Written by : Nick Hopton & Photographed by Bob Linneman

There’s something about Philadelphia during the holidays. I’m talking about the ones we used to have: snow, laughter, love. We don’t get too many of those around here anymore. Times have changed. People have changed. The paradox of life is that we never really take full advantage of the moments that really mean the most as they’re happening, but rather look on them years later, knowing that they were the best of times. But for a night in December, magic once again took form. This time, it was in the form of a little rock and roll band that, despite the odds against them, took on the fucking world 20 years ago. That, despite the odds, created one of the single greatest rock and roll albums in not only Philadelphia history, but the whole damn world. And that, despite all those odds… is still here… playing that rock and roll.

Silvertide

Nick Perri, co-founder and guitar virtuoso, commanded the stage with an unmistakable electricity that took me right back to his earliest days. Twenty years might have passed, but that raw, unbridled energy still courses through his veins – now beautifully tempered by years of road-worn wisdom and masterful musicianship.

The story of Nick Perri reads like a rock and roll fairy tale – from the wide-eyed teenage prodigy lighting up Silvertide to the seasoned frontman now leading The Underground Thieves. But a few days prior to the show, he and I were able to meet up and talk about life, love, and rock and roll. Sitting across from him, years after our first time meeting under similar circumstances, it felt like time had not passed for us at all. Life might have changed around us in many ways, but he’s still the same good, honest person that I met way back then. It’s incredibly hard to hold true to oneself in this business. It can change you in ways that you never thought were possible and into someone you’re not, and unfortunately, it’s usually for the worse. But for Nick Perri… it’s about personal growth and staying real.

Five Years Gone

Five long (yet seemingly short) years ago, I was tasked with doing my first-ever interview. I would be sitting down with local legend Nick Perri at a little bar in West Chester in the days leading up to his new band, The Underground Thieves, opening for The Struts at the Fillmore Philadelphia. We walked in that day as strangers and left as friends. Crazy how life works like that sometimes. In the years since, the world has changed. A lot. But there’s one thing that is a constant: the evolution of one’s self. And as a musician, it can be a wild ride. Taking stock of that and reminiscing about the journey can remind you of just how far you’ve come.

“Well, there’s two halves to this. I would say there’s 2019 through 2023, and then there’s 2023 through today. And they’re gonna be two different answers. The first half of that would be like it was a period of exponential growth. It was like the curve was straight up because the Fillmore shows were the very first shows as Nick Perri and the Underground Thieves, where I was like ‘the front man.’ So I got to have a taste of that. I spent 20 years at that point in the music business, you know, not being the front man, and then I got to, like, BE the front person. And of course, I had an amazing band all around me. But that was like the show that I was leading, you know what I mean? And doing the majority of the singing on. And it was… it just felt so, it was like holding a bolt of lightning. It was so exciting and so great. And after that, I was literally off to the races.”

“Very early into 2020, there was already a release plan for Sun Via. I had the confidence at that point because I already had put out ‘Feeling Good.’ And the response to that song was tremendous. That song got the most excited response of anything I’ve ever put out, like going back to Silvertide. So it was like Silvertide, then everything else, then that. It was like that hearkened back to that level of excitement… which was amazing. So it was like, okay, I not only can do this, but like, I have a lot of people in my corner who also agree that I can do it. That confidence is all I needed to really hit the ground, and I just started writing. I mean, I was always writing songs, but I started, like, really just spending all my time writing, because at that point it was like someone had opened the floodgates for me and just been like, ‘Go.’”

With the popularity of songs Feeling Good and Let You Know, Sun Via felt like a launching point for Nick and his Thieves. Work began on the follow-up album, Terra Firma.

“I would say that I feel like in that moment I really did have something that I wanted to prove—not to anybody else, which is an interesting dichotomy. It wasn’t like I owed anybody anything. I felt like, to myself, I wanted to prove to myself, whether it was conscious or subconscious, that I could sort of be the artist that I always, on some levels, wanted to be. The fact that I didn’t need permission or didn’t need anybody else’s approval was just like, I was just ready to go. So that was really like leading. It was like almost this subconscious desire. And if I’m really being honest with you, I’d always wanted to. Because Show and Tell happened so early in my career, and the record was produced incredibly well, I wanted to produce a record that could stand toe to toe sonically. I didn’t want to accept that my sonic footprint happened when I was 18. I wanted to at least match it, if not beat it, now.”

And he did just that. Sonically, that album is overflowing with depth and originality. It’s a true testament to “I’m going to do this, and I’m going to do it my fucking way.” Years were spent on this record to make it as perfect as it could be. And when you listen to Terra Firma, you can feel it. Many albums now just feel thrown together, pieced up without any true soul to them. Just notes. Terra Firma is a true fucking album. A flashback to the days when albums actually mattered, not just the singles that hit the radio. But, unfortunately, the music industry has changed. And cruel realities hit now more than ever.

The music industry is no longer about the music.

“Music Is Spiritual. The Music Business Is Not.”

“I was on this high rise, and everything up until the release of Terra Firma, it was just like, even though it was a pandemic and it was a fucking weird time and it was a tough time, it was a prolific and important time in my story. A time that I’m very proud of. We ended up touring during that time more than anybody thought we could. That being said, from the time Terra Firma was completely mixed and mastered, I had it in my hands for almost a year before it actually came out. Which a lot of people don’t know. And I spent a whole year basically shopping the record and trying to find a partner to help me put the record out. I believed it was good enough, and I believed there were enough singles that could have gone to radio on the record. I’m bummed to say, and I don’t think I’ve ever talked about this publicly, but that process was like the absolute worst, most disheartening, most soul-crushing process of my entire career. I think something like 60 labels and—not just any one type, but the biggest labels to the smallest indie labels and everybody in between—had passed on the record. I had a tracker on a private link and could tell when people were opening and listening to the record. Out of 60 labels, I think only five or so listened to the record. And the rest I was turned down by because I didn’t have the TikTok numbers and Spotify numbers. I was like, my whole career I worked to be a good enough songwriter, producer, and artist to be able to produce this body of work. No 17-year-old could do Terra Firma. I’m not saying I’m the only one in the world who could do it. There’s plenty of talented, amazing people, but the depth we’re talking about and the ability to produce a record like that and write a record like that comes with time and life experience. And no, I didn’t have the TikTok numbers, but I had something that you can’t buy with numbers, which is the whole lived experience of 25 years in the record industry and being an artist, songwriter, and producer.”

