this, not just songs 6 through 8, the whole entire set, a production worthy of theatrical and sophisticated intent, presented heartfully, somewhat dialed down, but provocative, nevertheless. Fever Ray is a shape shifter, a shape shifter of the highest order, worthy of your attention, up there with Bjork, up there with present day Mitski. A "make do with what ya got" kind of artist- where, if given a room of odds and ends and knick knacks, they/them could make the room come to life, all of those interesting things, whether normal or not, speaking to they/them to come to life, and find useful- please don't discard. To me, visions like that, are of the highest order, witnessing art in everything, even everything mundane. I could go on and on about this- to the point of sitting down with some of you over coffee and discuss further. Have been pondering multiple drafts on this review, how to comprehend, how to proceed, what to discuss. I chose this option because of the all inclusive gloriousness of they/them art, and my take on they/them's vision, related to the songs, and presented as such. The setlist- some 16 songs total, ending with "Coconut". And in my opinion, it wasn't enough. This show, with Fever Ray- could've gone on into the wee hours, with maybe a half hour break for a deep breath. Fever Ray was THAT good. Bobby Talamine - JBTV Music Television Chicago Fever Ray, Christeene, The Salt Shed, JBTV Music Television, Jerry Bryant, Bobby Talamine, Fiza Javid, Live Music, Chicago![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Clyde- Fort Wayne, Indiana Saturday 5/6/23 Right off the bat- All three bands- Ministry, Gary Numan, Front Line Assembly- All performed with a sense of urgency. All performed like their lives depend on it. Different scopes of urgency depending on song and feel between the three of them- sure- but still- the sense of impending dread on the current state of things in the world we live in was ever evident throughout. Maybe top some extent this got lost on the crowd (name the venue on this tour)- but I'd have to feel that there are fans in the crowd (name the venue) that feel the same way I do about this. All three are intelligent bands, intelligent musicians throughout. Yes, they all bring the heavy, and yet make things a party. But if you read deeper into things- you get a sense of just how precious things are in the present day- what we have, what we witness, what we hold dear. First and foremost- live performance of course. You just never know what's in store down the road. As for Ministry- Al Jourgensen in particular- we're way beyond the past of self abuse. Love how things are more focused on the current state of things, dire as they kinda are. I bring this up because he's come out the other end, somewhat unscathed, and can still voice loudly and intelligently the wrongs of the world, not just local, but also national. So go ahead, attempt your contempt prior to investigating. Nothing you say or do is gonna change anything- for a guy like Al to still be around in the here and now- anything you say is light in comparison to him grappling and co existing with his own demons and making some modicum of peace and acceptance. That to me is a sign of not just the walking wounded, but a walking and surviving hero, who still creates, who still has lots to say artistically. And to do this with an eye towards rooting out the fake, and the bullshit artists who may think they're assisting in the greater good, but only in it for themselves- mostly through greed- attack at full speed- root them out- make fun of them, poke them with a sharp stick, and kick them to the curb. So not before a single note has been played, we have tapes- isolated tapes such as the knucklehead televangelist Kenneth Copeland- deep in fake prayer, calling out to Covid 19, and that "You should be destroyed forever". Calling out for a supernatural heatwave of sorts- banishing Covid 19 to forever hell. Just goes to show, scientifically speaking, that banishing Covid 19 through a monumental heatwave- well - good luck with that. And he's not alone in the Al Jourgensen ripe with fodder camp. If there was a debate of some sort with all them- politicians, televangelists- Wayne LaPierre and the like, and Al was onstage with them at the podium, and things got heated with the back and forth- good luck handling all that with Al. But this is the whole point performance wise, from opener "Alert Level", into "Good Trouble", and next into "Disinformation", and so on. It is a heated argument goddamnit. Heated to the point of worldy exhaustion. All of this industrial at a crack the whip pace is intense for a reason- bring the mighty and heavy beats, accentuate the preacher madness of all things written lyric wise- hopefully some minds will follow. So by all extent and purposes, you blow minds and eardrums, all in one fell swoop. Same goes as well with Gary Numan and Bill Leeb and Rhys Fulber of Front Line Assembly, which we'll get to in a minute. ![]() I know I can't convince all of this with a simple writeup on an industrial music show- but I feel I'm far beyond the technical aspect of things instrument wise, or color schematic and bells