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: Nick Hopton and Photographed by Michael Greco

As the lights dimmed in the heart of Philadelphia, the air thick with the smell of overpriced beer and rarely washed denim, we felt the weight of life lift off of our shoulders, if only for a little while. Frank Turner and his band of Sleeping Souls ended their Undefeated Tour of 2024 in our city, promising an evening that would resonate deeply with every lost soul fortunate enough to find their way. Standing amid a sea of fans as I had many times before, I couldn’t help but feel a sense of being at home…. connected by a shared passion for a sound that defies the boundaries of genre and generation.

Show 2097 was about to begin.

As we gathered at The Fillmore Philadelphia, the venue itself seemed to pulse with the energy of anticipation. The newer yet somehow historic charm of The Fillmore set a perfect backdrop for the evening to come. The doors opened at 5:30 PM, ushering in a diverse crowd, from eager teenagers experiencing their first concert to seasoned punks who have been through hell and back. Each person’s excitement added to the collective buzz, making the air electric with pre-show wonder.

The venue’s layout, with its own excellent acoustics and intimate setting, promised that every attendee would feel the raw energy of Turner’s performance, no matter where they stood. Amigo The Devil, Bridge City Sinners, and Micah Schnabel & Vanessa Jean Speckman took the stage in the earlier hours and owned it in their own right, each more than capable of headlining their tours. The crowd’s chatter turned into cheers with each passing moment, setting the tone for what was to come. It was a gathering of love, ire, and song. The final stop on the tour.

At 9:15, Frank Turner took the stage. The atmosphere shifted palpably, charged with an electric anticipation that only his performances could elicit. Opening with new fan favorites “No Thank You For The Music” and “Girl From The Record Shop” from his latest album, the crowd was instantly captivated, singing along to every word, their voices a unified chorus in the hot as-hell Philadelphia night. The real sing-alongs began directly after as “Get Better”, “Recovery” and “Try This At Home” damn near blew the chandeliers off the ceiling. Turner’s ability to blend heartfelt lyrics with soaring, electric songwriting was on full display, creating an opening that was both emotive and exhilarating like a tornado of emotion. You knew damn well where you were at…and it wasn’t Kansas anymore.

As the night progressed, the energy surged as Turner and his band launched into rousing epics “I Am Disappeared,” “Haven’t Been Doing So Well,” and the always massive singalong “Polaroid Picture”. Two highly emotional tracks followed, “Ceasefire” and “A Wave Across The Bay” which damn near brought the entire room into a sea of tears from the inspiration they carry. The connection between Turner and the audience deepened with every passing moment, each song acting as a cathartic release for both the artist and his fans.

As the show progressed, one singalong after another in a massive 25-song set, and the night drew to a close, Turner’s performance of “Photosynthesis” was a standout, embodying the spirit of defiance and renewal that his music champions. The crowd’s enthusiastic participation, shouting back “I won’t sit down, and I won’t shut up, and most of all I will not grow up” was a reminder of resilience in the wake of shit that life will throw at you, and to always be you. A quick break ushered in a 4 song encore featuring “Undefeated”, “If Ever I Stray,” and “I Still Believe,” closing the night out with the riot dance anthem “Four Simple Words.”

Being the eighth time I’ve seen him live, I can say that no Frank Turner show is the same. Always different emotions, and different themes of the night. Reflecting on the Undefeated tour, especially the unforgettable evening in Philadelphia, this felt more raw. More heartfelt and to the point, no cherry on top of the melted structure of life we once knew and loved. He spoke often about how fucked up things have been and continue to become over the past few years. He’s right when he says that we don’t open up and truly talk about where we are and the shit we’ve been through. But the one unifying thing we do have…is this. This synergy between his thoughts written on paper then conjured into a release, and the palpable enthusiasm from the audience united in the transformative and healing power of live music. Turner’s ability to connect through his heartfelt lyrics and energetic performances, coupled with the engagement and shared passion of the fans, created moments that transcended the boundaries of the event, leaving lasting memories and a deep sense of community among those present. We don’t have many things we agree on anymore. Nights like these are a reminder that we still can have hope to remedy that.

