This summer, Philadelphia’s premier public radio station, WXPN, challenged local musicians to write a song in 24 hours. While Khalil Amaru was named the grand prize winner, earning himself a spot on stage at this year’s XPoNential Music Festival, three other artists were named finalists out of the several hundred submissions.

Those artists are Yuneer Gainz, Mackenzie Johnson, and Best Bear, all of whom performed short but sweet sets Thursday night at World Cafe Live for WXPN’s Homegrown Live! show.

The free gig took place in WCL’s upstairs venue, The Lounge, and for a Thursday night show, the crowd was sizeable.

The fun kicked off with Yuneer Gainz, who was joined on stage by guitarist Sam Mandell and Andrew Miller on Keys. Offstage was Tyrell “Ace” Clark, working beats and vocal effect detail.

First was a heavy-hitting track featuring thumping bass and deep peels of a church bell. Yuneer Gainz showed off his skills both in rapping and singing in his first song. The chorus was overlaid with backing vocals, but Gainz’s shined when it was just him on the mic.

Best Bear

That became even more evident throughout his set, which featured his 24-hour song, “Grown Man Tears.” The track’s production is minimal, with just guitar and keys, no drums. He told the audience he recorded the song in just one take, a truly impressive feat.

Gainz later in the set performed his latest release, “Flight,” a song he dedicated to a late friend. This song was a more traditional hip-hop track in which Gainz showed off his ability to spit lyrics quickly.

He went on to play an unreleased track titled “Back Home in Bethlehem,” a song he wrote about visiting his brother in rural Pennsylvania. When Mandell began to play the song’s chords, Gainz was surprised at the key, noting it was different from what was laid down on the record. But Gainz found the key and nailed the vocal performance, and Mandell laid down a slick solo, continuing the motif of peppering crafty guitar licks, riffs, and solos throughout the set.

The last song was another new track and featured a lyric about the galaxy, which was fitting as Mandell and Miller’s guitar and keys were drenched in dreamy effects, complementing the lyrical content.

And it should be mentioned that Gainz told me after his set that Thursday was his first time performing live.

Up next was Johnson.

From the jump, her vocal control was on full display, and I immediately thought she could easily fit on a bill with acts like Phoebe Bridgers, Muna, or Taylor Swift.

Johnson was alone on stage with her guitar. She told the crowd her first open mic experience was at World Cafe Live, which made her set feel serendipitous.

Johnson’s song “The Sisterhood” highlighted her penchant for all things “witchy.” Leading with an eerily finger-picked minor chord riff, the song included word suggestions offered to her by fans, and Johnson put them to good use, evoking supernatural and dark vibes. We were all welcomed into her coven.

Then came a cover, featuring Blue Barnett of Best Bear. They gave the crowd a beautiful rendition of “Dreams” by The Cranberries. The two best friends delivered wildly good vocal harmonies on the classic 90s hit.

Johnson moved on to “Straight to Hell,” which she said will be her next single to release. She taught the audience a singalong section of the track’s chorus, and during the song, the audience participation aspect didn’t quite hit as hard as she surely would have liked. However, the song’s lyrics are relatable to many people: being with someone who just isn’t right for you but still pursuing that relationship. “Straight to Hell” made me think of Taylor Swift a bit, as the pop superstar often waxes poetic about her love life, and the song’s structure felt comforting like a good T-Swift song.

She closed out with “Sunburn,” her contest-winning song. While the song was written in summer, it was about the end of summer. More appropriately, it was about losing summer. “Sunburn” is a breakup song. Johnson performed the song live for the first time Thursday, and given its 24-hour turnaround, she showed true artistry in the composition and performance.

Best Bear finished the show.

The four-piece indie rockers started their set with “Apathy.” The song starts slow, with only Barnett on guitar and vocals. It builds up and includes some tasteful lead guitar work from Gwen McFadden.

Drummer Charles D’Ardenne and McFadden joined Barnett vocally on a few tracks, providing backup singing to make the band sound even more rounded out.

Best Bear’s contest-winning track was “Fireworks,” and it was recorded solo by Barnett. But Thursday, the band played a fully expanded version. The song reminded me of another band; maybe it was Soccer Mommy’s “Circle the Drain?” Either way, it was a great song that had a catchy riff and had the crowd’s heads bobbing along with the brainworm-y vocal lines.

Johnson then joined the band for a song Best Bear dropped that very day, “The Fall.” The song is reminiscent of unavoidable 90s alt-rock that many of us millennials grew up with.

Best Bear then came in with the track “Eleventh Grade.” Barnett’s lyrics tell the story about their coming out and serve as an anthem for anyone in the LGBTQIA+ community. The band seemed to put their hearts in this particular song, given its message of “do whatever’s going to make you happy.” And McFadden again delivered lead guitar work that shined, but not so bright to outdo the rest of the band.

They went on to play “When,” the title track from their 2022 album. I hadn’t looked around the venue in a bit, and I was disappointed to see many people left by this point. I get it was a school night and a free show, but Best Bear was killing it on stage.

I couldn’t tell you what the closing song was, but it was more rock than indie. The band kicked it into overdrive to bring an end to the night that celebrated local artists so well. It was fast and had a driving force thanks to bassists Storm Paul and D’Ardenne holding down the rhythm section.

