Written By: Eric Sperrazza | Photographed By: Christina Cosenza

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

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

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

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

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

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

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

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photo credit: Killian O’Neil

Written by Killian O’Neil

It had been 572 days since I had been to a real concert since the pandemic hit. Yeah, I’ve seen some acoustic sets and “drive-in” shows but nothing like I was about to witness. It had been over a year and a half that I was able to be amongst people belting out lyrics, at the top of my lungs, getting lost in the music. Not only was it my first show back, but my fourteen-year-old self was freaking out because I was on my way to see Hawthorne Heights, Senses Fail, and Bayside for their 21 Years of Bad Luck Tour.

The night kicked off with The Bomb Pops, an American punk rock band from San Diego, California. Their 20-minute set, which truthfully felt like an eternity, and the only thing I was able to make out was when she started to say “sh*t” and “f*ck” while engaging with the crowd. They sound exactly as you think they would when it comes to punk rock.

Shortly after that, it was time for Hawthorne Heights to grace the stage, and the emo began to penetrate the air. The lights dimmed and the light show began. Watching them take the stage and the crowd reacting like little children on Christmas was a beautiful thing to bear witness to. Hawthorne Heights opened with “This Is Who We Are,” which brought back every memory of teen angst I could remember.

Everyone in the band was giving 100% and more on stage and it was quite clear that they were beyond happy to finally be playing in front of real live human beings like every other living breathing musician out in the world.

Hawthorne Heights wound down the set with frontman, JT Woodruff, talking about how everyone in the crowd was about fourteen when they first started to listen to them during the years of ‘hating their parents and hating school’ and now everyone is in their thirties, having children and learning other ways of coping and now life is better.

It honestly was a crazy transition that was happening as the entire energy of the venue shifted into a time machine. It was as if at that moment, we weren’t in our late twenties or thirties, but instead, we were all scared teenagers looking for someone to understand what the hell we were going through.

photo credit: Killian O’Neil

They closed out the set with “Ohio Is For Lovers” and the entire building erupted in unison singing and chanting the lyrics everyone so dearly holds onto. Even after all these years, nobody missed a beat and the energy was high.

Twenty minutes seemed to be the magic number when it came to set breaks because, at exactly twenty minutes on the dot, Senses Fail came out.

There are far and few words in between for me to describe the next portion of the night because I was so blown away by the performance that Senses Fail put on. I wasn’t really sure what to expect because the last time I saw them I was fifteen and squashed like a sardine in a sea of people at a Taste of Chaos show. The only thing I could recall from it was that I was trying to breathe.

Boy was I pleasantly surprised, they have officially made it to the top five live performances that I have ever bared witness to. Senses Fail opened the set with “Choke On This” and from there on, I got lost in the music and emotion of it all.

Every single member of that band brought a whole different type of energy and vibe, frankly at one point I asked myself, “Is this a Senses Fail show?” James “Buddy” Nielsen, the lead singer, was going above and beyond. He reminded me of Adam Lazzara from Taking Back Sunday with everything from his stage presence to his crowd interaction. At one point during the set, he did a cartwheel across the stage and continued to belt out at the lyrics while the crowd was singing to him. Every last member of that band put on a performance that was unforgettable and jaw-dropping.

Towards the end of the set, Senses Fail went down with the sickness and click click boom and somehow rounded back to one of their own songs, it was insane, to say the least. I’m still in awe of the way they commanded the stage and cannot wait till they grace Philly again.

It was finally showtime for Bayside and I was anxiously awaiting to see what they were about to bring to the stage after what I just witnessed earlier in the night with both Hawthorne Heights and Senses Fail.

photo credit: Killian O’Neil

As Bayside came on, they opened with “Already Gone” and everyone practically lost their sh*t and went under an emo trance if I’ve ever seen one. Bayside carried different energy that night. It wasn’t anything like Hawthorne Heights or Senses Fail. It had a more subdued, low-key vibe. It was complete night and day from watching the excitement of Senses Fail and now watching Bayside perform.

The entire crowd was engaged and mesmerized, holding onto every last lyric that was being sung. The drummer, Chris Guglielmo, was killing it beyond words while the vocalist, Anthony Raneri, belted out each and every note with every ounce he had.

At one point, Raneri said, “We started a band because we were insecure and in need of validation, so thanks for helping out.” The crowd erupted into nothing but screaming and clapping. They still couldn’t hold a candle to Senses Fail from earlier that night.

When I looked up, I saw numerous people leaving while they were still on stage. In all the years of going to concerts, I have never seen so many people walk out of a venue while the headliner was still performing. I even asked someone what they thought of Bayside and the response was, “I liked their older stuff” and that was it.