The significance of this tour goes beyond the confines of The Fillmore, weaving into the fabric of the attendees’ lives a tapestry of musical fervor, collective joy, and the enduring human connection that music fosters. As we look back on that night, the experience serves as a vivid reminder of music’s role in shaping our narratives, keeping them true, and enduring through the storm. This tour not only celebrated Frank Turner’s artistry but also the communal spirit of his fans, highlighting the enduring impact of gathering in appreciation of music that speaks to the soul.

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By Jordan Lyric

Photos by Jordan Lyric

Kim Petras recently had a stop in Philadelphia during her national tour and put on a show to remember at The Fillmore, playing a collection of her best hits along with her seamless choreography. Her bubblegum-pop music filled the almost sold-out venue as fans danced and sang along with her as she delivered her most popular songs. 

Petras’s music has all the makings of pop staples; it’s catchy, it’s fun, and it’s dance-worthy. She draws an excited, fashionable, glitzy crowd and she herself is the same. Her performance harkens back to the “Pop Shows” of the earlier 2000s, bringing a long lost nostalgia back to the stage. 

Her newest album, Clarity, has been met with a warm reception, particularly to single “Icy,” a song that meshes the vulnerability of a recent breakup with the empowerment of feeling complete on one’s own. The record, and the aesthetic of the show and Petras herself, is a departure from the darker, more glam-horror influenced image Petras has previously taken up to go along with her earlier works. She pulls it together infallibly, with a stunning vocal performance, an energetic and upbeat show that had fans partying right along with her. 

You can listen to Clarity here.

A deluge of rain and the constant threat of flash floods didn’t dampen the spirits of Blackberry Smoke’s Brothers and Sisters. Loyal and new fans alike know that any concert by the Georgia-based outlaw country rock band is worth sloshing through any nasty weather to attend.

The Fillmore is a historic cornerstone located in downtown Silver Spring, Maryland, just blocks from the iconic AFI movie theater. It’s a spacious venue with great acoustics, very long bars, and mammoth chandeliers twirling overhead.

The opener, Magpie Salute, performed songs off their debut album, High Water I, out August 10, including the title track, their single “Send Me an Omen,” a song about the “perils of selfies” and a Blind Faith cover. Created by former Black Crowes members’ guitarist Rich Robinson, bassist Sven Pipien and guitarist Marc Ford, they’re joined by vocalist John Hogg, keyboardist Matt Slocum and drummer Joe Magistro.

Hogg delivered a powerful performance with strong vocals: a bit Hendrix, Chris Cornell, Zack de la Rocha with a touch of Jeffrey Gaines; it’s just too bad his vocals were overpowered by the instruments throughout most of their set. The audience loved Hogg’s energetic delivery and sang along to many of the songs. At one point he played one of the coolest acoustic guitars I’ve ever seen-it had a heart-shaped sound hole.

“So we’re a new band; new record out in August, so we’re playing some songs off that record. Just take it all in.”  The audience sure did and screamed for “one more song.”

Blackberry Smoke (Charlie Starr – vocals/guitar; Richard Turner – bass, Brit Turner -drums; Paul Jackson – guitar; and Brandon Still – keyboards) tour year-round and fans follow them from town to town. Every show is different which keeps it fresh and exciting, I can honestly say it’s one of the few live shows I never miss. Find A Light, the group’s sixth studio album, was released this year to critical acclaim and an acoustic accompaniment EP, The Southern Ground Sessions, will be out October 26th.

Opening with the track “Waiting for the Thunder,” off their fifth album, Like An Arrow, the audience was singing along and dancing on the now somewhat sticky floor. Starr is an accomplished rock and blues guitarist and is just mesmerizing to watch. He plays with such passion and makes it look as easy as pie.