and whistles of whichever show I'm reviewing, and all the other this and that. My opinion- Guys Like Al and Ministry- this is heavy hitter stuff, far beyond the pomp of costume changes, followed by "dialing it in". Ain't happening here folks- for all three bands. Everything continues at a breakneck pace, up to the end, with a cover from Fad Gadget of all things- a cool and diabolical song from them titled Ricky's Hand"- again showing the wickedness of Al- embracing another cautionary tale, amped up to eleven for these modern times. Just goes to show that anything can be twisted and turned, making it your own, with the right amount of sauce and pissed off attitude. Clearly Al is still in that camp- the camp where he belongs. And another guy who's been embracing all things "aggressive" for awhile now- Gary Numan. Not much stage banter from Gary- one by one his band take their respective spots, followed by Gary, who's in full throttle force, with a setlist of 14 songs, all done at a blistering pace, opening with "Intruder", into "Halo", into "Pure". The feel throughout is full on majestic, but yet apocalyptic- nothing is spared in the ruins of survival, Mad Max type state of the world living if we don't start changing things- both inward mentally, and outward visibly. The whole set was a perennial backbeat of breakneck foot stomping with a few twists and turns upped to another level of physical contorting worthy of some yoga or chiropractor adjustments. Like Ministry, Like Front Line Assembly- Gary's set was over in a flash- but still- all so memorable. And the same can be said for openers Front Line Assembly, who've upped their game over the years with proceeding far beyond the scope of "EBM"- and seeing and witnessing and reaching its limits- by taking risks in comprehensive songwriting- songwriting with a groove, Opening with the blistering and so addictive "I.E.D"- a song that should be an iconic anthem of simply getting off your feet, the whiplash/ breakneck tempos being so awesome, so unforgiving. Their set was like this throughout- both Bill Leeb and Rhys Fulber, punishing anew with heavy hitters such as "Killing Grounds", and into "Plasticity", before taking a stab at their cover version of Falco's "Rock Me Amadeus". Wasting no time, these guys. This is hard and intelligent electronic music- meant to bludgeon, sure. But still- they provide the necessary enveloping and wicked melodic backbeat that acts like juju to your brain- wanting more. My opinion, 7 songs didn't suffice. True, there's time constraints when your the opener- however... So all three bands- overall feel is delightful and well spent exhaustion. Such a tour- this. Bobby Talamine - JBTV Music Television Chicago Ministry, Gary Numan, Front Line Assembly, Fort Wayne, Indiana, Chicago, Live Music, Bobby Talamine, Fiza Javid, Jerry Bryant, JBTV Music Television, The Clyde![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Salt Shed Chicago Fri 4/21/23 Four songs into their set at The Salt Shed- and Brian Molko of Placebo takes a brief pause and states "So what's it been? Nine and half years or something?" Hands resting comfortably on the top of his guitar, relaxed, all smiles, and affirmatively happy to be back in the states, happy to be back and playing with his mates, Stefan Olsdal in particular. It seems like ages, like Brian said, that they haven't come through Chicago. One of the bands that was chatted about as a "Must See" from last year's Riot Fest was Placebo when the lineup was announced, then the unfortunate happened, their cancellation, supposedly because of "visa and logistical issues". So you are powerless over such things, hope for the best, hope things work out for a tour down the road. And then it does come to fruition, with Brian and Stefan onboard for their North American Tour 2023, and a stop at the majestic Salt Shed in Chicago. And what a setting for these guys- a venue that has superior lighting and sight lines, and with a PA that provides heavy heft (if you know what I mean), forcing you to dance and move on your feet. That front row of fans- all smiles and excited as all get out for these guys. And how about the line before the doors opened? It stretched west on Blackhawk to Elston, then south on Elston for a bit, and this was like three hours before they moved the line into the plaza area to the east of the doors to the venue. So yes on all counts, and also on Friday night- the perfect setting for amped up revelry. The setlist, mostly adhering to newer material, but still resonates with the their fans, all songs tight, and coming off percussive and propulsive, opening with "Forever Chemicals", into "Beautiful James", and then "Scene of the Crime"- Brian and Stefan backed with extra oomph, with solid drums from Matt Lunn, and more keyboards and synths from Nick Gavrilovic and Bill Lloyd, fleshing out the bits and pieces that make Placebo songs into a well oiled machine. ![]() I for one enjoy listening to the new material, seeing these guys flesh out the dazzle dazzle, all confident and affirmative in diving deep into their songs and the overall setlist. Enough of the complainers wanting all their old stuff- I'm just