Written by Angel Park

Milkboy Philadelphia is a live music venue, bar, and restaurant located amongst the hustle and bustle on Chestnut Street in Center City. The venue was opened in 2011 by co-owners Tommy Joyner and Jamie Lokoff and has since been the host to some locally and nationally recognized musicians.

Tommy has been involved in the music industry for over 20 years wearing many hats, including roles as a music producer, sound engineer, and even as a singer/guitarist in Pep Rally, his band. We had the chance to chat with him about the origins of Milkboy, its role in the Philadelphia music community, and precisely what Pep Rally’s latest single, “Turn the Radio Up” really means.

For Joyner, the concept of Milkboy began when he was barely a teenager, inspired by his early love of recording music. 

“The idea for Milkboy started as a recording studio,” He explains. “I’ve been interested in recording since I was 14 and started experimenting with track recorders around the same age. A few years later, I started recording my band and made tapes for us. And then other bands asked me to make tapes for them. I and some of the guys in my band ran it as a recording studio for years before we got into the venue side of things.”

Milkboy had a recording studio in Ardmore where various acts would come through the doors to record. The concept of utilizing its space as more than just a recording studio reared its head in 2006 after some talks with his business partner and co-founder, Jamie Lokoff.  

“In 2006, Jamie and I decided to open up a little coffee shop associated with Milkboy Recording (down the street), so we could start getting into the venue side of the business,” Joyner recalls. “We also learned we wanted to provide a stage for bands, widen our footprint in Philadelphia’s music scene, learn more about it, and meet more people. With what we do with recording, it was all about the studio and giving us better access to more musicians.”

Milkboy Studios added Milkboy Coffee until 2011 when Joyner and Lokoff decided to move it to Philly and convert it to a two-floor bar area with stage space, and it’s been that way ever since.

When it comes to getting talent through Milkboy’s doors, Joyner is no stranger to the process.

“We have relationships with different agents and bands locally and across the country,” Joyner explains. “We’ll have an agent reach out to us and say, ‘hey, we think you should book this band because they’re gonna be big in six months, etc.’ And from there, we decide if we can book the band within two months before the album comes out or after it comes out. We work out a deal that’s best for both parties.” 

But the real key to booking great shows -according to Joyner, it’s about your network. 

“When it comes to finding new talent, It’s all about relationships, loving music, liking people and the different music pathways out there,” Joyner says.

 “Philadelphia music is a broad category,” Joyner quips, “There’s not just one genre dominating the city. For example, Philadelphia has a large gospel scene, hip-hop, R&B, and urban scene. But it also has this niche folk and indie rock scene, which you hear a lot of on, on stations like WXPN, which has been very influential in cultivating all of that.”

 In addition to the variety of music available in Philadelphia, Joyner also credits the community for being incredibly welcoming. 

“I think that we’re in many ways, we’re blessed because there’s a lot of quality artists in Philly,” Joyner explains, “And we don’t judge each other in Philadelphia by the color of our skin or the church that we worship or any of that stuff, we really judge each other by the contents of our record collection. Generally, there’s something for every genre fan here, and people find their groups in Philadelphia.” 

When he’s not busy booking shows to running Milkboy’s recording studio, Joyner writes music along with his bandmates in the group Pep Rally. 

“Pep Rally was a musical project that was a long time coming and has been with me for ages,” He states, “I’ve worked with so many other people on their records and never got around to finishing my own stuff.” 

As far as the inspiration behind the name itself? It’s all about feeling.

Tommy explains, “The name Pep Rally is really more a way to describe a feeling. What we’re trying to do with the band is have it feel like a fun time, which is good to listen to. Pep Rally’s music is really about fun and happiness and love.” 

On the subject of the band’s single “Turn the Radio Up,” Tommy said, “The song’s inspiration is from an idea about what would happen if everything was possible. Like what would life be like if you could do anything? It’s about the feeling of freedom. What if you could just grab the wheel and live life till you’re gone without all these kinds of day-to-day worries and concerns that we all have and without worrying about other people and what they think of you? I think you’d turn the radio up and drive around the world.”