“Fire In The Hole” and “Let It Burn” (I’m sensing a theme here) followed and the sound issues from earlier were non-existent and you could hear Starr enunciate every word.  I became a bit fixated on how the stage fans caught Jackson’s long hair and it was now blowing upwards to the ceiling-it just reminded me of those 80s hairband music videos I was obsessed with in high school.

Brit Turner’s drum kit looked antique and had “American Legion Drum & Bugle Corps Post No. 1 Atlanta, GA” stamped on the front surrounding a giant peach. I’m dying to know the backstory to that gem.

I had attended a Ray Wylie Hubbard show the previous evening, so when Starr sang “Throw in Ray Wylie Hubbard/Sing along to Redneck Mother” I was tickled at the irony; when Hubbard introduces “Redneck Mother,” he instructs you to “sing along and relive your wasted youth”). There’s a lyric near the end of “Good One Comin’ On” which Starr changes for live shows. Let’s just say one-word rhymes with “hoochie” and the audience usually sings that part by themselves (with gusto, I might add).

“Rock and Roll Again” is one of my favorite songs from Holding All the Roses. I remember asking Starr about this song when I interviewed him several years ago. They’d played it live and I asked if would be on their next album. “I think so,” he replied, “it’s a good rock and roll song.”

A great blues riff opened their track, “Believe You Me.” Afterward, Starr said,”It looks like everyone feels like dancing tonight. Thank you for coming. It’s an honor and a pleasure to play music tonight with the Magpie Salute. We have a new album out. If you don’t have a copy you can get one tonight.”

During “Medicate My Mind,” the couple in front of me hung onto the guardrail and started jumping in the air, each trying to see how high they could go, so I was glad I had worn solid shoes.

“Sleeping Dogs” is a fun song they almost always perform live. At some point mid-set, they usually throw in a portion of a cover song. Usually, it’s a Led Zeppelin song, but tonight it was The Beatles‘ “Come Together.” The segue worked seamlessly with Starr finishing with their now classic: “Make no mistake, let there be no doubt/Paint me in the corner, I’ll fight my way out/The moral of the story brother, this is it/I’ll be all over you like stick on shit.”

“Run Away From It All” was followed by their ballad “Whippoorwill.” Starr wrote this song for his grandmother and now he dedicated it to their “hard-working crew.” This song really highlights Still’s piano-playing prowess.

A guy behind me kept yelling “Thank you!” as they went into “Lord Strike Me Dead.” Starr was given his acoustic guitar and said, “Hey mama!” while another guy in the audience yelled, “Sing that shit, Charlie!” “Ain’t Got The Blues” is an audience sing-a-long favorite and everyone was clapping along and “I’ll Keep Ramblin'” included a short cover of “Big River” in the middle.

“There’s still some soul and spirit here in Washington DC!”

Following the song “Sunrise in Texas,” off Like An Arrow, Blackberry Smoke went into the song “One Horse Town.”

The set ended with the title track from Like An Arrow, Charlie drew his guitar frets along the base of the mic stand like the badass he is. For the encore, Magpie Salute joined them onstage to perform Little Feat’s “Fat Man in the Bathtub.”

“Thank you for coming out on this rainy Sunday,” Starr graciously acknowledged playing what sounded like a bluesy rendition of “Amazing Grace” on his slide guitar, then going into “Ain’t Much Left of Me.” This is another song that Starr sometimes interchanges with a Zeppelin tune, but this time it was John Lee Hooker’s “I Got a Letter (This Morning)” that was the chosen track.

Throwing his pick to the audience, Starr said, “Thank you so much. God bless you!” The rain was now coming down in buckets, but everyone was on such a music high, no one even seemed to notice. I just still thought, thank goodness I wore those damn shoes.

The energy of “The Kolony Tour” is one of a kind. From start to finish. With feature sets from artists Max Styler, Ricky Remedy, Bok Nero, Quix, GrandTheft, Desiigner and more. In a recent interview with 97.1 AMP Radio, Steve promises “It’s going to be like one big ‘Rage Festʼ from beginning to end” and he and his kolony deliver flawlessly.