happy to see these guys up and about and motivated- motivated to play and enjoy themselves. The crowd was certainly eating it up- front of house up to the lip of the stage- a sea of swaying in place envy and revelry. This is what makes for a memorable show- glancing at the band, glancing at the main floor of The Salt Shed- and from my perspective it was one body of in your place / respectful dance. There's terrific musicianship throughout, both band and extras, as song after song lays out more and more background violins and synths, courtesy of Angela Chan, painting a landscape of big brushstrokes for you to deep dive in and immerse yourself in all things "Dance". All of this- a forward direction for these guys, not necessarily looking back at this moment in time- more of a shedding of skin and a rebirth of sorts. All good in my opinion- with a splendid hope for the best that they can push ever forward, and come to grips with a somewhat stormy past to uncover some song nuggets of yore, when the timing is right, and they feel comfortable in playing them. Go ahead- ask the crowd in attendance at the Salt Shed- they ate it up, down to the covers at the encore, with "Shout" from Tears for Fears", and also "Running Up That Hill" from Kate Bush. The fans know- they know that it was a memorable show, persistent and immaculate being the order of the night and downright fun on a Friday night in Chicago. Bobby Talamine - JBTV Music Television Chicago Placebo, Brian Molko, Stefan Olsdal, Bobby Talamine, Fiza Javid, JBTV Music Television, The Salt Shed, Live Music, Chicago![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Riviera Theatre Chicago - Saturday, March 11, 2023 Natalie Mering, known professionally as Weyes Blood, currently touring North America titled "In Holy Flux Tour", with a stop at the sold out Riviera Theater in Chicago. And to sum up: I so needed this. And when you see her enter stage left / audience right, adorned in her white floor length gown, similar to her album cover art for her latest release- "And in the Darkness, Hearts Aglow"- the stage is set for tranquil / mellow, with artificial candles all along the floor of the stage, mostly stationed by instruments and microphone stands, and the stage is bathed in washes of yellow hues, like a brushstroke of delicate watercolors as the medium of art, played with of choice. All of the above says lots in regards to where things are going performance wise, the overall feel of performing anything from "And in the Darkness, Hearts Aglow"- finding our way together through the fraying and what seems like the continual dismantling of our social fabric and sense of all things community and harmony. That in itself is deeply explored, with the opening song of the night and the tour as well - "It's Not Just Me, It's Everybody". The song, as gentle as it is musically, envelops you in, with swells of orchestral strings, like ripples from a lake, pushing forth a gentle dream of gorgeousness, all the while gently communicating the fucked up nature of the human condition and current status of the state of the world and community, both locally and globally. The line "We've all become strangers/ Even to ourselves"- speaks volumes, all songs setlist wise, and the keen observation that she's not the only one suffering through all of this. The other aspect of this is none to positive, and of course easy to pursue, what with more angst on top of more angst. That's the easy way out- through welled up anger and crashing drums. Why not make the attempt to convey such sorrowful observations through meditations and daily written reflections of inner self, just to make each day a bit more bearable?With an eye and an ear towards sophisticated melody? That's the concept worth living through Natalie's eyes. And song after song, she conveys it beautifully, like floating on a gentle lake, looking up at the night sky, observing stars and planets, and the faint light of the Milky Way. Seven songs from "And in the Darkness, Hearts Aglow" are presented throughout in similar fashion, such as the second song of the night- "Children of the Empire", along with "God Turn Me Into a Flower", "Grapevine", "A Given Thing", "Twin Flame", and "Hearts Aglow". ![]() As for "Twin Flame" and "Hearts Aglow"- both songs were presented with Natalie's custom made glowing chest plate, which she wears under her dress, enhancing the full visual effect of focusing her energies into positiveness and good. To do all of this, to allow for a perfect mix of ingrained in your brain moments, such as tossing a bouquet of flowers out into the crowd, occasionally dancing whimsically about, letting out smiles to bandmates and to the audience, and the occasional high kick, just shows the innocence of it all, embracing the Riviera Theatre into an intimate atmosphere of coming together as one. The setlist- some 14 songs total embraces the theme throughout, that Natalie's own vision of the world, the state we're in and inevitably will continue to be in, that the end of the world without embracing the consequences , and the specifically atoned to the powerlessness of it all- that we shall intricately weave in delicateness and