 System of a Down - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Soldier Field - Chicago Sunday - August 31, 2025 System of a Down. Still intact. Still tried and true, still making boot stomping statements to the present day, original band intact and as solid as ever. What boggles the mind- multiple things obviously. Like the overall stage aesthetic, Looks like its meant for a smaller club feel, what with risers stage left and stage right, meant for amped and elevated guitar and bass profiles depending on song, let alone minimal stage clutter. Yes, this is Soldier Field for crying out loud, and yes, it's actually a gigantic stage with gigantic LED screens also stage left and stage right, let alone an even bigger one at the back of the stage, carrying the messages of band ideals with striking graphic intent. However, yet again, the simplicity of things, it still has an intimate arena feel, which I find most appealing. The System of a Down catalog, the demeanor of all things Serj Tankian, Daron Malakian, Shavo Odadjian and John Dolmayan, still trailblazing along like days of yore, playing music of a punishing nature, with emphasis on community, of fun, and- let's mosh. Lots and lots of mosh. The main floor crowd, from the get go with opener "Soldier Side- Intro", into "B.Y.O.B.", into "Suite-Pee"- no letup in letting loose, with multiple mosh pits, and igniting everything yet again into song number four of the evening with "Prison Song", followed by "Aerials". From the 100 level of the bowl, a sight to behold, watching the moshes equal to watching the band. The simplicity of it all with System, the fact that they haven't toured through Chicago in like six or so years, the Chicago crowd just so damn antsy in anticipation, and maybe the fact that it's Labor Day Weekend- maybe all of this made things things spontaneous and just wild to witness firsthand. System of a Down, still popular as ever, with an Armenian metal attitude that sticks to you like glue, the fact that when you think of it, everything about them is just so unorthodox, not just the big picture obviously, but also the small microcosms depending on song within a song, bursting at the seems one minute, scaring the pants off you yet another, followed by intimate musical breathers, and so on. That's the special sauce and weave that sets SOAD apart, that they are so unique in their tastes and feels, standing apart from the crowd with song structures that are true to their homeland, let alone soaking everything in via the west coast of the USA. It works, these guys performing live, some 26 songs total in their setlist. What boggles the mind even more- relying on tried and true original catalog songs of yore, with nothing new release wise since like 2005. And they've sold out two night at Soldier Field. You don't think these guys are still popular, let alone sorely missed? Think again. They have attitude, that's for sure. Like in your face we're from Chicago kinda attitude, even though again, they reside in California. No matter. The songs- all of them- still a wicked punch to the gut, with no need for pyro or flash bombs, or stage props to distract from the message, the appeal of the songs itself. The appeal- kinda like early AC/DC, a band with a heavy rock/ metal aesthetic, but still by way of punk via underground brought up to the masses with music elevated with a PA that can wallop you. Such was the show with SOAD, the first of two nights in Chicago on a gorgeous lakefront evening, with a packed, I mean packed crowd all in and energized. With all things SOAD, still a breath of fresh air to the present day in metaldom, with forthright rage still intact, with the musicians punch to prove it, and the view of "Are you in on the fun- or are you out?" Put it this way. No one left to the exits early. From my vantage point, you left Soldier Field sweaty and drained. The way a metal show should be.  System of a Down, Crowd Shot - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025  System of a Down - Bobby Talamine (c) 2025  Avenged Sevenfold - Bobby Talamine (c) 2025 Same goes for Avenged Sevenfold, and their overall appeal with wicked theatrical fun elevated with musical styles that complicate everything, trailblazing all over the map obviously, but statements made throughout with an elevated nature of a theatrical story, all laid out to bare to reel you in, suck you in, then- let F'ing loose. Their latest release, "Life is But a Dream" from 2023, ever evident setlist wise, what with especially opener "Game Over", into "Mattel", further emphasizing how these guys love to challenge themselves musically, consistently breaking the rules in regards to songwriting. The yin and yang of it all is plain to see between both bands- an appreciation in breaking barriers, staying true to themselves, nothing fake whatsoever. Avenged Sevenfold- all the guys- immersed in definitive artistic statements, meant again to make you pay attention, reel you in, and then slay you with massive fire bombs of wicked guitar interludes, presented with an over the top vocalist who can deliver the goods, courtesy of M. Shadows. Just like SOAD- Avenged are still the real deal. You are excited, cuz you don't know what they're going to do next.  Avenged Sevenfold - Bobby Talamine (c) 2025  Avenged Sevenfold - Bobby Talamine (c) 2025  Avenged Sevenfold - Bobby Talamine (c) 2025  Avenged Sevenfold - Bobby Talamine (c) 2025  Avenged Sevenfold - Bobby Talamine (c) 2025 Such was the night at Soldier Field- two bands that were (and still are) just so damn memorable. Bobby Talamine - JBTV Music Television Chicago Bobby Talamine, Jerry Bryant, Fiza Javid, JBTV Music Television, Live Music Chicago, Soldier Field
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 Linkin Park - Bobby Talamine (c) 2023  United Center Chicago Monday - August 11, 2025 Most of you likely already know the timeline of events dating back to last September of 2024, with the unexpected release of a new single, "The Emptiness Machine", followed by further announcements of a new album release, and also- a new vocalist. That's the short of it, outside of commentary (both positive and negative- without much thought on the negative), sort of contempt before investigation, which leads to why bother reading such tripe from apparent knuckleheads. First off, the band can do what it wants. They have the power to figure things out creatively, through songwriting of course, followed by performing. No one can replace a Chester Bennington, that's obvious. That they introduced into the mix a lead singer such as Emily Armstrong, from a band Dead Sara, a singer who has vocal chops aplenty, along with an energetic stage presence....to all the doubters still out there- there's plenty of exits. Sayonara to ya. The important yin and yang of it all- that being in the past with Mike Shinoda and Chester Bennington, to the present, with Mike and Emily- still foremost, still solidly intact. That's the juice that propels these songs of anxiety and anguish, at a moments notice, a cathartic release. So at the United Center in Chicago on a Monday night, the band in the round on the main floor, opening intro to juice up the crowd with The Fratellis song "Chelsea Dagger", which is the song the Chicago Blackhawks use after scoring a goal, and the entire United Center all in on the refrain from beginning to end. Then, they waste no time after settling in onstage to make a solid and don't look back point, with "Somewhere I Belong". That statement, with Emily in full vocal- just love that entirely. Nothing soft, or a slow build. Come in, gates crashing, and, don't let up whatsoever. Reinvigorated, all charged, built like beginners with a fight to prove, even though they've been around since 2000. That's what matters most, the feel of fresh, the feel of energetic angst laid bare, made even more so performing in the round, so everyone in the arena is front and center on the present, and Linkin Park being of course LINKIN PARK.  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023  Linkin Park - Bobby Talamine (c) 2023 From my perspective, perched on the main floor for four songs, two on each side of the stage- from every vantage point, the United Center crowd, all in, and roaring throughout. The second song of the evening, "Crawling"- no let up in sight. The band could've stopped at a moment's notice for a sing along, the crowd was that juiced and singing verbatim word for word. And so it goes throughout the evening, Linkin Park has yet again won their freedom from restraint, from a long layover of sorts, having not appeared in Chicago since almost a decade. Amazing, the brashness of intent, the strength and purpose of delivery, and the inevitable solid follow through. All of them, Emily, Mike, Brad, Dave, Joe and Colin- having the time of their lives, all smiles, all in on the cathartic reaction. Can't truly reflect on previous "From Zero" dates, but I assume the same, even though they have to win over the masses in person, city by city by city. No matter. I relish seeing in person their fighting spirit, and stomping to the ground all naysayers with cement block boot stomps. A thumping of sorts, followed by a release of the negative energy with a delivery from all involved, blessed with a touring PA that delivers the goods with a sternum punch over and over. Another cool moment was involving Chicago's Tim Mcllrath of Rise Against, at the end of Act II with "One Step Closer", and more energetic angst aplenty in the chorus with Emily and Tim going full throttle. Linkin Park still propels, still maintaining their luster followed by gigantic reveals, all of a positive kind. Once the dust settles from this tour, sometime in mid 2026, and they have a chance to catch their breath, and rehash the positives of what they just experienced prior- all the more I say to continue with new material, and push the envelope some more. Linkin Park are that kind of band, creating a genre of music that's way beyond contemporary, made even more so with a lead singer in Emily who can challenge them some more. Such is this band. That show on Monday night at the United Center- it kicked all ass. Bobby Talamine - JBTV Music Television Chicago Linkin Park, Emily Armstrong, Mike Shinoda, Chester Bennington, United Center, Chicago Live Music, Live Nation, JBTV Music Television, Jerry Bryant, Bobby Talamine, Fiza Javid, Summer 2025,  Cage the Elephant - Bobby Talamine (c) 2025 Presented by Bobby Talamine and Fiza Javid Photography by Bobby Talamine Still catching my breath from exactly one week ago on Thursday, and the three days that followed in regards to all things Lollapalooza 2025. Certain bands and artists stick with you days after, whether it be the headliners, or the amazing undercard from when the gates opened daily until the late afternoon. What follows is something a little different, something that encapsulates that feeling of not letting go, and celebrating the positives (which are many). So what follows are snippets and nuggets pertaining to day, in chronological order, with a few pictures pertaining to the thoughts of the bands and artists highlighted. Lollapalooza Day One - Thursday July 31st Cage the Elephant. Talk about a band that fights. A band on constant trying to prove themselves, like over and over and over. Like the Shultz brothers are on a mission en masse, ramping up the high energy, riveting the crowd on constant, wasting no time whatsoever getting their point across with glee. Their set, at like 6:45 or so- doesn't matter if it's day or night with them. Same with their songs, from a deep well of a catalog, all brave and front and center, with bravado. Like previous Lolla performances of yore, just so damn memorable. Girl Tones. From the BMI Stage, at 1pm. Early start to the day, and it doesn't matter. Sisters Kenzie and Laila- they know how to RAWK, and RAWK some more. Cool thing about the BMI Stage- nothing fancy production wise, in regards to lighting and aesthetics. Makes you focus on the music, like you're in the Empty Bottle or Bottom Lounge witnessing a band who you'll remember years after, making a name for themselves, proving themselves. Their set- high energy incendiary. The Blessed Madonna. As far as DJ's, appearing early on at the Perry's Stage (renamed on Thursday as the "Dollapalooza Stage, in regards to the headliner Dom Dolla). The Blessed Madonna- just so badass, so celebratory, always presenting a wicked house infused throwdown, even in the blazing sun at 4:30 in the afternoon. That she brought out a few of the finest from Chicago's drag scene front and center speaks volumes as well, adding to the overall celebratory mood and making a statement yet again in amping up the mood and atmosphere. Her performance, her track selection throughout- just so badass.  Cage the Elephant - Bobby Talamine (c) 2025  Girl Tones - Bobby Talamine (c) 2025  Girl Tones - Bobby Talamine (c) 2025  The Blessed Madonna - Bobby Talamine (c) 2025  The Blessed Madonna - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025 Lollapalooza Day Two- Friday August 1st All roads lead to Olivia Rodrigo, headlining Lolla day 2 from the T-Mobile Stage. Such a set. 20 songs total with encore. Intro opening through the PA- The Go Go's "We Got the Beat". Nice and loud. Like you know where her hearts at with artists and musicians she admires. Talk about the feel goods, even before she hits the stage. Midway through her set, she brings out the boys in Weezer as well, playing songs such as "Buddy Holly", and "Say it Ain't So", renditions thereof spot on, blessed with tons of enthusiasm. Olivia is well aware as of now in establishing a rapport with her audience, no matter the gargantuan size, such as this night headlining at Lollapalooza. Everything about her set, her songs, her presentation- just so damn ambitious, just so joyful and inviting. Bleachers. Jack Antonoff of Bleachers- always up for the show, always up to entertain, entertain wholeheartedly. Another set from Day Two at Lolla that was supercharged, songs written for every occasion imaginable, a live performance that sometimes had the feel of a pop up show outside a 1950's diner parking lot, and yet masterfully encased in the present. Otoboke Beaver. Japanese punk rock that's brazen, high energy, even if the gigantic Bud Light Stage looks like it could overwhelm them at any minute. Hard to conquer a stage like that, with a band that has the look and feel of enjoying playing at sweaty and gnarly smaller venues. No matter, They make fun while having fun in the enjoyment of fun. Their approach to playing- play fierce. All four of them. Lots of blistering guitar shreds followed by walloping drums, with a singer who can screech with the best of them. Such a band, such a memorable set.  Olivia Rodrigo - Bobby Talamine (c) 2025  Bleachers - Bobby Talamine (c) 2025  Bleachers - Bobby Talamine (c) 2025  Otoboke Beaver - Bobby Talamine (c) 2025  Otoboke Beaver - Bobby Talamine (c) 2025  Clairo - Bobby Talamine (c) 2025 Lollapalooza Day Three- Saturday August 2nd. Clairo, Such a mesmerizing and chill kind of set for late Saturday afternoon with Clairo. Everything presented as lo-fi, everything crafted as if playing with best friends in your backyard after a day of picnicking and having fun. Elements of gentle instrumentals, followed by whimsical singing on a warm summer day. Undeniable warmth pervades to overall mood throughout her set, walking away feeling refreshed and cleansed followed by spiritual uplift. Chance the Rapper. Talk about a surprise appearance on the Perry's Stage, inbetween acts no less, with maybe fifteen minutes at most to market and promote a new release "Star Line", out on August 15th. The time allotted for us was minimal in regards to photography, but still, what I witnessed was a guy who utilized his short time to maximum effect, like trailblazing through snippets of songs live from the upcoming release, with some occasional chatter and explanations. Have to say it was impressive what he tried to convey in such a short period of time. Chicago Youth Symphony Orchestra. A full orchestra from the Tito's Stage, on a early evening at 7:45 for start time. Amazing, booking this wonderful orchestra at Lollapalooza, led by conductor Allen Tinkham. What did the audience get? Starting off with Strauss, "Also Sprach Zarathusttra". Followed by Shostakovich. Followed by Stravinsky. You get the picture. All of it (and then some), presented with heart, with focus, and the sound- just beautiful. Just so captivating. Absolutely amazing, their entire set.  Clairo - Bobby Talamine (c) 2025  Clairo - Bobby Talamine (c) 2025  Chance the Rapper - Bobby Talamine (c) 2025  Chance the Rapper - Bobby Talamine (c) 2025  Chicago Youth Symphony Orchestra - Bobby Talamine (c) 2025  Chicago Youth Symphony Orchestra - Bobby Talamine (c) 2025  Chicago Youth Symphony Orchestra - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025 Lollapalooza Day Four- Sunday August 3rd. A$AP Rocky. Headlining the Bud Light Stage to close out Lolla Day Four. The urgency of his message- just pay attention exhilarating and exhausting (of the positive kind). A$AP's use of a bullhorn as a lead microphone speaks volumes in regard to conveyance of message, and the importance thereof. Yes, it's a show of course, with tons of vertical pyro to prove a point, but also to prove a point- the angst, the anxiety within. Compelling when you think of it- urgency of message followed by wicked stage aesthetics. The Marias. Another band led by Maria Zardoya, a lead singer that captivates, compels, seduces. All with minimal energy, thoughts conveyed by gentleness and overall mood. A performance that captivated to the end, barrier between audience and performer invisible, all the way to the back of the lawn. You can't help but sink into the music. BoyNextDoor. The next sparkler in all things K- Pop. That set of theirs- just full on energy. Lightning from a bottle energy. That they commanded a smaller stage in the blazing sun in the mid afternoon, with limited real estate stage wise to make their concise choreographed moves, with not a mistake or hiccup throughout, that speaks volumes on their appeal and drive, all the while making things look nonchalant. Clearly one of the highlights from Lolla 2025. Floweovlove. Oh this girl is so so awesome. So chic, so fun, so fashionable and proud. Yes. She definitely knows how to entertain, even with a limited set time, making do with unique props, like starting the show popping out from a gigantic and oh so fashionable handbag. The Criticals. Nashville rock at its finest, even at 1pm in the afternoon, led by a lead singer who has the look and appeal and demeanor of a Julian Casablancas mixed with Liam Gallagher. That adds and ups the ante on the look and feel at any moment of a guy who could snap, go renegade, mix things up a bit. Their set- danger is at every corner. Make use of it, and also, watch your back. Such a set from Sunday in the early afternoon.  