Yuneer Gainz

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Mackenzie Johnson

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Best Bear

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Written and Photographed by : Liv Foltiny

As the final remnants of orange and blue faded from the sky, I walked up to the TLA and was greeted by its illuminated marquee, which displayed the name of the night’s headliner, Fit For An Autopsy. Even though the night’s event started around 6:30 pm, there were still a few groups of people outside, conversing while the first band, Judiciary, performed. Being somewhat of an awkward social butterfly, I decided to talk with one of the guys in the closest group and, noticing his lanyard, thought I should ask if he worked at the venue. After politely informing me that he didn’t work at the TLA, he told me that he was there to perform with his band; this resulted in me apologizing and making a lame excuse for my inquiry. Upon learning I was speaking with Kyle (Carter) of Bodysnatcher, I explained that I was there to cover the show and gave him one of my cards in case the band would be interested in me sharing my photos with them.

Following my positive interaction with Kyle, I picked up my credentials and made my way to the photo pit just in time for the second band of the night, Sylosis, who hadn’t been in the U.S. for the past 11 years. A few songs into the band’s set, Josh Middleton (lead vocalist, lead guitarist) took a moment to hype up the other bands as well as address the crowd directly. He openly acknowledged to fans that he might sound a bit “off” since he was getting over a cold and stated, “I don’t take this shit lightly. I’m very happy to be here, even if my face looks like I’m miserable. Just know that I fucking appreciate your support. Thank you so fucking much.” With the crowd pumping fists and headbanging along to their music, Sylosis continued their set, playing with an undeniable fervor that could easily be felt from the energy and vibrations emanating from the stage.

Shortly after Sylosis finished, Distant, coming from the Netherlands, took to the stage. Filled with enthusiastic headbanging, guttural vocals, and interactions with the crowd, Distant’s performance built upon the energy stemming from Sylosis’ set. From Elmer Maurits’ emphatic, sweeping movements on bass to Nouri Yetgin’s spinning while playing his glittery guitar, Distant had all eyes on them. Plus, with Alan Grnja (lead vocalist) encouraging the crowd to run in circles and form walls of death, which he did before and after making hearts and blowing kisses to the crowd, the band made sure everyone was fired up and ready for more. At 8:45 pm, Bodysnatcher began to play, and, like Distant, they engaged in plenty of headbanging, dynamic motions, and rousing the mass of people in front of them. Having caught a glimpse (and taken a quick pic) of their setlist on the stage floor, I could tell you that songs like “Infested,” “Human Disdain,” and “Black of My Eyes” were part of the band’s itinerary for the night. Toward the end of their set, the band took a moment to speak with the crowd, asking if anyone had ever lost a loved one to addiction. Subsequently, they proclaimed that their final song, “Murder8,” was dedicated to everyone who succumbed to it. Following Bodysnatcher’s goodbyes to the audience, it was only a matter of time before the final band performed.

Around 9:45 pm, the house lights dimmed, yielding to the stage lights one last time to reveal the night’s headliner, Fit For An Autopsy. Like the previous bands, Fit For An Autopsy participated in headbanging and other acts associated with metal artists. However, while all of the bands undoubtedly connected with the crowd, Fit For An Autopsy seemed to do so on a different level. With crowd surfing continuing throughout their entire set, it was obvious the band not only had a substantial number of fans present but also knew how to incite them. From several fans crowd surfing more than once to the copious thrashing in certain parts of the venue, one thing was indisputably clear: the crowd was hooked. Performing at least a dozen songs, including “Pandora” and, conclusively, “Two Towers,” Fit For An Autopsy played for a little over an hour, ending their set by 11 p.m. As someone who doesn’t listen to deathcore music, I understood almost nothing being sung during the show, but that didn’t prevent me from enjoying it. Having the qualities of a successful show, the concert was full of enthusiastic performances and crowd work, as well as notable mutual respect and support between all of the bands. Overall, it’s safe to say that Fit For An Autopsy gave their fans a helluva night and a preview of their newest album on this stop of their The Nothing That Is Tour. You can check out The Nothing That Is wherever you stream music!

Fit For An Autopsy

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Bodysnatcher

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Distant

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Sylosis

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Written and Photographed by: Max Bennett

Philly Music Fest offered an eclectic array of local acts at numerous venues in and around the city. And at Johnny Brenda’s on Oct. 23, Philly Music Fest got turned up to the proverbial 11 with a ripping show featuring headliner Sheer Mag and The Out-Sect in support.

The show got going at about 8:17 p.m. with The Out-Sect coming in hot with their surf rock offerings. Both the lead guitar and lead vocals were trembling with tremolo, reminiscent of Link Wray’s 1958 classic “Rumble.” The five-piece band also includes an organ, which complements the 50s and 60s aural aesthetic of The Out-Sect.

By their third song, The Out-Sect was going hard in the pain, to use a basketball reference, as the Sixers kick off their season. Bassist Laura Nunzi was putting in work on her instrument. Despite her stature, she kept the beat thumping and thundering on what can often be an unwieldy instrument due to its long neck and sometimes backbreaking weight.

The band played what they said was a cover song, but neither myself nor my two friends recognized it. Still, adding a cover to a set is always a fun surprise for audience, at least to me. Ideally, a cover isn’t just a near note-for-note recreation, like the horrid Weezer cover of Toto’s “Africa.” Nor should it be a disastrous revision akin to Fall Out Boy’s “We Didn’t Start The Fire.”