Bayside is a band that is such a keystone in the “emo” community that it’s okay not to be bouncing off the walls with energy. As far as I’m concerned they’re just a better band to listen to on a record than seeing live and that is perfectly okay. All in all, this was a kick-ass show and if you can ever get out to see any of these bands, I would highly recommend it.

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On a chilly and windy Sunday night, Worcester, MA’s The Hotelier brought their tour into Philadelphia for the final night of their two and a half week trek. Along for the ride with them were tour mates Oso Oso and Alex Napping. Despite their most recent album being over one and a half years old, the basement of the First Unitarian Church was packed with fans eager to shout the lyrics of their favorite songs.

Openers for the night, Oso Oso and Alex Napping, gave proof that there is still new talent in a scene that has become increasingly crowded. Alex Napping put out Mise En Place, their most recent, on one of the top scouts of the indie music scene, Father/Daughter Records back in May. Through their handful of songs, the group demonstrated their knack for clever writing that teeters back and forth between catchy indie rock and an artful side of punk.

Oso Oso were no strangers for a good chunk of people in the crowd Sunday night. On record Oso Oso is Jade Lilitri, playing everything except drums, and Aaron Masih, who plays drums. On stage, things were filled out two additional members on guitar and bass. At the very beginning of 2017, Lilitri put out the yunahon mixtape, a fantastic record that will be one of the best under-the-radar albums of the year. Much of it was on display as Lilitri and company flowed from the likes of “reindeer games”, “the cool” and “the walk”.

It was a night that was almost left without its headliner. But thanks to some mechanic who The Hotelier later dedicated their performance to (and whose name I can’t remember), they made it just in time. Walking in just as the last opener is setting up isn’t an ideal way to end a tour, but such was the hand that was dealt. Thankfully, the situation did not dampen any spirits that night.

The set featured a mix of their 2014 breakout album Home, Like No Place Is There and the more recent Goodness, with a slight edge going towards the latter. The Hotelier started with the first two songs from Home, “An Introduction to the Album” and “The Scope of All of This Rebuilding”. This one-two punch is one of the best kickoffs to any record. It also happens to make for one of the best starts to a concert.

While Goodness shows the group maturing as songwriters, it’s still the sing-along anthems of “Your Deep Rest”, “In Framing” and the others that really got the crowd moving. This isn’t to say that the newer songs went unnoticed. Tracks like “Two Deliverances” and “Soft Animal” that shines on the album translated well when played live. The two instrumental interludes were even worked into the set.

Before ending with “End of Reel”, lead singer and bassist Christian Holden half-jokingly asked the crowd where exactly bands go during their break before the encore (this was in the basement of a church after all). After wrapping up their last song, the four huddled to the side of the stage for their “break” before coming out for one last crowd pleaser. Just as The Hotelier started with the first two tracks off Home, they ended with the last one – “Dendron”.

After the last notes of “Dendron” rang out and The Hotelier said their goodbyes, the crowd shuffled and prepared for the cold that was to follow shortly. People lingered and made their way to the front of the stage to get their selfies and chitchats in with the band members packing their instruments and gear up. Once again The Hotelier proved why they’re viewed as one of the tops in the music community that they call home.

photo credit James L Harper

by Anna Kennedy

At nine o’clock on Friday night the doors to the Voltage Lounge opened and I followed a group of music lovers into the dim-lit venue. One of the first things I noticed was a table set up on the stage with very minimal DJ equipment and a large banner with a cracked tombstone being used as a backdrop. The rest of the venue was covered in black and white balloons with sayings such as “Sad as Fuck” and “Every Nite is Emo Nite”. 

Emo Nite was started by a group of friends who; as they describe, “…throw parties for the music we love.” These events started in Los Angles and have stretched throughout the country, showcasing the alternative and emotional music that many people in their 20’s and 30’s grew up rocking out to. This group of friends has grown since then; and on Friday night I had the pleasure of meeting some of the people in this group; Jason Alexander Medina and Rocky Rinaldi. 

The party got started with Fall Out Boy and the crowd was invited on stage to dance and sing with Medina and Rinaldi. Most who joined them on stage stayed there all night and feverishly danced with Rinaldi, who was decked out in an outfit inspired by My Chemical Romance’s “Welcome to the Black Parade”.  With the crowd on the floor, on the stage, and on the upper balcony of the venue the whole night felt like a massive house party.

photo credit James L Harper

As the night continued music by Yellowcard, All Time Low, Hit the Lights, and more were bursting through the speakers. There was never a single song that the crowd didn’t sing along to with smiles on their faces, especially when Smash Mouths “Rock Stars” was played. As the song started, you could hear over the mic “This is the greatest emo song ever written.”  This seemed to confuse most in the venue, but the crowd sang along nonetheless.   