 In addition to the studio and Chestnut Street’s venue, there is Milkboy South Street, where they host Open Mic every Monday night. During the summer, you can also go to The Oval XP on the parkway and check out the Milkboy Beer Garden.  

As for what’s next for Milkboy and Pep Rally? “We’re building out our show calendar for the upcoming fall and winter for Milkboy, so there’s a ton going on with that. And There’s more Pep Rally music coming out for sure! We released a second single, “South Street,” and are releasing a Remix for “Turn the Radio Up” by Klubjumpers in a couple of weeks, following our full-length album. We’re hoping to have it all completed by October.”

Milkboy Philadephia

Pep Rally on Spotify

Milkboy the Studio

Milkboy South Street

The Oval XP

It was a beautiful weekend for music and good vibrations at the Wiggins Park Marina for this year’s XPoNential Music Fest presented by University of Pennsylvania radio station 88.5 WXPN on September 17, 18, and 19, 2021.

Two stages were set to host dozens of bands over the weekend, the River Stage and the Marina Stage. The River Stage catered to larger acts, bands more prone to dancing, situated at the bottom of a large natural amphitheater. Nestled right next to the Marina, just over a small hill, was the Marina Stage. This special stage was reserved especially for singer/songwriters and Nashville acts on their first leg of a tour since 2019.

Saturday, September 18, 2021

On Saturday, September 18th, the second day of the festival, the first act we caught was Philly locals, Stella Ruze, on the River Stage. Established in 2014 by Brendan Johnson and Katie O’Donnell, the band has recently expanded to include two drummers, a trumpet player, a saxophonist, a keyboardist, and 3 and 4 part vocal harmonies. Stella Ruze’s sound is reminiscent of Paul Simon and the crowd responded well to them being that they were the first act of the afternoon. I saw a few familiar faces up on stage with Stella Ruze including Rob Tait on percussion and Gabe Preston on trumpet. Their set was fun and danceable and fans stuck around to talk to the band afterward.

photo credit: Liv Foltiny

Over on the Marina Stage, we caught a group called Great Time. Their sound is along the lines of what I would call Neo/New Wave. The lead singer played synths in front of what was essentially a funk trio who also had synths attached to their instruments. In a neon jumpsuit, the lead singer could have managed on her own. The trio could have played a mean funk set on their own, as well. But, as a band, the combination is artfully executed. The sound was synth-heavy but ultimately danceable. They employed two laptops, one on the drums and one with the lead singer. She also played saxophone and flute throughout the set. 

After the band, Great Time, we headed back to the River Stage for Paul Beaubrun and his band from Haiti. At first blush, there was a strong flavor of Fela Kuti. This young quartet slickly transitioned between rock and roll, reggae, blues, Caribbean, cumbia, salsa, and more.

Beaubrun rocked the lead guitar effortlessly. They led a vocal jam heavily laden with percussion that ended in a sing-a-long and passionately screamed directions to ‘Go Low!’, ‘Jump!’, and ‘Scream!’. The highlight of their set was a very cool, very reggae version of “Ain’t No Sunshine” by Bill Withers.

Nashville singer/songwriter, Michaela Anne, and her quintet crooned to audiences from the Marina Stage. This was her second show back prior to the pandemic. She employed spacey intros and synth strings to begin a few of her songs. Strong three-part harmonies and an authentic pop-country sound were eerily reminiscent of Stevie-Nicks-era Fleetwood Mac.

Her songs were heartfelt and employed clever turns of phrases in her lyrics. I especially enjoyed this lyric: “I’m not the fire, I’m just the smoke…”

I caught up with Philadelphian bassist, Charlie Muench, (an old classmate of mine from West Chester University’s bass studio where we both studied under Peter Paulsen), and he told us that the rest of the band came up from Nashville while he joined them for shows in PA, NJ, and NYC. This group is going places, I’m a fan.