Anyway…

Unfortunately, and maybe because it was a weeknight show, I could tell The Out-Sect’s set wasn’t going to be too long, and when they reached the latter half of their time, they really ramped up the energy.

They tore through the back half of the set list, which felt more punk than surf, but the throwback sound was still the underlying motif of their final songs.

I regret to say that while the performances were killer, the mix felt lacking. It’s frustrating to know stellar musicianship is happening right in front of you, but that certain instruments are lost in the noise. I would have loved to have that organ a bit louder for the set, but maybe that’s the way The Out-Sect likes their sound.

I also have to note the rather unique guitars wielded by frontwoman Lisa Russo and lead guitarist Grey Haas. Haas was playing a guitar from Vox, which is known more for its amplifiers than instruments. I couldn’t pin down what axe Russo was using. The classic Gibson and Fenders are iconic visually and sonically, but seeing lesser-known gear brands on stage always piques my interest. Not to mention, they sounded great for the surf rock vibes.

Sheer Mag hit the stage at about 9:22 p.m., but before they came on, a representative from Rock to the Future took the mic to tout the group’s efforts to help get kids into music, which got a warm reception from those in attendance. After all, we were all there because we love music.

Check out Rock to the Future online here.

I was only loosely aware of Sheer Mag before the show. I sadly missed them a few years ago when they opened for Coheed & Cambria in Harrisburg, and after seeing them at JB’s, I’m kicking myself.

Their energy was incredible.

The band came out of the gate very hot, and I was thinking about bands like Thin Lizzy and Boston hearing the incredible lead guitar work from Kyle Seely. Seely told me after the show he’s as inspired by The Allman Brothers Band as by Thin Lizzy, which isn’t surprising, but his lead work is more histrionic than the laid-back jams that Duane Allman and Dickey Betts laid down.

Vocalist Tina Halladay’s belted her way through the set in her high-register voice. The feat of keeping that range for an hour is Herculean at the least. I racked my brain to pull a reference for who she reminded me of vocally, then it hit me: New Edition, specifically the sung vocals on “Candy Girl.”

Bassist Hart Seely (Kyle Seely’s brother), rhythm guitarist Matt Palmer, and touring drummer Evan Campbell held the fort down with rumbling bass, cranked out chords, and pounding drums while Halladay and Kyle Seely shredded the set.

All together, the band forms something unique and special. And fans of Sheer Mag already know this; I’m just late to the game.

Like I said, Sheer Mag Live is like mid-to-late 70s guitar rock with the vocals of New Edition’s Ralph Tresvant.

And that makes sense why they were on a bill with Coheed & Cambria, who are known for the high vocals and intricate riffing.

Watching the Seely brothers take up the same microphone while they jammed on was very fun to see. The brothers jumping to the mic simultaneously to belt out “moonstruck” during the titular song “Moonstruck” from their album “Playing Favorites,” which was released this year on Jack White’s Third Man Records, made me smile every time they did it.

Campbell had a moment to show his chops on the skins with a nice drum break, reiterating that without him, Hart Seely, and Palmer, Sheer Mag’s goal of delivering blistering 70s rock and punk-inspired modern-day protest music would fall flat.

But they succeed fully.

The band took a short break before playing two final songs, closing with “Fan the Flames,” their most popular song on Spotify and likely all other platforms, which was released a whole decade ago. That goes to show Sheer Mag has built a dedicated fan base and has surely weathered many a storm. Few bands can claim those successes.

Sheer Mag

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The Out-Sect

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Written by Max Bennett | Photographed by  Justin Mayer

Many Baby Boomers mistake kids in their early to mid-20s, Gen Zers, for Millennials. But if any Boomer happened to attend Sunday night’s concert at The Met Philadelphia, they would have seen who Millennials actually are. Reliving the glory days of 2000 to 2010, throngs of Millennials descended upon the Broad Street venue to see Dashboard Confessional live, with fellow 2000s darlings Boys Like Girls and Pennsylvania’s own Taylor Acorn supporting them.

Anyway, Acorn and her band were powerful, despite it being just her, a guitarist, and a drummer. Acorn, who grew up about four hours northwest of Philadelphia, gave an incredibly strong vocal performance Sunday. At times, her voice reached Kelly Clarkson levels of power, all while the vocal melodies were reminiscent of Paramore’s pop punk tracks. What was fun about her set was that it felt like thoughtful pop punk. The drums and guitar did enough technical work to set the songs apart from run-of-the-mill pop songs following a pattern. The set included plenty of minor tweaks in time and rhythm that underscored Acorns’s energetic and punchy vocals.

Acorn took the stage alone, armed with an acoustic guitar, and delivered a mesmerizing solo performance. The intimate vibe of this part of the set changed the room’s aura, almost reminding the audience that Dashboard entered their hearts in such intimate ways. Acorn’s solo performance then ramped up, with the two other band members coming in to deliver a driving close to the song.

They closed out with what is presumably her biggest song and jumped into the last chorus after a crescendoing breakdown section. Boys Like Girls came out not long after.

