There’s something special about Philadelphia’s music venues. They’re not just places to see local and touring bands – they’re a vital part of the city’s musical fabric. Philly music venues have a unique character that comes from their historic buildings, intimate settings, and passionate audiences. As passionate supporters of all things local music, our staff at ThatMag will be shining the spotlight on some local venues that have become staples of Philadelphia’s thriving music community.

Karen Lauria Saillant is the owner of the Fire, one of Philadelphia’s most revered music venues. The Fire has been a local fixture for over two decades, and it has played host to some of the city’s most talented musicians. Saillant is a passionate advocate for local music and has worked tirelessly to ensure that the Fire remains a vital part of the Philadelphia music scene. We had the chance to sit down with Saillant this past week inside her venue to discuss the Fire‘s rich history, its impact on the community, and what the future holds for this revered Philly venue staple.

ThatMag: Let’s start from the beginning – back in the ’80s before The Fire was known for what it is today, it was actually The Philadelphia Bar and Grille. What inspired you to transform it into a music venue?

Karen Lauria Saillant: My husband and I originally bought a tavern in Northern Liberties and named it The Philadelphia Bar and Grille in 1988. We did this so that he could leave truck driving and have more time to be able to attend his son’s athletic games, which was wonderful!

As for what led up to transforming it into a music venue: In 1999, my husband went into a vegetative coma trying to stop a man from attacking me and my son in front of our home in Center City. We took care of him in our home for 16 months and then he died. During that time I had to start running the Philadelphia Bar and Grille. I had cooked at the bar here and there, but I was pursuing my career as an opera singer and director, and vocal coach.

We had an adjacent room, the size of the bar, which had been our pool room. And I, with great trepidation, took out one of the pool tables and put in a tiny little stage and started bringing my singing students, who were not opera singers, there to perform. And that’s how the music venue began.

TM: The Fire has not only built a reputation as a staple of Philadelphia’s local music community but is the only female-owned venue in the city. What were some of the biggest challenges you’ve faced throughout the past 20 years as a woman in the music industry?

KLS: There have definitely been quite a few challenges and without getting into too much detail, a lot of them have been direct challenges to me as a female venue owner. I’ve had past venue partners and booking agents who’ve definitely taken advantage of my naivete and collaborative nature especially when it came to booking artists. By 2018, the situation had become so dire that I had to sell my home of 50 years in order to save The Fire. It should go without saying, but never be afraid to stand up for yourself!!!!

TM: In addition to owning The Fire, you’re also the founder of the International Opera Theater of Philadelphia, which has been putting on incredible performances in the city since 2003. What projects are you currently working on there?

KLS: Right now we’re working on what we’re calling the FLOW project, (spelled like FLOW) and we’re going to also bring that project to The Fire as well. The main goal of this project is to encourage artists and others to utilize music in FLOW as a way to take a stand against all of the violence and horrible things happening across this country right now. 

The concept of FLOW can be best explained like this: if we were all in FLOW, then we’d all be in a right-brain dominant state of mind, which is a higher consciousness that enables us to be more compassionate and understanding, and caring. If more people were ‘in FLOW’, so to speak, essentially we’d have more harmony.

We have artists from 56 countries involved, so it’ll be the most diverse opera in history. And for that reason, it’s probably the most complicated opera. We’re still putting it together. Stay tuned!

TM: How do you feel about the current state of Philadelphia’s music scene? What changes, if any, would you like to see implemented?

KLS: I have been involved with the Philadelphia music scene since I was four years old. And I was very active in the Renaissance in the Philadelphia music scene on South Street in the 70s. And the way it feels to me now, like what is it, 50 years later, is that Philadelphia [is], I believe, finally coming together as a community in the music industry. We have an organization called PIVOT, initiated by Carrie Park at World Cafe Live, and with the participation of every Philadelphia venue and we are working to support one another and help one another. So competition is not at the heart of our interactions, but rather love and caring. And I think that’s so exciting!

TM: What is your vision for The Fire and the International Opera Theater five years from now?