Everyone gets punched in the mouth in life, either literally or metaphorically. But as the great Rocky Balboa once said…

“It ain’t about how hard you hit. It’s about how hard you can get hit and keep moving forward. How much you can take and keep moving forward. That’s how winning is done!”

Terra Firma, while not commercially successful, is a win. Nick set out to make the album that HE felt was his best work. And he accomplished that. Screw what the suits think. In the grand story of rock and roll, the powers that be have been wrong WAY more times than they have been right. This is just another instance of missing something great right in front of your face.

“I was able to service the fans who wanted it. I was able to get the record into the hands of people who wanted it, which is still a win. I was still able to sell thousands of vinyls, CDs, and cassettes and have the music reach people, for which I’m eternally grateful.”

Still…taking the hit and getting back up doesn’t make it hurt any less. That pain can sting for a long time if you let it. Sometimes, though, you just need to sit back and let life happen for a while.

“I had to take a pause. I also went through some personal stuff in my life that needed some changing. I moved across the country again, my fifth cross-country move and final. I’m dying in California. That’s it, I’m done moving. I mean, I’ll come visit, of course. Silvertide is based here, but I’m not moving back. So that being said, I’ve had a little bit of time. Time does heal. I wrote a song right before I moved that I thought was really good because I have a bar now, you know? After ‘Sunset to Sunset,’ ‘Waiting for You,’ and ‘I Want to Be Free’ and some of these other songs, I don’t want to put out songs that aren’t as good as those songs, you know what I mean? So I’m a very harsh critic of my own stuff now, which I’ve always been. It’s not like I haven’t been playing or writing. I just haven’t been pursuing it. I haven’t been actively trying to make a record. I needed a fucking break. But I did write a song that I felt like was one of my best of all time, and I felt worthy of putting the time in. I was able to pull some favors even before I was completely moved in. I was able to get into a studio in California, a really nice studio with some great friends, and was able to cut a new song, a new Thieves single with some new players on it, and it’s really fucking good. And if all goes well, it’ll be out for Valentine’s Day.”

There’s always light at the end of the tunnel. As far away as it may seem sometimes, it is there. And sometimes, that’s all we need to keep going: just a little glimmer.

“I’m gonna keep releasing singles until I feel like I have the moxie to go make another record. I think, unfortunately, that’s also the way the music business is right now. It’s single-driven, not album-driven anymore. It’s disheartening to say that, but it’s the way that you see a whole lot of things. That’s how I started The Thieves. I started it with releasing songs, gauging interest. You gauge temperature, and then you go from there. I mean, I’ve never really been one to give a fuck about what anyone else is doing. I feel like it’s the synchronicity of it. But for me, and I’m not trying to sound like an asshole, it’s just like, for me, when I feel like I have the energy and the drive, and I have something to say with a body of work that’s 10 or more songs, then I’ll make an album, whether it’s an album era or not. But it just so happens that I’m only really feeling like doing singles right now. So it works.”

“Morning Light”

In between the creation of his own music, Perri has his chops in another realm of creation: studio work. Teaming up with some of the best musicians in the world to help their visions come to life on tape. In fact, his style, demeanor, and ability have him quickly becoming one of the most sought-after session guitarists in LA.

“I have an extremely broad, eclectic taste in music. Growing up on kind of older records from the ’60s and ’70s, you know, is an obvious influence that shaped my early world. I don’t listen to guitar-driven classic rock anywhere near as much as people might think. I listen to a lot of other stuff: electronic music, pop, indie, alternative, and everything in between. And I’ve been playing multiple genres of music and styles my whole life. So I’ve jumped back into the role of session guitarist, which I’ve done at various points in my career when I’ve had time, and it so happens that I’m back in LA. When I’m in between albums and tours, I have the time, and it’s a way to make money and keep my chops up. So it’s win, win, win for everybody. Getting back into the session guitarist role this year was just so fucking easy and natural. I was getting calls to do a lot of pop. I’m playing on a ton of pop and on some big pop artist records that are coming out this year. And it was so much fun, so easy, and so great, and I got to bring my Nick Perri thing to it, you know? I also did some rock records that are sick. I feel like I was completely ready for it. I was completely ready to step in and fulfill all those roles because of my 30 years of listening to music training. I had the ear already ready to go, and it was just like step in, lock and load, and go. Execute. And I think that’s why the producers I was working with really like me. I can play in time, I can play in tune, and I was very fast. They’d be like, ‘How about that? How about this? Can you try this?’ And I was like, sure, sure, sure. You know, that’s a fucking dream. No editing and comping, no tuning, and like yep, just play it right.”

The places you’ll go. The people you meet. As I mentioned earlier, one of the first big gigs for The Underground Thieves was opening for The Struts. Through the years, a friendship blossomed between Nick and the band, one which has not only seen him fill in on guitar for them a few times… but also embarked him on a completely out-of-this-world journey. Mars, to be exact. Well, not literally Mars, but playing a residency in LA, side by side with Luke Spiller, frontman of The Struts and one of rock and roll’s greatest modern frontmen, as well as one of David Bowie’s Spiders from Mars: famed piano player Mike Garson. Together, this group would tackle the best pieces of Bowie’s catalog while throwing in some surprises as well.

“It was incredible. Luke called me, and I had seen on Instagram the last two years that he was doing shows. These kind of intimate shows at the Sun Rose on Sunset with Mike. But I didn’t really… you know how we digest things online? It’s fast, and everybody’s busy, and it didn’t really clock with me, like what was actually happening there. Then he called me, and he was like, ‘Hey, I’m gonna do my third year with Mike.’ It finally hit me. I have a story with being turned on to David Bowie. I was 16 years old, and the guys from Pepper’s Ghost—Michael, Anthony, I don’t know if Robbie was there, but it was definitely Michael and Anthony—took a young Nick Perri, 16 years old, to The Ritz in downtown Philly, and we watched the Ziggy Stardust and the Spiders from Mars concert film in a giant movie theater. And I didn’t realize that Mike Garson was in that band, and that not only was he in that band, but that he opened that show. Bowie put him out on stage first, and he opened the show, solo piano, and then played with them. And once I started putting all the pieces together and then realized that not only was he an original Spider from Mars, but had played on Rebel Rebel and Aladdin Sane and all this iconic shit, and then played on Fragile, which is my favorite Nine Inch Nails record, and did the iconic Bowie/Nine Inch Nails tour in ‘94. Fucking insane. I mean peak Nine Inch Nails, and he was there every night and played and hung out with Trent, and they played on stage together and like just mind-blowing shit. So obviously, Luke is my friend, and I’ve played with him a million times by now. He is, like you said, one of the great frontmen of our time. Once I ended up putting all the pieces together, I was very excited to do it. But nothing could prepare me for being on stage, having my eyes closed and hearing him play Life on Mars. I had goosebumps over my entire body. I was just like, this is like a once-in-a-lifetime opportunity. When I saw it on the big screen, they got to Moonage Daydream in the set. I saw Mick Ronson, and he played that iconic solo with the echoplex, and it’s like this live and on the record, it’s an incredible recording. It was a life-changing moment for me as a guitarist and as a musician to then actually be able to play that solo, and I did the Mick Ronson thing note for note. Sitting there, I was like, man, playing with THE guy, and that was full circle. I completed the loop. So very grateful for that opportunity. But we were so excited, and I think that the energy was just so uplifting and so wonderful for everybody that acknowledged how special it was. Like, these weren’t just like throwaway gigs; everybody was really into it. It meant something.”