The four piece from Massachusetts had a big intro to their set and were dressed the part of rock stars. In leather jackets, they burst onto the stage with swagger and braggadocio. While the band’s lead singer Martin Johnson handled vocals for the night, the bassist Gregory James and lead guitarist Jamel Hawke were chiming in with harmonies the entire set.

Hawke was the biggest showman of the group, wandering around the stage, jumping on risers on either side of Johnson, smoking cigarettes on stage, and playing hot leads on their tracks. James was seen swigging beer during the set. They were full of rizz, to borrow a Gen Z term. Johnson handled rhythm guitar too, and he threw more picks out to the crowd than any musician I’ve ever seen. At one point, a guitar tech even came out to add more picks to his mic stand. This was hilarious to me as someone who uses the same pick for months and months.

The band played “Thunder” from their debut album then closed out with “The Great Escape,” which they actually played two versions of. I’m not sure how I feel about doubling up on a song, but the crowd was into it, so it worked.

In between the sets, I ran into Fred Mascherino, formerly of Taking Back Sunday, founder and frontman of The Color Fred, and current member of Say Anything. A true legend.

Dashboard came out as we Millennials imagine it in our heads: just Chris, just a guitar.

He opened with “The Best Deceptions,” a song nearly all 2000s kids knew by heart if they had a partner who was even thinking about another person. From there, Chris went into “Again I Go Unnoticed,” and the band entered the fray.

Reader, I implore you to watch a live performance by Dashboard on YouTube. These shows are not really just shows; they’re communal emotional pressure valve releases. The only people who aren’t singing along are either there to be with a partner and have passing knowledge, or those crying too hard to sing along. From the jump, Dashboard shows were singalongs, and more than 20 years after their first release, we’re still singing along. The band played more of the hits, going into “The Sharp Hint of New Tears” and “Turpentine Chaser,” all old-time bangers.

Chris shared a story of his daughter hearing one of his songs in a movie and calling him after, then went into “Carry This Picture,” which was in the recent film “It Ends With Us.”

Dashboard tapped back into the early albums, going into “Saints and Sailor,” then “Remember to Breathe,” which featured a killer solo from lead guitarist Armon Jay. They then played a “new” song, and by new I mean from the band’s fourth album, from 2007.

Johnson joined Dashboard for an unreleased song called “Watch the Fire” before Dashboard went into their three final, and most influential, songs.

First up was “Screaming Infidelities.” This song is the band’s first big hit, and I’d bet The Met had only a few dry eyes in the auditorium. The anthemic chorus was carried on by the hundreds in attendance, singing along like they were 16 again.

“Vindicated” was up next, which was released as part of the “Spider-Man 2” soundtrack. Remember soundtracks? Remember when they had bands like Dashboard Confessional and Taking Back Sunday on them? “Vindicated” is Dashboard as a whole band, at its penultimate peak.

The ultimate Dashboard is “Hands Down.” The band closed with the lead track off their third album, and everyone in the venue was singing along like Carrabba was singing about their own most memorable nights with a new love.

There’s not much else to say about the show. It was hard to keep track of what was going on to write this review because I was so caught up in the moment. I am, after all, a Millennial who was jilted by a high school girlfriend and used Dashboard as a soothing balm on the deep cuts of a shallow love lost.

Oh, and no SEPTA buses were running on my route apparently, so I walked two miles home. And my McDonald’s order got canceled. Even so, it was a night I’ll never forget. But I’m sure the numerous heavily intoxicated millennial white women there will forget it.

Dashboard

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Boys Like Girls

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Taylor Acron

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Written and Photographed by : Lisa Melograno

On September 10, 2024, the iconic punk rock band Bikini Kill graced the stage at Franklin Music Hall in Philadelphia, delivering a performance that was as electrifying as it was nostalgic. The venue was brimming with energy, a testament to the band’s enduring influence on multiple generations. Fans, spanning ages from sixteen to seventy, filled the room, embodying the spirit of rebellion that Bikini Kill has championed since their inception. From combat boots paired with short skirts to casual jeans and T-shirts, the diverse crowd was ready to unleash their inner punk for a night that promised to be unforgettable.

Before the show began, I had the pleasure of meeting a mother who was there with her 16-year-old daughter, both of whom were excited about seeing Bikini Kill live for the first time. The mother shared her own history with the band, revealing that Bikini Kill was her favorite when she was sixteen years old. However, she had never had the chance to witness them live. Her daughter, having discovered the band on her own, had quickly become a devoted fan. This beautiful generational connection highlighted the band’s ability to resonate across ages, proving that their message of empowerment and resistance is timeless.

As the lights dimmed and the crowd buzzed with anticipation, the members of Bikini Kill took the stage, each one a visual representation of the punk ethos. Kathleen Hanna, the band’s charismatic lead singer, wore a whimsical dress with a poofy skirt paired with a sparkling green sequin top that caught the stage lights beautifully. Tobi Vail, the drummer, sported bright pink hair and oversized funky sunglasses, while the bassist, Kathi Wilcox, donned a black dress coupled with bright pink leotards and sneakers. Sara Landeau, the guitarist, completed the eclectic ensemble with a sleek black blouse and pants. Their vibrant wardrobe mirrored the colorful energy of the audience, creating an atmosphere of self-expression and defiance.