beauty, embrace rich melody, following our shared vision of the end of the world. I know- it all sounds so sad and frightening. Depending on age group- I don't know what to expect. Me. I'm way into my sixties, having already seen lots and lots. The younger generation, they have a big mantle of problems to attend to, long after I'm gone. But things affect me on a daily basis equal to the younger generation, doing my best to navigate things somewhat unscathed. But all of these Brian Wilson- esque arrangements have me slowing down a bit, the exact opposite of my heart racing. I'll take Natalie's influences and any future songwriting as a symbol of hope and nourishment, relying now heavily on her back catalog for stuff that weighs me down. Like personal journaling, which a lot of my friends do on a daily basis, writing down morning observations, deeply personal matters, current state of mind, doing your best to rid yourself (at least a little bit) of anxiety, to get through your day- Natlaie's back catalog from "The Outside Room" to the present day with "And in the Darkness, Hearts Aglow" equally does the same for me. That all of "And in the Darkness, Hearts Aglow" seems to be written from a sacred space, and also a sacred place, and the main question permeating throughout - what does the heart of your soul sound like when coming from a place of true heartfelt questioning, not being uninhibited the least? What and how am I conveying heartfelt feelings in the here and now, like personal journaling? I for one want to be immersed in that camp. Daily. Like the brilliant novel from Cormac McCarthy - "The Road", and the painful journey of walking through a cataclysmic landscape destroyed by civilization, and all things don't end well, but come full circle towards the end, where even in the bleakest of times, some modicum of hope and trust still win in the end. Getting there is the hard part. And even though "The Road" is riveting and gut wrenching fiction, it still holds truths to our current state of affairs. And in relation to Natalie Maring, on a softer scale, when envisioning ten years down the road, I sometimes find myself in an ecological nightmare, where I'm navigating to find like minded folk, to accentuate the positive. Natalie's guideposts in songwriting holds some of this in for me sanity wise. Apparently when this topic comes up amongst friends I'm not alone in this. So for one night, I'm immersed in all things Natalie, and things are good. Clearly going to be one of the best shows of the year, and its only mid March. Cheers- and do your best to stay well everyone. We need you. Bobby Talamine - JBTV Music Television Chicago Natalie Mering, Weyes Blood, Riviera, Bobby Talamine, Fiza Javid, JBTV, JBTV Music Television![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid The Salt Shed - Chicago - Friday February 24, 2023 Viagra Boys. All the way from Sweden (and a bit in California) - coming to a city near you, on their current "Cave World Tour". Playing at the newly christened and ever elegant venue The Salt Shed in Chicago. I'll explain the part about The Salt Shed in better detail in a bit- but as for now- we gotta talk Viagra Boys, and also lead singer Sebastian Murphy in particular. Set list: some 17 songs total, including encore. Not much differentiation between city to city, setlist wise. Still- no matter. Song titles such as: "Ain't No Thief" (The opener), into "Ain't Nice", into "Punk Rock Loser". We can stop there for a bit. Rudimentary, by their very nature, all intent and purposes- back to basics. A to B to C. Easy to catch on and comprehend, for the low level uninitiated and inebriated. And that's the whole point. Sebastian Murphy has the look and feel and demeanor of being a little blitzed before taking the stage, during the performance, and also attempts at stage banter with the audience between some of the songs. Can't really tell if it's deliberate, what with the occasional slurring of words and getting some thoughts together, or if its his ADD kicking in, or all of the above. Nevertheless, all of it, as of now, is downright entertaining, catching them in the here an now before they might implode. And, it could be all a big joke to all of us. Who the fuck knows. But this band- song after song after song, just are tight, crafty, and full of gnarly swing. Things get funny during "Ain't Nice", when someone from the audience hand delivers to Sebastian a bong, which stuns Sebastian for a brief moment, taking it all in, turning it around in his hand to check out the sophisticated ceramics, with a big smile and "thank you" across his face, before patiently setting it on the drum riser. That kind of night- a party crowd, at the sold out Salt Shed. ![]() As for lyrics throughout- deliberately simple, delivered with bluntness from Sebastian, matching the beats and wayward sax from Oscar Carls, and propulsive bass and drums from Henrik Hockert and Tor Sjoden, along with keyboards and samples from Elias Jungqvist, and wicked guitar from Elias Hillborg. Song after song, they delve deep into their creations, tightening the groove, tightening their noose around you even further. Like the song suggests, "Ain't