“Son of a Preacher Man”

Rock and roll. The end-all, be-all. The religion that, no matter what race, background, or spirituality you hold, accepts all with open arms and without prejudice. Lives have been saved from hearing its prayers, written by too many prophets and missionaries to even begin to count. Hopes and dreams have been obtained by the believers simply trying to create a passage of their own. It’s a never-ending story, one that will continue long after you and I are gone. Sure, it goes through times when it’s not believed in as heavily as in years past, but there are always those who will worship at its altar. But what does it mean in our current time? What does it hold for us moving forward? Can it once again save us from ourselves?

“The whole state of the world is in such fucking disarray. I feel like the world right now, more than anything, regardless of genre, needs the spirit of rock and roll. And I feel like I’ve seen that quality in a number of artists in other genres. I feel now more than ever that the ‘spirit’ is what we’re really talking about. We desperately need renegades, and we need people who go against the status quo. More than ever, we need people to stand up for basic human rights. We need the rock and roll spirit in our modern civilization. We need the rock and roll spirit in our world, in politics, and in capitalism. We need rock and roll pioneering in all these other facets of life because everything’s become so fucked. We need some rebellion. I’m fucking ready. I’ll go march tomorrow. I am absolutely ready to challenge all this shit. I’ll tell you what, though, in the pop world… Chappell Roan is as rock and roll as you get. She is taking none of the traditional shit. She is accepting and taking none of it. You could see it when she’s on a red carpet… she doesn’t give a fuck, and it’s so refreshing. And it’s so wonderful. I feel like that spirit needs to be applied to every aspect of what we’re doing, and just because something has been a certain way for 20 years or 50 years or 100 years, it doesn’t mean that it’s working. And in a lot of cases, look at the state of the world—it’s not working. So I think that seeing her spirit and her willingness to challenge all of it and to go after even the notion of celebrity and be like, just because I’m an artist and doing something that you like doesn’t mean that you can bother me at the truck stop and ask for a picture. Just because you like my music doesn’t entitle you to that. The way that we think we can act when we see a celebrity, when we see somebody that we like a lot… And regardless of how you feel about each individual circumstance, that’s not the point. And the people who get hung up on that are missing the point. The point is, it’s okay and should be widely accepted to challenge the notions that we have in place. Because if we’re not doing that, we’re already failing at democracy. We’re already failing at the spirit of the whole country, what the whole country was founded on. So I feel like more than ever we need rock and roll everywhere.”

So many of the great bands have inner turmoil. It’s inevitable. For those of you who have not had the “joy” of playing in and being a part of a band, imagine that you were dating 4-5 people simultaneously. Everyone has to be heard and understood, feel important, and have their needs met. Also, to be held accountable for what they are or are not doing to help the relationship flourish. You are going to fight. No way around it. What really matters is how much you value each other, and the steps you are willing to take to keep things moving forward, together.

“After the ten-year anniversary, things weren’t great. The thing that makes Silvertide live is also the thing that makes Silvertide break up all the time. We always joke that we break up the most of any band. We’re always breaking up. We’ve broken up so many times that I can’t even count. It’s just really a personality thing. We all love each other, and we all are decent human beings. It’s just you put five of us in a room, and it’s very heated. But it’s the thing that makes Silvertide great. It’s also the thing that makes us very hard to work with. I’m just being honest about it. After that ten-year anniversary, I was kind of soured. I think some other people were soured, and I had no interest in talking to anybody about more shows. I mean, obviously, Walt’s my best friend, and I play with Brian all the time. But even those dynamics with those people are just different than even the dynamic with those people in Silvertide. I think because our personalities and our roles were established so young, it’s like everybody kind of falls back into what those roles were, for better or worse. It’s a touchy subject. It’s a touchy thing to get us all together and have it go well. So there was a group thread, and Kevin brought up getting together. This was right after Sun Via came out. And with all due respect to him, I just completely shut it down. There was absolutely no chance in the world I had any time to even comprehend having a discussion about Silvertide. Let’s talk again when, you know, when we get close to 20 years (of Show and Tell). I can foresee a situation where maybe we talk about celebrating the 20-year anniversary, but until then, I’m out. I’m just very honest with everybody. I don’t bullshit, I just… I try to be a nice, respectful, considerate human being, but I just say it the way it is because there’s just literally no time. Anyway, eventually, I had a conversation with Walt. For Silvertide to work, Walt and I kind of need to be aligned, or it’s kind of moot. So I just… I had a long conversation with Walt. We talked about the things that we wanted, we talked about the things that we didn’t want. We decided to talk to everybody else and gauge some temperatures. We all had a meeting, and we had to align our vision and goals because if that didn’t work, it would have also been a moot point. It would just have been like a nonstarter. So, the initial meeting that we had went well, and everybody felt good about it, so okay, things are a little bit more serious. Then we started talking about what it would look like and what shows we would play if we would play shows. Would we work on new stuff? What would we do with our time? Would we finally put merchandise online? Would we finally put Show and Tell on vinyl? All these things are floating in the air. And the answer is… we’re talking about all of them. It’s just certain things have come to fruition sooner than others. And I think that as long as… like I said to everybody else, I’m not expecting this to become my full-time job ever again. So forget about the money and like, for me, it has to be fun. It has to be rewarding in a creative and like fun way, or there’s no reason for me to do it. It shouldn’t feel like work. So we all agreed to try to the best of our abilities to keep it fun, to keep it lighthearted, and also to celebrate. I’m into the idea of celebrating the work because we did work really hard. We put our whole lives into it back then, and we made a record that we still do feel stands the test of time, both sonically and songwise. People still write us every day that week that it’s their favorite album or in their top five or their top ten. It’s all over the world. I got a guy who wrote me from Peru last night. There are some people flying here from Japan for the show. So because of all those things, I do think we have something worth celebrating. At the very least, even if shit hits the fan on December 21st… on December 20th, we’re celebrating all the work that was done leading up to it. And if we don’t kill each other and we don’t break up on the 21st, then we can look forward to more things in 2025. If I was a betting man, I would say more things were coming in 2025. As long as somebody doesn’t kill somebody else, somebody doesn’t punch somebody in the face and go to jail, which already happened. Something like this, you have to take it day by day. Plan, but don’t plan too far ahead.”