The show kicked off with Hanna’s warm and engaging presence. She instantly connected with the audience, spotting a fan in the front row wearing a homemade T-shirt, inspired by one of her original designs. Recognizing the effort and creativity, Hanna praised the girl and dedicated the first song, “Double Dare Ya,” to her. This moment set the tone for the night: a celebration of individuality and the strong bond between the band and their fans.

Hanna also took a moment to acknowledge the political climate outside the venue. With a presidential debate occurring just four blocks away, she expressed her surprise at the packed house. She expressed gratitude to the fans for attending despite the closures and traffic alerts, highlighting their rebellious spirit in choosing punk rock over politics for the night. The atmosphere in Franklin Music Hall was charged with a sense of camaraderie, a reminder that music often serves as a powerful form of protest and connection.

Bikini Kill’s setlist was a delightful journey through their most beloved tracks, creating an atmosphere of nostalgia and empowerment. The band performed fan favorites, including “Carnival,” “Reject All American,” “Alien She,” “Lil Red,” “Jigsaw Youth,” and “Suck My Left One” (a tribute to Hanna’s sister, nicknamed “Good Times”)

Each song resonated with the audience’s collective energy, making it clear that Bikini Kill’s message of empowerment was still incredibly relevant. One particularly touching moment came during “Suck My Left One,” where Hanna drew from her memoir, *Rebel Girl*, released earlier this year, to share a heartfelt story about her sister’s strength and defiance. Her sister, known as “Goodtimes,” embodied resilience and often declared “suck my left one” as a way of refusing to take any nonsense. This song serves as a tribute to her sister’s spirit, capturing the essence of defiance that permeates Bikini Kill’s work. Hanna’s storytelling added depth to the performance, showcasing her eloquence and ability to connect with the audience on a personal level.

Throughout the performance, the band members displayed their versatility by alternately switching instruments and taking on vocal duties. Vail even left her drum set to come to the front and sing, further enriching the dynamic of the show. This fluidity not only highlighted their musical talent but also embodied the spirit of collaboration and empowerment that the Riot Grrl movement represents, highlighting that punk is not just about the music but about community, solidarity, and shared experiences.

As the concert reached its climax, the audience erupted in cheers for the band’s anthem, “Rebel Girl.” The atmosphere was electric as fans chanted the song’s name, hoping for an encore of this beloved Riot Grrl anthem. Bikini Kill did not disappoint. They returned to the stage, and Hanna encouraged everyone to sing along, creating a euphoric moment where thousands of voices united in celebration. The sheer volume of the crowd singing together was a powerful reminder of the community that punk music fosters—a space where individuals come together, regardless of their backgrounds, to share in a collective experience.

The song “Rebel Girl” encapsulates the essence of Bikini Kill’s message: empowerment, rebellion, and pride in one’s identity. As the chorus echoed through Franklin Music Hall, it felt as if the very walls were vibrating with the collective spirit of empowerment that the band has inspired for decades. The energy in the room was palpable, with fans jumping, singing, and celebrating the moment, creating a sense of unity that transcended generations.

As the final notes of “Rebel Girl” reverberated through the venue, it was clear that this concert was more than just a performance; it was a reaffirmation of Bikini Kill’s legacy and their ongoing influence in the music world. For many in attendance, it was a night of liberation, nostalgia, and empowerment, where the past and present collided in a celebration of punk culture. The powerful connection between the band and their fans, coupled with the vibrant energy of the crowd, made for an unforgettable evening.

Bikini Kill continues to inspire new generations, proving that their message of feminism, activism, and rebellion is as relevant today as it ever was. In a world that often feels divided, their music reminds us of the importance of unity, self-expression, and the relentless pursuit of change. The concert at Franklin Music Hall was not just a reminder of where punk has been, but a bold statement of where it is going. As the lights dimmed and the echoes of their final song faded, it was evident that Bikini Kill had once again ignited a fire in the hearts of their fans, encouraging everyone to embrace their inner rebel.

With each note played and every lyric sung, Bikini Kill reaffirmed their place in punk history, not just as musicians but as activists who continue to inspire and provoke thought through their art. The night served as a powerful reminder that punk is not merely a genre of music but a movement—a call to arms for anyone who dares to stand against the status quo. The echoes of this concert will undoubtedly linger long after the last chord was struck, reminding us of all that the spirit of rebellion is alive and well.

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Written & Photographed by: Lisa Melograno

The Freedom Mortgage Pavilion was buzzing with excitement on Sunday, September 8th, 2024, as concertgoers of all ages, dressed in an eclectic mix of t-shirts, jeans, Alice Cooper-inspired top hats, and gothic costumes, assembled for the highly anticipated Freaks in Parade tour. The anticipation for the legendary lineup of artists was palpable as fans filled the venue, eager for the night’s unforgettable performances.

Setting the stage ablaze with their infectious energy, Filter emerged on stage, kicking off the night with an electrifying performance that instantly captivated the audience. Lead singer Richard Patrick led the band through a powerful set filled with fan favorites like “Obliteration,” “Take a Picture,” and “Hey Man, Nice Shot.” The band allured the audience with their unique dynamic performance, and their performance drew everyone in, setting a high bar for the evening.

