There’s something special about Philadelphia’s music venues. They’re not just places to see local and touring bands – they’re a vital part of the city’s musical fabric. Philly music venues have a unique character that comes from their historic buildings, intimate settings, and passionate audiences. As passionate supporters of all things local music, our staff at ThatMag will be shining the spotlight on some local venues that have become staples of Philadelphia’s thriving music community.

Since opening its doors in 2004, Philadelphia’s World Cafe Live has become a staple in Philadelphia’s music scene 2004. The intimate venue is known for its incredible acoustics and diverse lineup of shows with an emphasis on supporting the city’s local artists and musicians.

Tori Powers is the Director of Communications at World Cafe Live and is responsible for overseeing all aspects of communication for the organization, including press relations, marketing, and social media. In her role, she works to ensure that World Cafe Live remains at the forefront of the music world. Our staff at ThatMag had the chance to sit down with Mrs. Powers at the venue to learn more about the Cafe’s history, its impact on Philadelphia’s local music community, and what the future holds for this acclaimed venue.

The initial vision for World Cafe Live, according to Powers, can be credited back to the venue’s founder and president, Hal Real, who first opened the venue back in the early 2000s after years of careful planning and development.

“The space was opened to sort of a combined multi-use building between WXPN the radio station and World Cafe Live. But we share the building and we do a lot of stuff together,” Powers explained. 

The ultimate goal of World Cafe Live, according to Powers, was to curate a space that was open to everyone and able to showcase different kinds of music that may not have been coming to Philly at the time. 

Tori stated, “The vision back then was sort of just to create a space that was like a space for the community really where we could have concerts, events, food, and drink and sort of having like an elevated concert experience that you might not get at other venues.”

This approach, along with their commitment to being an independent venue, was part of what helped contribute to their success in the Philadelphia Music Community.

“We’re an independent venue. and this just allows us to do things a little bit differently than some venues that might be corporately owned. We can curate our programming and try stuff out. We have artists at all stages of their careers, so there’s no limit to what we can do here. And another big piece kind of sets us apart from many of the other venues and has contributed to our staying power here is that we’re also a nonprofit.”

Before the pandemic, World Cafe live finalized a merger with their nonprofit partner in residence titled “Live Connections,” which opened more doors for the venue to contribute back to the community through music education programs.

“At that time, our education series was born outta the recession and when a lot of funding for music action was cut from schools.” Powers said, “So the idea there was to supplement the music and arts education that was lacking in Philly public schools and give kids opportunities that they might not be getting in school for creativity and self-expression and learning about music and arts. We’re able to bring them into a professional venue setting, get them out of the schools, bring them here and give them new experiences and let them come and experience a concert venue that they may never have been to before.”

Adding to this education series for this summer is World Cafe Live’s specially curated pilot series called the “Puerta Aierta Summer Music Series,” which is focused on Latin Music, Culture, and Arts.

“It’s a cool program that utilizes the full 360 of the venue. We have concerts at night for people with food and music and dancing, and then we also have the education component. So it’s nice to be able to offer both of those and reach other communities in Philly and showcase music that isn’t always as highlighted.”

In addition to Puerta Aierta, World Cafe Live is expected to have a stacked summer calendar filled with various shows.

Learn more about World Cafe Live’s Puerta Abierta Summer Music Series

Connect with World Cafe Live:

Website

Facebook

Instagram

Twitter

There’s something special about Philadelphia’s music venues. They’re not just places to see local and touring bands – they’re a vital part of the city’s musical fabric. Philly music venues have a unique character that comes from their historic buildings, intimate settings, and passionate audiences. As passionate supporters of all things local music, our staff at ThatMag will be shining the spotlight on some local venues that have become staples of Philadelphia’s thriving music community.

Karen Lauria Saillant is the owner of the Fire, one of Philadelphia’s most revered music venues. The Fire has been a local fixture for over two decades, and it has played host to some of the city’s most talented musicians. Saillant is a passionate advocate for local music and has worked tirelessly to ensure that the Fire remains a vital part of the Philadelphia music scene. We had the chance to sit down with Saillant this past week inside her venue to discuss the Fire‘s rich history, its impact on the community, and what the future holds for this revered Philly venue staple.