KLS: I hope that we can help inspire musicians to raise their consciousness. And in doing so, be able to raise the consciousness of our city. We desperately need music right now, but just not just any music, music that is inspirational, in-FLOW, and able to cultivate a culture in our city that supports harmony and balance and love and compassion for one another. And I hope that The Fire and the International Opera Theater can emulate those ideals and help share them with the world.

The project is also going to involve a custom invention called ‘The Adagio Flow Machine.’ It’s something a totally unique invention that gives the artist an opportunity to see in a concrete way where their music goes out of FLOW, and therefore make the adjustments necessary in the composition and execution of the music that will enable it to be in FLOW. James Wilson, a graduate of Temple University’s advanced composition program, the inventor of the machine (who has had the machine’s effectiveness confirmed by Joseph Kamiya, the father of neurofeedback, in a definitive study at Nova University, Fla.) said that music actually has four elements. We know it has rhythm,  it has harmony and it has melody, but it also should have FLOW. And this doesn’t just apply to classical music, all genres of music have this potential. So God has given us music and I hope that The Fire and the International Opera Theater will represent the highest values that music can offer humanity.”

Learn More About The Fire and International Opera Theater

Dante, The Opera | Philly-in-FLOW Project

Connect with The Fire

Website | Facebook | Instagram | Twitter

Connect with the International Opera Theater

Website | Facebook | Twitter

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jefff returns some reggae-inspired music with his new single, “The Fire,” out now on all platforms via Conch Town Music.

The track features Hiram Garzaro on drums; Wayne Hammond on bass; Ric Roberston on keys; Dave Hammer on slide guitar; and jefff on acoustic guitar/vocals. The track was produced by Andrew Gunning and mixed by Ian Shaw.

Hailing from local Lebanon, Pennsylvania, Jeff Clark, began playing piano at age 7, and began writing songs at 13, and studied jazz, music theory, history, and philosophy.

For three years, he fronted the Massachusetts world-beat band, Entrain, and has been based in Key West, Florida, for the last 15 years.

“I believe I am an integral part of this next level communication. I am excited by the opportunity today to explore new avenues of inspiration with regards to sweet soul music when the world needs it most, and I feel most ready when the world calls on me.”

Connect with jefff

Website | Instagram

In Fishtown, The Fire was raging with music fans Wednesday night as artists Dikembe and Weatherbox took the stage. On a scale of one to ten, the level of sweat was punk. Not just from the heat of all the bodies pulsing to the music, but from the vigor that came out of it. The first thing that I noticed walking in was that every square inch was already packed on both sides of the place, the bar and the venue. In between sets the crowd would trample in for a quick drink and then rush back out so they didn’t miss a second of the show.

First to perform was Dikembe, who actually happen to be friends of the California originated band Weatherbox. They have a very dynamic sound and while watching them perform, it was hard not to feel excited. The singer’s raspy voice definitely gives them a distinguished sound and makes you aware of their stage presence.

Before Weatherbox took the stage, you could find lead singer Brian Warren walking around the bar smiling and talking with fans. The admiration and respect on their faces during conversation was apparent and that type of interaction is always good to see when going to a show. It makes you feel a little more connected to the music and the individual members, not just a concert-goer but a true devotee.

Once they came on, within seconds of the first song the audience was moving viciously. The crowd was completely enthralled and had a vivacious energy that you were getting a taste of whether you wanted to or not. Some of the songs they played came from their new album, Flies in All Directions, which was released just this past spring. You could feel the sweat and the heat coming off these guys during the whole show which kept the momentum going throughout. At one point, the drummer was moving so fast it almost sounded like a bird flapping his wings. I was in awe.

One of the best moments during the show was when a familiar song started to play and the entire crowd chanted the chorus back; it was incredible to see and hear the audience know the words and sing it so harmoniously. You could tell that the band enjoyed seeing this happen and I’m sure for any musician that has to be a moment of complete elation and satisfaction.

Even as the show came to its end, you could still see everyone watching the stage intensely and hanging on to each note being produced. The band was completely present and gave it 110% the whole time. It was definitely a The only advice I would give to those who go see these bands perform, is be prepared for the room to come alive and wear sneakers.