As Filter’s enigmatic set came to a close, the atmosphere shifted to a thrilling intensity with the arrival of industrial metal pioneers, Ministry. Led by the legendary Al Jourgensen, the band’s lineup featured esteemed musicians such as guitarists Monte Pittman and Cesar Soto, bassist Paul D’Amour, drummer Roy Moyorga, and keyboardist John Bechdel. Together, they unleashed a performance that spanned over 40 years of their iconic discography, highlighting their unparalleled experience and expertise in the industrial metal genre.

Fans roared with excitement as Ministry blasted through hits such as “N.W.O.,” “Thieves,” and “Jesus Built My Hotrod.” The venue’s sound system expertly managed their powerful sound, further amplifying the audience’s exhilaration. Al Jourgensen’s commanding presence and relentless energy kept the crowd enthralled throughout the full set, reaching a peak as they debuted their new anthem, “Goddamn White Trash.” With relentless energy and musicianship that only decades of experience can bring, Ministry delivered a masterclass in industrial metal prowess, solidifying their status as industrial metal icons.

As the stage transformed into a ghoulish wonderland complete with staircases, a guillotine, and other macabre elements, Alice Cooper and his band, featuring Nita Strauss and Ryan Roxie on guitars, Chuck Garric on bass, Tommy Henriksen on guitar, and Glen Sobel on drums, emerged, and immediately the audience went wild. The band’s chemistry was infectious, with each member shining on their own and contributing to an already thrilling performance. Nita Strauss’s virtuosic guitar playing and dynamic stage presence added an extra layer of excitement, further elevating the atmosphere created by Alice Cooper.

Theatrical, mesmerizing, and bursting with unparalleled showmanship, Alice Cooper’s performance transported fans through his storied career, featuring classic hits like “No More Mr. Nice Guy,” “I’m Eighteen,” “Feed my Frankenstein,” and “School’s Out,” fused with Pink Floyd’s “Another Brick in the Wall.” The result was a powerful and unforgettable show that left the audience in awe, exemplifying the unparalleled showmanship and talent for which Alice Cooper is renowned.

As the night reached its climax, the legendary Rob Zombie took the stage, flanked by a megaplex of LCD props and risers that created an otherworldly atmosphere. His band, comprised of Ginger Fish on drums, Piggy D on bass, and Mike Riggs on guitar, delivered a relentless performance that perfectly complemented Zombie’s larger-than-life persona. The stage came alive with fire, demonic statues, and otherworldly beings, all expertly lit to create an unforgettable atmosphere, mesmerizing the fans.

Rob Zombie led the audience through a setlist of iconic hits, including “Demon Speeding,” “Superbeast,” and “More Human Than Human.” Fans passionately sang along to “Living Dead Girl” and “Dragula,” reaching a fever pitch of energy and enthusiasm that brought the Freaks on Parade tour to a triumphant conclusion while solidifying the night as a truly unforgettable experience. The Freaks on Parade tour brought together an incredible lineup of artists, each highlighting their unique talents and contributing to a night of unmatched energy, theatrics, and unforgettable memories. With its thrilling performances, ghoulish characters, andF larger-than-life stage setups, the event proved to be a fitting kickoff to the Halloween season. The powerful performances, elaborate stage setups, and unforgettable atmosphere solidified the event as a truly extraordinary experience for all in attendance.

Filter

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Ministry

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Alice Cooper

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Rob Zombie

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Written and Photographed by Liv Foltiny

Getting to The Fillmore slightly after 8 pm, I was well aware of the reality that I missed at least one of the bands scheduled to perform this past Friday night, and, honestly, with how I was feeling, I was only concerned about making it for the band I was assigned to cover—The Gaslight Anthem. Knowing nothing about the band other than what I learned from a very brief online search (e.g., that it formed in NJ and seemed to fall within the genres of music I listen to), I didn’t know what to expect and, to an extent, was going in blind.

As I made my way toward the stage, I was greeted by a huge crowd; the place was packed from the barricade in the front to the bar in the back. Joyce Manor, the second band of the night (following Pinkshift), was up on the stage, playing the final few songs of their set. From their short, energetic movements across the stage to their brief, appreciative conversation with the crowd about their love for Philadelphia, the band members drew everyone’s attention and had those familiar with their music singing synchronously. Even though the band wasn’t headlining that night, it was evident that Joyce Manor was capable of giving an engaging, successful performance.

Following Joyce Manor’s exit around 8:30 pm, concertgoers were left to their own devices for a bit since The Gaslight Anthem was not set to take the stage until 9 pm. It was during this intermission that I recognized a familiar face in the crowd — Sara from 93.3 WMMR (@radio_sara). After introducing me to her husband, Jake, Sara and I spoke for a bit, catching up and briefly talking about the show. I learned that she has been seeing The Gaslight Anthem for the past twelve years, and, upon hearing that I had never seen them before, she informed me that they put on a great live show and that, considering they’re from NJ, their performance at The Fillmore was “the closest to a home show we could get.

As 9 p.m. drew closer, I made my way over to the photo pit entrance, and, within minutes, the other photographers and I were given the go-ahead to approach the stage. The crowd excitedly burst into cheers while the members of The Gaslight Anthem took their places and began their set.

For around an hour and a half, The Fillmore was alive as attendees (many of whom appeared to be fans of the band) were immersed in the rhythms and lyrics emanating from the stage. People enthusiastically danced, sang along, and threw their hands up into the air while The Gaslight Anthem played a variety of songs, consisting predominantly of originals (such as “We Came To Dance” and “Positive Charge”) and, at the very end, with help from Joyce Manor and Pinkshift, a cover of Nirvana’s “Smells Like Teen Spirit.”.