ThatMag: Let’s start from the beginning – back in the ’80s before The Fire was known for what it is today, it was actually The Philadelphia Bar and Grille. What inspired you to transform it into a music venue?

Karen Lauria Saillant: My husband and I originally bought a tavern in Northern Liberties and named it The Philadelphia Bar and Grille in 1988. We did this so that he could leave truck driving and have more time to be able to attend his son’s athletic games, which was wonderful!

As for what led up to transforming it into a music venue: In 1999, my husband went into a vegetative coma trying to stop a man from attacking me and my son in front of our home in Center City. We took care of him in our home for 16 months and then he died. During that time I had to start running the Philadelphia Bar and Grille. I had cooked at the bar here and there, but I was pursuing my career as an opera singer and director, and vocal coach.

We had an adjacent room, the size of the bar, which had been our pool room. And I, with great trepidation, took out one of the pool tables and put in a tiny little stage and started bringing my singing students, who were not opera singers, there to perform. And that’s how the music venue began.

TM: The Fire has not only built a reputation as a staple of Philadelphia’s local music community but is the only female-owned venue in the city. What were some of the biggest challenges you’ve faced throughout the past 20 years as a woman in the music industry?

KLS: There have definitely been quite a few challenges and without getting into too much detail, a lot of them have been direct challenges to me as a female venue owner. I’ve had past venue partners and booking agents who’ve definitely taken advantage of my naivete and collaborative nature especially when it came to booking artists. By 2018, the situation had become so dire that I had to sell my home of 50 years in order to save The Fire. It should go without saying, but never be afraid to stand up for yourself!!!!

TM: In addition to owning The Fire, you’re also the founder of the International Opera Theater of Philadelphia, which has been putting on incredible performances in the city since 2003. What projects are you currently working on there?

KLS: Right now we’re working on what we’re calling the FLOW project, (spelled like FLOW) and we’re going to also bring that project to The Fire as well. The main goal of this project is to encourage artists and others to utilize music in FLOW as a way to take a stand against all of the violence and horrible things happening across this country right now. 

The concept of FLOW can be best explained like this: if we were all in FLOW, then we’d all be in a right-brain dominant state of mind, which is a higher consciousness that enables us to be more compassionate and understanding, and caring. If more people were ‘in FLOW’, so to speak, essentially we’d have more harmony.

We have artists from 56 countries involved, so it’ll be the most diverse opera in history. And for that reason, it’s probably the most complicated opera. We’re still putting it together. Stay tuned!

TM: How do you feel about the current state of Philadelphia’s music scene? What changes, if any, would you like to see implemented?

KLS: I have been involved with the Philadelphia music scene since I was four years old. And I was very active in the Renaissance in the Philadelphia music scene on South Street in the 70s. And the way it feels to me now, like what is it, 50 years later, is that Philadelphia [is], I believe, finally coming together as a community in the music industry. We have an organization called PIVOT, initiated by Carrie Park at World Cafe Live, and with the participation of every Philadelphia venue and we are working to support one another and help one another. So competition is not at the heart of our interactions, but rather love and caring. And I think that’s so exciting!

TM: What is your vision for The Fire and the International Opera Theater five years from now?

KLS: I hope that we can help inspire musicians to raise their consciousness. And in doing so, be able to raise the consciousness of our city. We desperately need music right now, but just not just any music, music that is inspirational, in-FLOW, and able to cultivate a culture in our city that supports harmony and balance and love and compassion for one another. And I hope that The Fire and the International Opera Theater can emulate those ideals and help share them with the world.

The project is also going to involve a custom invention called ‘The Adagio Flow Machine.’ It’s something a totally unique invention that gives the artist an opportunity to see in a concrete way where their music goes out of FLOW, and therefore make the adjustments necessary in the composition and execution of the music that will enable it to be in FLOW. James Wilson, a graduate of Temple University’s advanced composition program, the inventor of the machine (who has had the machine’s effectiveness confirmed by Joseph Kamiya, the father of neurofeedback, in a definitive study at Nova University, Fla.) said that music actually has four elements. We know it has rhythm,  it has harmony and it has melody, but it also should have FLOW. And this doesn’t just apply to classical music, all genres of music have this potential. So God has given us music and I hope that The Fire and the International Opera Theater will represent the highest values that music can offer humanity.”