A$AP Rocky - Bobby Talamine (c) 2025  The Marias - Bobby Talamine (c) 2025  The Marias - Bobby Talamine (c) 2025  BoyNextDoor - Bobby Talamine (c) 2025  BoyNextDoor - Bobby Talamine (c) 2025  Floweovlove - Bobby Talamine (c) 2025  Floweovlove - Bobby Talamine (c) 2025  The Criticals - Bobby Talamine (c) 2025  The Criticals - Bobby Talamine (c) 2025 Overall- Of course there was more that was unique and fun to witness. But about all of the above- They hold special powers, all genres of music. Such is the eclectic feel of Lollapalooza 2025 throughout all four days. Presented By Bobby Talamine and Fiza Javid- JBTV Music Television Chicago Bobby Talamine, Fiza Javid, Lollapalooza Day Four Recap, Jerry Bryant, JBTV Music Television, Grant Park, Chicago Live Music, Olivia Rodrigo, Bleachers, Chance the Rapper A$AP Rocky - Bobby Talamine (c) 2025  Landon Barker - Bobby Talamine (c) 2025 Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - Chicago, IL Sunday - August 3, 2025 Day four already? I was exhausted, but genuinely bummed that the fun has to come to an end. This year was not only astronomical attendance wise, with a sea of fans everywhere you turned. It was astronomical in the sense that every single act was here performing like it was their absolute last. Bobby and I couldn't be more grateful for the incredible performances we marveled at, and we will post an all encompassing highlight reel this week, because these daily highlights only allowed us to go so far. In a time where the media landscape is increasingly chaotic and heavy, Lollapalooza feels like a refuge, fenced off from the noise. A breathing space for art. Chicago, in all its grit and brilliance, becomes a sanctuary every August—and this festival? It’s the shining star on top of the tree. A cultural mainstay. The benchmark for what a music festival should be. Bobby and I couldn’t be more grateful for the artists, the crowd, and the moments we captured. While these daily highlight recaps have given you a taste, stay tuned—we’ll be sharing a full video highlight reel this week. Because honestly? We barely scratched the surface. Day Four Highlights? Let’s go out with a bang: Landon Barker – Yes, Travis Barker’s son, but please don’t box him in. Landon brought a punk-pop charisma all his own, blending raw vocal emotion with Y2K flair. He’s got the attitude, but he’s also got the chops. The Criticals – Pure Nashville cool with the kind of crunchy guitar-driven rock that makes you want to grab a cheap beer and scream into the sky. Think early Strokes meets modern angst. Flowerovlove – A dreamlike set full of glittery alt-pop bops and Gen Z softness. Her energy was infectious, her vocals buttery. She’s one to watch, no question. Post Animal – A Chicago hometown hero moment. Psychedelic grooves, magnetic chemistry, and the tightest live set we saw all weekend. If you missed it, please look up their JBTV performance. Trust. Boynextdoor – K-pop excellence meets indie edge. Their choreography was razor sharp, but their presence felt refreshingly organic. The crowd was losing it. Wild Rivers – Sweet, harmony-rich Americana that hit us right in the heart. Their acoustic moments were so sincere it almost felt like church. Folk-pop heaven. KATSEYE – A massive debut moment for HYBE’s new global girl group. Sleek, stylish, and vocally stunning—this wasn’t just a performance, it was a statement. Expect to see them everywhere soon. Artemas – A DJ set with otherworldly visuals, space-age sonics, and an emotional arc that felt more like a film score than a festival set. She pushed boundaries and the crowd followed every beat.  Landon Barker - Bobby Talamine (c) 2025  The Criticals - Bobby Talamine (c) 2025  Flowerovlove - Bobby Talamine (c) 2025  Post Animal - Bobby Talamine (c) 2025  Boynextdoor - Bobby Talamine (c) 2025  Wild Rivers - Bobby Talamine (c) 2025  KATESEYE - Bobby Talamine (c) 2025  Artemas - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025 If there was ever a set that felt like a lucid dream, it was The Marías. As the sun began to dip below the skyline, the stage melted into hues of deep red and dusky purple — the perfect backdrop for María Zardoya’s sultry, effortless vocals. Every note felt like a secret being whispered directly into your soul. They opened with “Calling U Back,” and the crowd swayed in near silence, entranced by the band’s signature blend of bilingual lyricism, woozy guitar lines, and smooth, loungey percussion. María floated across the stage in a silk number that shimmered with every slow step. “Hush” turned the entire lawn into a slow-burn trance, with fans locking arms and falling into rhythm like it was a spell they didn’t want to break. I kid you not, I have never seen a crowd of CRYING fans as much as I did for the Marias. When I say people were sobbing as the band walked down the aisle, I truly mean they had the para-social experience of a lifetime. What makes The Marías special isn’t just the music — it’s the mood they create. It was cinematic, it was sensual, it was nostalgic. They aren’t just performing songs, they’re setting scenes. And at Lollapalooza, under the fading Chicago sun, they set the scene of the weekend. Now for the chaos. The good kind. The kind that makes you forget how tired you are and suddenly find yourself in the middle of a mosh pit shouting lyrics you didn’t even know you remembered. Because A$AP ROCKY didn’t just perform. He detonated. He burst onto the stage in a helicopter amidst fire bursts and flashing strobes, and smiling like he knew he was about to burn it all down. From there, it was hit after hit — the entire park transformed into a mass of bouncing bodies. Every drop hit harder than the last. Every beat switch was met with screams. What made Rocky’s set electric wasn’t just the energy — it was the command. He controlled the crowd like a conductor in a symphony of madness. He paused mid-set to talk about Chicago’s role in shaping hip-hop, called for crowd respect and safety (“we lit, but we look out for each other”), and even teased new music, sending shockwaves through the audience. A$AP Rocky closed out Lollapalooza 2025 with the exact kind of fire and finesse you'd expect from someone who isn’t just an artist — he’s a movement.  The Marias - Bobby Talamine (c) 2025  The Marias - Bobby Talamine (c) 2025  The Marias - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025  A$AP Rocky - Bobby Talamine (c) 2025 Thank you for another incredible year Lollapalooza!!! Until next year. Fiza Javid - JBTV Music Television Lollapalooza 2025, Grant Park, Chicago, Illinois, Bobby Talamine, Sabrina Carptener, A$AP Rocky, Jerry Bryant, Perry Farrell, JBTV Music Television, Bobby Talamine, Fiza Javid Clairo - Bobby Talamine (c) 2025  Chance the Rapper - Bobby Talamine (c) 2025 Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - Chicago, IL Saturday - August 2, 2025 What a wild ride it has been entering day THREE of Lollapalooza 2025. We were reeling from the joy of Olivia Rodrigo and Korn and preparing for the surprises in store for the day. Holy crap – Winnetka Bowling League, Kickflip, Daniel Allan, LAYZ, Flux Pavilion, Clairo, Chicago Youth Symphony, and freakin' Damiano David. As the sun hit peak scorch, LAYZ and Flux Pavilion tag-teamed with thunderous sets, proving that bass isn't just something you hear — it’s something you survive. Daniel Allan spun a more emotional set, perfect for that golden hour introspection we didn’t know we needed. Clairo came in like a breeze — soft, wistful, and somehow commanding. Her live version of “Amoeba” felt like a collective exhale from a crowd that had just been through several sonic rollercoasters. And then there was the Chicago Youth Symphony — a surprise and deeply moving interlude in the middle of the madness. Hearing strings fill the air over Grant Park felt like a reset. A reminder of the talent this city cultivates and the versatility this festival offers. And just when we thought the day had peaked... Out came Chance the Rapper. The energy erupted. Nobody saw it coming, and yet it made perfect sense — his city, his people, his legacy. He performed a medley of classics from Acid Rap and Coloring Book, and brought out Jamila Woods for a quick but electric duet. It was the kind of hometown lovefest that reminds you why live music still matters. Earlier in the day, nestled between the explosive sets and bass drops, the Chicago Youth Symphony Orchestra took the stage — and what a stunning pivot it was. It wasn’t just a performance, it was a moment. In a weekend built on hype and chaos, their presence brought a calm, reverent energy to Grant Park that rippled through the crowd like a hush in a cathedral. The violins soared, the timpani thundered, and for a second, Lollapalooza became a cinematic dreamscape. You could see festival-goers who had clearly stumbled onto their set by accident slowly stop, listen, and stay. Phones went down. Eyes widened. People laid in the grass, completely still, taking it in. But the best part? Watching these insanely talented young musicians — many of them from right here in Chicago — hold their own on a stage usually reserved for global headliners. It was a beautiful reminder that music festivals can be about more than hype. They can be about heart, artistry, and investing in the next generation. And speaking of heart… Winnetka Bowling League brought theirs in spades. The day wasted no time in delivering energy. Winnetka Bowling League opened their set with “CVS,” and it felt like a perfectly sarcastic love letter to the mundane, sung from the middle of a mosh pit. Kickflip followed with a set that was equal parts chaotic and cathartic — it’s always a good sign when the crowd knows every word to a song that dropped two months ago. You could feel the shift the second they walked out. There’s something deeply charming about their stage presence — no posturing, no gimmicks — just pure, clever indie pop played with sincerity and a little smirk. They kicked things off with “On the 5”, which instantly turned the crowd into a chorus. It was like hanging out in a coming-of-age movie — one of those late-summer scenes where everything feels nostalgic while it’s still happening.  Chance the Rapper - Bobby Talamine (c) 2025  Clairo - Bobby Talamine (c) 2025  Winnetka Bowling League - Bobby Talamine (c) 2025  Chicago Youth Symphony - Bobby Talamine (c) 2025  Flux Pavillion - Bobby Talamine (c) 2025  LAYZ - Bobby Talamine (c) 2025  Kickflip - Bobby Talamine (c) 2025 By the time Damiano David took the stage, the sun had dipped just enough to cast a cinematic glow over Grant Park. And then he arrived — shirtless, draped in glitter, leather pants clinging to his every movement, exuding that signature mix of Italian swagger and unapologetic glam rock chaos. This wasn’t Damiano from Måneskin — this was Damiano unleashed. His solo debut at Lolla was a masterclass in reinvention. With his new material, he’s leaning fully into his theatrical instincts, balancing dark, sultry ballads with explosive punk-fueled anthems that had the crowd gripping the barricades. The band behind him? Tight. Loud. Dangerous. At one point, he pulled a fan on stage, danced with them, and kissed their hand like a gothic prince in a fever dream. The crowd was all his — hypnotized, screaming, filming, living. What made it electric wasn’t just the performance — it was how much he owned the moment. Lolla has seen its fair share of solo breakouts, but this felt different. This felt like the birth of something bigger. Damiano David didn’t just close out the day — he scorched it into our memory.   Lolla Day 3 was a fever dream — one that kept peaking, kept surprising, and somehow still left us wanting more. See you tomorrow for the final chapter! Fiza Javid - JBTV Music Television Lollapalooza 2025, Grant Park, Chicago, Illinois, Bobby Talamine, Rüfus Du Sol, Twice, Jerry Bryant, Perry Farrell, JBTV Music Television, Bobby Talamine, Fiza Javid Olivia Rodrigo - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025 Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - Chicago, IL Friday - August 1, 2025 Day two kicked off with a line of raging fans in Korn and Olivia Rodrigo shirts ready to sprint post security line. Considering the immense heat of Lollapalooza 2024, the cooler breeze kept this incredibly excited and heated crowd ready for a day of incredible performances. Bobby and I were reeling from day one, but were completely lit up for the highlights of day two: Jane the Remover, Old Mervs, Winyah, Isabel Labrosa, Otoboke Beaver, Gigi Perez, Bunt, Foster the People, Bleachers, Wallows, and Olivia Rodrigo! We started things off with Jane the Remover, whose dreamy-yet-gritty sound filled the early afternoon air like a hazy daydream. Her set was raw, vulnerable, and impossible to ignore—perfect for easing us back into the festival flow. From there, Old Mervs brought the surf-rock vibes with enough guitar fuzz to make even the most heat-dazed crowd member start headbanging. Winyah and Isabel Labrosa were two artists we didn’t plan on seeing but were so glad we did. Winyah’s vocals were buttery and commanding, and Labrosa’s genre-fluid set left us buzzing—equal parts alt-pop and witchy R&B. Otoboke Beaver, on the other hand, turned everything up to 100. That set was pure, glorious chaos—tight, fast, unrelenting punk rock that made everyone question whether we were sweating from the sun or the energy alone. Gigi Perez and BUNT brought the kind of emotional release only live music can deliver—one moment you’re dancing like no one’s watching, and the next you're wiping away a tear. Foster the People gave us a perfect mid-evening pick-me-up, running through hits like “Pumped Up Kicks” but also dropping material that had the whole park grooving. Bleachers? Nothing short of cathartic. Jack Antonoff knows how to work a crowd, and between the sax solos, Springsteen-style anthems, and his all-heart performance, it felt like the most communal singalong of the weekend. Korn’s set was pure, undiluted chaos in the most satisfying way possible. They hit the stage like a thunderclap. Jonathan Davis stormed out, bagpipes in hand, and within seconds the pit had erupted. If anyone thought nu metal didn’t have a place at Lolla 2025, Korn shut that idea down fast. The crowd closest to the stage became a seething wave of limbs, screams, and cathartic release—metalheads and curious onlookers alike throwing themselves into the noise like it was therapy. They tore through classics like “Freak on a Leash” and “Got the Life” with a brutal precision that left you both breathless and wide-eyed. There was no gimmick—just power, sweat, and a band that’s been perfecting the art of sonic assault for decades. I looked around and saw people laughing maniacally, eyes wide, fully alive. It was that kind of set. Even Bobby, who swore he was just going to “pop in for a few songs,” ended up headbanging until his sunglasses flew off.  Jane Remover - Bobby Talamine (c) 2025  Old Mervs - Bobby Talamine (c) 2025  Winyah - Bobby Talamine (c) 2025  Isabel Labrosa - Bobby Talamine (c) 2025  Otoboke Beaver - Bobby Talamine (c) 2025  Gigi Perez - Bobby Talamine (c) 2025  Bunt - Bobby Talamine (c) 2025  Foster the People - Bobby Talamine (c) 2025  Bleachers - Bobby Talamine (c) 2025  Wallows - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025 I ran over to the other side, and like a complete 180, came the glow-up: Olivia Rodrigo taking the stage, and the world felt like it tilted into some dreamy, glittery, emotionally volatile dimension. Grant Park was packed shoulder to shoulder, with fans draped in purple, handmade shirts, and eyeliner running from preemptive tears. The sun had set, the skyline was twinkling, and her stage lit up in soft pastels like a coming-of-age movie climax. From the very first note of “bad idea right?” Olivia had the crowd locked in. You could hear every lyric being sung back to her in full voice—no phones in the air for content, just thousands of fans screaming like they’d waited their whole lives to belt this stuff out with her. She moved between aching ballads like “drivers license” and pure punch-in-the-gut bangers like “vampire” and "deja vu" with ease, showing off not just vocal range, but emotional range. There was a quiet moment during “traitor” when the entire crowd went still—just her voice, soft guitar, and the collective sound of hearts breaking. And then moments later, she flipped the switch into full pop-punk princess mode, bounding across the stage, flipping her hair, and winking into the camera like a seasoned rockstar. You could feel it in the crowd—she wasn’t just performing, she was living it in real time with us. It was intimate and explosive all at once. Then it freaking happened. She called Weezer on stage to do "buddy holly" and "say it ain't so" which sent the crowd into a screaming jolt of happiness, myself included. Standing there after midnight, still humming “vampire,” it hit me: Korn and Olivia Rodrigo in the same night sounds ridiculous on paper. But that’s the beauty of Lolla. It’s the chaos. The collision. The genre whiplash that somehow works perfectly. Where one moment you're screaming out your angst to detuned guitars, and the next you're crying under city lights to the sound of teenage heartbreak.  