The funky Cimafunk delivers an unforgettable set at the  XPoNential Music Festival on Saturday. (photo credit: Liv Foltiny)

The 29-year-old Cuban vocalist known as Cimafunk was warmed up and ready to rock when we returned to the River Stage. This band is all business, and their business is funk. Two female singers who also doubled on trombone and saxophone, respectively, backed up a lead singer who resembled a young, Cuban James Brown. The rhythm section included a drum kit, congas, hand percussion, bass, and electric guitar. At moments, they reminded me of an Afro-Cuban Fishbone, or funkadelic or both, combined with the Fania All-Stars.

The lead singer had all the moves and charisma of a master like Héctor Lavoe or James Brown. I must also mention that the backup singer playing hand percussion was integral to the band’s sound. The claves and the güiro were the stars of the show in this group full of soon-to-be- superstars. I must also mention heavy usage of the Stravinsky orchestra-hit sample featured in most hip-hop songs produced between 1981 through 1993.

On the Marina Stage, Adia Victoria, from South Carolina, emphatically informed the crowd that she “Drove up to play the blues for you.” Her voice was instantly breathy and bluesy, but her mic technique was lacking and it made for an uneven vocal performance. However, her band was tight and she and they got extra points for wearing matching black and red western-themed outfits with boots and hats and all. If you walked away from the stage a bit, you could hear the Tedeschi Trucks Band warming up in the BB&T Pavilion.

South Carolina blues artist Adia Victoria performs on the Marina Stage. (photo credit: Liv Foltiny)

Strand of Oaks, a straight-up rock and roll outfit, was next on the River Stage. The band was tight. Three-part harmonies, electric guitars, a three-piece Ludwig drum kit, and absolutely spot-on stage presence made their performance spectacular. The lead guitar solos were amazing. Towards the end of their set, they were stretching out into Pink Floyd territory.

Next up, on the Marina Stage, the crowd was starting to boil over in anticipation of the arrival and performance of one Christone “Kingfish” Ingram.

Suddenly, though he was not yet on stage, Kingfish‘s guitar began to scream. He appears from off-stage just ripping up a solo over that groove. From there the temperature only went up. Of course, there were ups and downs, highs and lows, throughout the set. But Kingfish absolutely held the audience in the palm of his hand throughout. He got out into the middle and then just rocked for five minutes or so before heading back down the

Legendary guitarist and blues artist, Christone “Kingfish” Ingram and bring the blues to Philly. (photo credit: Liv Foltiny)

hill to get back on stage. The crowd was absolutely foaming at the mouth at this point. He ended the set by starting a very loud and fast solo over the tune, “Hey Joe,” and then dropped his guitar down onto the stage with a huge band and giant static and feedback while he walked off and hopped onto a golf cart. Absolutely legend.

Capping off the afternoon on the River Stage was the singer/songwriter, Ani DiFranco. Her trio consisted of a drummer/percussionist, a keyboardist/bassist, and herself on vocals, plus an array of really cool, old guitars for various tunings. She joked with the crowd initially, saying “I like this set-up. You all have the light in your eyes this time. Now you can see how it feels…” She launched into a set of mostly new songs mixed with classics. She is the master of the use of dissonance in her songs and from song to song in her sets. She can hit a chord that will make your shoulders tighten and then resolve it in such a way as to make you actually relax a bit. She’ll go from a taught, confessional song and then follow it with a tune that makes you smile again. She’s a master performer and another who always has the crowd right there in her palm.

Vocalist Greg Ormont gets weird at XPoNential Music Fest on Saturday, September 18. (photo credit: Liv Foltiny)

Later at the BB&T Pavilion, Pigeons Playing Ping Pong and the Tedeschi Trucks Band rocked out for four solid hours. Pigeons Playing Ping Pong were lively, danceable, and generally provided a fun atmosphere for the crowd to dance their butts off on the lawn. Their setlist included just five incredibly stretched-out songs including: “Penguins,” “Somethin’ For Ya,” “Fun In Funk,” “Horizon,” and “Lightning.” 

