My dream of being able to listen to live music while sitting on comfy couches finally came to fruition this past Saturday night at The Living Room in Ardmore. I had the absolute pleasure of attending a night of music hosted by the one and only That Mag of Philadelphia. The MC for the evening was no other than Brian Cronin, the publication’s publisher. That Mag has always presented live music nights and sponsored various open mic nights in Philadelphia. Due to the pandemic, it had stopped, and this was the first artist showcase since then.

It was a cold and stormy fall night, and the rain fell in buckets. As I walked into the venue, I was greeted with a wave of warmth from inside. The lights were dim to almost a candle lit, and the seats were full. It was exactly what I hoped for, with a welcoming, intimate atmosphere. The way that the living room is set up is that the room is sectioned off into two separate sections. The room starts at the front of the stage and goes almost all of the way back, and that part is filled with couches, which is the VIP. The rest of the room is GA and filled with comfy chairs and tables to sit at and enjoy as well. Couples and people were cozied on the couches, awaiting the night’s performers.

The lineup consisted of Maria Arroyo, Nick Lombardo and The Decent OK Duo, and Pawnshop Roses. All are local musicians who have been weaving themselves throughout the Philadelphia Music scene.

Maria was first up, and she is a local singer-songwriter. While opening the show, she explained that she makes “sad girl” music. I couldn’t have been more excited because I’m the biggest emo girl at heart. Like any true artist, she turns her pain into a work of art, with her ballads of heartbreak and pain. Maria made the stage look like her home with how she commanded it. Not to mention, her song’s lyrics are relatable to anyone with a pulse. From heartbreak to taking back your power, she covers it all, and you don’t want to miss out on her powerhouse voice and runs.

Next up was Nick Lombardo and The Decent OK duo. Typically, they play as a band, but this night, they featured Nick Lombardo and his Lead Guitarist, James Gaffield. Nick would come out to MilkBoy South‘s Home Grown open mic nights before the pandemic and play there. Now he had the stage and was sharing it with his exceptionally talented Lead Guitarist James. Watching the two of them on stage was a real treat. If it wasn’t Nick belting out those lyrics, it was James countering on the guitar. I couldn’t tell if I was listening to 90’s indie music or was at a rock concert in the 70s. Either way, I was getting lost in the sound and loving every second of it.

I am looking forward to seeing them again and with a full band. If you can listen to them play live, I highly suggest it.

Last but not least, Pawnshop Roses headlined the night. A Folk-Rock band that mixes influences of bluegrass and sounds of Americana into their sound. Pawnshop Roses is a five-piece band who have nothing but a blast as they perform on stage. They have been a staple in the Philadelphia music scene for the last twenty-one years, and they continue to push out music that is uniquely their own. Their sound reminds me of if The Avett Brothers had a hard rock cousin, from how they tell a story through their music to how they sound only like themselves. One second, I was in my feels with some of the lyrics, and the next moment, my foot wouldn’t stop tapping. It’s hard to pinpoint exactly what they sound like because each song differs from the next. They are certainly in a league of their own, to say the least, I’m pretty mad I have just discovered them because they are that good. The energy the guys bring onto the stage is refreshing and rare. The band’s frontman was jumping around the entire time and feeding off the bassist living in his world while ripping away at the chords. It was a blast hearing musicians play just for the love of the music. These days, the set lists consist of newer and older songs from the last 21 years. The evening ended with the most recent digital release from The Pawnshop Roses called “Not What it Used to Be,” which is them tipping their hat at growing older and growing up and living life differently at 40 than 20.

This evening was action-packed and full of talent from start to finish. I think it is a wonderful platform,That Mag gives for local musicians. It enables them to show off their talent and continue to work towards their dream of being musicians and performing. I am eager to see when the next one happens and what is brought to the table.

Pawnshop Roses

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Nick Lombardo and the Decent OK

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Maria Arroyo

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Last September (2022) was my first time attending a show at the TLA and my first time writing a show review. Back then, I witnessed one of my favorite bands, Palaye Royale, bring their Fever Dream to Philly. This time, I was there to experience the Favorite Daze of an underrated band that’s quickly joining the ranks of my favorites — the Neon Trees.

Doors opened at 7 p.m., but my friend Stan and I made sure we got to the TLA a little bit before then so that I could pick up my credentials at the box office. At that point, there already was a line of people outside, waiting and set to rush into the venue as soon as the staff members said it was okay to do so.

Once inside the TLA, we waited for the show to begin as people made their way toward the barricade before the stage. Some remained and chatted with their friends, while others went to check out the merch stand or struck up a conversation with someone new; the latter ended up being the case for Stan since a wrestling fan recognized him and asked him about an upcoming show. Shortly after this, the house lights went out, and we were greeted by the stage lights as the first band, Silent Rival, took to the stage.

Knowing nothing about the band, I didn’t know what to expect from Silent Rival’s performance; however, it quickly became apparent that they had the energy to get things going. Between Sara Coda‘s graceful yet powerful vocals, Joz Ramirez‘s immersive guitar playing, Brock Bowers‘ precise drumming, and Yutaka Sao‘s passionate and, at times, wild bass playing (you know, the kind where he’d have the bass over his shoulders behind him while playing), Silent Rival captured the crowd’s attention. At the end of their set, Etai Abramovich (drummer of LAUNDRY DAY) joined them for their final song of the night, followed by the band expressing their thankfulness and a quick set change.

A group of young men donning school uniforms (picture Jack Black in School of Rock) bearing an emblem-style logo containing “LAUNDRY DAY” greeted the crowd. They took no time getting into their set, and after having explained how they were friends that all met in high school, their camaraderie was undeniable. They not only fed off each other’s playfulness and positive energy but also ensured each member had their moment in the spotlight. Examples of these moments included Etai Abramovich and Sawyer Nunes (vocalist, guitarist, and keyboardist) switching places on the drums and keyboard and Sawyer and Jude Lipkin (vocalist) alternating between providing the main vocals.

