In this two-part series, contributing writers and musicians Maria Arroyo and Dustin Sclafani partake, perform, and report on the Play Music Conference.  They each give us an inside look at the spectacular annual event with an artist’s perspective to attending the music education panels as well as performing on their respective nights. That Mag readers, it’s time to prepare your favorite beverage and sit down to read a real treat.

We begin Part One with singer, song writer Maria Arroyo:

“She networked her ass off and that’s why this room is full. Give it up for Maria!” – Jim Logrando, Co-founder of Play Music Conference

Hearing this had me in tears for the best event of 2023! I’ve been writing for That Mag since 2019, and in that time, I haven’t really introduced myself. Aside from being a writer, I’m a singer/songwriter from the Philly area. I moved to the city to continue furthering my music career. Being able to see this conference come to life as the first Music Conference in the City of Brotherly Love is truly something special.

I was ecstatic when getting the email confirming that I, a singer/songwriter who just started playing live shows last year, got accepted to perform Play.  I was beside myself with excitement, anticipation, and a whole lotta nerves. 

I’ve gotten pretty comfortable performing my own songs, but there’s something about knowing that the professionals who live and breathe this industry every day are going to be watching you perform that really brings those nerves to a new level.

Some industry professionals I’ve known for a couple of years are co-founders of the Play Music Conference. Brian Cronin of That Mag and Mirror Image Media, Jim Logrando of Craft Services, and Rob Schwartz of Who?Mag. This also includes speakers Lou Plaia of Sentric Publishing, and Gino Caporale of 418 Music. This even includes some speakers who I’ve heard of through the grapevine during covid but never met in person like, Fiona Bloom of The Bloom Effect, Barry Heyman of Heyman Law, and producer Steve “Me. Mig” Migliore.  All of which I finally got to meet and were all lovely. 

I say all that to say there were a lot of industry professionals speaking and attending the conference, so I always want to make the best impression I can. 

Take me out to Play Music Conference: 

Thursday night was the kickoff party at Milkboy on Chestnut. I’ve been to a handful of conferences in the past years, and the kickoff parties are always one of my favorite parts. This is because it allows artists like me to network without the pressure of the official conference with other artists and industry professionals that we get to hear speak through the weekend. The introduction at the kickoff party makes it easier for me to approach people during the conference, because we’ve already met, but in a more low-key setting. 

The kickoff party was a blast. There were a ton of artists that I got to network with, that ended up being great conference buddies throughout the weekend. The atmosphere was great and I think went off without a hitch! Throughout the night, there were performers of all types that kept the music diverse and interesting. They also had a special award ceremony for “Play Recognized Champions of Music” highlighting Dyana Williams of Influence Entertainment, councilman David Oh, talent buyer John Harris, and producer/engineer David Ivory, who continue to help music creatives in any ways they can. 

Throughout the night, everyone I spoke to agreed that this type of event in Philly was long overdue. Another similarity was everyone’s excitement to be a part of this inaugural event. All the artists that were playing, myself included, were just so grateful to share their music with others but also revel in the success and promotion of each other.

Early Friday morning (but thankfully not too early as we were out wayyyy too late the night before) was the start of the official Play Music Conference at the University of the Arts.

Their space was incredible and I really loved their support for this event. Most of the day was full of incredible panels with topics on Touring, NTFs, and Networking, to Publishing, Distribution, and Finance. They were all incredibly insightful and educating. My favorite panel on Friday had to be the “Collecting Royalties: Distribution, Publishing Admin, & Mechanical” with speakers like Jennifer Costello of JC3 Publishing, Lou Plaia, creative Tim Pattison at BMI, and others. Panels that touch on publishing and distribution are always on all conference agendas because of how important it is in making sure you’re being paid for your work, and that your work is heard. This is also one of the most confusing parts of the music industry so it can’t hurt to hear it explained to you a couple more times. 

After each panel, the speakers were able to chat and answer any questions the crowd had in a smaller, more personalized setting upstairs. It allowed conference attendees to seize their moment to talk more with speakers that really stuck out to them. 

After the panels, there was a Networking Event in the host hotel, the DoubleTree by Hilton Philadelphia Center City, who created a fantastic atmosphere for the weekend. These are always fantastic times to try to catch the speakers that you weren’t able to during the day. I was able to network with a ton of different people, one being Nikisha Bailey, global Co-chair of D&I for Women in Music. We had a great conversation about the Philadelphia music scene and I got to know more about her on a personal level, which you can’t always get during the panels. She was open and incredibly honest about her experiences and truly inspired me to keep doing what I’m doing. 

After the Networking Event, it’s music time! 

Sometimes at conferences, you run into the issue of not being able to catch everyone that you want because the venues are so spread out. Having attended countless conferences before, the Play team knew this and stayed smart by keeping all the venues within a block or two of each other. With all of the sets being 20 minutes, the short walk made it easier to catch all of the acts throughout the night.