Olivia Rodrigo - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025  Olivia Rodrigo - Bobby Talamine (c) 2025 Day three is calling. And we’re ready. Until tomorrow - Fiza Javid with JBTV Music Television Lollapalooza 2025, Grant Park, Chicago, Illinois, Bobby Talamine, Korn, Olivia Rodrigo, Jerry Bryant, Perry Farrell, JBTV Music Television, Bobby Talamine, Fiza Javid Cage the Elephant - Bobby Talamine (c) 2025  Silly Goose - Bobby Talamine (c) 2025 Photography by Bobby Talamine Writing and Editing by Fiza Javid Grant Park - Chicago, IL Thursday - July 31, 2025 A sold-out Lollapalooza kicked off on a brisk-leaning Thursday, the kind of summer day that whispers “layer up” but still bursts with festival fever. Bobby hit the ground running—camera in hand, ready to capture the color, chaos, and incredible acts of Day One. Grant Park always sparkles on opening day, buzzing with the thrill of thousands of travelers, locals, and music lovers who’ve been counting down all year. There's something beautifully unpredictable about that first day—where the setlist of your soul might change forever, thanks to a surprise performance, a new band discovery, or the simple magic of live music against a Chicago skyline. Let’s get into it—because I ran (yes, sprinted) toward Silly Goose, a nu metal band from Atlanta who felt like they crash-landed straight from a chaotic house show into a festival main stage. Their energy was untamed, their sound was feral, and you couldn’t pry me away from screaming along to “Bad Behavior.” Honestly, I haven’t moshed in a minute—but they made it impossible not to. After the Goose madness, I caught early standout sets from some names you’ll want on your radar: The Symposium, bringing their signature Chicago flavor with a hazy-rock cool; Girl Tones, with Brad Schultz of Cage the Elephant bringing gritty guitar vibes and underground heat; Julie, dreamy and dissonant in all the right ways; Azzeca, repping the electronic scene with dark, hypnotic beats; And of course, The Blessed Madonna, who turned a sunlit afternoon into an ecstatic dance floor. As the day unfolded, the lineup just kept delivering:  Silly Goose - Bobby Talamine (c) 2025  Silly Goose - Bobby Talamine (c) 2025  The Symposium - Bobby Talamine (c) 2025  Girl Tones - Bobby Talamine (c) 2025  Julie - Bobby Talamine (c) 2025  Azzecca - Bobby Talamine (c) 2025  The Blessed Madonna - Bobby Talamine (c) 2025  Cage the Elephant - Bobby Talamine (c) 2025 Barry Can’t Swim provided shimmering house vibes for golden hour; Glass Beams had us tripping into another dimension with their psychedelic instrumentals; Magdalena Bay brought a synth-pop explosion complete with choreographed surrealism; Cage the Elephant (Brad again!) lit up the stage with their signature chaos-meets-charisma performance; Luke Combs gave the country fans their moment—and what a moment it was; And finally, Dom Dolla closed the night with a bass-driven, laser-lit finale that left everyone buzzing into the afterhours.  Barry Can't Swim - Bobby Talamine (c) 2025  Glass Beams - Bobby Talamine (c) 2025  Magdalena Bay - Bobby Talamine (c) 2025  Cage the Elephant - Bobby Talamine (c) 2025  Luke Combs - Bobby Talamine (c) 2025  Dom Dolla - Bobby Talamine (c) 2025 Until tomorrow Lolla--- holla! - Fiza Javid and JBTV Music Television  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Credit Union 1 Ampitheatre - Tinley Park IL Saturday - July 19, 2025 "The Heaviest Tour of the Summer". So let it be told, let it be done. Song number three for the evening, "Strength Beyond Strength". Simple words, song title and all, but convincing related to the bludgeoning, followed by brute force honesty, led by Phil Anselmo. Their type of fierce and no compromising metal is gut punch related, more action than contemplation, more of a cathartic release compared to say, getting lost in the weeds. That they've come this far on their own terms, sorting through personal loss first and foremost, and letting time do some healing of sorts before resurrecting the beast yet again, also speaks volumes. Phil Anselmo and Rex Brown, the two remaining original members of Pantera, know full well what's needed to proceed, let alone the shoes to fill with the loss of the Abbott brothers, Dimebag and Vinnie. Has to be true to the spirit and love of the band. Enter Zakk Wylde and Charlie Benante, two guys with formidable talents, guys who can play and play some more. Since 2022 forward, that's what they've done, especially rewarding considering their other projects and bands that need tending to as well. Makes things extra special going into 2025, and a full fledged tour through North America, with a stop in Tinley Park on a Saturday night. Such was the show on Saturday night, meaningful and impactful, a case in point in convincing solidarity, related to their presence, the visuals displayed on their gigantic LED screen, let alone feel of all band members gelling as one. The crowd- nutty and overly enthusiastic in seeing and hearing their heroes once again. Phil made special note of it two songs in, how he always digs Chicago, the fans, the energy. Sincere, that's Phil to the core. Not that he needs to roam the stage like a bloodhound like back in the day, like the Aragon Ballroom back in the winter of 1997, and the utter chaos of that show from the main floor. As much as that was body surfers on repeat throughout the night, followed by what felt like 110 degrees two songs in, the current feel is not immersed in that, but still unrelenting and steadfast nevertheless. Phil ain't 24 anymore. Phil's 57 now, and wear and tear on the body over decades allows you time to look at things differently, especially in approach to a mighty catalog such as Pantera's and how to emulate sincerely the look and feel and vibe to get the songs across convincingly, and of course menacingly. From the pit, first three songs in particular, Phil's mannerisms, his demeanor, more introspective, more dark and sinister without much fuss. Loved witnessing this firsthand when photographing, seeing how he contemplates every lyric, every decisive move throughout. Yes, once a badass, always a badass. But Phil out of the four, when he gels, the band gels. I mean just look at him, This speaks volumes as well, a simple black t shirt, shorts, no shoes or socks, roaming throughout barefoot. Just Phil and his mic, not much need for anything else. Same goes with the other guys as well. Everything about the current incarnation with all things Pantera- equals no bullshit. Tried and true, reflecting on the songs, their history, surrounded by ghosts of sorts, Vinnie and Dimebag in particular, doing right by them, staying true to the Pantera schematic, and yet, to each his own as individuals, finding your own path with the songs, making them your own. That to me is just so damn refreshing throughout their set, followed by a PA that can provide the wallop needed, punishing in all things audio from the pit to the back of the house up through the lawn. This show- the stuff of heavy hitters, powerful riffs throughout, unrelenting in force and overall might. Of course their encore was full boat strong, still no sign of weakness, or anything dialed in whatsoever, entering with "Cowboys From Hell", followed by "A New Level", and then into the mighty "Walk", which whacked you in the sternum, punched you in the gut, and still, not done yet, two more songs to go before close. So yes, coming full circle with these guys, Phil in particular- the rage is still there, obviously seething underneath a bit. And yes, the overall mood is just as primal as ever before. Music that is not just for weekend headbangers, that's for sure. The heaviest of the heavy, staying true to their metal spirit is forever lodged in my brain, made more so with the caged animal restraint from Phil in particular, and not knowing when he will explode and or punish the shit out of you. That kind of tension throughout, convincing, with a mind that reels out the demons, laser focused and yet thought of mind. Just stunning to witness, the brute force honesty. Such was the show at Tinley Park over the weekend.  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Pantera - Bobby Talamine (c) 2025  Amon Amarth - Bobby Talamine (c) 2025  Amon Amarth - Bobby Talamine (c) 2025  Amon Amarth - Bobby Talamine (c) 2025  Amon Amarth - Bobby Talamine (c) 2025 Amon Amarth- Their immersion into "Viking Metal", Norse mythology front and center, led by a guy Johan Hegg- a guy who looks like he can snap you in two, proud as all get out, like the rest of his mates in Amon Amarth- make do with what you got, bring the show, even if it's only 9 songs in total. And so they do, wicked light show and all, protected stage left / stage right with giant inflatable Nordic Viking warriors, protectors of all whom to enter. It works, it really does, their version of anthemic Viking Metal that sounds furious and precise, all at once. The only hiccup- song number five- "Put Your Back Into the Oar"- a recognized staple of audience/ pit participation, with the crowd down on the ground, usually all of them, pretending as one to be rowing the mighty Viking ships of lore, preparing to land as one. Usually, that's the case. But that Tinley Park pit man....unfortunate how tiny it was square footage wise, let alone the pit crowd not having enough room to organize and get their shit together to accomplish this as one. Like it went over their heads on what the fuck was going on. I praise Johan Hegg for attempting to give it a go- still, the definition of awkward, both pit size and crowd. Still, the band, full force tight knit Viking Metal, polished and true to their spirit and vibe. Bobby Talamoine - JBTV Music Television Chicago Amon Amarth, Pantera, Bobby Talamine, Fiza Javid, Tinley Park, JBTV Music Television, Jerry Bryant, Live Music, Summer 2025 Yo La Tengo - Bobby Talamine (c) 2025  Yo La Tengo - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid The Salt Shed Chicago Sunday - July 13, 2025 Yo La Tengo out and about again, along with Built to Spill in town. Both bands- headliner sets. Yo La Tengo- 14 songs including encore. Built to Spill- 13 songs total. Talk about appreciative of each others talents, let alone friendship along with like minded singing/ songwriting. Since Yo La Tengo quote / unquote "headlined"- let's start with them. Lots of walk ins before they came on the stage. Asked if the show was sold out with fellow security friends at The Shed- all said no. But still, if you were to ask me, the main floor was packed. Same with most of the Grandstands (back balcony), along with the Premium Seating. Very gratifying to see this, the fandom for all things Yo La Tengo. Same with Built to Spill- crowded main floor for their set as well, even for a Sunday Summer night, and opening the show. Yo La Tengo- they open with "Ohm". True to their "mixing things up" as they go on from city to city- a unique setlist. And with "Ohm" in particular- what a start to the show. That song, from their album "Fade", from back in 2013- so gentle, so atmospheric, so convincing performed live, extended a bit to kick out the fuzzy and intoxicating jams. Such was the night going forward, simple setup like a tried and true Yo La Tengo show- not much need for fancy LED backdrops, let alone display on the stage. The music matters obviously, to the present day. An added bonus- The Salt Shed and their exquisite lighting providing some luster to the proceedings. Song number two- "Sinatra Drive Breakdown". Another song that captivated and commands, from their latest release "This Stupid World" from 2020, a time when Yo La Tengo were re-invigorated yet again to experiment and jam along accordingly in their Hoboken studio, what with the Pandemic in plain view. That album in particular, all songs, very lively, very satisfying in the Yo La Tengo world of compelling singing/ songwriting. Two other songs will be performed as well from that album- "Fallout", along with "This Stupid World", both equal to the ideal of experimentation amplified by unique melody. This is what sets Yo La Tengo apart from their contemporaries- not much fuss in looks and such, emphasis on the music. That Ira and James and Georgia continue to churn out such emotionally satisfying songs after all these years...just goes to show yet again "age be damned"- playfulness and humor fully intact. Case in point- song number three for the evening, "Mr.Tough", with Ira on his electric keyboard. Ira likes to keep a beat obviously, what with his left knee in constant motion, to the point where towards the end of the song, he accidentally knocks over said keyboard. No need to panic, James and Georgia included. Take the necessary time to get things fixed and upright, including cables. And James was having fun with this slight mishap as well, what with referencing Keith Emerson of all things, that being his tendency back in the days of ELP by throwing around and dragging his Hammond B3 all over the place. Don't know how many people caught the joke on particular, for me, I was laughing out loud, having been a huge ELP fan from way b ack when. And to add even more light heartedness to the proceedings- they get back to finishing the song- all of ten seconds remaining. Just goes to show yet again how much I adore these three, James, Ira and Georgia, knowing full well that they are music hounds as well, just normal folk with the unique ability to craft unique songs over and over and over, let alone the spirit of solid friendship and banter like you're sitting down at a coffee shop with deep rooted friends, along with the occasional razzing that's certain to follow. Of course, heartfelt times ten- Song number thirteen for the evening- "Autumn Sweater". Such magical vibes that song, live or recorded, a song that pervades the psyche, seeps into the soul, gorgeously performed, remaining gentle with purity at its heart. The encore was cool as well, what with a fantastic cover of Fleetwood Mac's "Dreams", along with Doug Martsch of Built to Spill, and then ending all things for the evening with "Yellow Sarong", a definitive Yo La Tengo staple. Coming full circle with all things Yo La Tengo, on a gorgeous Sunday evening in Chicago, at a gorgeous listening venue such as The Salt Shed- a lovely evening immersed in sounds and moods, with a band that continues to mix things up musically speaking, and yet remain playful.  Yo La Tengo - Bobby Talamine (c) 2025  Yo La Tengo - Bobby Talamine (c) 2025  Yo La Tengo - Bobby Talamine (c) 2025  Yo La Tengo - Bobby Talamine (c) 2025  Yo La Tengo - Bobby Talamine (c) 2025  Yo La Tengo - Bobby Talamine (c) 2025  Built to Spill - Bobby Talamine (c) 2025  Built to Spill - Bobby Talamine (c) 2025  Built to Spill - Bobby Talamine (c) 2025  Built to Spill - Bobby Talamine (c) 2025  Built to Spill - Bobby Talamine (c) 2025  Built to Spill - Bobby Talamine (c) 2025 As for all things Built to Spill- that crowd on the main floor, their entire set, enthusiastic as all get out. Doug Martsch certainly took notice, with sincere thank yous like over and over and over. And like Yo La Tengo in regards to a trio format, besides Doug front and center providing his usual and captivating wall of sounds from his guitar and electronica, a mighty fine bass player in Melanie Radford, a constant energetic force throughout, wielding her bass like a staff, fleshing out the Built to Spill underbelly along with the human metronome on drums Teresa Esguerra, making it all worthwhile since she's not buried to the back of the stage- she's planted stage left, drum kit facing Doug and Melanie. Their set as well, full of energetic playing from all three, let alone witty and immersive songwriting and lyric writing. Compelling intellectually speaking, elevated with top shelf music making and playing. Doug Martsch, like Ira in Yo La Tengo, not much need for fancy this or that, being clothes and costumes or made up hair styles, or even current trends of whatever- they speak the need of orderly conduct, appearance reflecting their age, sure, but with a heart of gold, a heart of creative output that compels you, reels you in to the present day. Built to Spill's set- over in a flash, like Yo La Tengo's. Both bands- Could've played all night into the wee hours. No one would've left, their catalogs so full of nuggets and surprises. Bobby Talamine - JBTV Music Television Chicago Yo La Tengo, Built to Spill, Salt Shed, Chicago, Live Music, Summer 2025, JBTV Music Television, Bobby Talamine, Fiza Javid, Jerry Bryant Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Huntington Bank Pavilion - Chicago, Illinois Saturday - June 21, 2025 Wow. Such a show at Huntington Bank Pavilion / Northerly Island Chicago on a very hot and sweaty Saturday night. Made memorable for lots of reasons- One that comes to mind first and foremost- the limited and no fuss stage presentation- that being lighting and backdrops. Everything at a minimum, with a stellar band such as this- the emphasis is on music baby. Nothing but ultra cool music presented by ultra cool musicians. This current lineup- heavy hitters all. Troy Van Leeuwen. Jon Theodore. Dean Fertita. Michael Shuman. Josh Homme. Such a band. A solid solid band. The setlist- gnarly and wonderous. Opening with "A Song for the Deaf" and then into "No One Knows"- (Usually flipped from the previous show- if for anything to keep each and every show tight and unique). Those songs in particular, the title from their third release back in 2002 and in particular "No One Knows"- Mind blowing when you think of it, their relevance, their staying and slaying power to the present day, songs that command, make you stand up and pay attention. Back then, everyone was in agreement at how genre demolishing the band was (and still is), along with that album in particular. Josh and his band mates- branching out in all directions, and taking mighty risks. "No One Knows"- Killer riffs swirl around all over the map. Hard to keep up, let alone dealing with the gusty and hot winds which didn't seem to let up all night. Made the festivities on the grounds more like a desert experience throughout the evening, even on the shores of Lake Michigan. No matter- 19 songs in total, with nary a letup in sight. Easy and catchy grooves prevailed, everyone seemingly laser focused on command related to song, highlights abound, all the way down to "Little Sister", which by the looks of the things fandom wise, Huntington's main floor was crazy/ nutty in exuberant dance, hot and gnarly sweaty equal to Josh Homme and band. This band matters? What do you think! They haven't aged a bit musically wise, age wise kinda as well, even though it looked like Josh got a tight marine buzzcut by the looks of things, if for anything he looked more menacing than per usual. This band- they ain't a last gasp rerun. They came to play, they came to have fun, finding again and again that hook laden sweet spot of melodic hard rock into occasionally some heavy metal. And yes the entire band- up for the challenge, enjoying this catalog of wonders, frothing at the bit to unleash the hounds when necessary. The bonafides on my part are deliberate. You leave a show like this, it sticks to you like glue for days. Took me like forever to compose myself in regards to editing the photos in an orderly fashion. picking through most of the red lighting that looked like they would pop off the page, let alone getting to write about this show, and what it means to a guy like me who's followed the band since way back when, since the likes of Kyuss back in I think 1991 or thereabouts. Amazing when you think of it, the Queens of the Stone Age trajectory, to the present day, and relishing in all things band related.  