“Horizon”

Five years can feel different for many people. To some, it feels like yesterday. To others, an entire lifetime. But there is something that is not bound to our perception of time: evolution. Personally, emotionally, artistically. When we spoke last, it was a rebirth in music and life for Perri. We’ve talked about how the last five have transpired, but what about the next? Who does someone want to be? Or rather, who does someone want to become?

“I really don’t want to be anybody outside of the best version of myself as humanly possible. I’m proud of who I am. It’s taken all these years, but I finally feel pretty comfortable in this skin. I would hope that I’m a busy producer and I’m helping create multiple records a year that I’d love. I would also love to be a busy session musician who’s playing on records all year that I love, and helping other artists bring their songs to fruition through my playing and my production. I wouldn’t mind playing some festivals and playing some shows every once in a while with Silvertide guys. I wouldn’t mind being on tour every once in a while if it was the right tour and the right accommodations and the right pay, because touring is really tough and it’s not something I say yes to right away. You know, when I was in The Struts opening for Queens of the Stone Age in arenas in Canada, there was salmon catering every night and traveling in a bus and beautiful hotels, and I’m like, ‘Great, I’ll do that anytime… sign me up anytime and twice on Tuesday.’ I’m not gonna do living in the van, five people in one hotel room, sharing a bed with Brian Weaver. I’m not gonna do that anymore. I did that up until very recently. The final piece of that puzzle now for me to be fully happy and fulfilled as a musician… I have to keep making records. I have to keep putting out my own records. There’s just no other way around it. I know myself now too well to know that I can’t exclude that part. I finally feel like, as a producer, as a songwriter, I’m hitting a stride where I’m really proud of the work. It’s on a level that I feel is worthy of my time. The future for me is a balance of all those things, and I think that if I could go back in time, I would have opened myself up to doing more of that along the way this whole time. I was very tunnel-visioned, but I feel like to have given birth to that chapter and that part of my life, like you’re saying, that was kind of the start, a rebirth of creativity. The only way that I could have kind of landed in that role and concentrated hard enough to get those records out… I don’t know that it could have happened while I was doing ten other things. Certainly not Terra Firma. That was an all-consuming two years of my life. I was doing the role of twelve people on that record. All of it fell on me. We would go home from the studio, and it’s like I was then left with months of work in my studio editing, because we just kept capturing tracks. Somebody has to go through all of it. Someone has to make those creative decisions. Someone has to choose. And it’s a lot of pressure because it’s going to be that way on that record forever. So all that stuff took incredible tunnel vision. But now, I feel like I’ve figured out that the way forward is going to be more open to doing all those things, and that my career, if it’s working, is probably going to include all those things as opposed to just one aspect of it. So, in five years, I hope to sit with you and go, ‘Dude, I nailed it. I’m doing all those things. I’m busy, but I’ve got a good work-and-personal-life balance, and most importantly, I’m enjoying life.’ That’s what ultimately I want. I just want to enjoy life and be happy.”

Some stories sing louder than others. Nick Perri’s musical odyssey rings like a power chord from Hell. From the wide-eyed kid setting Philadelphia on fire with Silvertide to the seasoned soul now charting the next routes for The Underground Thieves.

Life’s melody carried him coast to coast, and though California might be his final resting place, Philadelphia’s siren song always beckons him to come back. Even if he ain’t coming home.

As I watched him on stage on that cold, snowy December night, he’s no longer just that guitar wizard of yesterday, but a complete artist painting with every color in his soul. Gone are the days of chasing his dream. He has it. The dream became reality. Now it’s just man, guitar, and truth.

Sometimes the longest road leads right back to your doorstep. Nick’s journey—from those electric nights on South Street to arena tours and back again—whispers a beautiful truth: real success isn’t about following footsteps in the sand, but about leaving your own unique mark on the world’s stage.

For Cairo Perri

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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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Written by Nick Hopton  Photographed  by Liv Foltiny

When it comes to live performances that leave a lasting impression; few artists can rival the electrifying energy and captivating stage presence of YUNGBLUD. On Friday, June 30th, Philadelphia was set ablaze as YUNGBLUD took the stage at The Met, delivering a performance that will be etched in the memories of all who were lucky enough to be in attendance. With his unique blend of punk, pop, and rap, YUNGBLUD has carved out his own unique and highly energetic space in the music industry, and his live shows are a testament to his ability to bring people together through the power of music.

At the heart of YUNGBLUD’s music is a sense of community and acceptance. With his self-styled band of outcasts known as the Black Hearts Club, YUNGBLUD has built a fanbase that is more than just a group of concert-goers. It’s a tight-knit family that embraces individuality and celebrates the diversity of all who call it home, and home is exactly what this venue became. Home for all of those who feel unaccepted by the rest of the world, the ones who don’t abide by the norms. As the lights dimmed and the crowd erupted in anticipation, it was clear that this was not just another concert. It was a gathering of like-minded souls who had found solace in YUNGBLUD’s music and message.

As the first notes of the opening song “Superdeadfriends” echoed through the venue, the energy in the room reached a fever pitch. YUNGBLUD burst onto the stage, a whirlwind of energy and charisma. Dressed in his signature attire, a striped long sleeve beneath an oversized work shirt, and sporting enormous black sunglasses, he commanded the stage with the confidence of a seasoned rockstar. He’s a modern-day mix of Mick Jagger and Sid Vicious. The crowd hangs on every word, often taking over the singing duties from him because they are THAT loud.