The Sundrop Music and Arts Festival describes itself as “three nights and two days of the best Philadelphia music has to offer,” and, given the quality of the lineup, it’s hard to disagree. Notable headlining acts will include Leana Song, I Yahn I Arkestra, Shilpa Ray and more, in styles ranging from reggae to funk to punk and beyond. In addition, be sure to check out the vendors at the festival, including clothing from Philly Kid Grafix and Seampoets, and jewelry from Foxglove Factory. The festival offers a great way to enjoy the whole weekend in the run-up to Memorial Day. Coupled with one or two of our other event recommendations, the Sundrop Music and Arts Festival will make for a long weekend full of fun and great music.

The festival is hosted by The Fire, located at 412 W. Girard Ave, and runs from May 23rd through May 25th, kicking off on Friday night at 9:15. Although many of the sets will run late into the night, there will also be many afternoon performances on Saturday and Sunday, so get there early and stay late! If you’re 21+ and looking to see some great bands with some excellent food, beer and crafts on the side, then the Sundrop Music and Arts Festival is for you. For more information, check out the event page here, visit the festival’s Facebook page here, and follow them on Twitter at https://twitter.com/SundropFest. Most importantly, be sure to buy tickets here for only $10/night!

I first met Patrick, Kenny, and Daniel at a small show in Philly at The Fire in Northern Liberties. The band was the second act of a triple bill, and I was moderately impressed- impressed enough to grab their first album, at least. After the final act, which the band respectfully and appreciatively stayed for, I got a chance to discuss their performance and enjoy a few too many drinks with them. They’d only been together for a couple of months, but their devotion to each other and to the longevity they anticipated was impressive.

Fast forward almost four years, and I got the chance to see them again, opening for the bluegrass-oriented jam band Dangermuffin in DC. Their progression was impressive. Three-part harmonies, improved cohesiveness, and impressive lyrical and melodic guitar solos permeated the set. When I got the chance to interview Les Racquet, I immediately made the necessary arrangements.

The band is quick to describe themselves as a cohesive unit (which they are) in both playing together, and writing together. “Now when we recorded more recently, it’s been a very collaborative effort on everything.” Many of the songs on their eponymous debut, recorded shortly before I saw the band at The Fire, seemed to jump between genres within songs. I found the album a little disjointed, to be honest.

Now, Whale Hail has been receiving critical acclaim, and the band has improved their songwriting, recording quality, and general cohesiveness. I discussed this progression with Pat and Kenny. “We’re getting better. We were barely a band when we put together Les Racquet, the debut album, but we knew that if you’re going to get gigs you have to put something out. We went right into the studio to let people know where we’re at right away. I was even fantasizing the other day about going through all those old songs and rehashing them.” I would look forward to such a retrospective.

We discussed Pat’s change in guitar playing over the last few years. I pointed out that the guitar solo at the end of “Flight on Hold” in their first recording was a point of reference. There, you hear impressive technical playing- Pat shreds through the solo, but it lacks the melodic compulsion of his more recent work. As the recently departed and revered Doc Watson said, “I’m not so impressed by these guys who are great technically. You gotta keep a little of the melody in it.”

Pat was quick to agree. “Yeah, that comes with experience, and maturity, and playing a million shows a year, and realizing that the people you really respect are the ones that have the most restraint. The ones that are just tasty all the time, and never lose sight of what’s important with the song. Even though you want to be the best guitar player ever- you go so fast, your shredding, but really what’s most important is the emotional impact of that melody.”

This was a process, clearly. “There are a collection of a lot of moments. Even if I had that realization early on, it takes time to develop that in your playing. It’s not going to be a flip the switch kind of thing.”

Pat credits these moments to other bands and players. “One of them most recently was hearing Dangermuffin play. It’s like taking a deep breath. . .[Mike] doesn’t open it up until the last breath. The Heritage, who are similarly balancing jazz with other genres. They…play without ego.” Discussing influences, Pat brings up Bill Frisell, his favorite guitar player. “He is so reserved, but I just love every note.”

Les Racquet is excited about the future of their sound. As a band that is constantly getter better, I am unsurprised. “I can’t wait to get back into the studio. It’s going to be even more progress from the first to the third, that you [me] saw. I really believe that.” It had been a year between the recording of Whale Hail and the recent performance I caught, and the difference was almost as notable as that between their first album and their last.