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  Queens of the Stone Age - Bobby Talamine (c) 2025  The Kills - Bobby Talamine (c) 2025  The Kills - Bobby Talamine (c) 2025  The Kills - Bobby Talamine (c) 2025 Mortality can ring its ugly head and make you change things on a personal level, making you appreciate the little things a little more than you're used to for example. It clearly shows in the overall vision and attitude with all things Queens, grown ups, all of them, followed by grown up playing. The Queens crowd certainly understands this in spades. That Chicago stop tour poster and the line before the gates opened, into the line for merch in the Pavilion- unbelievably long. This show- easily one of the best shows of the year, hands down electrifying, ratcheting up the tempo on proceedings over and over and over. Queens of the Stone Age- Still a band for our times, times ten. And as for Alison Mosshart and Jamie Hince of The Kills- What an opener for a show like this, even though they played with the sun still out- no matter, the gnarly and sexy and scuzzy feel of the songs still held sway, and given a longer set than per usual, which was cool in itself- some twelve songs with bite and bare boned power, even for a two piece. "Dark and kick ass garage rock", as some would say. Well yeah, of course. Sneering and sexy grooves abound, made even more so with the sweaty heat and gusts of winds throughout their set as well. Love this band, even though they played in daylight. That says something about their demeanor and playing style as well. Bobby Talamine - JBTV Music Television Chicago Queens of the Stone Age, Huntington Bank Pavillion, Lake Michigan, The Kills, Chicago Live Music, Summer 2025, JBTV Music Television, Jerry Bryant, Bobby Talamine, Fiza Javid, Josh Homme Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Huntington Bank Pavilion Northerly Island - Chicago Friday - June 20, 2025 All things Simple Minds. The final scene in the movie "Braveheart:, after the passing of William Wallace, and his men alongside Robert the Bruce on the fields of Bannockburn, the year 1314- and the mystical and profound voiceover from William Wallace: "Patriots of Scotland, starving and outnumbered, charged the fields of Bannockburn. They fought like warrior poets, they fought like Scotsmen, and they won their freedom". Cue to the present day, and you have Jim Kerr and Charlie Burchill of Simple Minds, Glaswegians through and through, holding truth to that definition of the fight to the present day, on the delivery of their message through some mighty fine and powerful songs. And they have that same kind of fighting spirit as William Wallace and his men, along with a community of like minded folks, all in the quest of spiritual uplift. And it's honest, their presentation and delivery, the scope of performing their majestic songs, and regal delivery. Opening their North American Tour with the song "Waterfront"? That should speak volumes in the communion of all things Simple Minds. A song with fight and grit and spirit, encompassed with communal belonging. The heart and soul of Simple Minds- Jim Kerr on lead vocals, Charlie Burchill on lead guitars. But still, like back in the day, the euphoric nature of "New Gold Dream (81/82/83/84)", and of course "Sparkle in the Rain" released in 1984- the band, their style, their signature- encompassed with solid drumming. Back then, it was all things Mel Gaynor. Damn, this guy.- he was something else. Met him outside the Vic Theatre in Chicago when they were unloading and getting ready for soundcheck, I think in 1991- A beast of a man. I mean physical as all get out. An upper body and core like a linebacker, or a tight end. I understood immediately the nature of that, the physical demeanor of Mel Gaynor, followed by Simple Minds songs, and a solid drummer to put forth the punishing sound. The beat of the drums times ten, elevates everything. And to the present day, and with Cherisse Osei behind the kit. Don't underestimate her whatsoever. She can swing with the best of them, along with bringing the power and might. Simple Minds as a band, Jim and Charlie clearly know this. The drums, the beat of the drums, elevates their performances tenfold, nothing fake or limp, or dialed in. So yes, from my perspective, witnessing her play with the mates of Simple Minds, everything impressively energized from the opening song "Waterfront", on Chicago's waterfront. How 'bout that! And the barrel rolls continued from there, going early in their catalog with "I Travel" which was a delight, followed by "Glittering Prize", with Jim ever the showman, working the stage from left to right/ right to left, brandishing his microphone stand like a swashbuckling patron of Scotland. The force and nature of the songs throughout their set, even the ballads, all performed and sung with heart and conviction, the band still fighting like days of yore, making a name for themselves. Define success? Hard to wrap my head around their trajectory, and the coulda shouldas, and what might have been. Still, they have had their fare share of giant stadium revelry from back in the day, but still...a tough call on maintaining momentum, if that was even in the cards. But they have their reputation, mostly surrounded by no bullshit, and a camaraderie that still shines through and clear to see, such as a Charlie Burchill solo (amongst many), and with Jim providing neck massages and the occasional tweaking of Charlie's ears. All in good fun of course, but still, showing these mates care about each other.  Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025  Simple Minds - Bobby Talamine (c) 2025  Soft Cell - Bobby Talamine (c) 2025 Such is the band of Simple Minds, elevating their songs all the way to "Don't You (Forget About Me)", alongside the heavy encore of "Book of Brilliant Things", "Alive and Kicking", and ending with "Sanctify Yourself". All of them noteworthy for their singalongs, and the power of shared vocal. So as for Simple Minds and all things Simple Minds- sorely needed, their intentions still noteworthy, will full on delivery, with a band that delivers. And lets not forget that Soft Cell, Marc Almond and David Ball, along with their backup singers, had a short and concise set that delivered, although a bit heavy on the ballads, and not on the bangers, except for of course "Tainted Love", which closed their set. Still- Marc Almond man....even at like just before sunset- just happy to see him perform, and get his stage legs a goin'. Same with Modern English, and especially their solid front man Robbie Grey, and doing his best in regards to crowd interaction throughout, even though the sun's still out. No matter, celebratory good times, down to closer "I Melt With You". Bobby Talamine - JBTV Music Television Chicago Northerly Island, Simple Minds, Soft Cell, Modern English, Chicago Live Music, JBTV Music Television, Bobby Talamine, Fiza Javid, Jerry Bryant, Summer 2025, Huntington Bank Pavillion  Writing and Photography by Bobby Talamine Edited by Fiza Javid Van Andel Arena - Grand Rapids Michigan Wednesday - May 28, 2025 Sessanta V2.0- A 60ish Birthday Celebration for Maynard James Keenan, ramped up and revisited by yours truly. This version of Sessanta still maintains the integrity and heart and soul of all three bands from last year, that being Primus, Puscifer and of course A Perfect Circle. The hits from all three bands, sure, but also some added nuggets abound, such as: A Perfect Circle, with "Blue" (such an underrated song), or how about "The Doomed", and "The Noose", and also "Kindred". Primus, with "Duchess and the Proverbial Mind Spread" (thought I's never hear that live), or "Little Lord Fentanyl" (with Maynard and Corina), or "Welcome to This World", "Pablo's Hippos", and "Wynona's Big Brown Beaver" (with Billy Strings believe it or not). And of course Puscifer had some cool adds as well, with "Man Overboard", "Horizons", "Postulous", "No Angel", and also "The Algorithm" and "Polar Bear". A nice mix, a cool smattering of solid songs to punch up Maynard's Birthday Celebration that much more. So, this new and enhanced touring extravaganza continues to set phasers on stun, all three bands, still blending through each other continually without a hitch or hiccup, ping pong table still intact, although adding some fancy LED strip lighting, the couches stage left / audience right, along with the senior citizen electric stair chair lift, also stage left, which is downright funny to observe being used amongst the live performances. The overall mood and feel is also solidly intact, all three bands, so splendid in live performance and attention to detail. Just a unique setup, like last year, where there are no headliners, the bands play with each other, the continual feel of no long stretches of equipment having to come and go with breaks, songs and bands blending into songs and bands. Keep in mind, as Maynard so well states- this is a collective. The artists involved, all of them- they clearly understand that. All equals on footing and overall approach. A breath of fresh air in my opinion, egos camped out at the door. Each artist, each band, displaying their fun in artistic revelry.        More than anything else, worth the drive to Grand Rapids to experience the V2.0, since they still have so much to say, let alone all three bands being near and dear to me since the get go. And most of all, Maynard set out to do this version of Sessanta to have some serious fun. Fun fun fun. Now that he has collaborated full tilt with the likes of Les Claypool from last year's touring of Sessanta, let alone Corina and all things Puscifer, they certainly know each other's tells enough to let loose a bit, hence the addition of some mighty fine songs added to the setlist, as stated above. Had to make things clear about that at the top of this review, that this Sessanta is not the same as last year's Sessanta, and that makes it equally delightful to experience live yet again. There's no complaints whatsoever from me, the music hound front and center, the bands all knowing since their start to the present day, the fact that I can relish and relax to watch and listen to their entire sets, before photographing the encore- "Grand Canyon", where all three bands are together on stage, and just chill and have fun like a normal fan. Fan of the bands, first and foremost, unlike some knuckleheads (always are), who don't think positive to one band or the other- which is why I like Maynard even more, telling all naysayers to fuck off. No need to get into fancy details and whatnot, since is the technically a melding of all three bands on and off- my approach is the transformative feel and aesthetic to the overall concept, the appreciation of equals, the appreciation of creative concepts, and most importantly, thinking outside of the box. Revelatory, when you think of it, and your head still spins from certain songs ever evident from the entire set, nothing sounding dated or washed over or overlooked- a worthy presentation of all things Primus, Puscifer and A Perfect Circle, demanding your undivided attention. Just a delight of perfect escapism, sorely needed in this day and age. And Maynard at 60? Les Claypool at 61? And on and on with the others- all- still young at heart, thinking like young'uns out of the box, with something to say, something to prove. My kinda guys. Hope the images reflect that a bit, not just normal- ish in regards to the slide show. I dipped my toe in the water to experiment a bit as well, not all images obviously- just some, to keep with the theme of creative discovery, and take some risks. Such is the case with all things Sessanta, and Sessanta V2.0 Think like Maynard everybody- creative discovery is at your doorstep if you're ready willing and able. Bobby Talamine JBTV Music Television Chicago  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Sleeping Village Chicago Night One of Two Tuesday - May 20, 2025 That most of beloved bands- Baroness, still continuing to do their own thing, marching to their own drum, following no one's principles but their own. Makes you love the band that much more when you think of it. Consider Night One of Two at Chicago's Sleeping Village in the community of Avondale. A- Of course it was sold out. Same with Night Two. B- Of course on the main floor you're packed in like sardines, real estate to stand at the bare minimum, like a tried and true metal show of up and coming artists making a name for themselves, lest you're like the band Baroness, who continue to make a name for themselves and adhere to tours in intimate venues. Such as, in the past- the Cobra Lounge in Chicago, or Subterranean back in the day, or Reggie's from back in the day- these venues around 300 to 500 capacity. Amazing when you think of it- how lucky we are, a band such as Baroness, with musical chops that'll make your head spin, a back catalog containing six albums that still compel you for the occasional deep dives, and on and on. Got their early at Sleeping Village to get a spot to photograph up close, between Gina Gleason (stage right), and of course John Baizley front and center). Yes, all four band members were kinda sandwiched in, as to be expected, followed by straightforward red lighting as the prominent hue throughout. To be expected as well, you work with what you're given. No matter, the music is important, the overall feel of attempting their two albums "Red" and "Blue" the main point of all of this as well.  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025  Baroness - Bobby Talamine (c) 2025 Damn if that "Red" album from 2007 still crackles with intensity, especially since it was their debut. Epic- an understatement, considering the looks from all four of them, trading smiles throughout, from opener "Rays on Pinion", and then into "The Birthing" (which brought out the bodysurfers), and of course the mighty "Isak"- a monster of a song, with solid melodies on top of melodies. Ten tracks in total from "Red", closing with "Grad", which just went by in a flash. Same with the "Blue" record, 12 songs of solid musicianship and audio punishment, a perfect companion to "Red", with a range of dynamics and a flow through song after song after song that is impeccable, just so well thought out in scope and significant meaning. A larger than life kinda album, even more mind boggling when considering this is a four piece of a band, sounding like a marching army of a band, that wall of sound they create. I mean shessh-! Hooks and melodies (yet again) make their presence known, from opener "Bullhead's Psalm", and lurking midway through with "Swollen and Halo", which just burns into your psyche, a must hear of a song without a doubt, let alone closing out with "the Gnashing" into "Bullhead's Lament". And like I said before, their entire set was over in a flash, no fillers whatsoever. You leave a hot and sweaty mess, as per usual with all things Baroness. And let it be known these four mates are solid, what with punch through to your gut drumming from Sebastian Thomson, who's shirtless at the start of the second song, let alone all things "BASS" from Nick Jost, and of course the brilliant Gina Gleason on lead guitar, followed by John Dyer Baizley, who covers the gamut of rhythm guitar and of course lead vocal. All things to the present day Baroness- an ideas heavy band of the utmost, truly special, truly ideal. This current tour ends May 31st with a stop in Pittsburgh, seven dates total remain. Worth catching, worth investigating, if so inclined. As well you should. Bobby Talamine - JBTV Music Television Chicago Baroness, Red and Blue, Chicago Live Music, JBTV Music Television, Bobby Talamine, Fiza Javid, Jerry Bryant, Sleeping VillageLive Review / Recap: DARK LORD DAY M M X X V with YOB, Pig Destroyer, Drab Majesty, Ghoul, Vastum5/19/2025  YOB - Bobby Talamine (c) 2025  YOB - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid 3 Floyds Brewing - Munster Indiana Saturday - May 17, 2025 Dark Lord Day- M M X X V As they so state: "Prepare ye the way of the Lord....." Well yet again, they got that right. The lineup (as per usual)- spot on and full on energy, even with the opening acts, and the occasional dust cloud surfacing from the circle pit and some serious slam dancing. All in fun of course, and also respectful by the way. Also a sign of tidings to come, what with Pig Destroyer later in the afternoon, followed by headliner YOB. And the Dark Lord faithful- of course they showed up early to get the coveted picnic tables inside the gigantic tent just south of the main stage tent. Fun and chill vibes with them as well, basking in the tastes from the special Imperial Stouts that come with admission, especially the top tier deluxe ticketing, where you get variations of four different bottles to savor. 