Throughout the night, he took the audience on a journey through his discography, showcasing the range of his musical abilities. The night truly set off on the second song of the evening, “The Funeral,” where he and the crowd connected on a level I haven’t seen in a long time. It was to the point where he put the mic down at his side and laugh at the pure emotional madness the crowd was throwing at him. His voice was nearly unable to be heard over the sea of his fans. From the rebellious anthem “Parents” to the infectious melodies of “Tissues,” each song was met with enthusiastic sing-alongs and raucous applause.

What sets YUNGBLUD’s live performances apart is his ability to forge a deep connection with his audience. As he cascaded across the stage, reaching out to touch the outstretched hands of fans in the front row, it was clear that this was more than just a performance. It was a shared experience, a moment of unity between artist and fan. The barriers between the stage and the crowd dissolved, and for a brief moment, everyone in the room was part of something bigger than themselves.

As the night drew to a close, YUNGBLUD delivered a show-stopping encore that brought the crowd together in a powerful display of unity. “Lowlife,” “Loner,” and “Machine Gun (F**K The NRA)” nearly tore the roof off the place. The room erupted in a choir of broken voices. It was a moment of pure magic as strangers became allies, their voices blending in perfect harmony.

As the final notes faded away and YUNGBLUD took his bow, the crowd erupted in thunderous applause. It was a night that would be etched in their memories forever. He had delivered a performance that went beyond mere entertainment. It was an experience that touched the hearts and souls of everyone in attendance. As the crowd spilled out onto the streets of Philadelphia, the energy and excitement lingered, a testament to the power of live music and the indelible mark that YUNGBLUD had left on their hearts.

YUNGBLUD’s concert in Philadelphia was more than just a show; it was a transformative experience. Through his dynamic stage presence, infectious energy, and powerful connection with his audience, YUNGBLUD proved once again why he is a force to be reckoned with in the music industry. His ability to bring people together, to create a sense of belonging, is a testament to the power of music. As the crowd dispersed, carrying the memories of the night with them, one thing was certain…

YUNGBLUD is the new face of the forgotten.

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Written by Nick Hopton

So here I sit at 2:08 am on a Thursday; well, it’s Friday now, but not really. 

I’ve had more than a few drinks this evening, vodka and tonics, mainly as they tend to do the trick. But as I did, a thought came across my mind, oh so close to the midnight hour. 

That holy jolt of the realization that the masters of metal’s new album had just dropped. The new era of a band that has built and influenced so much of the last 30 years of music. Are they back? Can they still be that band that everyone now, unfortunately, remembers because of an episode of Stranger Things!? Are they in their greatest hits, a purgatory era that Journey and KISS are stuck in, or do they have something left in the tank? 

Oh yes. 

Oh yes, they fucking did. 

72 Seasons?

This is Metallica’s Magnum Opus.

Metallica. 

Fucking. Metallica.

Title tracks have to rip your head off, and 72 Seasons leaves nothing left to be desired. That unmistakable chainsaw of a guitar riff screams, “We’re fucking here.” And from this point on, it’s no-holds-barred. Light the fuse, buckle up, and let’s go. “Shadows Follow” does not let up. The song takes us up a notch. Honestly, how can you get much heavier than this riff? It hits you in the head like a hammer, and you will bang your head like a hammer. A fucking killer surprise as a mean track before the MVP of this album…

“Screaming Suicide” is a new classic. This song’s foundation and overall build rivals the previous efforts of “One” and “Fade to Black,” but in a “Kill Em All” manner. It’s pure, angry, pissed-off rock and roll. Something this band has needed for years, and they found it on this track. If this is their last legendary album, this is their bookend. “Sleepwalk My Life Away” rips in with a filthy bass line…the rest of the band is just sitting behind…but then, HOLY SHIT, the second coming of the “Enter Sandman” riff takes your head off. One of those perfectly built hard-hitting rock tracks like “Sad But True” or “Fuel.” It’s just got that goddamn grit about it. 

Leading into “You Must Burn,” I figured we’d keep the speed up, but they threw me for a loop. This is the old-school flow flip that is so often forgotten. Bang your head until your neck hurts, and then keep going.

“Lux AEterna,” which happened to be the first taste we had of this album a few weeks ago, was the precursor to everything we’ve had thus far. Angry, heavy, fucking metal. The shit that they made their name on. “Crown of Barbed Wire” follows a similar build to “You Must Burn” in a somehow new but recycled view of the style. Somewhat of part 2, but never really sits to be a staple of the album. One of the few missed hits, if you can even call it that.

“Chasing Light,” the first 20 seconds, I thought, “dammit… it’s a cop-out song.” Wait until that riff kicks in, and it’s a complete restart. Metallica has always been the king of hiding a ripper in an intro, and they did it again here. Oh, and wait until the bridge, the change will kick you in the chin. Another track that I’m completely blown away with. “If Darkness Had A Son” feels like a journey through time with them. Showing all the styles they’re capable of showcasing on any given recording. Another old school headbanger that will ignite memories of tracks past.

“Too Far Gone” doesn’t change much of what we’ve heard. Does it kick ass? Absolutely. Is it more or less what we’ve heard from the previous nine tracks? Yes. That said, it’s by no means a bad song. Hell, it might end up being a single because of the style. It’s got this contagious pop feel about it. I’m sensing a trend here, as “Room of Mirrors” hits just as hard as any track before it. The song would be a #2 on any other album, but not this one. It is a perfect final chapter for this epic.

Oh, wait? There’s one more. “Inamorata” is the slowly burnt crust on top of the 5-star dish that Metallica has made with this album. A long, drawn-out musical number that brings out the song-building qualities of the band in a beautiful way. 

It’s hard to be the king. It’s even harder to stay the king. Metallica, once again, has proved that they are the kings of metal. And it will take one hell of an effort to take their throne. 

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By Nick Hopton Photographs courtesy of Bright Kelly

“Bring down that old record player we found, in that sorrow-strewn store, in that ten-dollar town,I’ll dig up something to move to, If you pour the wine”. It’s not very often that the opening lines of an album immediately draw you in and place you in a moment, not only in the life of the artist, but reminiscent of one of your own. It might not be that exact one that they sing about, but you’re moved somewhere with that familiar feeling. It’s a tough task to accomplish, but Bright Kelly has done just that. In his latest adventure entitled ‘The Quiet Ones’, Kelly is able to reignite not only the feelings of past love, but current as well. And in my conversation with him, I came to find out that love is what it’s really all about.