LAUNDRY DAY’s energy never waived at any point, either. None of the band’s members stayed still for too long, and they moved about and covered the stage. One of the best instances was when Sawyer and Henry Pearl (bassist) got together behind Jude and had their own little instrumental face-off, repeatedly cycling between leaning toward and away from each other while smiling the entire time. Their joy was infectious, and it continued to live on after their final song and thank yous as Etai, upon being handed a sign from the crowd, made sure to sign it (and possibly got his bandmates to sign it) before handing it back to its creator.

Following LAUNDRY DAY’s performance, there was one final set change. The back portion of the stage was lowered, and the dark fabric that was present the whole show thus far was replaced. As the new backdrop rose, the crowd was welcomed by a wall of magenta fabric displaying the logo of the night’s headliner — the Neon Trees.

Except for some blue lights, the stage was dark as the Neon Trees made their way out and began to play “Versions of You,” which brought about a somewhat melancholic ambiance. That particular mood didn’t stay for long, though, as the lighting changed from dark blues to a brighter and wider variety of colors while the band passionately belted out “Favorite Daze,” an upbeat, self-reflective song they released as a single over the summer.

Playing for nearly an hour and a half straight, the Neon Trees took the crowd through the eras of their music thus far. From “Animal” and “In The Next Room” to “Nights” and “New Best Friend,” their set was a carefully constructed kaleidoscope that represented them as artists. For a newer fan such as myself, you couldn’t have asked for more — and that sentiment didn’t just apply to their selection of songs.

From what I saw, it’s safe to say that each member could still express their individuality while working together. No one had to hide any part of their identity to fit into some kind of mold formed by society’s bullshit expectations. Tyler Glenn (lead vocalist) danced across the stage in a shimmering suit, swung the mic around in the air, and playfully teased the crowd here and there. Elaine Bradley (drummer), armed with rainbow earrings and a humorous graphic t-shirt, never missed a beat. Chris Allen (guitarist), dressed in black and white clothing adorned with fringe, glided through space as fabric extensions on his sleeves followed his movements, and Branden Campbell (bassist) swayed and played without losing his hat. All of this exemplified how the band embodies the notion that fully embracing yourself as an individual is just as important as being able to work together. Like the individual pieces inside of a kaleidoscope, each member of the band stood out on their own while coming together to create something truly incredible — a wonderful daze of great music, stunning showmanship, and an intimate connection Philly won’t soon forget.

Neon Trees

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Laundry Day

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Silent Rival

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Written by Liv Foltiny Photos provided by Girlie Action Media

As of this week (and to the tune of “One Week”), it’s been eight weeks since I looked at them, took their photos, and wrote about seeing them, three weeks since I agreed to give their new album a listen and critique.

Silliness aside, after photographing and reviewing the Barenaked Ladies’ show at The Met back in July, I decided I’d give reviewing their newest album, In Flight, a shot, considering how their live performance was fun, witty, and good-hearted to say the least. However, because I had never listened to any of their albums from beginning to end (until now), I didn’t honestly know what to expect.

With my laptop open and the volume up, I pressed play and was greeted by the first track, “Lovin’ Life,” a cheerful and upbeat song in which the band describes how being alive is a wonderful thing, even though life has plenty of bad moments, not just good ones. The song nicely fits into the kind of playlist you’d create to combat a shitty day. Following suit, “One Night,” the second track, carries a positive concept by encouraging people to live in the moment and indicating how taking risks is necessary sometimes. Simply put, both of these songs have the ability to put a smile on your face and, for lack of better words, exude joy.

Between this song, “What Do We Need?”, “Just Wait”, and “Waning Moon”, the band covers various topics ranging from the changes that come with getting older to wanting to be there for their loved ones and how they continue to experience life lessons. Between this song, “What Do We Need?,”  “Just Wait,” and “Waning Moon,” the band covers various topics ranging from the changes that come with getting older to wanting to be there for their loved. ones and how they continue to experience life lessons. Out of these four songs (and possibly the entire album), “What Do We Need?” was, without a doubt, the one with the hardest-hitting line: “I love it more than anything, but please make it end.” This statement follows Ed Robertson singing about how the band members leave their families to go on tour with one another and continue to grow older as the years pass. Given the order of the lines, I wasn’t sure (and still am not sure) whether the “please make it end” was directed toward one, both, or neither of these sentiments. In the case of the latter of these options, I wonder if the plea refers to the heartache that can come with having to decide whether to tour and, if so, the blunt recognition that they’ll be away from loved ones for a while.

Although a majority of the tracks following “Just Wait” (with the exception of “Wake Up”) don’t appeal to me personally, they are still put together well and continue to carry a self-reflective voice. They also have lyrics that plenty of us can relate to. Yes, I’m looking at you, “Too Old” because “I’m too old for this shit” is a comment that, regardless of its tone when spoken (i.e., joking or serious), is something that can resonate with a lot of us in some way. Lines like this, as well as the beautifully painful ones (like that line in “What Do We Need?” I referenced before), are things that make In Flight stand out and indisputably make it human.

In Flight is available now! You can check it out on your favorite streaming device or buy it directly from the band’s online store.

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When I think of the band, L7, I go right to acknowledging them as conquistadors of the Riot GRRRL movement. I think of lead singer, Donita Sparks, as one of the foundational voices of punk music, today. The first time I heard L7, they were not rock royalty yet. It was on the Major Motion Picture soundtrack of Oliver Stone‘s “Natural Born Killers” when I was introduced to them.