Learn More About The Fire and International Opera Theater

Dante, The Opera | Philly-in-FLOW Project

Connect with The Fire

Website | Facebook | Instagram | Twitter

Connect with the International Opera Theater

Website | Facebook | Twitter

Photo Gallery

photo credit: Sophia Varoumas

Carina Round gives you full-body chills with her compelling performance, alongside living rock legend Maynard James Keenan at Philadelphia’s The Met.

By Sophia Varoumas

“Phil’s Friends” receive the satirical and theatrical probing performance they anticipated. Maynard James Keenan (vocals) and Carina Round (vocals/guitar/percussion/keys), of Puscifer, performed in divine masculine/feminine post-punk harmony at The Met.

Alongside bandmates, Mat Mitchell (guitar), Gunner Olsen (drums), and Josh Moreau (bass/synths) on this year’s, Existential Reckoning tour, like the hierophant compliment the Empress, Carina Round, and Maynard James Keenan, showcase their voices in the Opera house, achingly beautiful and synthesized with a dusting of retro electronica.

The alternative rap trio, Moodie Black, opens the evening with a dark stage, bright white screen, and the band scattered across the stage, an industrial backdrop eerily hanging behind them, reminiscent of an old Nine Inch Nails video. Moodie Black features the lead singer, Kristen Martinez (she/her), guitarist Sean Lindahl (he/him), and drummer Bentley Monet (he/him).

Moodie Black rage on stage as Martinez’s silhouette haunts, as she towers, and paces in front of the band’s backdrop. She has an enormous voice that demands attention. The band calls it noise rap. It sounds super thrashy and industrial combined with the super-fast spoken word. You may find yourself rocking your head to their set.

Suddenly, the energy shifts dramatically when the TV screens on each side of the stage light up with static, and Maynard James Keenan (MJK), a.k.a. agent Dick Merkin, pops up on the screens with a message about “spam.” He reminds the crowd that, “ignorant entitled outrage,”  adds just enough spice to the cynical mix of processed meat, so if you pull out your phone, it will land you in Puscifer’s meat grinders, and dispose of you. The crowd roars at the announcement and then the band walks across that stage.

You see and feel this synergy on stage when Keenan and Round, the alto and soprano dance around each other in an alienesque fashion opening with the tracks, “Bread and Circus,” “Postulous,” and then the crowd-pleasing, “Fake Affront,” giving the audience Max Headroom meets Reservoir Dogs feels with their rude boy, all-black suits, white button-down shirts, and black tie attire.

Dozens of fans dress up like MJK’s personas and some, like MJK, don’t break character. Appearances by personas, Agent Dick Merkin, the agent in training on the Pusciforce, is the audience’s host for the evening probe. ‘Agents’ appear on stage scanning the audience for potential new subjects. It was quirky and entertaining adding an extra element to the night’s show.

Prior to the band’s quick seven-minute intermission and wardrobe change, the six-piece performed the songs “Humbling River,” “Apocalypticical,” “Remedy,” and “Singularity.”

Billy D, MJK’s other Puscifer persona emerges, a glass of alcohol in hand, prepared to raise a glass and run from the aliens on stage trying to probe him.

Puscifer continues in their ever so subtle way to say, “shut the fuck up” with a world in its current state of affairs, masking some rage with video “spam” entertaining the crowd to add a sense of sarcastic comic relief, but still showcasing how social media is evil, and how they may feel about society’s current events that are unfolding.

The most monumental and compelling moment of the evening was by Carina Round in her performance of “Flippant.”

Round singularly dances standing still and waving her arms pointing up, then circling her belly and up again. Suddenly she circles her belly again, points up, then points back down at her other hand circling back at her belly, and silently screams, MINE! Before the stage goes black, they end the night with, “Bedlamite” and tell Puscifer fans that they can break out their phones to take some pictures if they choose.