Since I didn’t perform until Saturday, I could take Friday night to just soak in as much music as possible, which is exactly what I did. Some of my favorite acts of the night were Supreem Da Rezarekta, Sean Eric, Madison Ryan Band, Big Rick Energy, and Nitro Nitra. Their stage presence, energy, and remarkable songs made the weekend a night to remember. The other thing I loved about all these acts was their approachability after their sets. They were all just as excited as we were about their music and conference, and that always makes the connections better. The sense of community with a ton of the acts that were selected to perform was immense and really added to such an amazing atmosphere to be a part of. 

Day Two of the Play Music Conference was just as amazing as the first one! The panels of this day included talks about radio, producing, music marketing, music videos, and knowing when to need a team. I felt that they did a great job in formulating the panels so it covered a lot of different aspects of the industry that are important to know. They also chose to not have panels running at the same time. A lot of bigger conferences will have multiple panels at the same time and you have to decide which one is of more value to you, which is a tough call to make. Having one panel at a time ensures you don’t have to miss anything unless you’re just not interested in the topic. And if the interest in that particular topic wasn’t there, the speakers from the previous panel were around so you can continue that conversation. 

I really loved the Music Videos and Visuals panel as I haven’t seen a panel on this specific topic before. Speakers included Rob Schwartz, Andy Gesner of HIP Video Promo, Dwayne McCleary of Uplifted Inc, and Anthony Flores of Obie Records. They all had different paths leading to where they are now, so they were able to offer a ton of different perspectives while remaining unanimous in the fact that the visuals are an increasing importance to the music being released today. They really dove deep into the fundamentals of visuals and how they can be used in a multitude of ways to help and enhance the music you’re releasing. Another panel that I really took an interest in was Knowing When To Need A Team which had everything from a publicist and an artist manager to an entertainment lawyer. Panels like this always interest me because it shows that there are many paths to take in order to be immersed in the industry that we love, even if it’s not as an artist. Once again, Play Music Conference knocked it out of the park with its panels and speakers and really did a great job of having something for everyone attending. 

The biggest thing that stood out for me for this conference in particular was the way that the advice and tools given to us were ones that actually pertained to the level that the majority of attendees were at. Most of us attending are either just starting out, or have been in the game, but only for a short period of time. We don’t have thousands of dollars for recording, or three grand to drop for a publicist to work our music. They gave us tangible advice for the level of our journey RIGHT NOW.

There were a lot of realistic tricks and tools shared that we could implement straight away and even if some of their services were out of our price range or not right for this stage in our career.  They were upfront about it, and also provided alternatives that suited our needs, and our pockets. The speakers were all well-spoken, talented, and stayed engaged throughout the conference, which I just appreciate so much. 

After the last set of panels, most everyone headed to the last networking event before the night of music, but not me. I had to head to soundcheck for my show at O’Neals Pub, which is really where the fun began!

They were incredible and had a loaded baked potato to die for.  Soundcheck went, well, okay. Honestly, it wasn’t great but to no fault of anyone. I just get super nervous before a show, overthinking until I explode, ya know, all the things you do when you are a perfectionist. I get back to my hotel room to warm up, get ready and give myself the biggest pep talk I can. 

I should also add that through the last two nights, I’ve been talking about my show, inviting people to check me out, handing out business cards, sharing my socials, etc. All the things you do when networking with others. While there were a lot of faces I remember from other conferences, there were definitely a lot more new ones, so I want to make a great impression and hope that I’ve engaged them enough that they’ll want to check me out in person! I try not to have a high expectations of a full house because sometimes things come up, people have friends that they want to see, and sometimes, they’re just not interested. With this in mind I try not to worry about who will/won’t be there. You have to put on a great show either way.

Fast forward: Back to O’Neal’s

That room, from the front of the stage to the end of the bar, was PACKED. Packed with all the people I invited, packed with those people telling OTHER people about me and them wanting to check me out for themselves. It hit me. “Maria, you are about to perform your first packed show full of music industry professionals and artists,” and my heart couldn’t be racing faster.

I try my best to settle my nerves, but it’s hard. I want to put on a great show. I want everyone to enjoy coming to listen to me, but I always think about the worst-case scenario. Luckily, I had a ton of day-ones on my side. The entire Big Fat Meanies band was there to support me, all of whom I went to college with and are the best cheerleaders,  and my fiance,who is truly my biggest fan, was there so I knew that even IF my worst-case scenario of “everyone is going to hate me” was true, I at least knew these guys didn’t. 

It’s now 8:10 pm and the biggest knot has formed in my stomach. I get on stage and start setting up. I look out and pinpoint my day-ones. My fiance, Todd, is in the back corner, just in eyesight where I need him, and BFM is in the other corner. My other cheerleaders, who I actually met at ANOTHER conference, Elle Taranis and Pepe were front-row recording for me. 

Showtime!

I sing my final song, and the loudest applause erupts from the crowd. I have absolutely put on the best show to date and I couldn’t be prouder of myself. I sang and sounded great, I didn’t fuck up the chords, and I really gave it my all. I said my thank yous and was about to head off the stage when the co-founder of Play Jim Logrando jumps on stage and hugs me and tells me what an amazing job I did. He looks to the crowd and says “This room is packed. She networked her ass off and that’s why this room is full. Give it up for Maria.”