In a departure from his most well known musical adventure, local legends The Great Enough, Kelly created his newest piece of art out of one of the most primal natures that we all possess…necessity. What really sparked the creation of this as compared to doing another typical album? “Necessity being the mother of invention. I had no choice. The pandemic shut the band down. We all had our own individual spheres of life that couldn’t intersect safely, we couldn’t get into a room together. We tried to do the virtual way but it just didn’t work the way we wanted it to. So I had to think of a way to get some work coming in. I had this wealth of material that I was working with that I was streaming online, so I decided to narrow it down and build this EP.” 

As we sat at a restaurant in Plymouth Meeting, nursing our cocktails on a Thursday afternoon, we began talking about how these five songs were chosen. Narrowing down was not an easy task, as Kelly has hundreds of songs written in his catalogue. Trimming that down to five tracks is half the work of recording an EP. You’re essentially creating a short story out of an encyclopedia’s worth of material. “At the end of the day, it was really about living up to what I wanted the album to be, which is The Quiet Ones. It’s partly a joke and partly the truth. These are the quietest songs in my catalogue. This is my rainy day record, my sit contemplatively record, my put it on when you’re sad record. It’s mostly a place of ‘embrace your melancholy’.”

‘Shake Till The Fever Is Gone’, ‘Apocalypse Driving’, ‘Phantom Heart’, ‘Lucas, Get Up’, and ‘I Wish You The Best’, would eventually be the tracks chosen to become ‘The Quiet Ones’. Songs that built a story of love and loss, sadness and hope. This EP, clocking in at only 16 minutes in length, is a perfect ensemble of emotions that create a sense of being home, no matter where you listen. 

We continued on, catching up on the months and years since we had actually been able to see each other in person. From the first gig that we had played together at The Barbary years back with our respective bands, to now where nothing is the same as it was in the world…the little things never changed. Our mutual love for Bruce Springsteen, The Gaslight Anthem, The Replacements, and that gritty city called Philadelphia, it’s all still there and always will be. Kelly credits both Springsteen and The Gaslight Anthem’s Brian Fallon as massive influences in his storytelling and songwriting. That ability to hide the truth in plain sight. Shadowed lyrics of heartbreak told in an uplifting manner, or a love song written like a down and out hitchhiker created it. It’s a masquerade really. But out of that act, the truth eventually shines through.

    “I don’t want my music to be mess free. Mess free is so achievable now, anybody can be perfect. In the age of digital recording, anyone can make a perfect sounding record…and that makes a perfect sounding record not something I want to achieve anymore. It’s not interesting. It takes a different kind of courage to do the best you can out of the box, out of the microphone, out of the guitar…and listen back and say to yourself ‘I’ve achieved the emotional goal I wanted to, I’m going to leave this alone”.

As we began to wrap our time together up, his phone that had gone undisturbed throughout the time we spent together suddenly lit up. It was a FaceTime call from his wife and his daughter. Immediately, his face lit up like the sun on a summer day. He answered immediately, and his happiness went to the stars. In the few minutes they briefly chatted, I was able to see in his face what all of this was really about. It really was necessity. It was necessity out of love. Kelly doesn’t do all of this because he has to, he does it because he needs to. He needs to write these songs and tell these stories because it’s his way of telling the world how much his family means to him. That unconditional love that you read about in fairy tales and see in romantic movies. That’s what they have. When the rest of the world is falling apart around them, they will always have each other…and that’s all they need. The Beatles really weren’t lying when they said “All You Need Is Love”. And after seeing that short call, I truly believe it. 

The closing track on the EP, ‘I Wish You The Best’, ends with a line that resonates far beyond the song itself. With lyrics like, “I wish you the best, to go on forever like this, I wish you the best, wherever you end up going next”. I think we all need that kind of love in our life.

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Check out his first single, “Apocalypse Driving” HERE

Hailing from the great city of Philadelphia, Teyquil is an emerging artist, writer and musician extraordinaire who has just released his newest track, “Flashy”. From the moment the first notes drop, the vibe and feel bring you right back to the synth covered 80s era of pop music that, so profoundly impacted not only forthcoming musicians, but the world as a whole.

His ability to layer tracks on top of one another, in a way that enhances individual instruments rather than hide them, is a fantastic feat. And though this is very much an instrumentally driven track, the moments that his soulful voice does shine through, bring the entire piece together in a dreamy, ethereal manner.

They beckon with both angst and love, and sit in a way that is a perfect compliment to the song as whole. Speaking with Teyquil, he had this to say about his direction in creating the track: The inspiration for Flashy a lot to do with my love for the 80’s pop/new wave and dance era. Music that’s played loud in a secluded club where all the misfits hangout. That repetitive sequence in the music that keeps you moving and takes you somewhere else other than where you are in real time. I’m inspired by artists of that era. Artists like, The Cure, Depeche Mode, Thompson Twins, Devo, Kraftwerk, just to name a few.

“I’m also inspired by newer artists who produce that 80’s sound…Robyn, The Midnight, Sasha Sloan, FM 84, Tove Lo, The Night Game, Moon Child, etc.”, Teyquil mentions.

Teyquil looks forward to continuing to explore many different avenues of creative expression for many years to come. Follow him on his website and social media channels for updates on his latest projects.

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Written By Nick Hopton

Photos taken by Andy DeLuca and Jordan Hemingway

For over a decade, the English rock band Wolf Alice has been hypnotizing listeners and audiences alike with their combination of beautiful melodies and rousing musicianship. I have been listening to them for the better part of those years, and their effect on the mind and soul never ceases to feel absolutely electric. So when I had the chance to sit down with them during one of the biggest music festivals in America, Firefly Music Festival, it was an opportunity I had to immediately jump on. It’s not often you get to sit down with a band that won the Mercury Prize (beating out Arctic Monkeys, Florence + The Machine, and Noel Gallagher in 2018). Needless to say…this one felt a bit different.

The band had just flown into the States for the beginning of a roughly five-week tour, and a mid-day slot on the main stage (Firefly) was a perfect way to kick things off. I had the pleasure of sitting down with founding member and guitarist Joff Oddie and drummer extraordinaire Joel Amey for a quick chat before they kicked off. As a brief introduction to those unfamiliar with Wolf Alice and their story, I felt the question of “how did the band get together?” needed to be asked to Joff. “I met Ellie (lead singer) on the internet. I responded to an ad from someone else on a ‘Find A Bandmate’, and she responded to my reply. That was back in 2010; we started writing together and playing together…and at that point, it was fairly obvious that it was a good fit. Ellie is an incredible songwriter. We did a few open mics and whatnot, and later on, we were joined by Joel and Theo.” 