Want to relive the show? Philly’s Setlist below:

Bread and Circus
Postulous
Fake Affront
Underwhelming
Grey Area
Theorem
Vaginamine
Upgrade
Apocalypticical
Remedy
Personal Prometheus
Singularity
Humbling River
(Intermission)
Bullet Train
Man Overboard
Flippant
Bedlamite

Connect with Puscifier

Website | Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music

photo credit: Eric Sperrazza

Written by Eric Sperrazza

The Motor City Five may very well be one of the most important bands in rock and roll history. They have been an influencer to everyone from Led Zeppelin to The Ramones, The Cult, and even Rage Against The Machine. Although teased as a nominee into the Rock & Roll Hall of Fame a whopping six times, to no avail, real music historians know that a proverbial tip of the hat from a small handful of glorified museum curators is not necessary. The sheer impact the MC5 had and still has, on our world, is proof enough that they will echo into eternity.

Out of Lincoln Park, Michigan in 1963, the MC5 emerged with vocalist Rob Tyner, guitarists Wayne Kramer and Fred “Sonic” Smith, bassist Michael Davis, and drummer Dennis Thompson. Immediately, the band adhered to a counter-culture movement with political undertones and anti-establishment lyrics challenging the system and even supporting the Black Panther Party; all at the forefront of their “back-to-basics” garage rock sound. The band also played mentor to a new up-and-coming Detroit band, The Stooges. But the 1969 album Kick Out the Jams, recorded live in October of 1968, at Detroit’s Grande Ballroom, thrust the MC5 into the history books.

With one opening line, “It’s time to…KICK OUT THE JAMS, MOTHERFUCKERS!” The band gave record stores and radio stations all the fuel they needed to legitimately blackball the band. But, what fans saw was this raw, politically relevant, and foul-mouthed record being censored by “The Man” and thus made it even more desirable of a find!

By 1972, the MC5 had broken up and gone their separate ways. But had sent The Stooges to assail to continue on blazing trails and inspired a group of rag-tag misfits from Queens, New York – The Ramones. With that, the punk movement began to take its roots. Today, Iggy Pop, Marky Ramone, and many others genuflect at the feet of the MC5 as the forefathers of punk rock; a genre still romancing music fans and exacting rebel music onto the world, to this very day.

Recently, Kramer announced that in 2022 he was hitting the road under a project called We Are All The MC5 with a new album firmly on the horizon. Joining b on the road is singer Brad Brooks, guitarist Stevie Salas, bassist Vicki Randle, and drummer Winston Watson.

The project recently stopped at Underground Arts in Philadelphia last month and I had to go and be in the presence of musical greatness to see if that paradigm-breaking guttural sound still fuels those to raise a fist in the air and brave a path unknown.

It was my first time at the Underground Arts and just let me say that there is no better venue to witness counter-culture music take place! Underground Arts is a basement venue decorated with murals that light up with backlights, as you meander through the dark layer of the land. The space still has a punk rock, speakeasy vibe that gives you the impression you are in an exclusive club of music fans.

The show opened with a set from Philadelphia’s all-female rock band, Vixen77. The five-piece offered a lot to unpack. First, I can safely say that these five ladies had more talent in their pinkies than most bands on the road today. With shades of The Runaways, The Slits, L7, and more, their performance was a venerable thrash-fest with the electricity turned up to 11. Every single member of Vixen77 owned that stage like a goddamn lioness claiming her territory and the crowd was there for every second of it. For a moment in time, I thought I was at CBGB in The Bowery, one last time, having my face melted off by the sheer power of a band. Expect to see more of them in the future and you can absolutely expect to see more of them from me.

Next up were Kramer and the MC5. The set kicked off with “Ramblin’ Rose” and vocalist Brad Brooks left nothing to question. He emanated rock royalty, both owning and humbling himself to the gravitas of the vibe of the MC5, simultaneously.