This had me in tears. All my hard work of fiercely networking and creating relationships paid off in ways that I will never forget. I got off stage, and with the help of my friends tore down my set, and then got to enjoy the rest of the night knowing that I left it all on O’Neal’s stage. I spent the rest of the night on cloud nine knowing that this rush of adrenaline and excitement is what makes all the nerves worth it. We spent the rest of the night listening to some fantastic artists like Minerva, Big Fat Meanies, Shame Penguin, and so many more. This was truly a weekend to remember. 

Final thoughts

If you’re just starting out in your music career or you’re a seasoned vet, go to the music conference. You can’t learn enough, and this industry changes every day. The friends and people you met? You remember them for a long time and already looking forward to the next get-together. 

The inaugural Play Music Conference was definitely one of the biggest wins for 2023, and the sky is the limit with them. I know they are going to step it up even MORE for 2024. 

You can see Maria Arroyo perform this weekend at the “Women Against Abuse” Benefit Show on Saturday, March 4 in honor of International Women’s Week, located at The Fire, on West Girard Ave. Come out and support these incredible women, including Jershika Maple, finalist of NBC’s The Voice.

Click here for event and ticket information! 

Play Music Conference

photo credit: Angel Park

Written by Angel Park

For the second night in a row, Elliott City, MD-based singer/songwriter, Lindsey Jordan, (better known as Snail Mail), graced Philadelphia’s Union Transfer venue with a sold-out performance. These back-to-back shows marked the kickoff of the Valentine tour, curated to promote Jordan‘s most recent album of the same name.

Supported by local alternative group, Joy Again, Snail Mail‘s concert captivated both longtime and newer fans with what would be a jam-heavy, noise-pop-filled set that had the whole room smiling (and also – at least, if you were me – shedding a little tear of joy.)

Before performing in packed rooms across the states, Jordan established her roots as a musician as a teenager after finding a passion for playing the guitar at only eight years old. Her earliest released EP, Sticki, paved the way for her to perform her debut live show at Baltimore’s Unregistered Nurse festival. Her performance piqued the interest of post-punk headliner act Priest, and shortly after, Jordan signed to their label, Sister Polygon Records.

The following three years gave Jordan her first DIY tour and the subsequent EP releases of Habit and Lush. This sophomore release was met with critical acclaim from her growing fanbase, with singles such as “Thinning” being added to Pitchfork’s Best New Track series.

Fast track to 2022, and Valentine has long since won over fans and critics’ eagerly listening ears since its release in November of last year. The album serves as a critical turning point for Jordan as an artist; she evolved, sharpened her sound, and her maturity shone throughout all ten tracks on the release. Filled with revolving themes inspired by her journey with the stages of falling in love (and out), her music honestly speaks to the heart (no pun intended). Valentine engulfs listeners in a poignant state of emotional astuteness, a condition that definitely applied ever more so during the live experience of the album.

photo credit: Angel Park

The clock finally ticks away to 8:00 PM, and the crowd mingles comfortably together as the five members of Joy Again finish tuning their instruments and take their starting places on stage. Singer Sachi DiSerafino kicked off the set with an enthusiastic “Whaddup Philly?” followed by an ecstatic compliment to one of the cheering front row crowd members.

“Yo, I see an OG’ Joy Again’ Shirt there, man,” he exclaimed, “I love it!”

The band’s act could be best described as a high-energy mix of blues and indie riffs. Their set bounced back and forth like a hyperactive kid, touching on their old, dance-worthy singles like “Kim,” a fun jazz improvisation session, and a crowd-rousing cover of Lit’s “My Own Worst Enemy.” It was as chaotic as it was fun, and they made quite a point to hype up Snail Mail quite a bit before closing out their set.

In true Valentine-like fashion, the transition before Snail Mail‘s performance was marked by the stage crew displaying two enormous, marble-lined Cupid statues on either side of the stage. A hot white light shone across the backdrop, where the capital words ‘SNAIL MAIL‘ were displayed boldly in a capital font. The excited murmur of the crowd transformed into earsplitting cheers as Lindsey walked on stage, donned in her signature blouse and vest attire. She gives a quick greeting right before the opening chords of the self-titled single echo across the room. There isn’t a missed verse from the crowd, as they sing along, and the entire front row becomes a string of raised arms and phones, all grasping to capture the incredible experience.

“Thank you guys for being here for night two,” Lindsey quipped between her songs, “I’ve been sitting on my a– for three years cause of surgery plus the pandemic, so thank you all so much for making it out tonight.”

Aside from the catchy notes of Valentine, her set exceeded expectations with the live rendition of her more solemn-hitting acoustic tracks. Whatever setbacks she may have had due to vocal surgery dissipated, as she hit every high note in “Light Blue” and “Mia.” Even more impressive was her unexpected cover of Smashing Pumpkins‘ single, “Tonight, Tonight,” which fans enjoyed as a pleasant surprise to round out this top-tier show.

All in all, Joy Again and Snail Mail are definitely two indie acts that will be on the radar of listeners for years to come.

Don’t miss out on a show near you — listen and learn more about Joy Again and Snail Mail below.