A hyper-violent scene in the movie saw Woody Harrelson and Juliette Lewis‘s characters, Mickey & Mallory Knox, at a roadside diner on the aptly-named highway, “Route 666.” A song cued up in a diner jukebox…a dark, garage-powered song, seemingly as violent as the movie it was playing in. The song was L7’s “Shitlist” and I watched wide-eyed while Mallory sang the words while beating the rude yokel to a pulp.

Years later, I would have the privilege of seeing L7 at the legendary Pontiac Grille in Philadelphia. As my face was melted off, properly, I found out, firsthand, that the energy of L7 and the sheer ferocity of their sound, while fun to hear in a movie, was mind-blowingly face-melting and worth every single cent of admission!

L7 was originally formed in California, in 1985. Aside from Sparks (lead vocals and guitar), the current lineup offers  (guitar, vocals), Jennifer Finch (bass, vocals), and Demetra Plakas (drums and vocals). However, it wouldn’t be until 1992 that the seminal LP, Bricks Are Heavy, would be released, giving the 90’s the unforgiving assault of singles, “Pretend We’re Dead,” “Wargasm,” and “Shitlist.”

In 2022, L7 embarked on a tour celebrating the 30th Anniversary of Bricks Are Heavy, promising attendees the entire album played, cover-to-cover. The success of this tour saw the band staying on the road into 2023, and now, L7’s In Your Space show comes to the East Coast!

On September 14th, the band will be at the famous Wonder Bar in musically-historic Asbury Park. On September 17th you can see L7 in Washinton DC at The Black Cat and on September 18th at the legendary Grammercy Theatre in New York’s East Village.

L7

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Written and Photographed by Eric Sperrazza

Earlier this year, I compiled a venerable omnibus on the history and lore of the band Ghost (You can read it here: ). Down within the rabbit hole of the macabre and sometimes silly content that Ghost leaves like breadcrumb trails for fans lies a wildly creative and ongoing story of a Rocky Horror Picture Show-like clergy and their various “Papas.” Through my deep dive into Ghost, I learned that if you listen to the band because you like the catchy pop-rock singles, you will rightfully enjoy yourself at a live show. But if you follow the band’s running mythos, you would be given all the fan service, seeing them perform live! 

On August 25th, Ghost was scheduled to perform at the Freedom Mortgage Pavilion on the Camden, N.J. Waterfront with their 2023 RE-IMPERATOUR. After spending the spring researching and putting pieces together of Ghost’s story like I was trying to solve the mystery of “The Shooter on the Grassy Knoll,” I could not pass on the opportunity to see the spectacle live.

I spent many great shows at the arena on the Camden Waterfront. I vividly remember seeing some of my favorite bands with a seat high above on the lawn among close friends and fellow musicophiles, all we could afford, being young and broke. It felt ironic and serendipitous, all at once, that I would be back professionally and sharing the joy of what was happening on that hot summer stage with new friends and musicophiles. The first thing I did see on that stage was something that should be, nay, needs to be shared with the masses. The opener, Amon Amarth!

The band hails from Stockholm County, Sweden, and insists they are melodic Death Metal, but there is no doubt they are unequivocally Viking Metal. Where would I come to such a conclusion? Barring the fact that the entirety of the content of their songs deals in Viking culture and mythology, the stage set was a giant gold Viking helmet adorned on either side by inflatable stone-looking statues of Vikings. If that was not enough to fit this band into the Nordic genre, take the fact that there were two men dressed as Vikings, swinging weapons before the crowd on either side of the stage. They did this down the set list through songs like “Ravens Flight” and “Deceiver of the Gods.” But when the band began to play “The Way of Vikings,” these two live and armed men battled on the center of the stage, much to the thrill of almost everyone in attendance. During the song “Put Your Back Into The Oar,” Hegg (lead vocalist) got the whole audience to “row” in unison as if we were launching a warship full of Berzerkers out to sea. If that wasn’t enough of a show, an inflatable serpent appeared from the side of the curtain, only for “Mjolnir,” Thor’s mighty hammer, to come down into the hands of Hegg to battle with the monster. So, in closing, one of the most entertaining stage shows I have ever seen, but don’t sell me on the fact they are not Viking Metal. I’m not buying.

After a 30-minute intermission, the lights went dark, and the sounds of an eerie soul-stirring choir began to creep through the arena and up onto the lawn. And, as if having the audience leaning into the terrifying harmony was purposeful, with a thunderous boom that would’ve startled even the toughest of Vikings in the back, the curtain fell to reveal the renowned band of Nameless Ghouls. High-stepping from the back and tearing into the song, “Kaisarion” was the one-and-only devilishly flamboyant and inimitable Papa Emeritus IV! 

As the Nameless Ghouls thrashed about, Papa sashayed from corner to corner on stage, one foot upon the stage monitoring systems and leaning toward the crowd with impetus. They collectively began a nineteen-song set list that dove into every chapter in the story of Ghost thus far.

Ghost gave the packed ticketholders in the sold-out seats and, shoulder-to-shoulder on the lawn, a cavalcade of their hits. From “Spillways to ” “Rats” and “Cirice,” The Fourth Papa of the band moved about, working the crowd in his lavish suit, like interpretive dance to the music around him. That was until the band performed the single, “Call Me Little Sunshine,” to which Emeritus crept from the back of the stage to his microphone in full papal regalia. At one point, a glass coffin was rolled onto the stage, to which two stage hands opened and resuscitated the late Papa Nihil (The first Papa in the story of Gost.) with defibrillators—out jumped a revived Nihil for a saxophone solo, only to gently fall back into his coffin and be rolled away.