For a stunning 90 minutes, Kramer tore apart his guitar through hits like “Come Together,” “Call Me Animal,” and, “Kick Out the Jams.”  As Brooks went corner to corner on the stage and even dove into the crowd, Kramer played on with the fervor of an elated young musician getting his first showcase. At 74 years of age, he outworked musicians young enough to be his grandchildren, ever the essence of rock.

The show encored and closed with “The American Ruse” and “Sister Anne,” putting a period at the end of a sweltering night below the Philadelphia streets, where the tenets of society were still challenged through the majesty of three chords and the truth.

Before the MC5 left the stage, Kramer walked up to me and handed me his guitar pick. On the way home, I thought of a million different ways to frame and immortalize this special piece of rock history that I had been blessed with. But, as I opened the door of my home, my oldest daughter was there waiting for me.  My oldest embraced all of my punk music and shared in the spirit of going against the grain with me. My child has been at Blondie shows, and Vans Warped Tours and has been with me while interviewing the next generation of punk rock artists.  At that moment, I realized that my revolution is over. I am a middle-aged working stiff. My midlife crisis and Peter Pan complex may differ but the truth is I am the establishment, now. I am the “grown-up” in the room.  It’s her generation’s turn to challenge the norms and pushback at antiquated ways of thinking.  And so I opened her hand and I put Wayne Kramer’s pick in the center of it and then sent her to bed.

That is the spirit of punk rock. That is the legacy of the MC5. Go forth and break paradigms. That was the message I brought home from the Underground Arts. That is something that the Rock & Roll Hall of Fame will never get and, quite frankly, I hope those squares never do. This installment is dedicated to Ariana. Never lose the “riot” in you, Grrrl. That is how you change the world.

Connect with the MC5

Website | Facebook | Instagram | Twitter | YouTube| Spotify | Apple Music

Motor City 5 Photo Gallery

photo credit: Angel Park

Written by Angel Park

On June 15th, genre-bending indie artists, Dreamer Boy and BENEE packed the TLA to capacity in anticipation of the incredible show that Dreamer Boy and Benee were about to perform. This show marked one of many cross-country stops on their North American tour.

The music of Dreamer Boy is best described as an immersive and transporting experience. His hazy synth-filled sound has earned him critical acclaim, some calling it “subtly beautiful.” With two widely praised albums on his roster, Dreamer Boy quickly landed on the radar of indie genre fans. Live, Dreamer Boy‘s set was like a high-energy-filled, annotated dance party. Feeding off the excited cheers of the crowd, he powered through fan-favorite tracks such as “Over Everything,” “Jumpshot,” and “Keep The Pace.”

Following Dreamer Boy was headliner BENEE. This New Zealand singer caught the eyes and ears of indie pop fans everywhere with her angelic voice and captivating stage presence since she first began releasing her music in 2018. Fast forward to now, and BENEE has dropped her debut album, titled, hey u x, and developed a loyal fanbase both in NZ and across the U.S.

Live, BENEE‘s stage presence was unmatched. Her incredible voice and charismatic personality kept fans entertained throughout her performance, and the crowd loved every minute of her set. Fans sang along as BENEE performed beloved singles such as “Supalonely” and “Doesn’t Matter.” In between songs, she took the time to interact with her fans, cracked jokes, and even proclaimed how impressed she was with a sweet, handmade hat gift from one of her fans in the front row.

All in all, both artists put on a fantastic show. BENEE‘s voice is incredible, and Dreamer Boy‘s dancing was top-notch. If you haven’t listened to either of these artists yet, now is the time to start!

Connect with Dreamer Boy

Website | Facebook | Instagram | Twitter | Spotify | Apple Music

Connect with BENEE

Website | Facebook | Instagram | Twitter | Soundcloud | YouTube | Spotify | Apple Music

Dreamer Boy and Benee Photo Gallery

photo credit: Foo Fighters

Written by Nick Hopton

The Foo Fighters and The Hawkins Family have announced the first wave of special guests that will take the stage with the band in honor of the late, great Taylor Hawkins. These two shows, taking place at Wembley Stadium in London on September 3rd and the Kia Forum in Los Angeles on September 27th, will feature the Foo Fighters returning to the stage for the first time since the untimely passing of Hawkins. The star-studded lineup features members of Queen, Rush, The Police, and Queens of The Stone Age, along with the likes of Liam Gallagher, Alanis Morissette, Miley Cyrus, and Joan Jett (amongst many others). Proceeds from these shows will go towards charities in both the US and UK, as the Hawkins Family chose.