Connect with Snail Mail

Website | Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music

Connect with Joy Again

Website | Facebook | Instagram | Twitter | Soundcloud | Bandcamp | Spotify | Apple Music

Once you hear his name, you can’t help but think of his grandfather, Bob Marley; however, Skip Marley is his own musician, his own person, and he’s ready to tell his story. Tonight, Skip will be gracing the stage at The Foundry in Philadelphia.

As we all know, he grew up in a musical family, in Jamaica. In an email interview we conducted, he confirmed, “Yes, I grew up in a very musical family, so it was always present from my earliest memories. It must have had a major impact on my life because I chose a musical path too.”

That musical path is a famous one in their family including Damien Marley, Ziggy Marley, Skip Marley, and of course, Bob Marley. Growing up in such a musical family and knowing you have such big shoes to fill can kind of be intimidating. But Skip nonchalantly explained, “Some people who knew him well think of my grandfather when they hear my first name! Bob Marley is an icon, so I’m humbled to walk in his footsteps and bear his name. I’m blessed to grow from such loving and musical roots.”

Skip‘s music doesn’t have a name, but he aims to create it with positivity. “For a song to be successful, the vibe has to be there. The song has to connect with the singer, and the singer has to connect with instruments, and the producer has to connect with the whole arrangement. That type of vibe usually translates to a connection with the audience,” he detailed.

For the remainder of 2022, Skip will be busy. He and his team just left for the Change tour, there is a brand new single and music video in the works, and they’re putting finishing touches on his debut album. It sounds like he will have a full year! He’s working on a lot of new music, so fans can expect a lot of new music.

What’s most exciting for Skip, is that this is really his first headlining tour, so he’s really looking forward to each new experience and every new opportunity to bring the full stage show to the people.

IF YOU GO

Who: Skip Marley
When: Tonight, Wednesday, March 30
Where: The Foundry at the Fillmore, Philadelphia
Time: Doors @ 7 PM; Show @ 8 PM
Price: $20.00-$22.50

Connect with Skip Marley

Website | Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music

photo credit: Angel Park

Written by Angel Park

When Tampa, Florida-based band, Underoath, announced their separation and departure from the growing hardcore music scene back in 2013, fans of their distinct, cutting edge metalcore sound was left with so many questions, myself included. Questions such as, “Was Underoath really done? Would they ever come back? And what are we going to do with all of our past frayed show posters and CD albums we blasted on repeat during our most angst-filled years?”

Those questions and more were finally addressed a few years later in 2015. The band cryptically announced ‘their rebirth was coming’ and soon after, they headlined their first reunion show since they disbanded, alongside A Day to Remember.

Fans came out in droves in unanimous support. Since then, the group has been unstoppable, releasing headbang-worthy singles and even earning a Grammy nomination for Best Metal Performance for their 2018 lead song, “On My Teeth.”

In 2021, they released their ninth album, Voyeurism, and the band hopped on tour, ready to bring their brutal, hard-hitting, in-your-face stage presence to crowds across the coast. This past Saturday evening, they got the best of that energy to Philadelphia’s Fillmore venue.

With the show starting right at 7:00 PM, fans from all parts of the city waited eagerly in line by the doors to be let in, tickets in hand, sporting their favorite Underoath gear. The most dedicated fans made a beeline for the rail once they were scanned in, while others mingled by the merch vendors or motioned to the bartender for their first night round. I watched the room, my eyes drinking in the vast venue, as I moved to take my entry point by the photo pit.

The chatter of fans and laughter boomed around me, and time seemed to slow as the house lights eventually dimmed down. Then, finally, my ears filled with the ecstatic cheers of the crowd as the first act took their place on stage.

Starting off the show was Long Island-based punk band, Stray From the Path. Frontman, Andrew Dijornio, led the group

photo credit: Angel Park

into their high-energy set, and eagerly used the breaks in between songs to encourage the crowd to jump to the heavy riffs and drum beats or to “open up the pit.” They played a mix of their old hardcore and newest tracks and it was a great way to get things started for the evening. 

Following Stray From The Path was Bad Omens, a metalcore group based out of Richmond, Virginia. Their set kicked off in a sea of red shadows and haze, with frontman, Noah Sebastian, grabbing the microphone, as the crowd grew louder with cheers. Following him were guitarist, Nicholas Ruffolo, and bassist, Vincent Riquier, strapped with their instruments and holding their hands high to greet their fans before the group unanimously shredded their way right into the opening chords of “Like a Villian.” The Bad Omens logo glowed in the background, casting an almost ominous shadow across the band. It fits their music’s dark, riff-heavy tones. Noah’s harrowing vocals backed with the band’s melodic instrumentals made for a grand opening set to kick off the night.

photo credit: Angel Park

Following Bad Omen‘s set was Canadian heavy metal band, Spiritbox, who came in with guitars and vocals blazing as they dove right into the opening chords of their single, “Holy Roller,” from their latest album, Eternal Blue.

The crowd gathered in and screamed along to vocalist Courtney LaPlante‘s commanding stage presence and heavy-hitting lyrics, setting the energy high for the evening. LaPlante‘s fierce growls and pitch-perfect, liquid-like notes combined flawlessly with riffs and beats from bandmates Mike Stringer (guitar), Bill Crook (Bass), and Zev Rose (drums). This group was a hard-hitting, heavy force to be reckoned with, and the crowd headbanged and moshed their way through every minute.