3 Floyds Brewing- they know how to throw a metal festival, year in/ year out. From the actual layout of the grounds, to the staff, including production, to the timing of bands, let alone the bookings. Keep in mind, most of the bands on the bill are currently not on tour- they're here as a special one off event, which goes to show the stature of the Dark Lord Day Festival, and overall vibe. Of course I got there early to catch the opening acts, which we'll get to shortly. But the essence of a metal festival is the bands, and proper coverage of them of course, starting with the headliners. As for Michael Scheidt and all things YOB, along with bandmates Aaron Rieseberg and Dave French- just so damn powerful and cathartic as ever, followed by rabid howls from Michael ever present. For a three piece, they churn the doom, spit out the doom, and yet to the present day with a solid ear for melody. Just a solid and enjoyable set, opening with the blistering "Prepare the Ground", from their release "Atma", from back in 2011. That song in particular, let alone the album- hard to pin them down, what with genres and sub genres flying about at a moment's notice, wicked as they come. And man, like the rest of their seven song setlist, they indulge and partake in a wallop that wallops. Songs such as "The Screen", followed by "Nothing to Win"- YOB go the distance. The crowd knows this as well, from various sighting points throughout the floor, most stood in place head thrashing, and yet stunned at the mighty wall of sound. And keep in mind the nugget later on in their set, with "Adrift in the Ocean", also from "Atma", which by all intent and purposes is worth the price of admission alone, 16 or so minutes of thick and gnarly sounds, with bursts of glorious and punishing momentum. likened to an old mast ship from the 1400's. with lots of canons and firepower prepared for battle when necessary. I know that's a bit over the top in explanation, but still, these guys- they have a taste for conceptual thinking that's old school, followed by twists and turns that are like a wet towel neck slap. Gotta love YOB in all their glory, prepared to take you on a journey that is menacing and and dominating and powerful.  YOB - Bobby Talamine (c) 2025  YOB - Bobby Talamine (c) 2025  YOB - Bobby Talamine (c) 2025  YOB - Bobby Talamine (c) 2025  Drab Majesty - Bobby Talamine (c) 2025 Pig Destroyer, hailing from Alexandria Virginia- they also know a thing or two on full on bludgeoning, developing a sound that's kinda grindcore, and yet so much more. Whiplash fast tracks? They have that down I tell ya. Downright ugly in demeanor and don't give a shit if you like our music or not attitude? But of course, they relish in that revelry of misguided understanding as well. Just take a look at them. Nothing special- normal guys in shorts and jeans and t shirts, nothing fancy. Which goes to show their attitudes are meant for their hardcore and abrasive sounds, full on energy and approach to their guitar and sample based violence. Upping the ante- the antics from the costumed men of Dark Lord day, beating the crap out of each other first song on in. embracing the menace from Pig Destoyer, all the while having fun destroying themselves. A gloriously destructive time throughout their set, all manner of instruments utilized as weapons of noise, gnarly spit in your face vocals included. Drab Majesty- consisting of Deb Demure (Andrew Clinco) and Mona D (Alex Nicolaou)- Had to do a double take when I saw the release of the lineup- like- how f'ing cool is this? Love love love this band, what with their otherwordly chill wave into dream pop into god knows what songs and sounds of elegance. And that the Dark Lord crowd was into their set as well speaks volumes, that there's more than metal to appeal to a bill that experiments with bands meant for a festival such as this- that other genres of music can work as well. Opening with a wall and wash of guitar sounds and heavy synths with "Dot in the Sky"- A song that delivers on a higher dimension, a higher plane of reasoning and elevation of the senses. Like Andrew and Alex's makeup and appearance as well- meant for detachment and overall stylistic appeal- it goes without saying how much this enhances their theatrics and sophisticated vibes. Their whole set, some 9 songs or so, held to this appeal without becoming cliche, the songs are that strong, their playing that much in sync to immerse you and keep you attentive through their entire set. Such a treat to witness them playing at Dark Lord Day, even it was in the late afternoon with the sun still out.  Pig Destroyer - Bobby Talamine (c) 2025  Pig Destroyer - Bobby Talamine (c) 2025  Pig Destroyer - Bobby Talamine (c) 2025  Drab Majesty - Bobby Talamine (c) 2025  Drab Majesty - Bobby Talamine (c) 2025  Drab Majesty - Bobby Talamine (c) 2025  Ghoul - Bobby Talamine (c) 2025 Ghoul. Old school (with a story) kind of crossover thrash metal. That they're anonymous (kinda), adds to their appeal and stage presence- more for the taking to shape and twist people's attitudes for the bludgeoning to come. Lots of humor involved as well, with an opening that's militia- ish- a wolf head costumed up kinda guy, ready to knee cap you at a moment's notice, spitting blood to make the point, all the while brandishing a weapon if needed. All in fun folks, even if the diatribe of an intro is menacing. Metal with motivation, metal with a message of fun in all things thrash- followed by a circle pit on the main floor that whipped up a mini dust storm. And these guys- they know how to write good songs, unrelenting in solid sound, solid appeal. Quite the set, over before you can even catch a breath. Vastum. Prepare for the gnarly. Fronted by a subdued (yet also manic and crazed) Daniel Butler, who can navigate real estate stage wise, floor wedge wise, pit wise let alone first three rows of main stage floor and yet body surf and sing banshee howls while never hitting the floor. A special talent from all of the above, and making it work to elevate the unpredictable, all the while a full onslaught band egging you on to elevated death metal interspersed with high melodic shifts in sounds and attitude. What a set to start the day- gnarly from the get go, with a pure and unrivaled intensity to make their point in all the grinding grooves, and unrelenting energy. Such a great way to open Dark Lord Day, with a band that knows how to push boundaries and keep you paying attention and on your toes.  Ghoul - Bobby Talamine (c) 2025  Ghoul - Bobby Talamine (c) 2025  Ghoul - Bobby Talamine (c) 2025   Vastum - Bobby Talamine (c) 2025  Vastum - Bobby Talamine (c) 2025 Dark Lord Day 2025- and it succeeds yet again, oh so memorable from beginning to end. Bobby Talamine - JBTV Music Television Chicago Dark Lord Day, Festival, Vastum, Ghoul, Mosh Pit, Drab Majesty, Pig Destroyer, YOB, Chicago, Indiana, Live Music, Bobby Talamine, JBTV Music Television, Jerry Bryant, Fiza Javid, 3 Floyds Ministry - Bobby Talamine (c) 2025  Ministry - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid The Riviera Theatre Chicago Friday - May 9, 2025 Al Jourgensen is a bona fide shape shifter. Who would've thought, dating back to last year's Cruel World Festival, followed by the announcement of this tour and the re- imagining and revved up to today's standards anything related to "With Sympathy", and also its followup "Twitch', and this immensely glorious live tour. YouTube is one thing, tolerable, to catch the live performances and whatnot, but for audio, and anything in person, a whole nother level of fun entirely live an in person, with a PA providing enough bass to pummel us into oblivion with dark synth pop OOMPH. First three songs from the pit- fun and games galore visually speaking, industrial- ish shenanigans dialed down a bit- what with the centerpiece metallic cross showing a bit of beauty encased in roses as a good measure of sharing the love, in order to "Work for Love". Let alone the throwback sparkly jackets, worn by Al Jourgensen and also Pau D'Amour. The visual cues musician wise, by everyone, made this is a costume affair reflecting the times of yore, circa 1983 thru 1986, a time when "Party" was on the mind 24/7, what with the clockwise tour of specific haunts back in the day, from Club 950, Smart Bar, Neo, and lastly Exit on Wells, with the occasional pit stop at all things Medusa's . Ministry of course was front and center before anything Sire Records, what with English synth pop being ever evident, along with more choppy and catchy material, the likes of The The in particular, and of course early Cure and Joy Division, followed by New Order (amongst plenty of others). A world of crazed dance, depending on venue- like minded brotherhood of dangerous men ready to mop the streets of Chicago, before the age of cell phones, or anything internet/ social media related. Music, especially from locals making a name for themselves- Chicago related, equals a badge of honor, to the present day. Yes, Arista and its brass back then drove Al nuts, to the point of having a hard time identifying himself with them, conforming to them. Wanting out, those two records, "With Sympathy" and "Twitch"- all of the above made it difficult for him to embrace whatsoever. For decades. And then, the inevitable- Some modicum of closure. With everything. One more album in the works apparently, hopeful release date of 2026, with Paul Barker and the others- then- Sayonara. Although, never say never with recordings and pivots- you just never know. But Al's demeanor when asked this is nothing caustic with the answer- more a sense of relief and relaxation, which spells definitive.  Ministry - Bobby Talamine (c) 2025  Ministry - Bobby Talamine (c) 2025  Ministry - Bobby Talamine (c) 2025  Ministry - Bobby Talamine (c) 2025  Ministry - Bobby Talamine (c) 2025 Ministry - Bobby Talamine (c) 2025  Ministry - Bobby Talamine (c) 2025 Which punches up to this "Squirrely Years Tour", and a sense of everyone, I mean everyone is all in on the fun, embracing these danceable nuggets and letting loose on a Friday night in Chicago. Lost count how many people I bumped into at the Riv, let alone getting to the venue early for some nice chats, and witnessing a line of excited folk all dressed up in their dark costume gear, with lots and lots and lots of Wax Trax! shirts worn for fashion statements. Everyone- accentuating the positive, both audience and band. And on a side note- who knew that Paul D'Amour had wicked dance moves? Blew me away from the pit watching him gyrate about to the catchy beats of "Work for Love", "Here We Go", and "All Day". Damn fun watching him, let alone the backup singers in their sexy black body suits living it up from the back of the stage as well. And the crowd, equally immersed in all the dark synth pop fun. AL too was in on the action, not full body dance, more upper arm twists and turns and sophisticated microphone flips, followed by campy love logoed sunglasses, and a fur hat to add stylistic appeal. Love how he's mellowed. taking the time to let the historic venue such as The Riv and its patrons sink in, working them up for the occasional sing alongs and impromptus, and also taking the time to share some smiles with me from the pit- me being "The Old Guy" with grey hair, dating back to when Ministry started out, let alone anything Wax Trax! related. A somewhat shared history with Al and coming out the other end, a bit unscathed, with current day flaws sure, but still- in your mid sixties and up- honestly, not much time left knock on wood health wise. So like this current tour, and the folks in the crowd being in almost the same age bracket- enjoy your time while you can people- times like these, playing early albums from Ministry you thought you'd never hear again ever- come full circle please, and- let loose while you still have gas in the tank. The setlist- 14 songs total including encore, billowing smoke out of my head, ears burning to whirling dervish moves to the likes of towards the end setlist wise, with "Effigy (I'm Not An))" and also "Revenge" for sure- me becoming an uncontrollable and sweaty mess, lest we forget "Over The Shoulder" as well. Next thing you know, the show is done in roughly 90 minutes or so, but who's complaining- no filler and sad sac interludes. This show was hits on top of hits, the catchy and dark synth pop kind, back when no one knew what the fuck they were doing, outside of becoming studio rats, or all out night clubbing like me. So with this review, kinda different of sorts, reflecting the times, the past, come full circle, show some respect to all things AL, the band Ministry, let alone Jam Productions, the Riv,, Broadway and Lawrence and its history, and of course the Ministry faithful. Respect time ten for all of the above, no need for technical details on this and that for this review. The essence of this event, this tour- "A DANCE PARTY", lest you forget it. Also, for those of you on the fence- show some love there as well- Ministry is currently heading east, then up through Canada, before heading out west by June 3rd. Go see- because this show is a must see. You got it? Good. Bobby Talamine - JBTV Music Television Chicago Ministry, Live Music, Chicago, JBTV Music Television, Bobby Talamine, Fiza Javid, Jerry Bryant, Party, The Riviera Theatre, 2025 Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid The Salt Shed Chicago - Night #2 Tuesday - April 29, 2025 The gospel according to St. Nick. Theologically speaking, I can see how certain people might misinterpret that statement. In rock n' roll circles, a whole different animal entirely. I say that with the utmost praise. A guy like Nick Cave, let alone the members of The Bad Seeds, specifically his close friend and fellow musician Warren Ellis, have seasoned themselves over the years to get to a place of constant trust, followed by joyous experimentation, followed by exuberance produced tenfold on anything they wish to perform live. Again, I don't say this lightly, noting in particular the wonderment of this current tour with The Seeds, and also their fervent opening song of this tour- "Frogs", followed by of course, "Wild God". Both songs, bookends of spiritual uplift, gospel revival uplift, emphasized extraordinarily so with a backup choir that pushes both songs to new levels of reverie. And things just unfurl mightily from there, with wonderful give and take between Nick and audience, with a mini runway protruding out from the main stage center, followed by mini wings that traverse horizontally the entire width of the stage at the rail to the audience, ever more pleasing to the eye for Nick to traverse whichever/ whenever, to make serious contact with his audience, making technically the whole venue come alive time and time again. A whirlwind of emotions, less than twenty fours after for me, doing my best to take it all in, and write all this the way I experienced it firsthand. Back to the first sentence- "The Gospel" which is considered "Good News". Positive News. News meant to be relived and re-kindled, over and over, finding certain passages that elevate and resonate, look for salvation and solutions to the spiritual and human condition., even to express feelings of tidings and joy, followed by shared beliefs with like minded folk. Enter a clearer picture of Nick Cave, and you can now get the sense of his message through song, and sharing of "The Good News". I love this quote he gave in regards to the album "Wild God:- "Wild God- There's no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it". So besides the two openers, another six songs played from "Wild God" throughout the set, all fitting in nicely with certain Bad Seeds nuggets and also a couple Nick Cave and Warren Ellis covers. The entire set- energetic, and energetic some more, but clearly with thought in mind in regards to vulnerability and tenderness throughout. Funny how Nick views things on older songs as well, such as "Jubilee Street", and how he writes songs on occasion that can be morbid, murder ballads lined up at the ready. But still, the way he explains it to the current day- they're there all right, ever certain upon creation, but not necessarily looked at with contempt, depending on the year or timeframe, but with a sense of "Spiritual Hovering", as I like to call it, where you see the actions and reactions of a troubling time, and now look at things completely differently, with a new eye, or with a new answer. And even with Nick's demeanor and refrain on explaining things such as this, his overall mood is relaxed, possibly noting mentally "It is what it is". All of this makes Nick more endearing, more jovial, more lovable, although from way way back in the day, he's always had that singular wizened owl charm about him. For me, live photography has been in my flesh and blood since working professionally in all things "underground" since the early eighties. Pose photography- a different animal entirely. One pose photographer I truly admire, the Dutch photographer Anton Corbijn- He photographed the cover of Nick for the album "The Boatman's Call" back in 1997. Such rich and inviting detail, all things black and white, like super contrasty black and white. A guy like Nick Cave- human expression is everything. The album cover pose is everything all at once- sly, mischievous to some extent, like a story within a story.  