Tickets for both shows go on sale on June 17th.

From the band:

“Taylor Hawkins joined Foo Fighters in 1997, first appearing with the band on the tour supporting sophomore album, The Colour & The Shape. He made his recorded debut with Foo Fighters with 1999’s There Is Nothing Left To Lose, playing on every subsequent FF album, including One By One, In Your Honor (the first FF album to feature him assuming lead vocal duties on his song, “Cold Day In The Sun”), Echoes, Silence, Patience & Grace, Wasting Light, Sonic Highways, Concrete & Gold (also featuring him as lead singer on “Sunday Rain”) and Medicine at Midnight. As a member of Foo Fighters, Taylor was a 15-time GRAMMY Award winner and member of the Rock & Roll Hall of Fame. He lived and loved music to an insatiable degree, with Foo Fighters as well as his numerous solo and side projects and collaborations.”

Connect with the Foo Fighters

Website | Facebook | Twitter | Instagram | YouTube | Spotify | Apple Music

photo credit: Eric Sperrazza

Written by Eric Sperrazza

After a fantastic phone conversation with Nate Hilts of the Dead South and some subsequent pleasantries on Twitter before the big show, I was more than excited to see the band up close and personal. I secured the attendance of the biggest fan of the Dead South I knew… my Father! We then spent the week binging all the music we could get our hands on by Hilts and the gang leading up to the show.

I have a growing love affair with the Fillmore is quite an understatement. I have received so much great music and made so many epic memories at that venue that now it is just synonymous in my mind with positive vibes. Walking in there with my Dad once more to bond over solid live music is a feeling that never seems to get old for me. So we made our way to the front of the stage, beverage in hand, and waited for the lights to dim.

The opener was a band I had never heard of before, but I will never forget: Reverend Peyton’s Big Damn Band. This trio from Indiana is a vintage rockabilly blues band consisting of Max Senteney (drums), Breezy Peyton (washboard), and Reverend Peyton himself (guitar/lead vocals)…literally, that’s it. 

Although they tore down the house with a big damn sound and enormous energy, exuding big damn fun all the while, their genius is that they aren’t that big at all! Reverend Peyton uses his thumb on his E string to play the back-boned bass notes, and yet his other fingers furiously go through complex chord progressions and single-note solos effortlessly. Everything from cigar box guitars to Gibson acoustics and steel electrics flew in and out of the Reverend‘s hands during their set.

Some of their more recent hits of the 2021 EP release, Dance Songs For Hard Times, like “Ways and Means” and “Too Cool To Dance.” The band also went into favorites that fans yelled verbatim as they played,  including songs such as “Poor Until Payday” and “Pot Roast & Kisses.” When I tell you that the electricity left amongst the audience was palpable after exiting the stage, know that is the only way TO describe the aftermath of that show. I literally can’t think of a better way to describe the static in the room!

 A tough act to follow, but the Dead South was certainly equipped to do just that.

With the lights down low, the silhouettes of the Fab-Four of Bluegrass lined up onstage to an uproar of faithful fans. Throughout the night, the band performed either lined up and in perfect synchronicity, or broke form to literally jam out and show the passion in their performance. It’s as if John Cusack’s character, Rob Gordon, was plucked out of the High Fidelity universe and tasked with creating the perfect setlist of Dead South hits for the band to perform, and Cusack absolutely nailed it.

photo credit: Eric Sperrazza

Every song strategically moved the audience down a journey of their talents. They navigated ticket holders through tracks like “Diamond Ring,” “Broken Cowboy,” “Smootchin’ in the Ditch” to their breakout hit, “In Hell, I’ll Be in Good Company.” The band also offered up some of their newer covers from their recently released EP, Easy Listening for Jerks Pt. 1 and Pt. 2, including the darker feeling, “You Are My Sunshine,” and The Misfits’ cover of “Saturday Night.” (Of which I belted out every word as any good Misfits fan would do!)