That “fit” that Joff mentioned became one of the most exciting sounds of the last decade. And while it began with simple, acoustic based tunes…it quickly evolved into much more. “There was some really exciting music coming out around that time. There was Gross Magic and a bunch of other people that were working with this grunge revival kind of stuff. So we rented a rehearsal space and some instruments to just see what would happen. And immediately, we were like, ‘this works.’ And then when the four of us got together and played, it’s like, ‘wow.’ It felt super good, and it’s just what we’ve been doing ever since.”

Creative processes in a band can sometimes be a power struggle. Especially if there are members that have been around longer than others. Sometimes it’s one person’s say over everyone else. But as Joel explained, this band collectively creates together, making them so effective in writing. “We’re all involved in these songs. We all listen to each other’s ideas and use what we all feel most excited about, the strongest about. Usually, right before we go into the studio, we’ll have a period where we’re working both on our own and together, sending things back and forth with email. Then when we’re buzzing about it, we find a producer we’ve decided to work with for these specific songs. Each time it’s unique in that way too.”

Unique is a common theme with Wolf Alice as well. Their latest EP, Blue Lullaby, is reimagining their last full-length album, Blue Weekend. Striping down the layers of their wall of sound, Wolf Alice turned their previous creations into something entirely new. “It was pretty spontaneous; let’s just try a couple of different ideas and see what happens,” Joff explains. “And it was super fun, like with ‘Feeling Myself,’ here’s this kind of weird, electronic song that turned into a kind of country, cowboy, Westward theme tune. But that’s the thing with a good song, you can render it a million different ways, but it will always be good.” While the band focuses on touring at the moment, there is nothing in the works regarding new music. But once the road ends, that usual yet unique process begins again. “We’ll lock ourselves in a room until an album falls out, and then we’ll go back out again.”

Speaking of touring, there’s a certain mystique that follows it. What goes on? What does a typical day look like for a band of their caliber? Indeed it has to be just like all the stories we’ve heard from legends, right? “I stare at a wall for 10 hours…play a show…then go back and stare at another wall for about 4 more.” Joff jokes, to which we all laugh our asses off at the thought. “It would be criminal to just sit around and do nothing.” Joel immediately responds back with. “You have rest days, of course, but it’s just so much fun touring. It depends on where you are, but even in the UK, it’s still that much fun. I think everything is back to the same excitement from when we first started touring because of everything. Yes, we will sit around and do fuck all as well, and some days it is more relaxing. But each experience is so unique.”

I always quite personally enjoy the time toward the end of interviews. By then, you have broken down the walls of the initial meeting and can just chat rather than ask/answer questions. We began talking about the shared love of Philadelphia and how they have not played it in quite some time (but very much want to). The now non-existent Trocadero was a favorite venue of theirs. And how a local Philly area contemporary artist named Alex G has become one of their favorite musicians in the world (I’m not kidding; we probably talked about Alex G more than anything else). I also have to mention two other artists…English composer Edward Elgar, who is Joff’s current musical obsession (whom he very much wants to collaborate with, even if he passed in 1934), and Joel’s friends back home in Kid Kapichi, who just recently released a new album as well. 

The band went on soon after our meet-up and did what they always do. They got on that main stage and punched a hole in the sky. And after witnessing that in person, I can assure you…they won’t be stopping anytime soon.

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Written by Nick Hopton

Photos courtesy of Firefly Festival

It was 2:30 PM on Thursday when we lined up for the gates of our heaven to open. And naturally, it was raining. Not that kind of rain that makes you huddle under cover, though. It’s the kind that washes away any stress and worries you have had in the days leading up to this moment. A cleansing, if you will. A precursor to the weekend that was about to be experienced. That reset you only get once in a blue moon. 

It’s tough to describe with words. It’s one of those things you have to be “in” to realize its impact on the mind, body, and soul. A collection of incredible artists and people dug inside a patch of woods in the middle of Dover, Delaware. A sense of community can be felt as soon as you step inside its walls. You are one with Firefly, and Fireflyis one with you. 

As the storms passed and the festivities kicked off, we were treated to thrilling mid-day acts such as late lineup addition Husbands, Philadelphia’s Mannequin Pussy, and my newfound friends, The Unlikely Candidates. The Pavilion, the unofficial dance hall of the weekend, was treated throughout the day and night by Neil Frances, San Holo, and Jamie XX. As the dusk came over The Woodlands, the Firefly Stage played host to Willow, Jungle, and our first headliner, the incomparable Halsey. Equipped with a simple yet indulgent stage design and an absolute “fuck you if you don’t like it” attitude, she single-handedly lit the night on fire and set the tone for the rest of the weekend.

After an uncharacteristically cold night (albeit refreshing to not wake up sweating like usual at a fest), Friday was undoubtedly the hottest day on the scheduled act-wise. As the gates opened at noon, hordes of fans rushed to the front of the stage to get their places for what was sure to be the weekend spectacle. The return of My Chemical Romance. But first, a slew of outstanding acts was ready to warm the stage and crowd up in preparation for the fireworks that would ensue later. Under a beautiful blue sky, we were treated to electric sets from Anna Of The North, Mod Sun, and Dayglow, knocking off any hangover cobwebs that might still be lingering from the past night. Admittedly while I wanted to see more stages and acts on Friday, the lineup at the Firefly stage was too great to walk away from. Immediately following the artists mentioned above, we were hit with a quadruple threat of nostalgia in the form of Cold War Kids, All Time Low, the punk pop queen Avril Lavigne, and Weezer. The quartet immediately shot me back to my teenage years and thousands of others. It was a great feeling to hear the music we grew up with still resonating and being belted out by the masses. 

The night grew long, and the crowd grew restless. They knew what was next—the return of a band they never thought would perform again after their breakup in 2013. At 10:50 PM, My Chemical Romance returned to the stage with thunderous roars and applause that they had the crowd in their hands for the next hour and a half. Playing hit songs from every one of their albums, along with some deeper cuts which sent the hardcore fans into a frenzy, it was everything you could have wanted in a comeback festival show (minus Vampire Money, but that’s a story for another day).