Throughout their set, the members of The Gaslight Anthem intently focused on their performance. Brian Fallon (lead vocalist), alternating between soft and rugged vocals, belted out lyrics and played his guitar while Alex Rosamilia (lead guitarist), captivated by the venue’s lively atmosphere, regularly bobbed his head as he walked around on stage and, intermittently, leaned over his guitar. Concurrently, Alex Levine (bassist) and Benny Horowitz (drummer), from their fervent playing to their quick and frequent movements, exhibited the most energy out of everyone in the group. Notwithstanding these positive aspects of their set, it felt like something vital was missing.

Now, I didn’t expect Brian to climb and jump off of things like Remington Leith (Palaye Royale), playfully tease the crowd and dance on his toes like Tyler Glenn (Neon Trees), or rapidly spin with the mic stand on his shoulders like Yungblud; however, I guess I assumed, or hoped, that he would have exuded a little more presence on stage, namely when it came to interacting with the audience. Except for two very succinct conversations in which he spoke to the crowd directly, Brian didn’t seem overly invested in establishing an emotional connection with the mass of people standing before him. Then again, it wasn’t something he truly needed to be concerned with since a majority of the attendees there were happily engrossed from the second the band set foot on stage. Their roaring cheer

s and eagerness to participate in the moment undoubtedly evinced the strong, pre-existing connection the band already had with a majority of the crowd before the show even started. For newcomers such as myself, though, it could have been nice to learn more about Brian and the band on a personal level through additional, direct interaction with the audience.

Overall, it’s safe to say that The Gaslight Anthem’s show at The Fillmore undeniably had a positive impact on most — if not all — of the fans in attendance. From everyone dancing and singing on the floor to those doing likewise on the second level of the building, there was no refuting the joyous energy that permeated the venue throughout the entire night. The Gaslight Anthem made sure fans walked out of The Fillmore with memories and a “Positive Charge” to start the impending weekend.

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Written By: Eric Sperrazza | Photographed By: Christina Cosenza

There are some bands that, to truly know them, you must see live. Take KISS as an example; they were on the verge of losing their record deal because, although they played sold-out shows on the road, they simply couldn’t move albums. Then, “KISS: Alive!” debuted. An album that truly captured the audible experience of the band’s tour de force performance, it stands as one of their best-selling albums to this day. The same can be said for bands like The Ramones or Queen. You truly can’t understand their brilliance until you’ve seen them perform in person. Today, another band can be officially added to that list, and that band is Taking Back Sunday.

Taking Back Sunday was birthed in 1999 on Long Island, New York. Living neatly between the lines of post-hardcore and emo punk, you could feel the strings snapping on their guitars with their hard-hit chords, all while their lyrics dripped with passion. Their debut album,  Tell All Your Friends, became a must-own LP in the feverishly growing emo scene. Taking Back Sunday has undergone several lineup changes but has maintained a consistent presence in the alternative music world, releasing several successful albums and building a rabid fanbase. But, beyond all of it, there is something deeper with the band than just being a standout in the early 2000’s emo explosion. More than identifiable emotional lyrics that reach into the souls of so many. More than a scandalous feud with Brand New. There is something that must be seen.

On Friday, Taking Back Sunday stopped off at The Fillmore with special guests, Citizen, to give Philadelphia the chance to experience their particular je ne sais quoi for themselves. With over 45 stops on the North American leg of their tour alone, the band has been riding high since the release of their latest album, 152. The Filmore, filled up practically to capacity, had a steam-powered vibration that was palpable, with a suspense in the air that this powder keg could soon go off at any moment.

Citizen set the pace first, starting at about 8:00 p.m. The band, Mat Kerekes (vocals), Nick Hamm (lead guitar), Eric Hamm (bass), Mason Mercer (rhythm guitar), and Ben Russin (drums), took to the stage and immediately ripped into the song, ‘I Want to Kill You.” From that point on, Citizen put on a clinic in managing the delicate high-wire balancing act of Emo Post-Punk and good old-fashioned Detroit Rock. From tracks like “Hyper Trophy” and “Blue Sunday” to the fan-dedicated “The Night I Drove Alone,” Citizen was an opening act that put on a main event performance.

Through the blue-lit smokey stage arrived Taking Back Sunday, as John Nolan (guitar/keyboards), Shaun Cooper (bass), Mark O’Connell (drums), and Adam Lazzara (vocals) took to their spots. Exploding with the force of a typhoon into S’Old, the band lit that powder keg in the room, and suddenly what made them special was clear. Through a setlist of classics like “Cute Without The E” with additions from their new LPs like Amphetamine Smiles and Lightbringer, what was evident was the tribe that was whipped up into frenzy—from all walks of life and even different social cliques! In unity of exaltation, they hung onto every second, while Lazzara spun and glided up and down the steps onstage and from corner to corner. And if that weren’t enough, while Lazarra commanded the stage, possessed by the ghost of the late Freddie Mercury, his mic work would have put Gogo of the “Kill Bill” saga to shame. They wrapped the night up with the hit “MakeDamnSure,” sending every now-exhausted fan to stumble out adorning relieved and satisfied smiles.