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025  Nick Cave & the Bad Seeds - Bobby Talamine (c) 2025 The extent of this to the present day, attempting to write a decent review from last night's show at The Salt Shed"- visually Nick is a constant contrast of gentlemanly charm followed by a modicum of blessed wickedness, older and wiser sure, but still a guy who comes off with sophisticated wit and charm, a guy who wouldn't bore you and look dated going into his eighties. Like most recent releases from Nick Cave & The Bad Seeds, the songs encompass a stark look with all that he's been through, a timeless snapshot of deep and honest writing that compels, that sucks you in, ever reminding you on your own takes on survival, followed with a slice of wicked humor. So a show like last night at the Salt Shed, Night Number Two, it's like the gospel of humanity, flawed and wounded, but surrounded by band members who relish in the brotherhood of spiritual pickup, elevated with song and fervent upkeep to keep belonging. Yes, this show was anticipated months ago when announced, this tour, this statement on current affairs of all things The Bad Seeds. It did not disappoint whatsoever, even the lighthearted banter between songs, catching your breath. Hard to top a show like this, still reeling less than twenty four hours later. Makes you want to join some of the brethren in attendance who've made it a pilgrimage to witness each and every stop on this North American Tour, who were in attendance last night. Yep- It was that good, that life affirming. On the tour goes, with dates heading west though the middle of May. Not to be missed. Bobby Talamine - JBTV Music Television Chicago Nick Cave & the Bad Seeds, Salt Shed, Bobby Talamine, Fiza Javid, Jerry Bryant, Chicago Live Music, JBTV Music Television Luke Steele of Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Radius Chicago Thursday - April 24, 2025 Luke Steele and Nick Littlemore of Empire of the Sun, currently on their "Ask That God Tour', with a stop in Chicago at Radius. And even on a weekday night, the faithful, known as Empyreans, came out in droves, and early, hours before the doors opened. And they dressed up in razzle dazzle style, to express their overall mood and excitement of getting up close on the main floor to equal the otherworldy party atmosphere that encompasses Empire of the Sun performing live. Can't blame them, since it seems like years and years since we've seen them together performing in the states. And as for the show- It sparkles. It levitates. It never feels old or outdated or awkward, that being Luke's Kubuki style of clothing, let alone ever elaborate headgear. In the wrong hands, this kind of aesthetic could come off schmaltzy, or fake, or dialed in. Not these guys. Proud to perform, proud to be who they want to be, proud to present themselves as fantastical and divine. And it works on so many levels. First off, history and thought in mind before proceeding on anything above the great beyond, presented with flash and grace. Look at the word Kabuki for instance- a historical form of Japanese Theatre, encompassing dramatic performance along with traditional dance. So right there, you know they've done their homework, with backdrops and a set that is striking and bold, followed by a gigantic backdrop LED screen display, with vivid graphics thought out to a storyline involving 4 acts, presented with honesty, and also attention to detail. So the show, all amped and elevated, focusing on their latest release of course, "Ask That God", with some 6 or 7 songs on full display, including openers "Changes", followed by "The Feeling You Get". And the overall appeal from anything "Ask That God" related- equal to the overall appeal and mood of past nuggets, specifically the magnificent "We Are the People", and of course "Walking on a Dream". Such fun throughout, both raptured audience, let alone Luke and Nick trading smiles and enjoying themselves in this whole experience. The feelings you get, seeing them perform live once again....they took their time to get where they are to the present day, finding out more about themselves, exploring solo projects, waiting patiently for the right time to pursue anything new, anything that is challenging, and to go from there. Nothing pushed or left uneasy. You can tell that speaks volumes, simply by their camaraderie and overall demeanor. Their fanbase certainly knows as well- from the pit on the main floor, looking out at the crowd- all smiles, all dancing in place, ever enthusiastic throughout, troubles certainly left behind, at least for a few hours.  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025  Empire of the Sun - Bobby Talamine (c) 2025 This whole experience with Empire of the Sun- universal revelry, a sonic and visual spectacle that wraps you in a soothing warm blanket, invites you in, fusing fantasy and reality all at once. That's the truth to a magnificent production of this kind, where Luke and Nick fuse their fantastical dreams and ideas and make it reality. And so it goes on from there, each of the four acts displaying different moods followed by costume changes, ever releasing layers of clothing throughout, if for anything the temperature certainly was dialed up from hot to hotter still. No matter- Empire of the Sun was not letting back whatsoever, music and technology and sweat transcending at a breakneck pace, audience to band, band to audience. Have to say this show was timeless in appeal and mood and presented in such a way as to a higher plane of hyper reality. realizing afterwards that with so much going on, some parts were probably sorely missed. No matter- the astral wizardry of Empire of the Sun has released the endorphins needed to soldier on, ever present in the present day, and hoping the friendship and partnership of Luke and Nick will continue as well, rest assured that their rabid fan base is ready willing and able to come along for the ride. But as for now- how do you top this spectacle? The answer- Stay current. Their isn't one. Embrace this current incarnation, don't worry and think about future plans. This show with Empire of the Sun- one of the highlights of the year for me. So so good live and in person. Lots of stops left on this North American Tour, heading to Colorado by all things the West Coast, before heading southeast and up the Atlantic Coast by late May. A show not to be missed. Bobby Talamine - JBTV Music Television Chicago Empire of the Sun, Radius, Chicago, Live Music, JBTV Music Television, Luke Steele, Bobby Talamine, Fiza Javid, Jerry Bryant Kraftwerk - Bobby Talamine (c) 2025  Ralf Hütter of Kraftwerk - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid The Auditorium Theatre - Chicago Saturday - March 29, 2025 KRAFTWERK. The never ending and enduring appeal of all things Kraftwerk, led by their sole surviving member Ralf Hütter who is the only vocalist, along with vocoder and synthesizers, accompanied by Hennig Schmitz- All sorts of sound effects along with live keyboards, Falk Grieffenhagen- Electronic percussion, and George Bongartz- Live video technician and other assorted details. So we have the four, making Kraftwerk gel as a collective, led by Ralf of course. And Kraftwerk perseveres, singularly intact, embracing all things in electronic experimentation, taking things to a whole new level with exquisite visuals in accompaniment, let alone alone by the simplicity of elegance as a standard for instrumentation and overall layout. In other words- Kraftwerk is just so damned sophisticated. And to bring this tour to Chicago, and play in such a place as the Auditorium Theatre only adds to its wonders, reflecting on not only the visuals, but the audio as well. Because of this, the Kraftwerk experience is elevated to a degree of full immersion, no need for the "3D Experience" of yore, let alone upping the ante in choice of venues- the last two appearances for Kraftwerk being the Riviera Theatre followed by the Aragon in Uptown. Those shows- equally fun and exciting and full of grace- But last Saturday at the Auditorium- made even more so in memorable status. Cut to the chase- Midway through their set, song number eight- "Autobahn". For us photographers, we were allowed to shoot four songs- 6- "The Man- Machine", 7- "Electric Cafe", 8 (Of course)- "Autobahn, and 9- "Computer Love". "Autobahn" endures. "Autobahn" sustains. The importance of this, the title of this current tour- and thinking on 50 years- "Autobahn" still holds truth to its sincere charm, making electronics and all things synths elegant, to swing with a beat, with mellow vocal accompaniment. How cool is that? 22 minutes of driving bliss, introduced visually for the evening with the "Autobahn" logo, in bright baby blue, followed by all things the Volkswagen Bug, circa most likely when "Autobahn was released back in 1975. And visually, leading with graphics showcasing the actual Autobahn and it's beautiful countryside, the actual expressway all clean and tidy, and you, in the audience, partaking in this mellow and yet so cool ride,  Ralf Hütter of Kraftwerk - Bobby Talamine (c) 2025  Kraftwerk - Bobby Talamine (c) 2025  Kraftwerk - Bobby Talamine (c) 2025  Kraftwerk - Bobby Talamine (c) 2025  Kraftwerk - Bobby Talamine (c) 2025  Kraftwerk - Bobby Talamine (c) 2025  Kraftwerk - Bobby Talamine (c) 2025  Kraftwerk - Bobby Talamine (c) 2025  Kraftwerk - Bobby Talamine (c) 2025  Ralf Hütter of Kraftwerk - Bobby Talamine (c) 2025 Critics back in the day, quite a few of them didn't get it- (slow learners in my opinion)- not embracing what electronica can add to the rock n' roll mix, let alone the complaints about "No drums? No Bass? No lead vocalist or lead guitarist?" As if. Complaining even more so about how they can't stand the monotonous pulse of synthesizers and the beats thereof. And look at them now, gushing forth with the occasional re- releases, and the appeal of electronica circulating back to the mid seventies and early eighties, and the importance thereof. The Kraftwerk fans in attendance on Saturday night- a lot of them were diehards. Got to the Auditorium Theatre early when the doors opened just to check out the scene, clothing and costume attire, and overall mood. Let alone the lines for Kraftwerk merch- that line was long man, inside the main atrium, like wrapping around all of the cement and plaster walls. What's not to like and love about Ralf and all things Kraftwerk? By the looks of things, gentle souls, all four of them. Standard issue craftsmen, most likely all four with grandkids and happy families back home, yet enduring musicians all, assisting in the elegance of the Kraftwerk collective, encompassing everything possible that makes an art collective work, both in overall display and instrument ethic, followed by elegance in visuals- visuals so sharp that their appeal can be witnessed in breathtaking detail whether the first twenty rows, or by the back of the house some 40 to 50 yards back. It's because of all of this that Kraftwerk endures to the present day, age be damned in regards to musicianship, this attention to exquisite detail. Let that be not lost on you, those on the periphery, who have a modicum of "contempt prior to investigation". If this ever comes up at a water cooler type talk at a work break or whatever, my response will be direct- "Have you ever been- whether listening or seeing live?" If not- well let's try to change that. A band like Kraftwerk, in all its sonic and beautiful complexity, will change your life. Good music, extraordinary music that is timeless will do that to you. And, if not able to convince- ok- I have my own secret world of wonderment followed by thousands and thousands of like minded folk. Bobby Talamine - JBTV Music Television Chicago Kraftwerk, Computer Love, Multimedia Tour, 50 Years of Autobahn, Bobby Talamine, Fiza Javid, Jerry Bryant, JBTV Music Television, Chicago Live Music, Auditorium Theatre Chicago Confidence Man - Bobby Talamine (c) 2025  Confidence Man - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Subterranean - Chicago Friday - March 28, 2025 Confidence Man are downright awesome, downright PARTY CENTRAL, no matter the venue, no matter the size or whatever. They make each and every stop their own, knowing how to liven up a space, make it ever so memorable. Have not been at Chicago's Subterranean in Wicker Park in awhile, the upstairs main floor. Intimate? By all means. Like "shoe box" intimate. Maybe 350 to 400 people capacity. Still- even with specs where from the main stage, the height to to the ceiling- kinda tough for the occasional flips that Janet Planet and Sugar Bones need for their brand of choreography- certainly not high enough without cracking one's head open off of the ceiling. Okay, so that's ruled out. Still, their choreography, their dance moves, their overall demeanor of making this show at Subterranean so damn fun- a WIN of all sorts. Why? The two of them front and center for one. Fashionable, oh so slick, dance moves perfected in time to the mighty and sexy beats from Reggie Goodchild of course. Plus, the occasional breaks throughout their set for fashion changes, and props to add further pizzazz to the overall aesthetic and thoughtful moods. Even after the first set change, still a party, what with Reggie's "Firebreak" pounding away, the buildup ever so great in intensity, followed by a boat horn signal to elevate things even more. 13 songs in total, one dance party anthem after another after another. The mood throughout- audience to band, band to audience- a non stop/ party dance jubilee, perfected and rehearsed to the point of- no one else I can think of comes close in this display of fun and attitude and demeanor.  Confidence Man - Bobby Talamine (c) 2025  Confidence Man - Bobby Talamine (c) 2025  Confidence Man - Bobby Talamine (c) 2025  Confidence Man - Bobby Talamine (c) 2025  Confidence Man - Bobby Talamine (c) 2025  Confidence Man - Bobby Talamine (c) 2025  Confidence Man - Bobby Talamine (c) 2025  Confidence Man - Bobby Talamine (c) 2025  Confidence Man - Bobby Talamine (c) 2025  Confidence Man - Bobby Talamine (c) 2025 A fever dream of dance resilience, none other than Confidence Man, yet again making you forget your troubles, live in the now, be ever present, a downright giggly and giddy rapture ensues, leaving you yet again stunned and sweaty and drained in a good way. On my shortlist since I first heard of them, a year or so ago before their show here in Chicago at Lincoln Hall- a short list consisting of artists and bands that I need need need to see over and over and over to get my head on straight, remove the clutter of the mind, live free in the moment and embrace their wonderful modicum of somewhat uninhibited party 'till the house lights come on. You see them- you want more. On repeat. Added for props that are so definable for Janet and Sugar- exquisite and flashing shoulder pads and cone bras, lighting for both flashing a vivid display of colors and attitude galore, high camp, yes, but done and worn in such a way that they're not weak in the knees- in fact, just the opposite. It's part of the show man- revel in it, mix it up a bit in it. How fun is that? Simple props with a display of attitude, even if on a minimal budget. So with all the positives I've thrown their way, downright criminal that they're not playing bigger venues, with a budget to match that adds to the ooomph and firepower they clearly display even when performing in intimate venues. It's not like you can't see the footage to confirm on YouTube, what with outdoor festivals such as Glastonbury in '24 as a case in point. Granted they're playing with the sun still out- but look at the stage, look at the audience. A party with Confidence Man. A party on steroids, times ten. This band, like I've said a million times, pivot into wherever they're playing accordingly. But- sorely needed, in the states, in a bigger venue with opening DJ's, curfew be damned. Yes, Confidence Man, always ridiculously awesome when seen live, clearly one of the best dance acts on the planet right now, if not theeee best. All things Confidence Man- A masterclass in all things in perfectly orchestrated dance pop galore. Easily, even for an intimate venue, one of the best live shows I'll see this year. Bobby Talamine - JBTV Music Television Chicago Confidence Man, Subterranean, Bobby Talamine, Fiza Javid, Jerry Bryant, JBTV Music Television, Chicago Live Music, La La La Tour Mayhem - Bobby Talamine (c) 2025  Mayhem - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid House of Blues Chicago Thursday - March 20, 2025 Decibel Magazine and it's annual Metal Tour knows how to incinerate the masses. they never wilt under pressure, showcasing weaklings and anything mundane in regards to band selection. To them, that would be an embarrassment of sorts. So here we are in the midst of their latest tour, with a stop at the House of Blues in Chicago, and with this juggernaut of a lineup, featuring Mayhem, Imperial Triumphant, Mortiis, and New Skeletal Faces. As for headliners Mayhem- Still fierce as ever. Not much for small talk. Lots and lots of songs to get to, what with their massive catalog as a show of strength. And the band, fronted by Attila Csihar, along with co- founder and menacing bassist Necrobutcher, and long time drummer Hellhammer, and two punishing guitarists in Ghul (from the Shining), along with Teloch (from Nidingr)- Well that's the definition of black metal in its purest form, uncompromising to the core. This lineup from Mayhem, which has been around for awhile, like over a decade, has managed to up the ante with its brilliant catalog, old and new songs, doesn't matter- venomous spirits intact. Not much for flashy props and costumey accoutrements- These guys are clad in black, instruments at the ready, along with fierce facial paint for the frontman Attila. From the opener, the bludgeoning of all things "Malum", followed in strength with "Bad Blood", and then into "MILAB"- all three from the pit to photograph live, followed when exiting before song four with a facemelt. along with ears burning. Lots of menacing reds in regards to lighting throughout, just to convey the overall dire and confrontational mood. As well as you'd expect from Mayhem, what the songs demand, what the accomplished musicians demand from each other. They've been around awhile, been through horrors of the unthinkable since like 1984 or thereabouts. No need whatsoever to get into any of it, but suffice it to say in my opinion, their overall mood and aesthetic is to make you concentrate and focus on the present, not the past history. Songs- yes. Other shit- leave it alone. Also I believe, this is as punk of an attitude as metal, which I consider the ultimate compliment. Yes, they are so fierce live, and uncompromising. Which is the point, when considering attempts in all things "My Death", or even "Crystalized Pain in Destruction", or even the brilliant "Freezing Moon". When played live, especially on this current Decibel Tour- nothing dialed in, nothing fake whatsoever. And the fact that this current lineup is no holds barred, and when you think of it, they've defined this genre of metal, time and time again they still continue to innovate. How they don't look exhausted at the end of every show astounds, even though we all know that this band, their music- not for the feint of heart. They look the part, they play the part, they undoubtedly feel the part, emphasis on "the feel". So yes, their show at the House of Blues was mesmerizing from beginning to end, all the way to their last song "Pure Fucking Armageddon", which for all intent and purposes, is pure fucking armageddon. If ever there was a song for these current times, it's definitely that. Mayhem, all things Mayhem. Lethal as all get out.  