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: Eric Sperrazza

Written by Eric Sperrazza

The Motor City Five may very well be one of the most important bands in rock and roll history. They have been an influencer to everyone from Led Zeppelin to The Ramones, The Cult, and even Rage Against The Machine. Although teased as a nominee into the Rock & Roll Hall of Fame a whopping six times, to no avail, real music historians know that a proverbial tip of the hat from a small handful of glorified museum curators is not necessary. The sheer impact the MC5 had and still has, on our world, is proof enough that they will echo into eternity.

Out of Lincoln Park, Michigan in 1963, the MC5 emerged with vocalist Rob Tyner, guitarists Wayne Kramer and Fred “Sonic” Smith, bassist Michael Davis, and drummer Dennis Thompson. Immediately, the band adhered to a counter-culture movement with political undertones and anti-establishment lyrics challenging the system and even supporting the Black Panther Party; all at the forefront of their “back-to-basics” garage rock sound. The band also played mentor to a new up-and-coming Detroit band, The Stooges. But the 1969 album Kick Out the Jams, recorded live in October of 1968, at Detroit’s Grande Ballroom, thrust the MC5 into the history books.

With one opening line, “It’s time to…KICK OUT THE JAMS, MOTHERFUCKERS!” The band gave record stores and radio stations all the fuel they needed to legitimately blackball the band. But, what fans saw was this raw, politically relevant, and foul-mouthed record being censored by “The Man” and thus made it even more desirable of a find!

By 1972, the MC5 had broken up and gone their separate ways. But had sent The Stooges to assail to continue on blazing trails and inspired a group of rag-tag misfits from Queens, New York – The Ramones. With that, the punk movement began to take its roots. Today, Iggy Pop, Marky Ramone, and many others genuflect at the feet of the MC5 as the forefathers of punk rock; a genre still romancing music fans and exacting rebel music onto the world, to this very day.

Recently, Kramer announced that in 2022 he was hitting the road under a project called We Are All The MC5 with a new album firmly on the horizon. Joining b on the road is singer Brad Brooks, guitarist Stevie Salas, bassist Vicki Randle, and drummer Winston Watson.

The project recently stopped at Underground Arts in Philadelphia last month and I had to go and be in the presence of musical greatness to see if that paradigm-breaking guttural sound still fuels those to raise a fist in the air and brave a path unknown.

It was my first time at the Underground Arts and just let me say that there is no better venue to witness counter-culture music take place! Underground Arts is a basement venue decorated with murals that light up with backlights, as you meander through the dark layer of the land. The space still has a punk rock, speakeasy vibe that gives you the impression you are in an exclusive club of music fans.

The show opened with a set from Philadelphia’s all-female rock band, Vixen77. The five-piece offered a lot to unpack. First, I can safely say that these five ladies had more talent in their pinkies than most bands on the road today. With shades of The Runaways, The Slits, L7, and more, their performance was a venerable thrash-fest with the electricity turned up to 11. Every single member of Vixen77 owned that stage like a goddamn lioness claiming her territory and the crowd was there for every second of it. For a moment in time, I thought I was at CBGB in The Bowery, one last time, having my face melted off by the sheer power of a band. Expect to see more of them in the future and you can absolutely expect to see more of them from me.

Next up were Kramer and the MC5. The set kicked off with “Ramblin’ Rose” and vocalist Brad Brooks left nothing to question. He emanated rock royalty, both owning and humbling himself to the gravitas of the vibe of the MC5, simultaneously.

For a stunning 90 minutes, Kramer tore apart his guitar through hits like “Come Together,” “Call Me Animal,” and, “Kick Out the Jams.”  As Brooks went corner to corner on the stage and even dove into the crowd, Kramer played on with the fervor of an elated young musician getting his first showcase. At 74 years of age, he outworked musicians young enough to be his grandchildren, ever the essence of rock.

The show encored and closed with “The American Ruse” and “Sister Anne,” putting a period at the end of a sweltering night below the Philadelphia streets, where the tenets of society were still challenged through the majesty of three chords and the truth.