A true highlight was the new single off the 152 album, “The One.” If it was possible for one song to take a theater-sized crowd and magically make them feel like they were participating in an arena anthem at Wembley, it was this moment. Proof that you can be uplifted and inspired at an Emo show!

And that was it. That is what sets them apart. To see that band is to both feel the energy they create and be thoroughly and visually entertained, but all the while doing so within this tribe. That is the beauty and the legacy of Taking Back Sunday.

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A three-band bill at Ortlieb’s in Northern Liberties on July 20 offered up moody post-punk, blistering three-guitar rock, and a very funny Midwest screamo set to officially welcome hometown rockers Rat Jester to the Philly music scene.

The night kicked off with Blood. The band originally hails from Texas but now calls Philly home. Blood launched into their set with two fiery tracks.

Singer Tim O’Brien’s intensity on stage is very apparent. He delivered lyrics with such fervor it almost seemed like he was angry at the mic, the words, or something else in the ether us audience members couldn’t — or wouldn’t — understand.

Their third song in the set toned down the energy, coming in with just guitar and vocals. Eventually, the whole band joined in and brought the same energy as their first two tracks. That song ended quietly, however, on a somewhat somber note.

The last two songs of Blood’s set were powerful, driven tracks. Their final song came in like a wrecking ball, with the band slamming their way into the closer. It featured dreamy keyboard work when it slowed down. But the song’s conclusion was electric and ended abruptly, putting quite the cap on Blood’s short but sweet set.

And shout out to Blood’s guitarist, who showed up with a large pedal board that featured just two pedals. The trend of all three bands doing on-stage bits would continue.

Next up was Magic Rockers of Texas. And, well, the name says it all.

My interest was immediately piqued when I noticed their set-up accommodated three guitarists. As a kid raised on the guitar bands of the 70s, like Lynyrd Skynyrd and The Outlaws, I knew the next set was going to be powerful.

Their set exploded with a wall of sound and pure energy.

Two of the guitarists and the bassist were contributing to the vocals, giving the five-piece an even larger sound, something I didn’t think was possible based on how big they sounded.

The guitar work from all three axemen was phenomenal. From ripping solos, crafty leads (even a slide was busted out for a few tracks), and power chords being banged out like the guitars needed to be taught a lesson, this band was cranking out their songs.

At one point between songs, frontman Jim Campo threw out a joke that they saw a rat king before the show. For those unaware, the rat king is a seemingly mythical phenomenon that is very real: it’s when a large group of rats get their tails entwined to become a rat king. A reference to headliners Rat Jester.

After several songs that were so intense, Magic Rockers performed a song that reminded me of Jesse Welles, who has recently been getting heaps of attention and praise for his modern-day, acoustic protest songs on social media. That folk-protest vibe didn’t stick, as the track went into a more traditional pop-rock structure.

Toward the end of the set, Campo broke a string on stage, but it didn’t matter as he powered through the rest of the tracks in the set, one of which featured some amazing arpeggio work from two of the guitarists.

Rat Jester then took the stage for their first-ever hometown show (they had only played live once before and it was in Brooklyn).

Before they went into their set, singer Matt Decaro called out someone celebrating a birthday in the crowd. The band then played “Happy Birthday” in the sloppiest way possible, which made us all realize there was no one celebrating a birthday and the whole thing was a bit. Oh, and there was even one of those party poppers with streamers and whatnot included in the bit. And the bits continued throughout their set, which was jangly, exciting, and all-around positive and fun.

Rat Jester is rooted in the Midwest emo tradition, and laced their songs with guitar harmonies and bouncy riffs and chord progressions, taking the maudlin emo tradition to a much more fun and accessible level.

Breaking out of that style, the band ripped into the track “Doomsday Shuffle.” The song had strong vibes of “Rock Lobster” by the B52s, getting groovy with a surf-rock style that wasn’t like anything else heard earlier in the night. And it was during this track that Decaro was showing off his zany dancing on stage while still pounding away at the drop D chords.

At some point in the song, Decaro, guitarist and sometime singer Jack Alexander, and bassist James Harris paused to tune up. But the tuning process went on. And on. Again, this was one of the many bits Saturday’s show offered up. Decaro and Alexander a few times shouted out “Give it up for Ian!” as drummer Ian Staley kept the beat going during the tuning joke.

The next song was a headbanger of a track, and at one point Decaro and Alexander began singing “The First Cut is the Deepest.” I told you this show was full of bits. Then the next song opened with a quote from a movie or TV show, I wasn’t sure. That’s a classic emo/post-hardcore band trope that was employed very well here.

Then, the Rat Jester itself made its way through the crowd and onto the stage to sit in on a track on violin. The violin coming in at the end contrasted the earlier parts of the frenzied song perfectly.

Rat Jester closed out the night with the song “Supermarket,” which they said will be released soon as their first single. The track ramps up and has an anthemic chorus about making a tough realization while shopping. It’s unclear if the lyrics are sincere or part of Rat Jester’s comedic stylings, but the song is a bop for sure. It ended with either some odd time signatures or syncopation, perfect for that math-rocky emo vibe.

Keep up with Rat Jester’s social media to be sure you catch “Supermarket” when it drops.

Rat Jester

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Magic Rockers of Texas

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Blood

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