The band went on performing, touching on their TikTok-trending smash, “Mary on a Cross.” Before finishing the regular set with “Respite on the Spitalfields,” Emeritus the Fourth waxed on about the band’s many visits to Philadelphia, highlighting the great Union Transfer on Spring Garden with fondness. After a failed attempt at telling us all to go home, Papa agreed to three more songs, finishing with “Kiss The Go-Goat” and the Smashes, “Square Hammer,” and “Dance Macabre.” With a swarm of confetti swirling & sparkling from the house lights, it was as if we had just witnessed magic, and with a poof of smoke, the entertainers disappeared, leaving twinkling dust in their wake.

Walking through the crowd and back to the parking lots, I had the opportunity to size up the fans in attendance. There were Ghost t-shirts as far as the eye could see and many in makeup. For every Papa Emeritus cosplay, there were just as many undead nuns and even folks dressed as The Nameless Ghouls. It felt like I was leaving a Misfits or KISS show. It felt like the kid in me was at a dark rock & roll circus once more, and that was what seeing the show live rounds out for the fan. The music is nostalgic, for sure. But the show is a homecoming to many Baby Boomers and Gen-Xers and the next generation’s first opportunity to be enveloped in the fandom of a larger-than-life band.

As for the Freedom Mortgage Pavilion, I was excited to see the venue, especially with the recent sponsorship change from BB&T. However, it didn’t feel renewed or rejuvenated. It felt old, unkept, and stale. It was as if the first time they painted and cleaned up spilled beer in the arena was the last time they painted and cleaned up spilled beer. The letdown didn’t end with the darkness of the venue. The staff seemed exasperated and put off to assist, even though the event was beginning. Worst of all, the Live Nation security presence needed to be in tune with the band security, creating confusion and confrontation. It was glaringly apparent that the new name on the sign was merely a silk bonnet on a pig.

The kid in all of us left joyful and content, happy with the memories we made and eclipsing any of the pitfalls of our surroundings. Isn’t that the promise of rock and roll from the very beginning, anyway?

Ghost

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Amon Amarth

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Written and Photographed by Liv Foltiny

Underestimating the time it would take me to walk to the venue from the parking garage, I got to The Met a few minutes after 7 p.m. and rushed in to find the opening band, del Amitri, on the third song of their set. The audience was fairly quiet yet attentive as the band performed, but that all changed later in their set. As del Amitri began to play their hit song “Roll to Me,” multiple people stood up, danced, and swayed to the music. This initial shift in the crowd’s energy was only a small taste of the energy that would overtake the crowd as the night carried on. 

After a short intermission and set change, Five For Fighting (John Ondrasik) took to the stage, opening with “America Town,” “Chances,” and “The Riddle.” A few songs later, the mood in the venue changed as the lighting on stage switched to a central spotlight, and Ondrasik took a moment to speak directly to the audience before he and his band continued with their next song, “Can One Man Save the World.” Ondrasik explained how he and his bandmates traveled to Ukraine to record the song with a Ukrainian Orchestra at the Antonov Airport, which was attacked by Putin and his forces last year. Acknowledging how every orchestra member had suffered from the war in some way (e.g., losing loved ones, having loved ones serving on the frontlines, etc.), he expressed his respect for their “fortitude.” He said being able to witness events in Ukraine brought up “every emotion you could imagine.” He then stated, “We got it good here [in the United States],” The audience applauded before sitting down at his piano to play.

While performing “Can One Man Save the World,” Ondrasik was bathed in blue and yellow lights as photos and video footage of Ukraine (including some Ondrasik and his bandmates took with their cellphones) played in the background. Airplane and airport ruins, destroyed buildings and homes, contorted vehicles, and images of local citizens were on display for everyone to see as he sang his poignant words to an audience that listened to every word.

Following “Can One Man Save the World,” Five For Fighting performed two other hits —”Superman (It’s Not Easy)” and “100 Years” — before turning to the audience. Claiming he had heard that the Barenaked Ladies‘ fans were good singers, Ondrasik led everyone in some vocal warm-ups before covering Queen’s “Bohemian Rhapsody” with his band and with help from the audience. As Five For Fighting’s set ended, the crowd was energized and ready to see their headliner. They just had to wait for the digital hourglass, which appeared onstage, to run out.

When the final digital grains of sand passed through the hourglass, everyone rushed back to their seats, and shortly after, the Barenaked Ladies took the stage. Starting their set off with “Matter of Time,” “It’s All Been Done,” and “The Old Apartment,” the Barenaked Ladies commanded the stage and got everyone up on their feet.

Standing before a vibrant backdrop bearing the band’s name, Ed Robertson (lead vocalist), exuding his self-proclaimed Muppets Show humor, exclaimed that he was happy the show was indoors, considering the band recently played an outdoor concert where he was “sweating [his]balls off.” This joking banter would pop up throughout the rest of the show, and the band even made sure to bring the audience in on jokes. At one point, they said they had been working on a new album that hasn’t been given a title yet, and, in response, a fan a few rows behind me enthusiastically shouted, “Call it Philly!” As a result, “Call It Philly” became an ongoing joke throughout the night. Between the jokes and Robertson’s “I care that you’re here” attitude, which seemed to be held by the other band members, the Barenaked Ladies created an environment filled with positivity where it felt like you were among friends.

As the band continued their set, they played various songs, including “Pinch Me,” “The Township of King,” “Loving Life,” “Big Bang Theory Theme,” and “One Week.” I don’t know whether it was because I wasn’t familiar with the band or their catalog, but I wasn’t expecting the fantastic yet hilarious medley of covers that was about to happen. Before I knew it, the band was performing “Flowers” (Miley Cyrus), which was followed by “As It Was” (Harry Styles), “TakeOn Me” (a-ha), “Climb Every Mountain” (Sound of Music), “So Long, Farewell” (Sound of Music), and “Rock of Ages” (Def Leppard). The mixture of songs was one that I would never have thought of, and its chaotic randomness brought about smiles, laughs, and cheers — with one of the biggest cheers being when Tyler Stewart (drummer) danced alongside and, subsequently, caught Jim Creeggan (bassist) who jumped into his arms.