While it was hard to get past the previous day’s spectacle, Saturday was no slouch either. It promised to be just as incredible. The day started with Jagwar Twin, Sueco, and a unique late addition set from Tauk, who put together a last-minute set of Stevie Wonder and Jimi Hendrix tracks to knock the socks off the midday crowd. I took some time during the day to wander around the grounds, to take it all in. It was beautiful to see people of all backgrounds, fashion styles, and musical tastes coming together to enjoy this place as one. It didn’t matter who you were in the “real world”. Here, you’re family. Our late afternoon sets included Wolf Alice, Daisy The Great, and the brilliantly unhinged whirlwind that is Yungblud. I had never seen him before, but he gained a fan for life with the over-the-top, energetic set he put on the Firefly Stage. An absolute highlight of the weekend. We then took it down a few decibels with The Head and The Heart, followed by a ramp-up from the ever-evolving Bleachers. But the final band of the night was one that has always been about one thing. Rock and Fucking Roll. Green Day, once again, showed the tens of thousands gathered why they have been, and continue to be, one of the biggest bands in the world. With a rousing, career-spanning set, they punched a hole into the night sky and put their stamp in Firefly lore forever. Between bringing fans on stage to perform with them (big shout out to West Chester’s own Zach Marsden for playing the hell out of that guitar) and having a complete command of the crowd from start to finish, this was one set that people will never forget.

Unfortunately, Sunday had issues that were entirely out of the control of everyone involved. The threat of severe weather forced the festival to shut down for hours, ultimately losing much desired set times and bands in the process. At 7:00 PM, the crowd was still treated to amazing sets featuring T-Pain, Manchester Orchestra, Charlie XCX, and the absolute superstar headliner Dua Lipa. Every day cannot be perfect, but the staff and artists made up for the missed time with grace and professionalism. Hats off to them for keeping the last day together despite Mother Nature.

Firefly is something special in my heart, along with many others. It’s our yearly escape from the world for a few days, a chance to remember who we are and what we love. No matter the lineup or the time of year, we always look forward to it. And I can only hope that you will experience this adventure with us next year if you haven’t joined us yet. Because I can guarantee you will love it just as much as we do.

Written by Nick Hopton

Photographed by Liv Foltiny

‘Gott weiss ich will kein Engel sein’

The smell of stale beer and sweat cakes the air. It’s the end of summer in the middle of Philadelphia, and the literal hottest band in the world (sorry, KISS) is moments away from taking the stage at The Linc.

I am stuffed into the lower level, surrounded by massive, diehard fans, some of whom have traveled worldwide to see them again. The guy next to me just saw them in Canada, not more than a week ago. The fan base is unmatched by any I have seen. It’s hot out, and most are in full leather jackets and pants, eyeliner, and fishnets; some are wearing next to nothing. It’s sex, it’s all on the table here, and it’s the norm.

It’s Rammstein.

A voice comes over the speakers. “For your enjoyment…the band respectfully asks that you do not record the show.” This is the type of gig that you need to witness with your own eyes. The kind you fully immerse yourself in with no distractions. 

As the lights go down, you see the stage constructed to look like a post-apocalyptic steel mill, lighting the night sky up with enough firepower to make the 4th of July jealous. The guitars erupt, the drums bash, and for the next 2 hours, we are fucking in it. And it does not let up. 

Song after song, we are treated to a new form of visual theatre that accompanies the already masterful musical arrangements they have concocted over a nearly 30-year career. We have flaming carriages, complete with a digital hellspawn that spewed “flys” all over the crowd (it was confetti, but I’ll be damned if they didn’t sell it). A boiling pot that the keyboardist Flake performed in while lead singer Till Lindemann set it ablaze with not one but three different-sized flamethrowers. And the cannon. Ohh, the cannon that Till rides around simulating, well, use your imagination on that one. Add a few flame-spewing guitars to the mix, and you’re talking about only a fraction of the gear used in this insane stage build.

The song choices picked for this tour span their entire catalog, making for memorable moments of wonder in a Philadelphia crowd that has not experienced this spectacle live since 2012. Tracks like “ZickZack, “Sehnsucht,” and “Mein Herz brennt” get the show and crowd moving early, with absolute ragers such as “Deutschland,” “Radio,” and of course, “Du Hast” coming in later when everyone is nice and warmed up (pun intended). They end the set with “Sonne,” and the eye of the camera is then transfixed on the pit and its inhabitants while the band prepares for what’s next. Needless to say, clothes were taken off, and the entire crowd cheered. After a few minutes of fun without them, Rammstein makes their way around the sea of fans on the floor to a small side stage no more than 100 feet from where I am standing. Joined by the opening act, a dual piano act by Duo Abelard, they perform the softest song of the night,” Engel.” It’s quite a beautiful piece that deviates from the raging metal we’ve been accustomed to all evening. Every band member had a microphone, and the lyrics were displayed on the stage for all to sing along. Instead of walking back the way they came to get back to the main stage, they elect to place a few inflatable rafts on top of the crowd and “row” their way back over them, high-fiving fans and tossing guitar picks with smiles on their faces. It’s a blast had by all. They wrap up the encore with “Auslander’,” “Du riechst so gut” and “Pussy,” but they’re not done yet.

Why not a second encore? After all, this is the first time since 2012 that they have played Philadelphia, so let’s get everything we can in and send everyone home feeling fulfilled. The crowd chants “RAMMSTEIN” over and over…and they happily obliged to come out for a few more. ‘Rammstein’ and ‘Ich will’ get the rest of the pyro out of the systems, closing with a beautiful “Adieu” to send the stadium home with a smile on their faces. 

Till Lindemann ends the night with one of the only things said in the English language all night. “Thank you. We love you all.” Past that, the entire night was German. I dare you to find me another band or an act that can pack a stadium in America while not saying a word of English until the very end of the night. It’s a testament to not only the ferocity, skill, and reach of this band but also the staying power. Fans of all ages were on their feet from the opening note to the closing, singing along to a language they most likely don’t understand and loving every moment. It’s very rare to find a band of this caliber still performing at the highest level 30 years after they form, and it’s even rarer for said bands to take it to another level continually. That’s what Rammstein does. They set the bar for the most extreme stage creations and outdo themselves with every tour. 

Let’s hope the next tour isn’t another decade away because if you have not yet seen them, you need to. 

It’s raw. It’s sexual. It’s Rammstein. 

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