It’s been 3 years since Steve Aoki has toured the US. His recent album “Kolony” dropped last summer with an explosive feature listing including ILoveMakonnen, 2 Chainz, Lil Uzi Vert, Lil Yachty, Migos, Wale, and many more. Having kicked off in Washington DC, Philadelphiaʼs stunning Fillmore was the second stop of the tour.

If I was one of the biggest household DJʼs in the world, and I had spent my life crafting one of the most explosive set-lists fathomable: I wouldnʼt want any artist other than Desiigner to open for me. Desiigner didnʼt even have to speak to change the tempo of the crowd. His DJ took the stage playing Kanye’s “Freestyle 4” while dropping a couple of Desiigners notorious ad-libs (ex: tongue rolls) and the crowd went hysteric. Desiigner then took the stage with his mic, a smoke, and zebra styled fur jacket and the room exploded. From the moment he opened, staring off into the crowd, to the moment he closed performing in the middle of the crowd; the energy didnʼt drop once. He dropped monstrous hits from his 2016 album “New English” and gave hints of what to expect with his upcoming “LOD (Life of Desiigner)” album. After a half hour hypefest, he left the stage, the curtain went down, and the anticipation built.

The eager crowd chants were mixed: some chanting “Aoki, Aoki” while other sang the fight song of the newly Super-Bowl Champed Philadelphia Eagles. Either way, excitement was building. The lights go out, the music fades in, fog/confetti blast, and the curtain drops to reveal Steve in a green #11 Carson Wentz Eagles jersey.

The crowd. Goes. Wild!

Steve’s set was just under two hours. Two hours added to the already non-stop night of raging, just as he promised. For most DJ’s, filling this time slot with your own records/remixes can prove challenging. But not for Aoki. You can tell his character is not one to half-fast any aspect of his craft. He hit the crowds with an array of his own records from new club classics to remixes. Playing hits like Just hold on and Emergency (Ft Lil Jon), to new club classics like Kolony Anthem (ft ILoveMakonnen + Bok Nero), Been Ballin (Ft Lil Uzi Vert), Azukita (Ft Daddy Yankee + Play-N-Skillz + Elvis Crespo), Smoke My Dope (Ft Lil Uzi Vert) and more.

You could feel the love and connection Steve has with his fans from the back of the room to the front. The crowd consisted of everything an artist could hope to achieve in a fanbase. Young, old, and everything in between. At any given time there were groups of people heavy metal head bashing, fist pumping, dabbing, twerking and more. You could tell everyone in the venue had their own personal connection with Aoki. Every piece of tour merchandise was present in the crowd, in addition to fan signs and customized apparel.

Steveʼs performance as a DJ is unique. While other DJs stay behind the booth, Steve leaves it several times during his set. Having seen videos of him perform online, I always wondered how he did it without risking hardware malfunctions. (For those wondering – a backup DJ does, in fact, take the stage for “standby” in case anything goes wrong). This maneuver allows Aoki to really connect with his fans. He takes the front stage and performs a unique crowd control. He is not shy to rap along with the artists on his featured records and dance while splashing champagne into the crowd.

The production value of his stage for this tour is jaw-dropping. Aoki manages to cram an EDC (Electric Daisy Carnival) stage feel into a venue designed to hold around 2,000 spectators. Steve’s booth is crafted in the shape of his smiley face logo. The mouth is the booth, and two eye Xʼs dangle behind him. All shapes colorfully lit and in sync with his monstrous bangers. It’s a true spectacle for viewers. Steve kept at least a dozen champagne bottles under his table, all of which he would go on the explode into the crowd during drops of his set.It could be that I have only been to a couple EDM shows, but regardless there was no question that his stage presence syndicated and completed the futuristic environment.