The Tedeschi Trucks Band, conversely, while rocking out completely, was less lively on stage. With a setlist that included covers of The Wood Brothers’ “Smoke Ring Halo,” as well as “Don’t Keep Me Wonderin,'” by the Allman Brothers Band, and “Bell-Bottom Blues” by Derek and the Dominoes. Tedeschi Trucks kept up its reputation for being the next generation of enlightened southern rock.

Sunday, September 19, 2021

The next day it was even more sunny and bright than the day before and the crowd was just as excited. I had been surviving on lemonade and chicken empanadas for most of the weekend. Between sets, you could hear the brass band, Snacktime, up at the top of the hill playing cleverly arranged pop tunes, including Stevie Wonder’s “I Wish” and “Waterfalls” by TLC. Unfortunately, one of the headliners, Dawes, had to cancel their set due to positive COVID-19 tests. Cimafunk was added to the bill and Shovels and Rope was moved up to close out the festival. 

Sunday’s festivities began on the Marina Stage with songwriter/vocalist, Anna Shoemaker, joined by an accompanist on acoustic guitar. Her tunes were a bit emo, a bit folk-punk. She and her accompanist were sharing beers throughout the set. She seemed both nervous and relaxed and having fun at the same time. She spoke with the audience like they were her family sitting out in the crowd. Off-hand comments and asides punctuated a set of introspective, existential songs with titles like “It’s Depression” and “Laugh Until I Die.” Her voice reminds me of another amazing Philly vocalist named Ali Wadsworth.

Chris Day delivers some serious guitar. (photo credit: Liv Foltiny)

Over on the River Stage, things were heating up. The sun was beating down on an ever-increasingly expectant crowd of rabid Tommy Conwell fans. This classic rock group referenced their own songs as they introduced them. For their third song, Tommy announced, “This is the first song off our first album.” For their fourth song, “We did this on Letterman back in 1989!”… and so on. He was adamant that “the eighties are coming back!’ many times throughout the set. I’ll give it to him, Tommy Conwell still rocks out. His band is awesome. 

Singer/songwriter, Sierra Ferrel, sweetly sang songs of struggle and love and everything else in-between from her perch on the Marina Stage. Here we had another group of Nashville professionals pretending to be a live band, but really doing exactly what they did in the studio. However, Ferrel‘s look (complete with denim jumper, nose ring, and facial tattoo), was just the beginning of my interest in this songstress. Before going on stage, while I was chatting with the sound technician and local musician, Jim Tauscher (IATSE, Local 8), I saw her rocking a leather fringe mask over her regular mask. This lady is cool as hell. But what really had me swooning was her amazing voice. Her songs are fun and her band was tight. She also had a fiddler and a bassist. They were short one other member due to a positive COVID-19 test. 

Nashville-based singer/songwriter, Devon Gillfillian, will knock your socks off, then help you put them back on, and tie your shoes for you. He came dressed to the nines in psychedelic businesswear ready to croon to the crowd awaiting him in front of the River Stage. He did just that. His first tune was sexy and slow and had stops that lasted just a bit too long, but also just long enough. This man is a soul singer who loves chatting with his audience. He has two cats, named Felicia and Barry White. His band had killer backing vocals, especially during a rousing version of Marvin Gaye’s “What’s Going On?” with the addition of the members of Snacktime bolstering the horn section. He was seen chatting up fans and posing for pictures throughout the festival after his set.

Devin Gillfillian rocks out on the guitar at WXPN’s XPoNential Music Fest. (photo credit: Liv Foltiny)

Back over at the Marina Stage, singer/songwriter, Jade Bird, was warming up. She played solo, just her and an acoustic guitar. She informed the crowd that thought they’d notice her English accent, even though she had recently moved to Texas. She had a backing vocalist to flesh out vocal harmonies over sweet and personal songs. This Brit has got a firm hold on an Americana sound and style. It was nice to hear someone from across the pond as opposed to the many Nashvillian folks we’d had through the weekend. 