That frenetic environment gave way to even more excitement as the house lights cut off and the bone-chilling opening notes of Underoath‘s “Damn Excuses” reverberated across the venue.

“What’s up, Philly?” Frontman, Dallas Taylor, roared, as he grabbed the microphone, echoed by distorted riffs from Timothy McTague, Grant Brandell, and James Smith (guitarists). He holds his hand high, as the crowd cheers on, and, as he jumps down from his high position on the stage speaker box, the band seamlessly transitions to their single’s first verse.

photo credit: Angel Park

The volume of the crowd couldn’t have been higher. Almost everyone in the room mouthed along to the lyrics. The rail trembles as the entire front row go into headbanging mode, and a small circle pit has formed towards the back of the venue. It’s loud, bold, and almost violent, but this is the experience that metalcore fans live for, to just let go and lose yourself in the music.

Throughout their set, Underoath mixed their performance with new tracks from Vouyerism such as “Cycle (feat. Ghostmane)” and “Hallelujah,” with sprinkles of OG fan favorites such as “Reinventing Your Exit” thrown into the mix.

My inner metalcore fan was immediately reminded of the old days of listening to the band on my CD player. The nostalgia only elevated the listening experience I had with their new songs. Their sound has definitely matured, but they still managed to keep their gritty, complex hitting roots. 

Overall, Stray From The Path, Bad Omens, Spiritbox, and Underoath gave Philly’s hardcore and metal fans a show to remember for months to come. Even as the last song notes died down and security began to holler to usher everyone out by the end of it all, fans left with the widest smiles on all of their sweaty, moshed-out faces.

Connect with Underoath

Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music

Connect with Spiritbox

Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music

Connect with Bad Omens

Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music

Connect with Stray From The Path

Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music

Have you ever been to a show that blew your mind? Not for the fact that it was your favorite band, but because each and every musician that played was simply incredible. It’s a rarity finding that, especially these days. Luckily the music gods blessed me with this last week.

Tucked away on 1200 Callowhill Street is Underground Arts, one of Philadelphia’s hidden gems, as far as venues go. Personally, it’s one of my favorite venues due to the fact that it has such an intimate and cozy setting. If you haven’t been there, let me paint you a picture. Imagine a huge unfinished basement with two rooms both equipped with a bar and one has a stage. The other has booths and chairs with a projector (to watch the show). Originally. I was slightly timid on the idea of standing so close to another human being, seeing as it’s wild times out here with COVID and all, but I decided to take a chance. When else would I be able to see Thursday and Cursive at such an intimate setting along with The Appleseed Cast and Nate Bergman? Answer. Never again.

This tour is special because Thursday originally had to postpone the first leg of the tour because of COVID. Instead of starting at the beginning of January, they kicked off the tour on January 19th in Detroit. However, the lineup that was originally set had been changed because of everyone’s new best friend, COVID. Jeremy Enigk, the vocalist of Sunny Day Real Estate, was replaced by Nate Bergman, who is a soul/progressive rock/Americana singer from Washington, D.C.

This was the first sold-out show that I have attended since all of this COVID mess. Anyway, I didn’t know what to expect. The doors opened and everyone started to file in one after another as if staying six feet apart from one another was a thing of the past. Nobody that night gave a shit about masks or how far away one was from another because that night, it was all about the music. It was very evident that was the case as soon as Bergman took the stage.

This isn’t the first time I experienced Bergman perform and each time is better than the last. Bergman is from D.C. and is currently pursuing his solo career as a singer/songwriter that he launched in 2020. Bergman holds a presence that you cannot turn away from (even if you try), he commands your attention with his soulful singing and natural ability to be on stage with just one note. His set was short but nonetheless still amazing and ended with a song called into my arms, which sent goosebumps all over my body.

As I went to pick my jaw up off the floor from how amazing his vocal range was, I noticed how everyone else was mesmerized by his musical stylings. Bergman breaks the glass ceiling with his god-given talent. It doesn’t matter if you’re a metal fan or a country fan, if you’re a fan of music you will be a fan of his. There is no doubt in my mind that Bergman has found where he belongs, which is right on stage with a mic and guitar, belting out ballads and saving lives one song at a time.

Earlier this summer, he was on tour previously with Craig Owens from Chiodos and Geoff Rickly from Thursday. You can catch him on the rest of the tour with Thursday this winter. Keep your ears open for amazing things to be coming out of this guy this spring. I was able to get a quick word with him and he said that this was “the best Philly show I have ever played.”

Following up such a wonderful opener was The Appleseed Cast, which to my shock only Chris Crisci, their founding frontman was able to perform because the rest of the band was out due to COVID, but that didn’t stop him. Crisci took the stage and showed everyone what it was all about (being a musician that is). Crisci stood alone with his guitar, a keyboard, and synthesizer on stage and proceeded to play an entire set that normally requires a full band. You could tell that he’s been doing this for a few shows now because he started to make fun of himself and the situation at hand but still managed to hold it together and rock. If you have ever seen any acoustic sets imagine that, but with the guitar being electric and the rest of the band is programmed into a tiny little box. This said box is connected to the keyboard and synthesizer, which allowed Crisci to play as if everyone was still behind him. It was one of the most brilliant things I have ever seen done on stage.