The conversation moved from generalities to specifics, and we discussed some of the content of their lyrics. My favorite lyrics are those on “Palm Tree Night.” Lyrics such as, “I could care more about who you voted for, but I have bigger fish to fry, like does she really love me?” And “You can change the key and the time but you can’t change the blues.”  

Pat describes the situational writing of such lyrics. “It was written out on this barrier island, a completely deserted palm tree island. Nobody lives there. And we went out [there] to party all weekend, and do a bunch of ‘extracurricular activities and whatnot’ and I had a pretty soul expanding experience out there. Go crazy for the night and wake up on the beach and write about it. We were all reaching for the moon with our party. And then to wake up on the beach- washed up- hungover- and wondering what really is important.”

We also discussed “Wasting Time” (Whale Hail, as well.) For one, its a terrific example of Pats melodic, jazz-oriented soloing, Dan’s pure rhythmic drumming, and the tonal quality Kenny brings to their tunes. “We are, we are, we are all wasting time” is repeated throughout the song. Given the optimistic nature or the bands other tunes, I was really curious about where that lyric came from. Pat and Kenny discussed the “wasted time” of themselves and others.

“Anybody could look at what you’re doing and say you’re wasting time. And you’re not getting things done. . . I have high hopes. I have dreams for the sky, I wanna fly. . .you can’t claim that somebody else is less than you.” Kenny added, “You look at me, and there are different ways to look at what I do. I don’t have a college education. I don’t have a real job. And I don’t have a home. But, you talk to any number of people and they know that we are doing something worthwhile, and that’s alright.”

Once again, the band emphasized that they ARE a band. That “We all have a really unique perspective on where we come from.” That they each contribute to songs that are ‘Les Racquet’, as opposed to anyone writing individually. Everybody has their say, everybody has, you know, 33% of every song that comes out.”  

And what a band they are. They’re playing Philly on May 17th. It’s only a ten dollar cover, and worth every penny. So check out this little band from Brooklyn, and watch out for their new releases coming this fall.

The Book Of Michael, Chapter 1: Reign Maker

Reviewed by: Joe Andrew

The Book Of Michael, Chapter 1: Reign Maker is a completely new look from Levittown’s own, Mike Voss. From street battles to BET’s Freestyle Friday, the rapper has been known for his witty punch lines. This CD breaks that mold while yet staying true to his roots.

Songs like “Tarantino” and “Ghost Town” showcase Voss’s ability to write a catchy chorus, all while staying underground in his style. Any neigh-sayers who believe battle rappers can’t write hit songs will be proven wrong with this project. In fact, don’t expect to be skipping any songs like you may do on most albums. Despite only being six songs long, this EP packs a punch with every track.

The production on “Berzerker” make this song surely crazy to watch him perform live. The high energy, unique instrumental flows perfect with Voss’s delivery on his lyrics.

Listeners can be on the look out for a new music video for the single, “All Hail”, coming soon. In the meantime be sure to check out the video for “Tarantino” out now. And, also be sure to attend one of Voss’s upcoming shows: Thursday January 30th at The Fire, February 13th at WXPN’s Winter Festival also at The Fire, and February 14th at Rio in Levittown, PA.

Rating: Bad-Ass

Son of Superbia

Reviewed By: Lexi Bissonnette

Tucker Jameson’s album Son of Superbia  is a little slice of perfection in the pop/rock genre. With an unmistakable rock sound, the auto- tune of the electric guitar is a nice feature in the five-track album. With a slightly different sound in each, the soulful vocals and passionate lyrics tie the album together.

“Son of Superbia” starts off with a strong beat and passionate lyrics that easily blends into the pop drum beat in “Get Your Own F*cking Life”. It’s a great, easy track to listen to with a fun and catchy hook and upbeat sounds paired with the anguish in the lyrics. From there the final three songs take a slower direction, a little more soulful but still address common issues that people face. “Technological Warfare” is a gem with a soulful crooning of the hook ‘technological warfare’ followed by melodic guitar and drums.

Be sure to check out Tucker Jameson July 23rd at The Fire at 8:00pm in Philadelphia.

Rating: Bad-ass