Before the MC5 left the stage, Kramer walked up to me and handed me his guitar pick. On the way home, I thought of a million different ways to frame and immortalize this special piece of rock history that I had been blessed with. But, as I opened the door of my home, my oldest daughter was there waiting for me.  My oldest embraced all of my punk music and shared in the spirit of going against the grain with me. My child has been at Blondie shows, and Vans Warped Tours and has been with me while interviewing the next generation of punk rock artists.  At that moment, I realized that my revolution is over. I am a middle-aged working stiff. My midlife crisis and Peter Pan complex may differ but the truth is I am the establishment, now. I am the “grown-up” in the room.  It’s her generation’s turn to challenge the norms and pushback at antiquated ways of thinking.  And so I opened her hand and I put Wayne Kramer’s pick in the center of it and then sent her to bed.

That is the spirit of punk rock. That is the legacy of the MC5. Go forth and break paradigms. That was the message I brought home from the Underground Arts. That is something that the Rock & Roll Hall of Fame will never get and, quite frankly, I hope those squares never do. This installment is dedicated to Ariana. Never lose the “riot” in you, Grrrl. That is how you change the world.

Connect with the MC5

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Motor City 5 Photo Gallery

photo credit: Angel Park

Written by Angel Park

Melbourne, Australia-based band, Amyl and The Sniffers, recently had a successful sell-out show at Underground Arts and played an exciting setlist full of their latest songs. They were joined by fellow bands C.O.F.F.I.N and Upchuck.

The audience was treated to a powerful performance by C.O.F.F.I.N, a five-piece punk/rock/metal band, from Norway. The group’s sound can best be described as angry yet catchy, with heavy beats mixed into fast-paced songs that had the crowd moshing and headbanging along through their whole set.

Following C.O.F.F.I.N was Upchuck. Based in Atlanta, this high-energy punk group is one of the most exciting up-and-coming bands in its music scene. Their songs have been described as “in your face with rebel yell vocals, fast-paced drums, and heavy guitar riffs all over a catchy bassline.” Upchuck‘s performance was filled with heavy bass riffs and growly vocals that had the whole crowd moving front and center in the circle pit and crowd diving off the stage.

Finally, the crowd went wild when Amyl and the Sniffers took the stage. They were rowdy, intense, and well deserved of the show’s sold-out status. There wasn’t a fan not screaming along as the group powered their way through favorites such as “Guided by Angels” and “Gnacked on Anger.”

The Sniffers are currently on tour, so be sure to check out their website for dates and locations. If you can’t catch them live, be sure to pick up a copy of Comfort to Me – it’s worth a listen.

Connect with Amyl and the Sniffers

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Amyl and the Sniffers Photo Gallery

photo credit: Eric Sperrazza | Mayday Parade

Written Eric Sperrazza

In 2011, emo pop/punk wunderkinds, Mayday Parade, released a self-titled album that would go on to be one of their best-selling and most memorable LPs. With that album, the band gave us the classic track, “Oh Well, Oh Well.”

Ten years later, Mayday Parade decided to celebrate that seminal record release with a tour playing the record’s hits for the fans and sharing the stage with the likes of bands, Real Friends and Magnolia Park.

I headed out to one of my favorite venues in Philadelphia, Union Transfer. This old 1800s Farmers Market-turned-music venue still has that solid 19th-century wooden architecture intact on the inside as well as chandeliers of the period hanging from the tall ceiling. It always provides a uniquely vintage backdrop to whatever live act is performing and I can also confidently attest to the fact that, acoustically, there is not a bad seat or even a bad vantage point in the house.

The first to take the stage was Magnolia Park. So a bit of a backstory. In February, my oldest daughter came down to my office, and said, “I have a band I want you to hear. I found them on TikTok.”

photo credit: Eric Sperrazza | Magnolia Park

The video she played before me? Magnolia Park’s video for “10 For 10.” I was instantly blown away and was legitimately excited to see this band perform. Perform they did with the explosive electricity of a pop/punk band that is having just as good of a time as the crowd and is legitimately excited to be there.

Lead vocalist, Joshua Roberts, stayed in constant motion as if being propelled by landmines from point to point, on stage. Playing viral hits like “Sick of it All,” “Back on My Bullshit,” and “10 For 10,” the crowd was energized and in the palm of their collective hands.