Aoki has become notorious for ending his shows with cake throws. I knew it was coming, the venue knew it was coming, and every fan knew it was coming. But that didn’t affect the eruption of the room when he brought the first cake out. At least a dozen crowd members were hoisted by friends as they eagerly “sacrificed” their “Birthday” companions. What I think people weren’t prepared for, was that he had more than one cake. He threw one stage left, one stage right, and invited a fan on stage to get caked visibly in front of his 2,000 fans. He also brought Desiigner back to perform their track Mic Drop which was definitely worthy of ending the perfect rager Aoki and his Kolony had performed.

Bottom line, if you haven’t been to a Steve Aoki show; go. It’s more than a concert, it’s an experience.

(Photos by Alexander Sansalone)

After a three-year hiatus from performing, Canadian indie rock band and collective, Broken Social Scene, returned to making music to an excited fan base. They performed this past Tuesday night at The Fillmore in Philly in support of their latest release, Hug Of Thunder. The band includes a group of talented musicians to form sort of a music collective that switches up its members as their schedules allow them to be available.

The crowd varied from kids in their late teens to older adults, but everyone shared a common love for Broken Social Scene. The band stormed the stage with a purpose and broke out into one of their popular songs,, “KC Accidental”. They owned the stage and the crowd during the opening song. The instrumentation in the song was just as impactful live as it is recorded. The raging guitars, crazy tempo changes, and rhythm section were intense and satisfying.

The crazy time signature of  the song “7/4 (Shoreline)” was chaotically brilliant live, while new songs like “Halfway Home” and “Protest Song” brought Hug of Thunder to life. Lead vocalist Kevin Drew gave engaging live performances of “Fire Eye’d Boy” and “Texico Bitches” – he jumped off the stage, onto the barricade, and started greeting fans. New member Ariel Engle delivered an electrifying  vocal performance of the band’s “disco” song, “Stay Happy”.

One of the memorable moments of night was during the first three songs of Broken Social Scene’s performance. I was taking photographs of the band and Engle looked down at the photographer’s pit, waved, and mouthed ‘thank you’. It was quite a humbling experience and really got me even more excited about the band.

The band’s, perhaps, most popular track, “Sweetest Kill” [or by what Drew stated, “the people’s choice”], earned a roaring round of hollers and applause. The indie folk track, “Skyline”, was dedicated to late and great Tom Petty following his unexpected death. The band turned it up on “Almost Crimes” and changed up the arrangement of “Major Label Debut” from a ambling  tempo to a fast, upbeat tempo, giving new life to the song. Broken Social Scene  ended the 15-song set with “It’s All Gonna Break”, before the three-song encore.

The five-piece Scottish indie rock band, Frightened Rabbit, opened the show, but I only caught a small part of their set. In spite of it all, I discovered a new music interest. A little indie and maybe a touch of punk and grunge, Frightened Rabbit, clearly had an abundance of fans in the Philadelphia region, as I looked around the floor, and saw many singing along. I would describe Frightened Rabbit’s sound as indie rock on drugs. Their sound was of typical of what you’d expect from an indie rock band, but with a Scottish kick.

Initially, Broken Social Scene was a band I was introduced to through my younger sister, and first heard the track “Lover’s Spit” throughout indie rock radio stations and the blogosphere. Since that introduction, I’ve grown to love their music, and their live show was a nostalgic journey back through my middle school and high school days, and the memory of my sister sharing their music.

Mention that you’re going to a Hanson concert and you hear, “You mean those ‘MMMBop’ kids?” Yes! I mean those “MMMbop“ kids! They are not kids anymore. Now in their 30s, they are celebrating 25 years on the road- they still make and play music and have a very loyal fanbase. This was obvious from the sold out crowd at the Fillmore in Philadelphia.

In 1992 with Isaac on guitar, Taylor on lead vocals and piano, and Zac on drums, the Hanson brothers took the stage at Tulsa’s Mayfest and sang several songs a cappella. They were ages 11, 9, and 6, respectively. In 1997 they released Middle of Nowhere, putting them in the hearts of millions of (mostly) young girls. At age 15, I was one of those girls screaming in the crowds of their shows, watching everything on TV about them and postering my walls with the faces of these heart throb brothers. Hanson is still going strong, even after creating their own record label, 3 Car Garage Records, and taking the plunge of indie label life.