Later on, during the set, Tim Kasher from Cursive and Bergman joined him to close out and had a jam session for about 5 minutes. Everyone was intently paying attention or jumping up and down and throwing their head back, with Tim Kasher playing drums, Crisci playing guitar, and Bergman on guitar. It was one of those moments at a show where you take a snapshot because things like that seldom happen. It was extremely special to witness.

Next up was the infamous, Cursive. An old favorite that never ceases to amaze me and everyone else for that matter, one of the first waves of emo some may say. They kicked off their set with the start of the track, “A Gentleman Caller” and kept the energy up and went into “Martyr” as every single person in that sold-out show was singing and moshing to them. A five-piece band that came together in 1997 has still continued to bring the same love and fan base l after all of these years. Cursive had a solid set and closed out the night with “Hips” and the rest of “A Gentleman Caller.”

Saving the best for last, Thursday finally graced us with their presence, closing out this phenomenal night of music with the workforce. Geoff Rickly from Thursday was extremely interactive with everyone talking about how much he loves Philly and the energy of the crowd, which in all fairness is the truth. Some may call this one of their “hometown” shows seeing as Philly is right over the bridge. Each song was better than the next. They played all of the fan favorites including “Understanding In A Car Crash,” which is my personal favorite. They closed the show out with “War All The Time” and came back on for an encore.

The crowd was singing along to every word like it was their last breath. The entire night from start to finish was impeccable. It truly reminded me of a show that I would go to when I was younger and I mean that in a good way. A show that involved a basement somewhere and the only thing that mattered was the music and everything else was just white noise.

Connect with Thursday

Website | Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music

Philadelphia fans! After two years of taking time off because of the pandemic, the annual Roots Picnic returns this year on June 4-5, 2022, at The Mann Center in Fairmount Park.

Headlined by no other than this past weekend’s Super Bowl performer, Mary J. Blige, will perform alongside The Roots themselves. Other artists performing include Kamasi Washington, Jazmine Sullivan, Summer Walker, Wizkid, Tierra Whack, Freddie Gibbs, DJ Jazzy Jeff with Rakim, and Robert Glasper Bilal.

DJ J Period is scheduled to make a “live mixtape” that will feature Black Thought, Rick Ross, and Benny the Butcher. A jam session will be hosted by the producer, Soulquarians, and will feature Keyshia Cole, SWV, and Musiq Soulchild.

Tickets for the event go on sale on Friday, February 18 at 10:00 a.m. ET. Get tickets here.

Allman Family Revival

Written by Eric Sperrazza

My childhood had a soundtrack of some of the greatest and most diverse music by the people in my tribe raising me. I have vivid memories of my father’s love of southern rock and how Creedence Clearwater Revival, Lynyrd Skynyrd, and the Allman Brothers Band would permeate through the car, as he would shuffle me back and forth to extracurricular activities.

Over the years, I grew an affinity for the sounds that would put wind into my Dad’s proverbial sails and I always keep an eye out, to this day, for moments I can share with him to celebrate the love of that genre he instilled in me. Luckily, for me, I didn’t have to search too hard for the next opportunity to make a memory with him!

On Thursday, December 9th, the Allman Family Revival will be front and center, at The Met in Philadelphia, for their annual multi-hour celebration and tribute to the legendary Allman Brothers Band.

A sheer spectacle of musicianship, I experienced no small amount of pleasure in speaking to Devon Allman, son of Gregg Allman and co-founder of the Allman Betts Band, about how the show got started.

“In 2017, I lost my Dad,” Devon said. “After six months of grieving, I realized I was denying myself of the power of healing through music and invited a bunch of friends to a comeback show. My agent came back and said San Francisco wanted the show at the Fillmore. I thought it was so cool because my Dad lived in San Francisco throughout the 90s and it became a second home to us. They only had one date to offer, though, December 8th,” he explained. “Which also would have happened to have been my Dad’s 70th birthday. I thought ‘Holy Shit! That’s serendipitous!’ So, we decided to make it a birthday present for my Dad and made it a tribute to him. It started off so innocently and then it evolved to where New York, Denver, and then more wanted the show.  Now? We are in our 5th year and we have 31 offers which we whittled down to 18 shows.”

And evolved, it did. Today, everyone from Kenny Wayne Shepherd, G. Love to Lilly Hiatt, and Robert Randolph perform during the Allman Family Revival show. The structure of the actual show was described by Devon best when he said, “It’s amazing that all these musicians put three weeks aside, every year, to be a part of this. So, I modeled this event after The Band’s famous 1976 concert, ‘The Last Waltz.’ The Allman Betts Band will be the house band, and we will play a few songs and then begin introducing guests. The guests perform their take on an Allman Brothers song and then a song they are famous for. So, they can promote their music and then take on one of my Dad’s songs.”

It is truly an epic night honoring one of the greatest American songwriters and musicians in American history, but what of younger music lovers that might be unfamiliar with the Allman Brothers Band.