Real Friends was the second to perform and I got the biggest ringing endorsement of this band from fans right on the floor. In between Magnolia Park and the Real Friends sets, I began talking to a couple that was equally blown away by Magnolia Park. These two random would-be music historians were filled with excitement about Real Friends, comparing them to some of the biggest names in punk and hardcore. Names like Black Flag and the Descendants. If these two individuals are not part of the Real Friends PR team, they should be. They had me so excited to see this band, I was actually mad at myself for not being in the know, before.

photo credit: Eric Sperrazza

To that, Real Friends ripped into songs like “Me First, Nervous Wreck” and “From the Outside.” I felt like I was wearing my Santa Cruz Skateboards Corey O’Brien t-shirt while reading Thrasher Magazine and listening to kickass hardcore punk once more. It’s amazing how closely music can take you back to an exact time and location in your life and Real Friends did just that.

Finally, Mayday Parade arrived and gave the audience the entirety of their album, A Lesson in Romantics, which was celebrating its 15th anniversary. Every track was performed in chronological order from “Jamie All Over,” “If You Wanted a Song Written About You All You Had To Do Was Ask,” “Take This Heart and You Be the Anchor…,” from start to finish. They even encored with a snippet of “My Hero” in honor of Taylor Hawkins of the Foo Fighters. The set wrapped up with “Oh Well, Oh Well” and a gracious bow out before the lights lit back up Union Transfer.

I’m compelled to first address the fact that there was not a fair-weather fan to be seen in that venue. Every single person from the balconies to the front row came for Mayday Parade. They knew every word to every Mayday Parade song and they came to the party with Mayday Parade. The sheer static electricity from everyone’s excitement on that floor was enough to charge an iPad. That crowd was an essential piece of the success of that show and lead vocalist, Derek Sanders, knew that and was a kind-spoken tour guide through it all. He brought the fans in and the audience claimed the show as a result. It is always like watching a miracle take place when I witness people of all walks of life, united in being a part of a musical experience that moves all of them equally. That is something I will always remember about this show.

The greatest takeaway for me, however, will be getting to say that “I was there” when Magnolia Park broke. Mark my words, they are going to be the future of pop-punk.

Connect with Mayday Parade

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Connect with Magnolia Park

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Connect with Real Friends

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Photo Gallery

Philly’s indie-rock powerhouse four-piece, The Districts, performed to a packed crowd last night at Union Transfer to celebrate their final stop on their Great American Painting tour.

Supported by fellow acts, Francis of Delirium, and Vanillaroma, the evening served as an energetic, fun, yet bittersweet close to their six-week run of shows across the coast.

The crowd began to slowly straggle in, as the members of Vanillaroma took the stage to kick off the evening. In stark contrast to their self-deprecating description of their group as, “a music band that plays semi-mediocre rock and roll,” the members of Vanillaroma were anything but. Quirky, fuzz-filled tracks like “Leave Me Be” and “Check Your Optimism,” quickly had the growing crowd dancing and nodding along, and at one point, the band even gave some quick kudos to their family members and brought them on stage for a last-song dance.

Following Vanillaroma was the Luxemburg-based trio, Francis of Delirium, consisting of vocalist/lead guitarist, Jana Bahrich, drummer/producer Chris Hewett, and the most recent addition to the band, bassist, Jeff Hennico. Bahrich greeted the crowd with warm enthusiasm, as she set up to play, and filled in the time between songs with funny quips about her experience with food in Philly and how it was okay if no one in the crowd knew where Luxemburg actually was. The trio captivated the crowd’s eyes and ears with stunning renditions of their singles like “Let it All Go,” jump-worthy “Quit F—ing Around,” and the solemn, “I think I’m Losing,” which featured The Districts‘ lead vocalist, Rob Grote.

The venue room amplified with excited cheers once The Districts‘ crew stepped on board. Grote is quick to grab the microphone and thank the crowd for coming out that evening, and the band begins playing their opening song. There wasn’t a minute that the crowd wasn’t jumping or singing the words along to favorites such as “No Blood,” and “Do It Over.” The same whimsical vibes were portrayed heavily throughout the Great American Painting tour and translated perfectly into their final live performance in their hometown.

Connect with The Districts

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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

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Connect with Spiritbox

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Connect with Bad Omens

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Connect with Stray From The Path

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Connect with Gracie Abrams

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