While the medley of covers closed out the Barenaked Ladies’ set, it didn’t close out the night. Wanting to perform one more song, the Barenaked Ladies called del Amitri and Five ForFighting, back to the stage. Together, they performed a cover of “Jet Airliner” (Steve Miller Band), where every member of each band had an additional moment to shine as they all played, danced, and sang together. It was apparent that there was mutual respect between the bands as artists and friends, and this positivity and connectedness permeated the audience when the show concluded.

After the final song finished and the bands gave their thankful goodbyes, everyone left the venue. As I walked back to my car, I saw people talking together and a woman jokingly photobombing another concertgoer’s picture, so it’s safe to say that, even though the show ended, the happiness and positivity did not. If this truly was the Last Summer on Earth, like the tour title stated, at least it went out with a beautiful bang we should probably call “Philly.”

Barenaked Ladies

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Five For Fighting

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del Amitri

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Written and Photographed by Eric Sperrazza

It seemed that the kickoff to the culture shift of the 90s in entertainment, and the boundaries pushed therein, were almost exclusively a product of the west coast. While bands like Jane’s Addiction, Dramarama, and Alice in Chains were making music that broke the paradigm of rock, David Lynch was setting the stage for the future television age of X-Files and The Sopranos by giving prime time audiences a darkly surreal look into the northwest town of Twin Peaks. The world didn’t know it in 1990, but what was budding around us was about to set the tone for a resurgence of noir indy movies, alternative rock stations & festivals, and television that mirrored cinema more than the homogenized entertainment of the 80s. Even Tim Burton was cutting his teeth as a director with a severe gamble in a cinema, a superhero movie!

What if I told you, however, that there would have been no grunge music explosion in 1991 if it wasn’t for a band from Boston? Because Kurt Cobain and Nirvana dropkicked the door of mainstream radio and ushered in a revolution to the music industry norm with Smells Like Teen Spirit.

But there would have been no Smells Like Teen Spirit without The Pixies.

In 1993 Kurt Cobain told Rolling Stone Magazine that, regarding his breakout song, “I was basically trying to rip off the Pixies. I have to admit it. When I heard the Pixies for the first time, I connected with that band so heavily I should have been in that band — or at least in a Pixies cover band. We used their sense of dynamics, being soft and quiet and then loud and hard.”

The dynamics of The Pixies just being the tip of the iceberg of what an innovative and influential band The Pixies were and are to this day.

Known for their distinctive blend of post-punk, rhythm & blues, rockabilly, and abstract rock, The Pixies quickly gained attention with their sound. Each song was like listening to a garage session of an intensely artistic and emotional experience. They were slow & sultry and, without warning, hard, fast, and violent. A snapshot of its time, you could almost imagine Sherilynn Fenn sashaying away from the jukebox at the fictional Double R Diner in her saddle shoes as the cacophony of genres merged into something never heard before—all the while with the music feeling murky and messy in its delivery.

The band released their debut album, Surfer Rosa, in 1988, which received critical acclaim and established the band as a unique force in the music scene. Songs like “Bone Machine,” “Gigantic,” and “Where Is My Mind?” showcased their dynamic range and unconventional song structures.

The Pixies continued to release influential albums throughout the late 80s and early 90s. Their sophomore effort, Doolittle (1989), expanded their fan base with tracks like “Monkey Gone to Heaven” and “Debaser.” The band’s distinct combination of Black Francis’s raw vocals, Joey Santiago’s innovative guitar work, Kim Deal’s melodic bass lines, and David Lovering’s solid drumming created a signature sound that continues to inspire bands today.

Despite their critical acclaim and growing fan base, The Pixies disbanded in 1993, significantly impacting the alternative rock landscape. At that exact moment, the entirety of the music world woke up to the excellence and inspiration that was The Pixies; knee-deep in the MTV-fueled grunge rock era, they were gone. The rest of the band delved into solo passion projects. The most notable was Kim Deal, who went on to form The Breeders with her sister to much success. 

After an extended hiatus, The Pixies reunited in 2004, much to the excitement of their dedicated fan base, along with a documentary chronicling the behind-the-scenes goings on of their reformation, “Loud Quiet Loud.” 

Since then, The Pixies have gone through a minor lineup change as Kim Deal left The Pixies again to enjoy a sober lifestyle and make new music with The Breeders. Paz Lenchantin, of A Perfect Circle fame, picked up the mantle from Deal, and they continue to tour, record new music and inspire young musicians worldwide.

On June 9th, the current incarnation of The Pixies made a stop at The Met in Philadelphia along with Franz Ferdinand, an outside-the-box Scottish band that found success during the post-punk revival of the 2000s, along with such bands like The White Stripes and The Strokes. Together, they radiated the venue’s regalness and melted it to the ground, all at once.

Going into the show, I could not think of why Franz Ferdinand would be the opener to get the crowd right and ready for The Pixies; a different generation of artists, a different era of music, and maybe even a younger group of fans than could appreciate The Pixies. But during their performance, it was glaringly clear. Much in the vein of the headliner of the evening, Franz Ferdinand performed a dizzying journey through smoky buildups, explosive breakdowns, and living art with music mastery. At times, their stoic look onto the crowd felt like a forceful and deliberate delivery of their music out into the balconies, as the audio rollercoaster took the audience through songs like “Walk Away” and “The Dark of the Matinee.” And yet, with a drop of a hat, the proverbial lever is seemingly pulled, and upbeat singalongs like “Do You Want To” and “Take Me Out” remind everyone that they are having just as good of a time performing for you as you are receiving it. Franz Ferdinand wrapped up their set with a scorching live rendition of “This Fire” and a full-band participation drum solo finale.  