By the time the Dead South wrapped it up for the night, the people around me were completely drenched from the steam heat generated by the packed crowd, all clambering to be closer to the stage, and moving joyously to the magnetism of the music, pulling them collectively off the ground.

As my Dad and I made our way back to my car in the Fillmore parking lot (which seemingly ranges from “free” to thirty dollars, depending on the week), all we could find ourselves saying was, “What a great show. I mean…what a GREAT show,” back and forth for the thirty-minute ride back to his home. That was the extent of our banter. And why? Because in one night, two bands were such a tour de force before us that two chatty grown extroverts who love to write were too speechless to say much more.

If that isn’t the most glowing testimony I have ever given, I do not know what is. And, if you love music like Social Distortion, Nathaniel Rateliff, Mumford & Sons, and Old Crow Medicine Show and you haven’t seen the ‘Served Cold’ tour yet, every second that you’re still reading this column and not buying tickets is a disservice to you!

My only honest criticism is this: The Dead South performs the best cover of The Doors’ “People Are Strange,” and I still have yet to hear it live. Perhaps, too much “awesome” couldn’t be contained to the Fillmore. It was probably good service to the city of Philadelphia not to spill that much excitement into the streets; for that, the city of Brotherly Love is filled with gratitude.

But next time around, Nate? It is a need, not a want, in your set list for me.

Connect with Reverend Peyton’s Big Damn Band

Website | Facebook | Instagram | Twitter | Patreon | YouTube | Spotify | Apple Music

Connect with The Dead South

Website | Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music

Photo Gallery

photo credit: Angel Park

Written by Angel Park

Governors Ball, one of NYC’s most anticipated summer festivals, took place this year at Citi Field in Queens, NY. This year’s lineup featured some of the biggest names in both indie and rap music, drawing attendees from across the city and beyond, to experience performances from acts such as J.Cole, Playboi Carti, Halsey, and many others. ThatMag was on the grounds for Day Two and Three of this unforgettable event! Here’s what you missed!

Self-described as a music festival ‘built by New Yorkers, for New Yorkers,’ Governors Ball Fest‘s love for its home city was celebrated in its intricate decor located throughout the grounds. However, the most notable featured the bold Lady Liberty standing proudly next to multicolored letters spelling out the name of the event.

Retail and food vendors also lined the grounds in rows, the most notable of which included Bacardi, Dunkin Donuts, Levis, and Coca-Cola. Other vendors, such as Bud Light and GoPuff, also had their own dedicated lounges, various refreshments, and interactive activities to keep the crowd nourished and entertained in between sets. Personally, I couldn’t get enough of the delectable ice cream from the Milk & Cream Cereal Bar’s booth!

photo credit: Angel Park

In terms of stage layouts, festival organizers did a great job spacing everything out and reducing as much set overlap as possible. Artists were divided among the GoPuff, Barcadi, and Verizon stages, with each just a short walk away,

Artists were divided among the GoPuff, Bacardi, and Verizon stages, with each just a short walk away and with plenty of room to grab another slice of pizza or a Governors Ball craft brew on your way.

Governors Ball featured various artists’ sets for indie and rap music heads of all varieties. Throughout Day Two, I was able to see Valley, BENEE, and De’Wayne.

Valley‘s set was an impressive, live, showcase of hazy-filled soft rock vibes. The band played through a set of fan favorites and new material, making for a memorable show. Frontman Rob Laska’s emotive vocals soared over the instruments, giving the songs an added layer of depth and feeling.

Seeing BENEE perform was an incredible experience. This New Zealand-based pop artist was as gleeful on stage as she was sarcastic, and her humor added a great touch to what the audience later found out was actually her first U.S festival performance.

photo credit: Angel Park

De’Wayne‘s intimate set at Bud Light’s Seltzer sessions was an awesome show from start to finish. The Houston, TX-based artist had the crowd dancing and chanting along throughout his entire set and closed out with a unique rendition of The Stooges’ “I Wanna Be Your Dog.”