This past Thursday, September 28th, Hanson took the stage at the Fillmore. There were no openers and the trio played relentlessly for about two hours- a perfect 25th anniversary gift for fans. This show would mark my 38th time seeing them, which is the most times I have ever seen a band. Zac took the stage first, followed by Issac, and then Taylor. They immediately rolled right into the song “Already Home” from 2013’s Anthem and the 2500 capacity venue screamed in happiness. There was top notch energy for a good portion of the beginning of the show with other hits like their second single in 1998 “Where’s the Love”, the Ray Charles-esque “Thinking ’Bout Somethin’” from 2010, and their ode to Marilyn Monroe, “This Time Around”, from the 2000 album of the same title. Out of the 28 songs they played, songs from Middle of Nowhere were featured the most, including songs like “Look At You”, “Weird”, “Madeline” (my personal favorite), and of course the tune with sweet melodies that made them popular, “MMMBop”.

Hanson ran through the mighty setlist of some of their catchy pop tunes with a solid audio mix. They brought attention to their full-bodied vocal harmonies and the small differences between tracks. Other songs that really rocked the house were the pop-soul number “Get the Girl Back”, the love-sick ballad “Save Me”, and the swinging rock song “Hey” where Taylor gets the audience to yell Hey! along with him on the chorus. Taylor is very good at getting the audience to participate in the show. They follow along with the jumping he does on parts of “If Only”, the arm circling during the lyrics ‘…it goes round and round and round” in “Where’s the Love”, and the clapping during “Shout It Out”. Better yet, almost everyone in the place was singing along to every song. It’s also undeniable that the crowd loved every second Zac was singing because there was an incredible roar during his songs.

Throughout the show, Taylor thanked the crowd sincerely for sticking by them on their journey. He dedicated their newest single “I Was Born“ to those who were made fun of for liking Hanson. “This song is about who you wanted to be, before you had that job you have — before all the shit you have to deal with, and for those who got shit for liking Hanson,” he said.

In my many years of seeing this band, they have never disappointed in giving fun and stunning performances. I have never seen two shows the same. They switched things up by playing some songs acoustically like for “On and On” and then traded instruments on “Juliet“ where drummer Zac sang and played piano and Taylor hopped onto the drums. As a tribute to the band’s earliest days, even pre-instruments, Hanson performed a tight a cappella version of “Rockin’ Robin.” The tributes weren’t over either, as they then fired off a hat tip to Chuck Berry with “Johnny B. Goode” and closing the night out with another high energy song “Lost Without Each Other”.

Frankly, I am very proud of these guys and amazed as a fan who has grown up along with them through their career. Hanson has shown an incredible amount of growth, diversity and talent in their 25 years as a band. Even though they don’t have the same size crowds as when that first national album dropped, they have fought through the pains of high end record labels to figuring out how to survive on their own. Not only as multi talented musicians, but also as business people while continuing to please loyal fans and gaining new ones along the way.

They are always doing special events even when they are not touring. Hanson Day weekend in their hometown of Tulsa, OK caters to fan club members. At Back to the Island, you spend a week with Hanson on a Jamaican Island. So even if you miss out on the tour, there are many other ways to spend time with these creatively accomplished men. The band’s music is unapologetically old school classic rock made safe, smooth, and satisfying – like a sonic comfort blanket.