Nice" ain't nice. "Baby Criminal", well is a baby criminal. "It Ain't Enough" is ain't enough, and so on. The lyrics reflect it- the demeanor of Sebastian reflect it, being brutally honest with no genuflecting. Take it or leave it- they don't give a shit. It's a twisted world we live in, with unsavory characters interspersed throughout, all wickedly coming and going, dodging and weaving. And it's all drug stupor related, hovering around multiple blackouts and what the fucks, trying to piece together this and that. Again, fiction, non fiction, maybe a mix of both. I don't want to ask questions, that's for sure. I just want to photograph these guys- all of them, and document the experience that's so evidently IN- YOUR- FACE, at least for the foreseeable future. I love bands like this, kinda off the rails, but somehow keeping the whole godamned thing on track, surviving yet another show. Also cool that Sebastian was taking The Salt Shed all in, observing things from the lip of the stage, all the way to the back in the grandstands, and stating matter of factly that he thinks The Salt Shed is the largest venue they've ever played in, with a gratifying smile across his face. So coming full circle, each and every song is delivered with dark humor and satire, with a cast of unsavory characters taking shape and form, like fun monsters rearing their ugly head- fun for a minute, but scary nevertheless. And all of it delivered to the faithful in attendance with a nod and a wink, and if given the opportunity, a couple beer soaked smothered hugs, with spit and saliva and sweat, followed by some slaps and serious head noogies that will leave a mark. They all strike me like that, if push comes to shove, Either you're in- or you're out. Welcome to Viagra Boys and their wicked world we are aiming the attempt to live in, albeit temporarily. Same holds true for openers for openers The Steens- who with the brothers Steen, with shredding guitars and howled from the gut vocals, all delivered with brashness and confrontation as all get out, with just enough angst to rev up the crowd caffeinated style. Everything with them comes off crunchy, but delivered with tons of energy and finesse, to the point where towards the end, their drummer has to do a bit of bodysurfing to take it all in. So, both bands delivered. And they delivered in the second show ever at The Salt Shed, which is a magnificent addition to the live music Chicago scene. Such a sophisticated venue throughout, from front to back, main floor to the top. Everything is just so well thought out - The PA, the lighting, the sight lines, the stage, the amenities, the entrance, the staff- just the whole overall vibe and feel of the place. More on all of this soon, with a better detailed observation with Tim Schoen, the Production Manager of The Salt Shed, and Bruce Finkelman, Managing Partner of the Salt Shed and 16 on Center. Such a splendid and unforgettable evening throughout. Bobby Talamine - JBTV Music Television Chicago Viagra Boys, The Steens, Bobby Talamine, The Salt Shed, JBTV Music Television, Jerry Bryant, Fiza Javid![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Radius Chicago - Sunday - January 29, 2023 Have to say, even on a chilly Sunday night with two NFL Conference Title games being played, that didn't stop the devoted fans of Anthrax to line up nice and early at the front doors of Radius. Saw a lot of Black Label Society jackets as well. Two bands that know to bring fun to a party, let alone openers Exodus. A one/ two/ three punch of wallop to get the blood going, that's for sure. And your fair share of bodysurfers throughout the night, for all three bands. Not that that should go unnoticed- especially a girl in a Gumby costume from head to toe, even down to the green gloves, and she body surfed the night away to all three bands. Yep- bodysurfers of all shapes and sizes. And also the mosh throughout, especially for Anthrax. At one point two different moshes occurred- the established in real estate mosh, around 20 to 30 yards back from the stage, and then another mosh about three rows deep form the stage, depending on the volatility of whichever song, which in my opinion, are too many to count. That setlist, was a setlist for the diehards, 12 up the ante songs of punishing might and punishing fury. Such a devoted fanbase, the Anthrax clan. They even shout during the the mini doc before the band goes on, lights down, hearing the faithful explain why they dig Anthrax so much- such as Joe Duplantier of Gojira, followed by Lady Gaga, Tom Morello, Brian Posehn, or how about Corey Taylor chiming in, saying in excitement- "what the fuck is this?" - as in I want more! Or Gene Simmons making it known that you better not have Anthrax open up for you- they'll blow you off the stage. Or Rick Nielsen, equally in awe of the crowd as to the band, the heavy mosh and push and pull of excitement at what's going on the main floor. Or Robert Trujillo, happy to chat about Anthrax, while grinning big from ear to ear. Not that I want to give away anything, but I'm grinning ear to ear in writing this, feeling good at the who's who of the music scene, all genres of music, stating