Mayhem - Bobby Talamine (c) 2025  Mayhem - Bobby Talamine (c) 2025  Mayhem - Bobby Talamine (c) 2025  Mayhem - Bobby Talamine (c) 2025  Mayhem - Bobby Talamine (c) 2025  Mortiis - Bobby Talamine (c) 2025 Mortiis- Mortiis, (Havard Ellefsen)- Been around awhile as well. And here's another guy who can't seem to sit still, constantly experimenting with his sound and aesthetic, improvising all along the way, and taking risks, which is like his middle name. That's a high compliment as well, a guy like Mortiis so immersed in his heart and the overall view of his type of music, all dark ambient, and dungeon like. The show presented on the current Decibel Magazine Tour has expanded, adding drummer Jon Siren stage left, with all sorts of floor toms and percussion, adding emphasis to the lush and dark sounds from Mortiis, front and center. The two of them, for a brief set around 45 minutes or so, was compelling, noting the full weight of the songs conveyed, with wicked illustrations presented on the LED backdrop to immerse you in the overall feel of Mortiis and his world. The beauty of their set was in its honesty and originality, the songs conveyed in such a way visually that leaves you wishing they could've played a longer set, the songs being that good. Great to see them live on this tour however, showcasing the songs in such a way, like traversing back in time with castles and fantastical characters.  Mortiis - Bobby Talamine (c) 2025  Jon Siren - Bobby Talamine (c) 2025  Mortiis - Bobby Talamine (c) 2025  Mortiis - Bobby Talamine (c) 2025  Imperial Triumphant - Bobby Talamine (c) 2025 Imperial Triumphant- Such a band, the name aptly fits in regards to their music and overall presentation- that being sophisticated presence in clothing and attire. That they match things up with music that astounds, with heavy riffs of a mathematical note, like King Crimson on steroids, and a bit of order followed by some chaos, all the while unfolding into an amalgam of beauty and fierce despair- like Mortiis that followed after- a set that was way way to short. But they do not fit into anything concise with glee, opening with "Lexington Delerium", and ending at song number seven with "Atomic Age". Again, over in a flash. Imperial Triumphant- a monolith unto themselves, advanced as all get out, leading up to their latest release "Goldstar", which comes with a warning sticker- "Imperial Triumphant can impair your mental health and cause cardiovascular disease or epileptic seizures. Use new album "Goldstar" at your own risk". So yeah. They came to play with the others, and incinerate the masses all the while.  Imperial Triumphant - Bobby Talamine (c) 2025  Imperial Triumphant - Bobby Talamine (c) 2025  Imperial Triumphant - Bobby Talamine (c) 2025  Imperial Triumphant - Bobby Talamine (c) 2025  New Skeletal Faces - Bobby Talamine (c) 2025 New Skeletal Faces - Such a set, albeit short as well. But these guys- gritty and scuzzy rock n' roll incarnate. And I mean this with positives, not negatives. They play the part, definitely wear the part, and come off fierce all at the same time. Watching them perform, seeing them crash and burn through their set, just downright fun and nasty. Hard to truly define these guys, since they appear to cover lots of genres, but still, their cavernous tombstone appeal, let alone songwriting chops- all of it- clever as all get out. Want more of this when they come through town sometime/ somewhere.  New Skeletal Faces - Bobby Talamine (c) 2025  New Skeletal Faces - Bobby Talamine (c) 2025  New Skeletal Faces - Bobby Talamine (c) 2025 And it goes to show that yet again, Decibel Magazine, and this current incarnation for their 2025 tour- they delivered. Bobby Talamine - JBTV Music Television Chicago Decibel Magazine, Mayhem, New Skeletal Faces, Imperial Triumphant, Mortiis, Bobby Talamine Fiza Javid, Chicago Live Music, Jerry Bryant, JBTV Music Television, House of Blues,Live Review: DISTURBED - The Sickness 25th Anniversary Tour with Three Days Grace & Sevendust3/12/2025  Disturbed - Bobby Talamine (c) 2025  David Draiman, Disturbed - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid United Center Chicago Saturday - March 8, 2025 Disturbed, fully intact. Fronted by charismatic lead singer David Draiman, and with guitar shrapnel volleys from Dan Donegan, and underlying (yet heavy) bass from John Moyer, and punishing drums from Mike Wengren. They came to play folks, especially it being a hometown show of sorts. They sold out the United Center- and the faithful got there early, to see openers Three Days Grace and Sevendust. Also helps that the show falls on a Saturday night, enhancing the celebratory party feel between all three bands. And of special note, a week before the show, checking David's Instagram feed, and a cool post with Lajon Witherspoon, lead singer of Sevendust. The caption read- " To say I respect this man is an understatement. Lajon Witherspoon has been a dear friend, a colleague and a teacher to me since before Disturbed was signed. So happy to have Sevendust out with us again!" That has "Feel Goods" written all over it. Much needed in this day and age, in my opinion. The whole band shares the same sentiment, having done a meet and greet at J.J. Kelley's Restaurant and Pub in Lansing, a south suburb of Chicago the day before, one of their original stomping grounds doing their best to make a name for themselves back before they even had a recording contract. They love their fans, truly appreciate how they've come this far, 25 years since the release of their debut- "The Sickness". The album still holds up, especially when performed live. And the other treat is that there were no deviations in the way it was presented- the whole album in the first set in its entirety, not emphasizing the hits and singles. So yeah, as cool as that sounds, song number three for the evening fired up the venue tenfold- that being "Stupefy", with lots of fire engine red lighting, along with washes of vertical pyro coming form the gigantic stage production, looking like a gigantic scaffolding, with plenty of options interspersed throughout to enlighten the senses. Have to give them credit and staying true to the album for set number one- bulldozing through the album in what seemed like a flash, before descending into set number two which for all intent and purposes, is the "Greatest Hits" part of the show. The cool thing about staying true to the album "The Sickness"- some of these songs you probably haven't heard in ages, since they wouldn't be in a regular live production rotation, igniting the band even more in my opinion, clearly by the looks of things they're having fun, playing songs they haven't played in quite some time. Lots and lots of fun thoughout. The show, front to back- high energy, and not just with Disturbed (which is obviously a given). All three bands came to play caffeinated. High energy alerts throughout. So Disturbed's setlist- some twenty songs in total, again divided between all things "The Sickness" to start, followed by a brief break, then into another eight songs of "The Hits", with everything under the sun, including some trailblazing covers, such as "Land of Confusion", and of course "The Sound of Silence". Both sets, polished and full on, collective intensity intact. So happy for these guys, succeeding the way have, from the ground up, working hard from the start in making a name for themselves. That kind of trajectory, that kind of fight, to selling out arenas, that never leaves you, especially for a band like Disturbed. Brute force honesty in staying true to themselves, made even more so with word of mouth success, followed by constant (I mean constant touring). Such was the show on a Saturday night in Chicago, a celebratory feel, everyone in on the action, from crowd to band, band to crowd.  Disturbed - Bobby Talamine (c) 2025  Disturbed - Bobby Talamine (c) 2025  Disturbed - Bobby Talamine (c) 2025  Disturbed - Bobby Talamine (c) 2025  Disturbed - Bobby Talamine (c) 2025  Disturbed - Bobby Talamine (c) 2025  Disturbed - Bobby Talamine (c) 2025  Disturbed - Bobby Talamine (c) 2025  Disturbed - Bobby Talamine (c) 2025  Matt Walst, Three Days Grace - Bobby Talamine (c) 2025 Three Days Grace. They came to play, and also delivered. 12 songs in their setlist, almost like a full set. How cool is that? And with both original singer, Adam Gontier and current vocalist Matt Walst. Dual vocalists can be troublesome with tradeoffs and such, but not these guys. Like everything this evening, their having damn fun. Opening with four on the floor kinda song in "Animal I Have Become", followed by "So Called Life", and of course "Break". A one/ two/ three punch delivered to knockout, with plenty more to go. And the stage, the props, the overall mood and lighting- delivered like they were co- headliners. Such a great band, with hard rock songs played gritty, played aggressive. They certainly know how to please a crowd, any crowd, keep them amped and entertained, whether headlining, or opening for a band like Disturbed. A remarkable set, full on adrenaline.  Three Days Grace - Bobby Talamine (c) 2025  Adam Gontier, Three Days Grace - Bobby Talamine (c) 2025  Three Days Grace - Bobby Talamine (c) 2025  Three Days Grace - Bobby Talamine (c) 2025  Three Days Grace - Bobby Talamine (c) 2025  Lajon Witherspoon, Sevendust - Bobby Talamine (c) 2025 Sevendust. Fronted by another charismatic vocalist in Lajon Witherspoon. Only a six song set, but still... delivered, and delivered then some. And like I said at the beginning- the crowd, they showed up early. Main floor looked packed, and most of the mezzanine level seats as well. The band- an approach to heaviness embraced with killer chords, killer rhythm section and solid guitar interludes, fronted by heavy hitter Lajon Witherspoon. Opening with "Face to Face", which with Lajon, is "Face to Face" with the audience, utilizing the extended runway from the mainstage to interact with the audience, like literally throughout their set. A riveting set, punctuated by a band also having damn fun, and damn fun throughout.  Sevendust - Bobby Talamine (c) 2025  Sevendust - Bobby Talamine (c) 2025  Sevendust - Bobby Talamine (c) 2025 What a night of power metal and brazen entertainment, with three bands unified to the core to deliver to the masses. Bobby Talamine - JBTV Music Television Chicago Disturbed, Three Days Grace, Sevendust, United Center, Live Music, JBTV Music Television, Chicago, Bobby Talamine, Fiza Javid, Jerry Bryant, Matt Walst, Adam Gontier, David Draiman, Lajon Witherspoon DEATHPACT - Bobby Talamine (c) 2025  DEATHPACT - Bobby Talamine (c) 2025 Riviera Theatre Chicago Saturday - Feburary 22, 2025 DEATHPACT. Questions galore- Who is DEATHPACT? How do you classify an artist such as DEATHPACT, or better yet, is it even necessary? In regards to the second question, and my experiences in covering all facets of EDM for quite a number of years now- DEATHPACT is all over the map. You hear experimental everything, whether it be low bass, bass, bass house, dubstep, deep dubstep, of progressive house. But all of those terms don't really cover it, since DEATHPACT is a force of nature bounded by no one, let alone subgenres. Why the secrecy in regards to puzzles when releasing (or finding) new releases, such as a treasure hunt with clues on top of more clues? This is genius, in my opinion. It's ultimately clever, not relying on standard and set in stone ways of releasing new material, also with a level of mystery surrounding each and every said release. If for anything, it keeps the fanbase growing, getting more rabid with each and every nugget released in a treasure trove of clues and a deep dive into whatever single (along with remixes ) comes forth. And it's all done with patience, nothing rushed, nothing brazen and over the top with a projected end date. In my opinion, you can't get more indie, up from the underground, than that. So like most artists that have an undeniable mystery, the music to back it up, the visuals and live performances to back it up- I'm all in when documenting, when discovering an artist, a collective, such as DEATHPACT. The added bonus to all this is the tour stop at the intimate Riviera Theatre in Chicago, capacity around 2500. Unheard of, at least for me, to have a sophisticated EDM artists appear in that venue, and put on an extravagant show for the masses. And like most prominent EDM shows- everything runs on their clock- the "Night Owl" clock. Doors at 8pm, show starts at 9:30pm, two (or three) acts to open, followed by the headliner. Headliner usually goes on around 11 / 11:30, or midnight, or even later. So back to DEATHPACT, and the ever evolving puzzle with deep rooted clues. A cool definition- "DEATHPACT has and will remain an anonymous harbinger of forward thinking art and music". And if you were to investigate further, the stories are intact- and done with class, along with preceded clues since the beginning, nothing wasted, done and thought up sophisticated and entertaining, nothing dated, with a collective (I assume) of like minded people who are all in and creating an appeal that is worthy of your attention, without much need of pushing out press to the regular masses, equal in the display and might of simple word of mouth. And like everything in regards to DEATHPACT, this speaks volumes in my opinion. And again, I'm not privy to the inner workings of DEATHPACT, nor do I wish to make my own deep dive on assumptions. What attracted me to the show in the first place was the choice of venue, followed by who's involved- a co-promoter kind of show, with Jam Productions and also Collectiv. And then of course I saw the advert for the Riviera Theatre, the sophistication of that, followed by some YouTube feeds from previous performances, and holy shit. This is good. I mean REALLY GOOD. No matter the size of the venue, let alone festivals... The visuals, the slow build in the intro, the overall pummeling from the get go, and also, unrelenting in brute force / take no prisoners kind of approach. And that's just from I witnessed on YouTube and such. Live and in person- A whole 'nother level of whiplash sophistication. For the show at The Riv- obviously dialed down to fit the intimate stage consignments, but still, just so damn well thought out. What really made the show more definitive for me, was the foot stomps and full upper body forward lunges from DEATHPACT.  