The set list:
Already Home
Waiting For This
Where’s The Love
Look At You
Tragic Symphony
Thinking ‘Bout Somethin’
Been There Before
This Time Around
Weird
Go
Madeline
Juliet
Strong Enough To Break
Penny and Me
Watch Over Me
Save Me
On and On
I Was Born
A Minute Without You
Get The Girl Back
Hey
MMMBop
If Only
Fired Up
In The City

Encore:
Rockin Robin
Johnny B Goode
Lost Without Each Other

photos by Marina Chavez

by Brittney Corridean

Wrapping up a few shows in the Austin, TX area, Philly’s own Kurt Vile had a couple minutes to chat about his upcoming NYE show at The Fillmore, the success of his latest album, and just being on the road.

“I definitely got to see my family a little more which is nice, I’m making my way back home now to spend time with them,” says Vile.

I’m not sure about you, but I think it’s an extra nice welcome that he has some time to kick it with family and then a first time performance at a newer venue in his hometown. 

In the past year, Vile completed his most recent album b‘lieve i’m goin down, which took about that long to complete. Since then he’s had his “hands in a lot of stuff” such as being featured on Pitchfork for best new album & track, guest appearing on HBO’s show Animals as a far out squirrel, collaborating with other artists such as Pat McLaughlin, Endless Boogie and plenty more…but who’s counting?

Also coming up in the New Year, Vile will be heading over to Australia. He has ventured a few times before, but this time for a solo tour. While over there he will be taking some time to collaborate with the beloved contemporary rock artist Courtney Barnett. Which fans could be quite enthralled to see what comes of it. Needless to say Vile has been quite fruitful in his artistic endeavors lately.

Even though so much is going on in his growing life of rock n’ roll, Vile remains humble and excited about his musical path. Honestly, he is pretty stoked about coming home and enjoying time with his family and old friends for a bit.

Vile grew up on music. He would listen his grandad’s records of bands like the Beatles and Creedence Clearwater Revival. As he got older, his musical palate changed, getting into Smashing Pumpkins and other grunge/indie rock bands like Dinosaur Jr. He eventually ended up touring and working with Dinosaur Jr. too.

“Philly has influenced me, but it’s hard to put into words,” states Vile on the influence of his hometown, “You grow up in this blue collar sort of industrial area that is surrounded by big city things, decaying buildings… you kind of have to live there to really understand it.”

As for his latest album, he’s enjoyed a bit of success. “It’s definitely a late night type of record that has this contemplative, takes you into outer space a little bit feel. It’s mid-tempo, kind of hypnotic,” states Vile of his work, adding that the fifth track, “Wheelhouse”, is probably his favorite.

If you weren’t able to score tickets to Vile’s upcoming NYE show, grab some ASAP. No, kidding, but if you haven’t checked him out by now, best b’lieve you should sometime soon.

The BBC took over Philly with some stellar up and coming artists from the United Kingdom last Friday night. The Foundry welcomed the BBC Music Presents tour featuring alt-rock band, Sundara Karma, indie rock/garage rock quartet Spring King, and R&B/soul songstress Izzy Bizu.

Although, I missed Bizu’s set due to unforeseen circumstances, I do recommend her latest record, A Moment Of Madness, as it is truly a work of art. I am positive her live show would have been mind blowing.

Bizu layers R&B, soul, and funk with her beautiful, sultry vocals over funky tracks like “Naive Soul”, as well as the piano-laden track “White Tiger.” Bizu is definitely an artist you want to keep an eye on.

Once I did arrive close to 9 PM, the four-piece indie/grungy rock band, Spring King, was on stage, and killing it. The crowd was sparse, but the people who were at the stage, engaging with the bands, seemed really into the music, and very energetic.

The track, “Detroit,” was a guitar heavy song that made me feel like I was at an exclusive underground indie punk show in New York City. The band’s stage presence was energetic, engaging, and reflected the type of music they play.

Spring King mentioned during their set that the Philadelphia stop at The Foundry was their fifth show on the East Coast, and that they had been instructed to eat proper cheesesteaks at Jim’s Steaks. Prior to that, they had spent a week in LA and met with Beats One DJ Zane Lowe who played their song, “City,” on his radio show.