Devon had a message for them. When asked to give his elevator pitch to the new school of music fans, he was quoted as saying, “It’s a continuation of the wild wild west! We are doing it the way they did it in the ’60s and ’70s. Anyone who is out of their pop phase and looking for good organic music, this is the real stuff. I mean, good God!  It’s a clinic in the electric guitar up there on that stage. If you are a fan of the electric guitar and you missed this you seriously missed the show of the year!”

Here’s the rub; If you miss the show this year, there is no guarantee that Philadelphia may always be on the annual tour stops. As Devon impressed upon me, there are so many markets that want this show and only so many days to perform so they may mix up where they go, from year to year. With great urgency, it would behoove anyone on the fence to get a ticket to the show and be a part of the Allman Family Revival.

As for me? I will be there, celebrating my father’s 70th birthday and celebrating Gregg Allman along with everyone else. As I sing Midnight Rider in the audience along with a cavalcade of stars on stage, I will simultaneously be honoring my dad and the lessons he imparted to me on what fun southern rock can be…even for a Yankee like myself.

Doors open at 7 pm at The Fillmore and the show kicks off at 8 pm. Tickets are still available here.

Hope to see you there!

Connect with Allman Family Revival

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photo credit: Eric Sperrazza

Written by Eric Sperrazza

Being a Dad can be easy when your kids are all in lockstep with the music, movies, and sporting events you love.

That is the case with most of my children; sans one. My twelve-year-old is a quiet introvert who doesn’t like being around too much “busy” and isn’t one to share with the proverbial group her thoughts and feelings as readily as the others. At times, you can feel like you’re on the outside looking into her life until you have properly earned, in her mind, the privilege of being let in.

This year, I tried to rectify that gap by taking guitar lessons together with her. The time between class has been spent with her opening up and showcasing the sheer depth of her musical interests.

Enter, Beach Bunny. When she began playing songs from various albums she liked, I assumed it was a fleeting TikTok fad. But she really became a fan of the modern surf pop-punk sound and, quite frankly, so did I. We talked about the band and shared things we learned like how frontwoman Lili Trifilio started the project in her Illinois bedroom and how it grew organically to a seven-year run with multiple albums.

Serendipitously, we also discovered that Beach Bunny was still touring and coming to Philadelphia at Union Transfer. I had a passion to want to share this great music with a larger audience, as it now lived in a special place in my heart. I also wanted to see if, but for a night, my daughter could deal with all the people and the loudness for the chance at being enveloped in the experience of seeing her new favorite band live.

Once we were through vaccination record checks, people flocked to get as close to the stage as possible; a diverse crowd of kids and adults, many cosplaying as Trifilio, herself. Finding a spot to settle in amongst the chaos with an anxious kid seemed like an exercise in futility. But, with my arms filled with her little purse, souvenirs and a Shirley Temple drink from the bar, we found our mark and planted our flag for the night.

photo credit: Eric Sperrazza

The first band to perform was the artist, Miloe. Let me start with this –  if anyone says rock music is dead and that it’s all just auto-tune and computers, these days, it is because they have not seen Bobby Kabeya thrash on his guitar and hear his soulful voice fronting this group! There is a modern new wave vibe that echoes through their music and deep emotion pouring out of the vocals like some battle-tested rhythm & blues artist all at once. I was flabbergasted and thoroughly entertained.

Out to plug their newest EP, Greenhouse, the band performed songs, including “Winona” and “Yellow,” with the crowd electrified and hanging onto every word.

In fact, with Kabeya playing his guitar more like a vintage punk rocker and singing with such raw talent, the innocence shocked me when he told the won-over crowd that he was more accustomed to playing basements at house parties than venues such as Union Transfer. As Miloe exited the stage, I knew this was a group I needed to hear more of, and have.

photo credit: Eric Sperrazza

After a short break, Beach Bunny made their way to the stage and we made our way to the front. The band kicked off with their hit, “Prom Queen.” The track absolutely set the pace for the night, and immediately, you saw fans clambering to the front, reaching out to feel closer to Trifilio.

I can’t describe the energy in that room any better than a stadium concert jammed into a boutique venue on a Thursday night. The atmosphere was thick and joyful, fueling the band to add to it and make it more substantial by the note.

Trifilio and Beach Bunny performed “Good Girls (Don’t Get Used)” from their Blame Game record, in addition to the track, “Dream Boy,” from their debut, Honeymoon. They ended the set with their hit singles, “Sports,” and “Cloud 9,” and returned with an encore cover of Katy Perry’s “Hot N Cold.”

photo credit: Eric Sperrazza

Trifilio was a real, organic performer radiating honesty to a crowd that wasn’t trying to be like her but rather she was, in fact, one of them. It may not have been a show that I would have found on my own, but it wound up being one of the best concert experiences I’ve had.

What about my daughter? Well, the longer you’re a Dad the easier it gets to recognize those little impactful moments as they play out. You can relish in them a bit more and look around to really take it all in. That said, in my phone is a video of my 12-year-old wearing the biggest grin I have ever seen on her little Cherubin face while dancing, jumping, and belting out every word of “Cloud 9,” flushed and fatigued with zero intention of stopping.