The Pixies wasted zero time diving in full force into the evening, opening with “Gouge Away” and onto “Bone Machine.” One of The Pixies’ favorite songs to perform, the murky abstract reincarnation song, “Caribou,” did not disappoint either, with its sultry groove curling down off the stage and into the general populous of ticketholders. The Pixies’ hit, “Monkey Gone to Heaven,” evolved with the crowd into an unlikely singalong of fans. In fact, instead of the traditional jumping, crowd surfing, or opening a pit in the general admission space, those in attendance leaned in and hung onto every note throughout a 90-minute set as if no one wanted to miss one singular inflection in the voice of Black Francis or Paz Lenchantin. 

New music from The Pixies’ recently released album, Doggerel, was peppered into the evening, showcasing songs like “Dregs of Wine” and “Haunted House.” The biggest standout of which for me was “Who’s More Sorry Now?”. But all with the same lyrical foundation you would expect from Francis, with a strong lean-in to the chops of Lenchantin’s epic bass work and her superb vocal abilities.

Francis eviscerated his acoustic guitar on one of my favorite Pixies tracks, “Vamos.” Still, the fans were led back to favorites like “Here Comes Your Man” and “Where is My Mind” (Which this humble narrator still cannot hear without seeing in my head Ed Norton and Helena Bonham Carter holding hands while staring at the financial collapse of downtown Wilmington, DE.).

The Pixies wrapped up their grandiloquent thirty-song set the same way they do many a night, with the hit, “Winterlong.” They took to the edge of the stage, hand-in-hand, and gave a gracious bow to the audience. With that, the house lights came on, and like a fever dream in Doc Martens, the night came to an ear-ringing and satisfying end. 

Driving home, I waxed on about some strong takeaways. Having never seen Kim Deal in concert, I was hesitant at first to accept Lenchantin into my heart, but as pointed out by former guitarist of 90’s local band, Bystander, Allan Viviano, “Lenchantin not only brings that driving bass of A Perfect Circle to The Pixies, and you can’t touch Deal as a songwriter, but Lenchantin seemingly has a better voice, on top of it.” I would have to concur.

Would I have liked to have heard “Debaser?” Sure. However, simultaneously, not one more song was necessary for that performance. It was a perfectly blended celebration of The Pixies. And I now know the cold hard truth – You cannot call yourself a fan of this band without seeing them give you every second of every song on all eight cylinders, at least once. It is the biggest piece of the puzzle in “getting them.”

Now, I can begin to understand The Pixies. 

 The Pixies will be at The Stone Pony Summer Stage in Asbury Park, NJ, on August 20th and The Rooftop at Pier 17 in New York, NY, on August 21st & 22nd. 

Franz Ferdinand

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The Pixies

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]]> https://thatmusicmag.com/muses-of-the-grunge-movement-the-pixies-still-reign-supreme-at-the-met/feed/ 0 https://thatmusicmag.com/the-stone-pony-summer-stage-featuring-the-used/ https://thatmusicmag.com/the-stone-pony-summer-stage-featuring-the-used/#respond Sat, 17 Jun 2023 01:13:19 +0000 https://thatmusicmag.com/?p=67881

Written by Killian O’Neil

Photographed by Bryce Hall

Could you ever imagine standing in a sea of people with rain pelting down your face and all your clothes sopping wet? Mentally, at this point, you’re starting to not only feel but resemble a wet dog. If someone told me I would experience that one day, I would say, “fuck that,” and walk away. However, that is exactly how my Monday night was spent. I had the pleasure of seeing The Used play a co-headlining tour with Pierce the Veil and Don Brocco, it wasn’t my traditional way to kick off a work week, but I dug it. 

The night was already off to a crazy start before I arrived at The Stone Pony in Asbury Park, New Jersey. Mother nature had a mind of her own that evening. The weather was calling for some gnarly storms, the type of storms that postpone shows. Truthfully, I thought they were going to cancel the concert, but it was a Rain or Shine event. When I finally got to the venue, the line for entry was wrapped around the building not once but twice. As I was walking up to the Stone Pony, a wave of 2006 nostalgia washed over me. A crowd of fishnets and studded belts was everywhere alongside a sea of black. The crowd was an even 50/50 split for fans of The Used and Pierce the Veil, and it was abundantly clear who was a fan of what. I knew that the night would be memorable for two essential factors: the first was a sold-out show, and the second was that the weather was already calling for torrential downpours, thunder, and lightning. The only ones crazy enough to stand in that climate are the die-hard fans. The air was cool and balmy, reminding me how it felt before a giant summer rainstorm. The fog was rolling in, in every direction, and it had been overcast the entire day; you could not spot the Sun anywhere in the sky. The only thing that was important was getting in and securing a solid spot in the crowd with a good view. 

Upon entering the Summer Stage, it gave the feeling of the warped tour with the metal barricades, makeshift merch tents, and black asphalt. The only thing I was concerned with was what was the best place to stand with the incoming weather. Once my spot was secure, it took little to no time for the evening to commence. First, before anything, the venue had to address the crowd with a PSA about the weather. Staff came on the Mic and gave us directions on what to do in case an evacuation occurred, how dangerous the night could potentially be, and how to be safe. After all, this makeshift outside the venue was just a bunch of metal barricades and electronics.