Finally, to cap off the evening.

Again, at noon the next day, Governors Ball opened its gates once again to attendees to finish the festival out strong. The early afternoon featured indie acts Soccer Mommy and 100Gecs, with other notable indie acts following such as Philadelphia-based songwriter Japanese Breakfast, and England’s four-piece band, Glass Animals.

As tired as I was by that point in the day, the crowd’s enthusiasm was contagious and the artist’s energy levels never faltered once. The audience even reached their peak rowdiness levels when headliners Playboi Carti and J. Cole took the stage. Fans from the front row all the way to the VIP bar could be seen dancing and singing along to the lyrics.

With an unbeatable lineup, delicious food vendors, and a unique atmosphere that could only come from New York, Governors Ball 2022 perfectly captured the hearts of indie and rap music fans across the city. We’ll be counting down the days until 2023!

Connect with Governors Ball

Website | Facebook | Instagram | Twitter

Photo Gallery

photo credit: Angel Park

Written by Angel Park

This past Friday evening marked the first of two sold-out shows at the Union Transfer for legendary Philly folk artist, Kurt Vile. These hometown stops were done as part of Vile‘s multicity tour spanning cities across the U.S. in support of his latest album, Watch My Moves. This fifteen-song release is filled with dreamy, psych-inspired rock and features acclaimed fan favorites such as “Mount Airy Hill,”  “‘Goin’ on a Plane Today,” and “Thinkin’ About Flyin.”

As the crowd packed the venue floor, the supporting band, Natural Information Society, kicked off the show by diving right into their pleasant avant-garde, long-form set. Despite lacking any introductions, the group’s contemporary sound captivated the audience and touched on a compelling combination of jazz, minimalism, and traditional music genres.

Following Natural Information Society was Vile, who warmly greeted the crowd of cheering fans before riffing into the opening chords of “Palace of OKV in Reverse.” With his bandmates strumming along and his iconic Vile logo glowing behind him, Vile‘s stage presence captivated everyone in the audience. Mixing both his old and new music, his set had a track to please both past and recent Vile fans.

If you’re a fan of folk, Kurt Vile and Natural Information Society are definitely two groups that are worth a listen.

Tickets are still available for the ‘Watch My Moves’ tour here.

Connect with Kurt Vile

Website | Facebook | Instagram | Twitter | Spotify | Apple Music

Connect with Natural Information Society

Website | Instagram | Spotify | Emrite

Kurt Vile / Natural Information Society Photo Gallery

photo credit: Angel Park

Written by Angel Park

Melbourne, Australia-based band, Amyl and The Sniffers, recently had a successful sell-out show at Underground Arts and played an exciting setlist full of their latest songs. They were joined by fellow bands C.O.F.F.I.N and Upchuck.

The audience was treated to a powerful performance by C.O.F.F.I.N, a five-piece punk/rock/metal band, from Norway. The group’s sound can best be described as angry yet catchy, with heavy beats mixed into fast-paced songs that had the crowd moshing and headbanging along through their whole set.

Following C.O.F.F.I.N was Upchuck. Based in Atlanta, this high-energy punk group is one of the most exciting up-and-coming bands in its music scene. Their songs have been described as “in your face with rebel yell vocals, fast-paced drums, and heavy guitar riffs all over a catchy bassline.” Upchuck‘s performance was filled with heavy bass riffs and growly vocals that had the whole crowd moving front and center in the circle pit and crowd diving off the stage.

Finally, the crowd went wild when Amyl and the Sniffers took the stage. They were rowdy, intense, and well deserved of the show’s sold-out status. There wasn’t a fan not screaming along as the group powered their way through favorites such as “Guided by Angels” and “Gnacked on Anger.”

The Sniffers are currently on tour, so be sure to check out their website for dates and locations. If you can’t catch them live, be sure to pick up a copy of Comfort to Me – it’s worth a listen.

Connect with Amyl and the Sniffers

Website | Facebook | Instagram | Twitter | Bandcamp | YouTube | Spotify | Apple Music

Amyl and the Sniffers Photo Gallery