their enduring love of all things Anthrax. It goes on, with brief 5 to 6 second snippets of Anthrax blazing away live, then back guys like Chuck D, Vernon Reid, Phil Anselmo, Dave Mustaine, Rob Zombie, Dee Snider John 5, Kerry King, and even John Carpenter. How cool is that? John Carpenter digging Anthrax. Was watching all this side stage, curtain up and the band prepping before curtain goes down. And the boys in Anthrax really amping each other up, with fist bumps, some jumping jacks, and of course a few jovial laughs. ![]() This says lots too, in my opinion, even before they play a single note. They still dig each other, this tight knit band from New York City. They still have each other's backs. They still don't know the term "dial it in". They still lead by example- pistons at the drag race with a trail blaze of lit up fuel and scorch marks on the stage to prove they played there (name whichever venue). The only hiccup is Charlie Benante, poor guy, still I assume battling off and on his carpal tunnel syndrome, and harsh repetitive drumming like the kind he plays can take a toll on nerves and physical movement on hands and wrists. Hope things get better for him, through treatments and such. Derek Roddy fit in nicely behind the kit, smiling in assurance to the roadies stage left, giving thumbs up throughout the night. Outside of that- no complaints whatsoever. This is a show folks. Opening to heavy hitters - "Among the Living", into "Caught in a Mosh", into "Madhouse". It's like they reverse the script intentionally, playing the heavy hitters right off the bat, pushing way beyond eleven, seeing themselves urging each other on, how far can you go, all the while I've got your back sorta vibe. And things didn't let up- "Metal Thrashing Mad", "Keep It in the Family", all the way to the end with "Bring the Noise", a Public Enemy cover, and closing mightily to "Indians". So yes, 40 years in , and tonight is a night to celebrate, to celebrate the thrash kings of New York, in all their goofball glory, with showmanship front and center, all done with a nod and a wink. Damn if these guys just don't know how to let up, god bless 'em, whittling through anthem after anthem after anthem, showing yet again how they ascend to the peak of the thrash community, on their terms- no one else's. Yes- I have no problem stating one more time that these guys are the fun loving titans of metal, successful in their own own niche, that being the niche of metal thrashing magic, where from recording to live performance- all of it damn well matters. ![]() And the same goes for Zakk Wylde of Black Label Society, who knows a thing or two about performance, especially metal performance. He's a Mack Truck of force and might, intimidating as all get out- down to the quilt he wears, the boots he has on, and the wounds of whatever clearly visible on his lower left leg, maybe from barbells and weights that crash-landed from whatever- who knows. Clearly nothing stops this guy- just patch him up- ready to go. Zakk brings the heat throughout his set as well, with "Funeral Bell', into "The Beginning...At Last", into "Destroy and Conquer". Let's just say he destroyed- and conquered. Some 13 songs total, surrounded by a band that keeps up the might equal to Zakk, in John DeServio, Dario Lorina and Jeff Fabb. This band fits the bill nice and neatly, clearly making the room at Radius a sweaty mess even before Anthrax takes the stage. So refreshing to hear all the stomping numbers from Zakk and his band, the fans reciprocating in kind throughout their set. ![]() Same goes for the mighty Exodus, opening to the refrain from Queen in "We Will Rock You", and ending with the refrain from Queen with "We Are the Champions". Some 9 songs total, opening with the punishing "The Beatings Will Continue (Until Morale Improves)", and the heavy hitter "A Lesson in Violence", with the guttural yowl from Steve Souza on vocals- who like Joey Belladonna of Anthrax- hasn't skipped a beat. All lung power with Steve is in use- nothing wasted. Same goes for master punisher Gary Holt, holding his own stage left, brandishing fireworks at a moments notice guitar slinger wise, relishing in still performing to the present day, not looking back, looking forward. So there you have it- uppercuts, followed by sidewinders, and ending with haymakers. All equally punishing when struck in the right place, cranium rattling, but all well and good and satisfying from opening note to the last note. Daamn that was fun, a great way to start off a new year with music music music. Bobby Talamine - JBTV Music Television Chicago Anthrax, Zakk Wylde, Black Label Society, Exodus, JBTV Music Television, Bobby Talamine, Fiza Javid![]() Writing and Photography by Bobby Talamine Edited by Fiza Javid Thalia Hall Chicago Tues 12/13/22 Sunn O))), brought down to their roots and their original format as a duo, referred to as "Shoshin Duo", with a stop at Thalia Hall in Chicago. First off, to get an idea on all things in regards to this Winter Tour that they're currently on, it's best to let them describe it a bit. "They will perform as a pair, core members Greg Anderson and Stephen O'Malley, immersed in