That was her concert moment; the moment when you are no longer awkward about who you are and feeling alone in a crowd because now you are an army! A mass of individuals sharing in an existential experience of feeling newfound strength in numbers. It’s that concert moment when you first realize you found your people. I was able to bear witness to that.

photo credit: Eric Sperrazza

Walking back to the car from Union Transfer we both realized that we are more similar than we ever knew. We both reconciled early with the idea that not everyone will like our music, our anime movies, our comic books, or even the New York Yankees. But it was worth it to stay strong and be true to who you are because our people were out there waiting for us.

It’s amazing how great music and the right crowd can make one night change your perception of things. We need more Miloe and Beach Bunny shows in our world.

Connect with Beach Bunny

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Connect with Miloe

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photo credit: Eric Sperrazza

Written by Eric Sperrazza

It was the summer of 1991 and while on, what felt like, an eternal car ride for a family vacation in New Hampshire, I discovered the band, Slaughter.

While in the backseat with my sister and cousin for hours, I was armed with nothing more than a mere Sony Walkman and a new cassette of the Bill & Ted’s Bogus Journey Motion Picture Soundtrack. I was a big enough superfan of the Bill & Ted franchise that literally anything could have been on that album and I would’ve given it a shot so long as Alex Winter and Keanu Reeves were presenting it. But, that LP had some memorable tracks by Megadeth, Faith No More, and KISS.

For me, the breakout was the very first song on the first side of the cassette, “Shout It Out,” by Slaughter. A fun party tune with slick riffs, it felt like the polar opposite of their prior year’s hit single,  a “Couples-Only Skate” classic by the name of “Fly to the Angels.” From that point forward, I was on the hunt for more Slaughter in my music collection.

Fast forward to the present. Spam emails are omnipresent in a half dozen different devices of mine with ads for shows and Groupons just begging to be opened. I almost never bite the forbidden but on one particular day an ad caught my eye –  “Slaughter and Great White at Rivers Casino!”  So, I opened it only to be thrust backward in time, singing the Great White hit, “Once Bitten, Twice Shy” in my head. Maybe it was the mixtape-making, hair band-loving kid inside of me, but I was intrigued with the prospect of seeing if these bands could still move me and a live audience.

The night of the show, I got to Rivers Casino early in order to give myself time for any Covid precautions and procedures. Sure enough, there was a mask mandate but Security was kind enough to have extras at the ready for folks ill-prepared. I brought my teenage son along with me to weigh his take on the music and, with a powerful stroke of serendipity, the two of us were able to set up and settle in, right in front of the stage (An experience that the Junior High School version of me would have died for!).

Slaughter was first to perform and Mark Slaughter wasted no time showcasing that his famous high octave voice still had gas in the proverbial tank. The band ripped into two hits from the Stick It To Ya album, “Mad About You” and “Spend My Life.”

But, if there were still non-believers in the house, the band began to cover Led Zeppelin’s legendary “Immigrant Song.” In that, Mark Slaughter hit every note, beat for beat, and the room was left aghast. In between tremendous amounts of fan interaction, with adults and children alike, the band performed their seminal ballad, “Fly to the Angels.” The show closed with a fitting tribute to Van Halen, as the curtain fell with their take on “Ain’t Talkin’ Bout Love.”

With Mark‘s feats of vocal strength, the fan service, and the infinite amount of picks tossed to the crowd, Slaughter was a tough act to follow; but, Great White was up for the challenge!

The longtime lead guitarist, Mark Kendall, revealed himself from behind the curtain and began a slow build-up solo that was like climbing the incline of a rollercoaster ride. At the precipice and without notice, the new frontman, Mitch Malloy, exploded on stage with the look of Robert Plant and the energy of David Lee Roth. Most importantly, the singing chops of a young and powerful hard rock singer. The band tore right into “Can’t Shake It” and “Lady Red Light.” I’m fairly confident Malloy did not stop moving for a second as he commanded every square inch of that stage to envelope everyone in attendance and welcome them to the party.

Great White continued on with hits like “Save Your Love” and “Rock Me,” but the climax of the night was the band performing “Once Bitten, Twice Shy” as the finale. On the micro, it was the same type of crowd pop you can expect when Kiss encores with “Rock And Roll All Nite.”

Band member, Michael Larkie, (Of whom I interviewed in anticipation of the show) even spent a few moments talking with my son and me.

I can safely say that there were no seat-fillers in the audience that night. Everyone in attendance was a true fan and helped in lighting up the room with an energy that both bands gave back to the crowd in spades. It was also so nice to audibly be taken back to a simpler time in my life when batteries for my Sony Walkman were my biggest concern. It renewed a little hope to rewind time back to my childhood, if but for one night.

Moreover, the biggest takeaway of the night was seeing my son catching guitar picks and singing along to newly learned choruses while throwing his horns to the sky. I may have not ever been front row as a teen riding a wave of electricity through two different hard-hitting sets, but I gotta live it through him as he expanded his already eclectic pallet.

This was truly an experience worth the price of admission. They say that you can never go home but on a rainy Friday night in October, I was back to my childhood bedroom, headphones full blast.

Until next time, Be Excellent To Each Other.

Connect with Slaughter

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Connect with Great White

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