Don Brocco was the first band that jumped on stage around 6:15 to start the night. Personally, I have never been so entranced by an opener in my life. All you need to know is that a British man with a curly mullet and the rest of his band knows how to get down and shred. They’re a four-piece rock band out of the UK and form like seasoned Veteriny Vets. Rob, the lead singer’s vocal registry is unlike any I have ever heard in a long time; I don’t think there’s a note he couldn’t hit. I can tell you this; Don Brocco has that extra shot of star power. This isn’t the last time we will be hearing about them in the US. Once they exited the stage, there was about a 25-minute grace period until the next band came on, which typically would have been the band, girlfriends, but due to the weather, they could not play. To my surprise, Pierce the Veil came on shortly after and played. Right before they came out, the heavens opened up and decided we all needed a bath. The rain was so heavy that I couldn’t see without squinting, and my new hoodie (now being worn) was getting rung out every few minutes because of how Saturated it was with rainwater. As soon as PTV wrapped their set, their fans exited the lot, which meant it was about time for The Used. 

We were cold, we were soaking wet, and we were ready for The Used to finish out the night with a bang. The smoke went off, and the strobes started; the stage covered in pink roses and out appeared a wild Bert Mccracken center stage. Suddenly, the Intro to “Take it Away” started emulating from the speakers. Everyone erupted in unison when they heard Bert sing the first note. The crowd was singing at the top of their lungs; remember, it was still raining as the concert continued. At least now The Used was playing, so it made the rain disappear and being wet more tolerable. Bert was without shoes and roaring to talk about how it was “squishy” under his feet on stage. He also told us that he wanted to have “Unprotected sex with each and every one of us,” and that made everyone need to change their panties. Their set list for the evening consisted of all fan favorites, “The Bird and the Worm,” “I Caught Fire,” “The Taste of Ink,” “I’m A Fake,” “Pretty Handsome Adventures,” and “Box Full of Sharp Objects.” In addition, they also played two of their new songs, “Give Up and Fuck You, “which the crowd seemed to know every lyric to as well. My favorite part of the night was Bert brought up Rob Damiani from Don Brocco to do “A Box Full of Sharp Objects” with him. Bert and Rob together on stage is something that I hope to see again. They have great chemistry and complement each other very well. Rob’s screaming blends in with Bert’s singing so perfectly that you can hardly tell it’s two people doing a duet. They closed the show strong with “Pretty Handsome Awkward,” and a circle pit formed in the crowd.

There were a few hiccups during the night with the weather, but that’s what made Monday night so much fun, the unexpected. I couldn’t tell you another band I willingly would stand outside in teaming rain for, but I would do it again in a heartbeat. The Used always brings love and authentic energy to every show they play, and they can see it on stage. Tonight was yet again another one for the books.

The Used

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Don Brocco

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Pierce the Veil

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Written and Photographed by Eric Sperrazza

 These days, musician collaborations are transactional; they are strategic for pushing a single and selling an album. There was a time, however, when epic musicians got together in projects to make unforgettable grooves with their combined forces in various incarnations. From the studios to live cameos and even the legendary “Super Groups,” the footprint of a generational talent could be found, not just with any one brand or band. Dave Mason is one such generational talent. 

Mason was one of four members of the band, Traffic. Nowadays, Traffic is considered a Super Group based on the sheer marksmanship of every musician and the stellar career that followed, not just Mason, but Steve Winwood, Jim Capaldi & Chris Wood. With psychedelic sounds mixed with a blues-influenced base, Traffic is responsible for one of the most famously covered songs in rock, “Feelin’ Alright.” 

Mason would go on to take part in another amalgam of all-stars with Steve Winwood called Blind Faith that included the ferocity of jazz fusion drummer Ginger Baker and his fellow Cream bandmate, the inimitable Eric Clapton. One album and one tour would give the world for all eternity the hit “Can’t Find My Way Home.”

In between releasing solo albums and popping up on a dizzying array of album recordings, the likes of The Jimi Hendrix Experience, The Rolling Stones, and even joining Fleetwood Mac for a time, Mason stayed ever-present in any music that was worth listening to as well as a permanent fixture in pop culture. If you have ever watched shows like WKRP in Cincinnati, Young Sheldon, Mrs. Fletcher, and Crashing or seen movies like Patch Adams or The Hoax, you’ve heard Mason adding feelings and stealing any scene featuring one of his songs.

Mason celebrated his 77th birthday in May of this year by kicking off his U.S. Endangered Species Tour. Along with his battle-tested and hand-selected band, Mason’s parade of rock vibes, old and new, made a pitstop at the legendary Keswick Theatre in Glenside, Pennsylvania, on June 2nd. There, an audience with a more extensive age range than you’d think got to experience the sight and sound of a venerable sculptor of rock & roll’s pillars. 

The show opened with Tony Patler on keyboards, taking the lead on Mason’s smash hit, “Only You Know and I Know.” One of the few proud moments where Mason showcased his band throughout the night. Similarly, guitarist, Johnne Sambataro, did a stellar rendition of Blind Faith’s “Can’t Find My Way Home,” with Mason looking on proudly.

With a venerable hit-list of Traffic songs like “Medicated Goo” and “Dear Mr. Fantasy,” the grins and even the tears of those in the audience made clear that each person was being taken back to a moment in their lives by this music…or knee deep in creating one. The words of “The Low Spark of High-Heeled Boys,” “If you had just a minute to breathe, and they granted you one final wish, would you ask for another chance or something silm’lar to this?” went from being simply a lyric in a tongue-in-cheek song of drug use, to a testament of what a beautiful moment everyone was individually and collectively in. 

Mason and the band peppered in new songs like “Road Dogs,” the famous cover of Bob Dylan’s “All Along The Watchtower,” and the undeniable solo hit, “We Just Disagree.” 

After the show ended, fans lined up at a small table in the main corridor of the theatre. Although surely exhausted from the show, Dave Mason defiantly sat down and got up when he greeted, signed, or photographed every person waiting. If there was ever a moment to set as the prototype of class, it was Dave Mason being shown appreciation from his fans for over an hour onstage, and then Dave Mason returning that appreciation to every fan, individually and personally.