profound valve application, spectral harmonics, distortion, and of course volume. Pure and primeval riffs of temporality, massively heavy structures of sound pressure. Witness live experience of physical sound, and glacial maximalism like no other." I can say first hand- all of the above is true. To start, on a Tuesday night in Chicago's Thalia Hall, before Greg and Stephen take the stage, and the opening acts equipment is finally cleared away- their they are, albeit in somewhat limited form from past tours- but still- their they stand, the stacked amps, in an abbreviated semi circle, on full display. You should have heard the main floor quiet down a bit to take it all in, under blue lighting, after some brief tunings from the roadies. Lost count how many cell phones went up to get some shots, just of the amps alone. And the tech heads in crowd, discussing this and that equipment and amp wise- suspended in disbelief, some of the verbage chatting about, clearly over my head and pay grade in audio / tech gear. Have to say from a visual perspective, they're amazing, the concise and stacked amps, like a mini Stonehenge with untold stories to tell, both past and present, so ominous and imposing, and ready to do what they're made to do. And then comes the fog, from front stage and back stage, immense amounts of it, and the house lights drop. Once Greg and Stephen are settled in- the the deep drones begin. Hard to describe this in detail, witnessing yet again Sunn O))) perform live- it's a sonic bludgeoning of might and feel, with patience, and delivery of notes that are concise, and well thought out, through texture, and immersion. Yes- you feel it, along with hearing it, and you succumb, while standing still. With me, you find your breathing patterns slowing down, like going into a meditative state, which I believe to some extent is the main goal- the audience participates in the ritual, equal to the band members performing. And even that statement above doesn't clarify it completely- again, they're best witnessed firsthand, and communally with like minded folk. Greg and Stephen are not just musicians, but technicians as well, elevating their game with performance, and figuring to the tenth letter the logistics what's needed to make each and every show, no matter the venue a most memorable experience. True- once twenty minutes or so into their set, it becomes a sonic bludgeoning, but in a positive way, making this a transformative experience with them yet again, the might and sheer will of volume, with steady and ferocious notes of low end that literally pummel your sternum again and again. ![]() The in the know crowd get heir early, when the doors open, just to seek out the sweet spots on the main floor, in relation to the amps, to best experience the sonic amplification. And it's not necessarily at the front of the stage at the barricade that's the best spot. Their had to have been twenty or so individuals discussing this very thing, moving about without yet hearing the amps, but having a clear idea from previous shows of where to stand and settle real estate wise before they go on. Even that is fascinating to watch, that it's not all about fandom and up close, but more audio related, to get ready to succumb, and be transported like me. I say this, because I was told for their performance that the pit was off limits for photography- main floor and balcony are fine. What a relief for me anyway, simply because of all the fog, and getting the two in the frame is not ideal up close, to make for riveting photography. Yes, Sunn O))) is a challenge to capture live, but still, well worth the attempt and the utter joy when you capture the brief moments between Greg and Stephen, guitars raised, arms raised, through light and fog. And to be immersed on the main floor, watching both band and audience, Sunn O))) are like none other. Cannot think of any other band that can replicate this dynamic of sonic sound amplification, and done with such patience and thought of mind. So to make things concise- Greg and Stephen and Sunn O)))- they make you feel. They're a feeling band. The sounds, the glacial pace of the low end, the powerful might of the low end, amplified with might, goes way beyond any band trying to work the stage to get people moving all the way to the back of the house. To accomplish this time and time again, with heart and soul, with patience front and center, speaks volumes in my opinion, that you can make such memorable experiences with the exact opposite, to the point where an hour and a half or so set goes by like what seem like in twenty minutes. And you stand there after they have left the stage, house lights come on, smoke has cleared a bit, and you witness the amps yet again, speaking to you, that they successfully reached the divine yet again, and they have another tale to tell. Yes- that's the kind of show that Sunn O))) puts on, the kind that they relish so deeply, and me as well so deeply. Bobby Talamine - JBTV Music Television Chicago Sunn O))), Shoshin Tour, Greg Anderson, Stephen O'Malley, Bobby Talamine, JBTV Music Television, Live Music, Fiza Javid |
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