DEATHPACT - Bobby Talamine (c) 2025  DEATHPACT - Bobby Talamine (c) 2025  DEATHPACT - Bobby Talamine (c) 2025  DEATHPACT - Bobby Talamine (c) 2025  DEATHPACT - Bobby Talamine (c) 2025  DEATHPACT - Bobby Talamine (c) 2025 DEATHPACT - Bobby Talamine (c) 2025  DEATHPACT - Bobby Talamine (c) 2025 Unlike most EDM shows burying the lower body in table curtains, or even small filler LED screens to enhance to DJ Rig- this minimizes the feel and attachment to the actual artist performing, like a recessed detachment from the mood and excitement of whichever crowd. For me, witnessing DEATHPACT in almost full body adds to the allure of excitement equal to the crowd, like everyone's all in, beyond the occasional arm gesture waves, which are also common. The look and feel is definitely renegade, added even more so by of course DEATHPACT, and his chosen and oh so sophisticated LED Mask, shrouded in a hoody and what looks like black military garb. A definitive show of force, a show of force with bludgeoning impact. And the lighting, the blinding strobes, the lasers throughout- all used accordingly with maximum impact. Yes, I was in the pit at first, for approximately the first ten or so minutes of the show, which is all well and good. But like most sophisticated EDM shows I've covered over the years- my equal enjoyment is usually by the soundboard, for maximum effect in overall mood and lighting. No different with DEATHPACT- from that vantage point the show excelled for me, took off like a F15 fighter jet that never landed. The overall feel was settling into a multi-sensory universe that visually and musically just knows how to suck you in, and never let up. Setlist wise, could've fooled me. One song zipped and blended into another, no brakes whatsoever. But that doesn't matter. The overall feel was one big gigantic story to tell, and obviously lots more stories to tell down the road, with proof of anonymity and literally everything shrouded in secrecy in regards to monthly (yearly) plans. And I assume as tech constantly develops, whether it be stage presence, let alone recording and new recording techniques, and also sounds of the unknown, it makes sense to have a collective, let alone a guy like DEATHPACT at the controls. If for no other reason than to embrace the freedom of not knowing anything from the outside looking in. For me, that's the solid and cool appeal, knowing that I think they know that wholeheartedly, and let other people discuss, with the occasional forthcoming clues of existence and creative intellect. Again- How fucking cool is all that? Count me in for further documentation- ready willing and definitely able. Such was the show from last weekend at the RIV. Bobby Talamine - JBTV Music Television Chicago DEATHPACT, Riviera, Live Music, Chicago, Jerry Bryant, Bobby Talamine, Fiza Javid, JBTV Music Television, JBTV Blog, Live Review Molchat Doma - Bobby Talamine (c) 2025  Molchat Doma - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Salt Shed Chicago Friday - February 21, 2025 Molchat Doma. Egor Shkutko - Lead Vocals. Roman Komogortsev- Guitar, Synths and Drum Machine. Pavel Kozlov- Bass and Synths. Molchat Doma - They embrace Post- Punk, Synthwave, Darkwave, Coldwave, you name it. And they don't mind all these classifications and subgenres attached to them, in the spirit of continually attracting an audience, which they've successfully done since their outset, even more so, especially since they originally came from Belarus. And when you think of it, that says lots, in my opinion, courtesy of keen self promotion, especially with the likes of YouTube, amongst others. The subgenres above, the audience, especially in Chicago, embrace all bands and artists that fall under the above categories, and expand out thereof.They welcome and thirst for new arrivals, ever embracing and supporting the music and artists wholeheartedly. I've witnessed this firsthand since way way back, since the early eighties, in regards to the brotherhood that is all things Chicago, and anything indie and alternative and underground. And it doesn't matter about gender, doesn't matter about sexual orientation, and doesn't matter about which country you reside in, or came from. Chicago is all in and ready to embrace and support bands such as Molchat Doma. So for Molchat Doma, Chicago has witnessed their trajectory from small venues, to the current day, and their North American Tour of 2025, with a stop at The Salt Shed in Chicago on a Friday night. As for Molchat Doma, they've been around for years, their first release dating back to 2017 with "S krish nashikh domov". A hard working band, that's for sure, all in with regards to album releases, let alone touring. With their catalog, with four releases under their belt (excluding their one live album), they could easily have gone political, if they chose to, since where they originated from, Belarus. But instead, they chose a most sincere and thought provoking approach, assembling songs and songwriting conveying deeply emotional truths, personal despair, existential dread, that sort of thing.  Molchat Doma - Bobby Talamine (c) 2025  Molchat Doma - Bobby Talamine (c) 2025  Molchat Doma - Bobby Talamine (c) 2025  Molchat Doma - Bobby Talamine (c) 2025  Molchat Doma - Bobby Talamine (c) 2025  Molchat Doma - Bobby Talamine (c) 2025  Molchat Doma - Bobby Talamine (c) 2025  Molchat Doma - Bobby Talamine (c) 2025  Molchat Doma - Bobby Talamine (c) 2025  Molchat Doma - Bobby Talamine (c) 2025 And all for the better, simply because you can so relate, even if Egor sings everything in Russian. That deep baritone of his, let alone the majestic undertone of heavy and swinging synths and rhythmic electronic drums just adds to the luster and mystique of their songs, especially when performing live. The opener- "Kolesom" followed by "Ty Zhe Ne Znaesh Kto Ya", from their latest release "Belaya Polosa" are compelling as all get out, "Kolesom" built on subdued synths and beats, with vocal restraint from Egor, and yet transfixing throughout, watching him, watching the band. And with "Ty Zhe Ne Znaesh Kto Ya", a slow build as well, to suddenly letting loose, with Egor midway through stomping about in a hypnotic dance, propelled along by the intoxicating and sexy beats and synths from Roman and Pavel. The crowd- right off the bat ate that up, bobbing along in tandem with the band. And so it goes for the night, captivating songs, followed by a captivating audience. Everyone is all in. Have to say, Egor, Roman and Pavel, they know how to unite a crowd, and not with a bludgeoning and brute force- in fact, just the opposite. Song after song after song, they relish in sincerity, in honesty, nothing fake. Egor, Roman and Pavel immerse themselves in moody atmosphere throughout their set, conveyed with floor strobes and upper rig strobes that bathe the band in hues of magenta and purple and white, the kind of lighting that conveys a sense of delicacy and intimate escapism. And yet throughout their set the entire night, their songs bounce back and forth from keen introspection and dialed down tempos, to the outright danceable- songs such as "Ya Tak Ustal" and "Discoteque" in particular, the beats more danceable, more energetic to sway and move in place with the band. Before you know it, we're up to the encore, from "Kletka" to the close, the supremely addictive "Sudno (Boris Ryzhyi), haunting and propulsive beats pervade, exuding confidence and mastery throughout, with a crowd eating along to every word, every nuance. Such is the performance with Molchat Doma, a band that deserves your attention, with a cache of songs that captivate, and a keen aesthetic with their lighting that can set a mood, and immerse you in, all done with restraint, with delicacy, and yet keenly danceable, keenly captivating. Their tour is heading west, with a few dates left from Denver, followed by the west coast. Highly recommended to see them live- you won't be disappointed. Bobby Talamine - JBTV Music Television Chicago Molchat Doma, Minsk, Russian, Belarus, Belarusian, Sudno, Goth Bats, JBTV Music Television, Bobby Talamine, Fiza Javid, Jerry Bryant, The Salt Shed, Live Chicago Music, Doomer Wave, Synthwave, Gothic Phantogram - Bobby Talamine (c) 2025  Phantogram - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Byline Bank Aragon Ballroom Chicago Friday - February 14, 2025 Sarah Barthel and Josh Carter of Phantogram, currently on their "Running Through Colors Tour", with a stop at the Aragon Ballroom Chicago. On Valentine's Day. When the doors opened for tonight's show, my usual modus operandi is to go upstairs to get my camera gear in order. My usual spot is at the corner of the bar at the rear of the main floor, with plenty of space to get things in check. What was unusual about this particular show was the medic crew, assisting a man up the stairs, and to fit him eventually into one of the wheelchairs provided by the venue. Have to say how painstaking this was, one set of stairs at a time, to get him up to the main floor, and then eventually to the special section laid out for wheelchairs and such. The medics took their time, knowing full well that this is part of the process, especially for this guy, in relation to the musical experience. Not even literally five minutes after that, coming up the same set of stairs, a blind girl, with assistance from her friend, navigated the same set of stairs slowly and assuredly to the main floor. I'm under the impression that they've done this before, their conversation alluding to Phantogram, and to hear their older favorite songs along with the new, both with big smiles at the excitement of it all. They proceeded with their conversation right next to me, with the blind girl asking her friend where do you think the sweet listening spot would be on the main floor for the best sound. I felt compelled at first to jump in, but didn't, simply because I didn't want to intrude on their conversation, and the girl assisting stating that we should just roam around a bit, and locate a spot that feels comfortable with decent sound. I Bring all of this up because after years and years and years of documenting bands, I've never witnessed firsthand anything quite like this, especially back to back episodes of assistance. And at a Phantogram show no less. How cool is that- the vibes throughout before the show, especially on a Friday night in Chicago, and especially on Valentine's Day. And the feel good moments continued throughout, leading up to Phantogram entering the stage. Have to say their electronic rock/ electronic pop/ dream pop whatever still dazzles, based on the strength of their back catalog, and also equally based on the strength of their latest release from last year in October with "Memory of a Day".  Phantogram - Bobby Talamine (c) 2025  Phantogram - Bobby Talamine (c) 2025  Phantogram - Bobby Talamine (c) 2025  Phantogram - Bobby Talamine (c) 2025  Phantogram - Bobby Talamine (c) 2025  Phantogram - Bobby Talamine (c) 2025 And the setlist for tonight reflects this, opening the show with "Jealousy" from their new album, along with six other interspersed throughout. The audience from my perception digs the vibes as well, both old and new songs, which measures with me that Sarah and Josh continue to have lots to say, with compositions and songwriting chops that expand, let alone produce otherworldly arrangements. The overall feel of their body of work, at least for me, are songs based on a style of movie/ cinema vignettes, acting out in a way that's like "detached and exceptional chill", if there is such a thing. Conveyed from the opener, with dark ambient hues in regards to lighting, for the first three songs from the pit, the second being "Don't Move", followed by the banger "Fall in Love". All sweeping and gliding along arrangements absorbed once again in the intoxicating synths, followed by the enchanting and breathlessly creative and subdued vocals of Sarah Barthel. The duo of Phantogram know by now a thing or two to convey their thoughts musically with swirling guitars, washed over with enchanting beats, and followed by commanding and compelling vocals. That formula works to the present day, if for anything they know how to build on beats and samples from the ground up, ever attentive to natural surroundings and sounds I assume that the average listener would take for granted, let alone record it, save it, hum it out loud for later, all the time knowing full well that these two are hyper aware of such things when in the midst of the creative process, let alone I assume a catalog or files and files of beats and sounds that they've saved from over the years. That above sentence says lots in my opinion, not being of course in their inner circle of creativity, but still, me acting like a detective on such things, followed by my camera work from over the decades, and having witnessed working with the band from back in the day when they did a live performance taping at JBTV Music Television- even then you could see how their partnership is truly special musically speaking, creatively speaking. The setlist, the show- some 17 songs in total including encore. And it was all over in a flash, each song taking a deep dive into the next, ending with the glorious "When I'm Small", from their debut album "Eyelid Movies", from back in 2010. Hard to take that in when you think of it, some fifteen or so years later. That says lots about how these songs still hold up to the present day, and still sound so fresh and not dated, nothing cringeworthy. Good songwriting and musicianship- that's Sarah and Josh of course. Add to the fact performance wise they seem to be having fun, and adding luster and panache to their shows, embracing as well a bit of the sexy when it comes to fashion, followed by solid performance art. Such is this show with Phantogram- with dates now heading west, with stops in Denver and Salt Lake City, before ending up with more dates along the West Coast. Not to be missed. Bobby Talamine - JBTV Music Television Chicago Phantogram, Aragon Ballroom, Byline Bank Aragon Ballroom, Jerry Bryant, Bobby Talamine, Fiza Javid, JBTV Music Television, Chicago Live Music Geordie Greep - Bobby Talamine (c) 2025  Geordie Greep - Bobby Talamine (c) 2025 Writing and Photography by Bobby Talamine Edited by Fiza Javid Bottom Lounge Chicago - January 29, 2025 Geordie Greep on his first solo tour in the states, with a residency in Chicago, the first of three nights at the Bottom Lounge, followed by two more shows at the Empty Bottle. Highly anticipated since the Fall of last year, when this batch of dates was announced in the states. And the show- It didn't disappoint. Some quick takeaways from Wednesday night at the Bottom Lounge: Load In. When the band arrived, and parked their limo cargo van to unload their gear- jovial and fun vibes throughout. Their driver, I assume also their sound and lighting guy, comes out of the van once parked wearing a gigantic cheesehead, like the kind you see at Green Bay Packer games. The second takeaway is Geordie's bass player, Dave Strawn, and what he's wearing, which is a Slayer T Shirt while setting up his gear between the opener Nnamdi prior to going on. So in my opinion, without even having played a single note as of yet, these guys are fun. And they're having a damn good time bringing this show to the states, no matter the size of the venue, or let alone the stage. The setlist changes a bit from night to night, but emphasis is clearly on Geordie's solo release "The New Sound", from October of last year. But there's also nuggets interlaced throughout Geordie's set, with a nod to the great Chick Corea, with the song "Spain", from 1971, and Chick's band Return to Forever. Geordie also covers a Willie Colon song "Cua cua ra, cua cua", along with a song from his keyboard player Cameron Campbell "Parabola", along with a song from his previous band Black Midi- "Dangerous Liaisons". So the main takeaway with all of this, is of course Improvisation, followed by lots and lots of exploration, even with the solo songs from "The New Sound". And you have to give him credit for this, if for anything the idea of challenging himself, and surrounding himself with musicians who know a thing or two with powerhouse chops and renegade everything. The Bottom Lounge on a weekday night in Chicago- Packed. And the buzz for this show in the venue was ever evident, the audience taking it all in, and enjoying the banter from Geordie, let alone the "Feel Good" vibes. You can tell, at least from my perspective, that mistakes are ok when pushing one's self, as I noticed from the photo pit, with Geordie looking about at his fellow band members, reading cues on elevating instrumental moments, and letting his band relish and take deep dives into breakneck solos, no matter the song, no matter if the complexity is sometime's hard to keep up to match wits with brain and cues. This show- it was just so damn fun, from opener "Walk Up', to the close with "The Magician". The challenge as well, which again was fun to witness over and over, was the band trying to keep things loose as well- and that yes, these compositions are challenging, that's for sure, but let's see where we can take this, including impromptu twists and turns.  Geordie Greep - Bobby Talamine (c) 2025  Geordie Greep - Bobby Talamine (c) 2025  Geordie Greep - Bobby Talamine (c) 2025  Geordie Greep - Bobby Talamine (c) 2025  Geordie Greep - Bobby Talamine (c) 2025  Geordie Greep - Bobby Talamine (c) 2025  Geordie Greep - Bobby Talamine (c) 2025 That was ever evident in the deep dive of everything in song's number two and three, "Terra", into "The New Sound", with keyboard flurries from Cameron, let alone drum fills from Charlie Sheft, along with percussionist Santiago Moyano. Throughout the entire night, these guys..... They unleashed the hounds, like over and over and over, hence Geordie looking stage right at Cameron on the keys for assurance on melody breaks, let alone turning around on multiple occasions to soak in the vibes of all things drums and percussion percolating ever so timely from behind him. You can tell by all of this that that comes from a solid jazz composer background, with complex melodies making your hairs stand on end, like advanced learning in musical composition, and- audience- are you along for the ride? By the looks of things, the entire night- a resounding yes. So grateful, again in my opinion, to witness this in a small club/ venue setting, before things get bigger in larger venues, if that happens to be the case, and Geordie has bigger ideas on where to take things further. Not that I have any idea on that- just suffice it to say that this current incarnation of Geordie's band- so damn fun to feel the heat and sweat coming off the stage, with gigantic smiles throughout. This band- Geordie's band- fully engages the listener. Also refreshing to see the lines at the back at the back of the venue for Geordie's merch, especially his vinyl for "The New Sound", doing brisk business. The folks at the Bottom Lounge? They were obviously in the know. Again- This show was so damn fun. What a great way to kick off the new year, musically speaking. More dates await, with stops heading east, from Kalamazoo Michigan, Toronto, Montreal, before heading to Boston and also Brooklyn. If not sold out- now's your chance. Go get them tickets. You won't be disappointed. Bobby Talamine - JBTV Music Television Chicago Geordie Greep, Bobby Talamine, 2025, JBTV Music Television, Live Music, Chicago, Bottom Lounge, Fiza Javid, Jerry Bryant |
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