The U.K. indie quartet, Sundara Karma, closed out the show, and opened with the track, “A Young Understanding,” ,off their latest. Loveblood EP. The crowd never wavered from their excitement for the artists with the younger set of fans showing the most excitement.

The four-piece performed the Boss-tinged track, “Olympia,” that’s filled with catchy alt pop definitely reminiscent of fellow alt rock band, Kings of Leon.

Between “Loveblood” and “Olympia,” one can’t deny the band’s influences and how solid they sound for only emerging out of the blue in 2014. A band like Sundara Karma seems as though they could compete with other synth pop, alt rock, and indie pop acts like Magic Man, Kings of Leon, and Arcade Fire.

They honestly sound like they already own the scene. Their sound may not be completely unique, but it is catchy, energetic, and engaging, perfect for any music fan that’s looking for the next indie pop act to break through and take the alternative rock genre by storm.

BBC Music chose three very different artists, but all three are definitely deserving of the recognition put forth by such a prestigious music outlet. The best thing about this tour is how the BBC was able to choose three standout acts and deliver a tour to the U.S. in order to spread the word about these incredibly talented artists. If you weren’t there, I definitely recommend heading over to iTunes, Spotify, YouTube, or wherever you consume your music, and listening to these three artists.

The Fillmore was packed with about 1,700 Elle King fans night.  There were a large faction of young girls and their moms and aunts.  The sassy Country-Rock vocalist appeals to that crowd in a big way. Natalie, a huge front-row fan and 6th grader, loves her music as featured in the Lucifer TV show and in the Ghostbusters reboot.  She had many in her camp who were anxious for the show to begin.

But first they had Texan Paul Cauthen in for his forty-minute support set.  His band began the intro and when Cauthen strolled out, I was surprised there was no applause … not even a peep.  I’ve never witnessed that before.  Tough crowd.

Well, that silence didn’t last. Cauthen had them smiling and dancing from the first notes.  His baritone is chameleon-like.  During the opener, I couldn’t help but hear a little Elvis in his voice.  Not on purpose, just naturally.  Throughout his set, I picked up styles of Merle, Johnny Cash, Toby Keith and The Highwaymen in his writing style.  Overall, as comfortable as a broken-in pair of boots.

His four-piece backing band was top-notch as well.  But Cauthen is the show.  He’s authentic, powerful and memorable.

At exactly 9:00pm, out strolled Elle King’s band fronted by an energetic trombonist getting the crowd up and at ‘em.  After a few moments of his fun Pied Piper act, he stepped back as King casually strolled out with her Solo Red Party Cup in hand and a big smile on her face.  She launched into opener “Last Damn Night” setting the mood for the night.

Almost every song had a funny and usually bawdy spoken intro, complete with potty mouth.  I envisioned young Natalie’s mom covering her ears and Natalie feeling all grown up.

King was proud to tell the audience that she lived in Philly for a time.  “It’s where I learned to skip school and to talk shit!”  About halfway through her set, she called out an audience member about texting: “Oh look, we have someone texting all night.  Yeah, that would be you.  All done?  Great … Well, welcome to our show.  Let’s begin.”  A massive round of applause.  In fact, from the balcony looking down, it was a sea of smart phone screens throughout the show.  King handled it masterfully with humor.

All of her hits were played by her crack band.  She seemed to revel in their musicianship giving them ample time to stretch out.  She was generous with Cauthen allowing him to sing “Folsom Prison Blues” while she accompanied from behind on her guitar.  She joined in the duet late in the song, giving Cauthen many props along the way.

King writes her life story.  Many of her tunes are about hard living, meeting difficult people in life and love and how she fights back.  Titles like “Good For Nothin’ Women,” “I Told You I Was Mean,” and “Chain Smokin’, Hard Drinkin’ Woman” are great examples.

It was a great evening for this unassuming, unaffected woman of the people.  Despite the fact that she was born into show business, she admirably does not trade on that, and neither will I in this review.  (I’ll bet she’ll find that refreshing!)

It was a bad ass show by a bad ass performer.