Of the three times I have seen Dave Mason perform over the last figteen years, this is the first time I had a chance to view his performance through the eyes of someone on the job, professionally weighing and measuring, occupationally. And although the show wasn’t as robust as maybe fifteen or even five years ago, the quality remains. Moreover, absorbing the crowd experience focuses on why we, as musicophiles, flock to participate in these live performances. To be brought back to a happy memory in time, to create a happy memory in time, or to share reciprocal gratitude with the musician facilitating these moments. It’s personal to you, yet you share it with many like-minds.

An artist like Dave Mason, his storied career is the catalyst for many moments and memories, but I found him to be still the architect of new memories to hold onto. “We Just Disagree” is a song I have loved since the first time I heard it played live in 2008. A song I found out my father loved equally as much, in real-time, during its performance at the show. An ‘arm-in-arm’ moment that I will always be taken back to when hearing it again in my life. 

The Endangered Species Tour comes to The Palace Theatre in Greensburg, Pennsylvania, on July 14th and Penn’s Peak in Jim Thorpe, Pennsylvania, on July 21st.

Tickets are available here

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Photographed by Carianne Older

“I think surrounding yourself with like-minded and supportive people is important. However, I have learned that true happiness comes from self-love, not from the love of others.” – Izza

Recently I got a chance to interview viral artist Izza about her life and career, taking a deeper dive into the importance of mental health in her life and how she uses her platform to advocate for others experiencing the same things. 

Izza is an independent pop singer/songwriter and producer from the Los Angeles area. She uses her songwriting and creative production to cope with different relationships, mental health, and other things. 

Izza has always been moved by music. “I always knew I wanted to be an entertainer,” she explains. “Growing up, I took dance classes, played piano, and loved singing. There was no greater feeling of happiness I had than when I listened to music. It wasn’t until I was 13 when I discovered songwriting and I instantly knew I wanted to pursue music as a career.”

Izza describes her music as a “combination of upbeat pop dance music and strong and confident hip-hop-inspired cadences and lyricism.” 

 “I grew up listening to late 2000s pop artists like Gwen Stefani and Fergie and loved how they worked with hip-hop-driven producers like Pharrell Williams and Will.i.am. That is an era of music I will always go back to and want to emulate in a 2023 way.”

Izza has always made a few things very clear. She wants to open up the conversation surrounding mental health and empower and inspire the younger generation of women. 

Mental health is a vast topic that contains a ton of subtopics, but to Izza, it’s an ongoing journey that she works hard to prioritize daily. As a fellow songwriter, her connection to using music as a way to channel her feelings and experiences is something I really connect with.

“I started songwriting because I had no one to talk to about my struggles,” she explains. “Being able to write about my experiences in songs has helped me overcome difficult periods in my life and has encouraged me to follow my dreams. When I’m writing a song or performing on stage, I feel the happiest. If there’s one thing in life I want is to be happy, and for me, that’s achieved when making music. Through my story, I hope I can help others if they are going through a rough time and make them feel like they are not alone.”

She also uses her production process and music videos in partnership with her songwriting to express herself and connect with listeners. 

“I try to create fun music that is meaningful because I want to write songs that are high-energy and uplifting but that also inspire people to follow their dreams and believe in themselves. By writing about my experiences of overcoming the hardships of relationships and self-discovery, I hope to be a voice for people that have maybe lost their confidence or happiness and need someone to remind them that being yourself is more than enough.”

While opening up about her struggles with mental health, she’s also an advocate for more education and compassion on the subject. She shares about a Nonprofit, Hope For The Day where they focus on mental health education and suicide prevention. She also shared the insane opportunity to perform at the 320 Festival in 2020, which was incredibly special because it was her first public performance as an artist. 

The 320 Festival came to life with the help of Talinda Bennington, the wife of the late Linkin Park singer Chester Bennington. She saw how much her husband struggled with his mental health, leading to his passing in 2017. “Ever since then, I have felt compelled to help those struggling with their mental health to normalize the conversations surrounding it and educate people on how to cope.”

“The festival was also produced by Kevin Lyman, who is someone I respect, admire, and look up to in the industry,” Izza shares with me. 

She also explains that since she’s so passionate about mental health, she continues to look for ways to be involved in related events and help spread awareness. 

As I mentioned earlier, another huge driving force for Izza is empowering the younger girls to “take charge of their lives, encourage self-love, normalize vulnerability, and motivate listeners to live their dreams and follow their dreams.”

Knowing this, I was excited to hear in her own words how she uses her platform to empower the younger generation. 

“My songs have common threads of empowerment and self-discovery, which I believe are crucial in paving the way for women to express themselves through music,” she says. “I want to be able to inspire women that you can create music that is fun and meaningful without compromising your integrity. Music is my outlet to say whatever I want to say without feeling judged or criticized, and I hope that people can use their own creative passions to do the same.”

Along with wanting to empower others, Izza takes great pride in practicing self-love and owning her vulnerability in her day-to-day life. 

“I practice self-love and vulnerability by doing the things I love, such as writing music, playing tennis, and hanging out with my friends. By making sure I prioritize these things, I know it helps me be the best version of myself.”

While inspiring listeners and fans alike, she is also determined to help pave the way for artists and women like herself in the music industry.

“From an early age, I knew I wanted my music to represent women empowerment and be a model for artists that you can say whatever you want to say without censoring your thoughts or ideas to please others.”

I always like to leave my interviews by asking what their most significant piece of advice they wish they had earlier on in life that they’d like others to take away, and this is what she had to share with me.

“My advice would be to not listen to other people because as long as you focus on becoming the best version of yourself, that’s all that matters.”

She also wants fans to remember to be themselves and follow their dreams! 

Izza also shared that she recently dropped her second EP, STARGIRL, which is available on all streaming platforms! It features songs “Going Rogue,” “Galaxy,” “X-RAY,” and three new songs.

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