In talking with Rinaldi about how he became a part of these events, he told me about how he went to the first Emo Nite, that was held in Los Angeles, alone and how he’s been a part of the events from that day forward. “Emo Nite is about community and everyone coming together”, he said with a smile on his face.

Back down on the stage, I met up with Medina who took a moment to talk with me while controlling all the music that makes Emo Nite what it is today. Medina is a big part of the events in both Philadelphia and his own home town of Baltimore. I asked him if he focuses on bands that are from each city that he is performing in for specific events. He explained that he doesn’t; unless he’s in Philadelphia. With bands like Switchfoot, Modern Baseball, and Valencia all from the Philadelphia area, it is hard not to bring that up while on their home turf. When asked about how the show was going, Medina exclaimed: “Best Emo Nite I have ever done. Everyone is Dancing. Everyone is into it!”

That does not surprise me at all. Philadelphia fans have a lot of passion. It can be sports, music, or cheesesteaks; when we are excited you can be sure that we won’t hold back.

Emo Nite is an event that allows you to travel back in time where you first fell in love with a band that meant something to you. It is a night where you can wrap your arm around a person you have never met and feel like old friends; while singing along to all your favorite songs. The night is what you make it. If you want to go to a show to stand and watch without participating, Emo Nite may not be for you. To get the most out of this event, come prepared to dance and sing your heart out.

photo credit James L Harper

If you are from the Philadelphia area but have not yet been to an Emo Nite, I suggest picking up tickets to the next local show in Baltimore on July 14th.

All photos provided by James L Harper.

photo by Brendan O’Connor

Del Paxton is an organic indie/emo band hailing from Buffalo, NY that has been around since 2013. Their name originates from a character in the Tom Hanks movie That Thing You Do; Del Paxton is an elusive jazz pianist who embodies playing music for all the right reasons. This reflects the band’s own authentic interest and dedication to their craft and to the process of creative music. Dylan England (guitarist and vocalist), Greg McClure (drummer), and Zach Schoedel (vocalist and bassist) have been playing the same music and living in the same music scene for years.

Despite the constant familiarity, the band has evolved over the years. This is evident in their debut LP, All Day, Every Day, All Night, which is set to be released this Friday, March 3rd. The songs are typically written based off a riff from a guitar or bass with layers added subsequently. McClure and Schoedel have played together since 7^th grade and have established a strong compatibility and musical connection. Sometimes they are so in tune with each other musically that England merely plays a simple chord to fill in the space. Other times, the band messes around with a mixed meter to challenge themselves. However, lyrics are usually last.

Their previous EPs- Worst. Summer. Ever. and Split- were recorded, mixed, and mastered by Adam Korbesmeyer, whereas their new LP was done by Jay Zubricky. Although the band’s songwriting approach has remained the same, the slight nuances in the sound emanated can be attributed to the different recording philosophies Korbesmeyer and Zubricky respectively. This has resulted in different choices that can influence and alter the entire listening experience for fans.

If England could go back and alter the LP, he would have liked to add more sound clips or instrumentation, but staying true to form Del Paxton has kept the architecture of the melodies simple. England recommends “’Koolwink’ because it’s in seven and it’s about a motel…[in addition] ‘Coast to Coast AM’ is different enough from what we’d normally do.”

There’s just enough variety to keep the listener engaged. Del Paxton has managed to walk the fine line between staying true to their authentic sound as a band while challenging boundaries.

On this LP, England states, “There are certain themes we visit like traveling, seasons, memory, and youth, but it seems to me the album is more a collage comprised of our collective moments from growing up in Upstate NY.”

This LP inspires a mood of nostalgia, yet also mourning and celebration of times past and ahead. When the band recorded the album, their good friend had passed away from an overdose a few days prior to Del Paxton entering the studio. At the time, England was also in the middle of buying a house so there was a lack of focus creatively.

“It helped that we recorded live because it was therapeutic and natural for us,” he says. “It’s tough for me to hear this album and not think about that specific time but I’m really happy with how it turned out.”

It is clear that the songs are brimming with raw emotions and inspires reflection of past grief, the continual motion of time, and yet culminates in an understanding of growth. Del Paxton is not a full time band, so at times their focus is diverted. Planning is often a weakness. However, their short term goals include playing some great shows including SXSW. They hope have more new material this year as well.

“Thanks to all who support us and what we do! You can still pre order our debut full length from Topshelf records. See ya in Texas. Keep an eye on our tour schedule we’d love to hang this summer,” finishes England.

To learn more about the band and their tour schedule, visit their Facebook and bandcamp.