Next up on the River Stage was Cimafunk for a second set, but not before Snacktime could get up and play a quick version of P-Funk’s “Do That Stuff.” Cimafunk came out guns-blazing for their second set of sexy, Spanish-speaking funk. That famous Stravinsky orchestra-hit sample came out early in the set and stuck around. They also made heavier use of 80s synth sounds. Cimafunk is everything you want in a party band. Funk, Latin, Caribbean, hip-hop, rock, reggae, everything! Who wouldn’t want another set from Cimafunk?

Nicole Atkins smiles at fans after performing live. (photo credit: Liv Foltiny)

Nicole Atkins is a rare bird. She’s a Nashville pro who’s ready to rock out. Her set was at once tight and loose like a good Rolling Stones concert. I spotted Philly locals Meaghan Kyle, Ryan Williams, and Imani Roach supplying backing vocals at stage-left. Her band was a rock and roll quintet with her as the lead singer and rhythm guitarist. Their blend of pop-rock and bluesy rock and roll hit the spot after a set of super-dancey funk. Her voice soared above the crowd at the Marina Stage, as she switched from a Fender Jazzmaster (a model I own, coincidentally) to a Fender Acoustasonic Jazzmaster. I particularly liked a tune called “Garbage of Eden.” They closed with an epic righteous cover of Led Zeppelin’s “What Is And What Should Never Be,” proving that she and her group is on top of their game right now.

Shovels and Rope, a duo featuring Michael Trent and Cary Ann Hearst from South Carolina, set up on the River Stage to close the festival. They resemble the White Stripes with Trent on guitar and Hearst on drums. But each had more to offer than what you could see immediately. They both employed synths attached to the guitar or the keyboard the Hearst played with her right hand while keeping a beat with her right on the snare and her foot the bass drum. Eventually, they settled in and Hearst riffed on the band’s name: “Shovels and Rope:” it’s all you need to dig a hole for yourself and to get back out again.” They had released an album years ago with that title and decided to keep it for the band’s name later on when they started touring. They wowed the crowd, as well as me and Liv. I’m a fan. Get yourself some Shovels and Rope.

With that, the weekend of sun and music had ended. Crowds filtered out to their cars and trains and Ubers to go back across the bridge to Philly or back out into the wilds of New Jersey. Tito’s Vodka packed up their merch tent. Police stood around trying to look useful. Performers and audience members, alike, wiped the sweat from their brow, packed up their cooler and lawn chair, and went home to face another week.

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“885 Greatest song of the New Millennium” is here, Only on Philadelphia’s WXPN 88.5

WXPN’s “885 Greatest Songs” countdown special began Monday, Oct. 14, at 6 a.m. through October 18 with this year’s theme “ 885 Greatest Songs of the Millennium” as well as songs submitted by listeners released after January 1, 2001.

The countdown started exactly at 6 a.m. and will not stop until the afternoon of Friday, Oct. 18. There will be many songs heard throughout the five day stretch that the listeners themselves requested.

Bruce Warren, Assistant General Manager, knows it’s a long process in the making. “After we announced this year’s theme in July, they (audience) started sending us their top 10 songs of the new millennium, which is how we build each year’s countdown,” says Warren.  “It’s a huge undertaking, and results in one of the most unexpected and entertaining radio broadcasts produced by WXPN.”

Listeners were more than happy to submit their favorite songs of the new millinuim. Over 8,000 songs were submitted by 1,948 voters between July 16, during the station’s annual XPoNential Music Festival, and September 16.

If you aren’t near a radio you can hear the countdown online along with a selection of top 10 by the WXPN on-air host and staff here.

Coming up this weekend is the Brandywine Folk Festival at the Anson B. Nixon park in Kennett Square. With tons of talented artists and awesome vendors, this three-day festival is not one to be missed.

The first day, tomorrow, kicks off at 1:30 with Sweetbriar Rose, a whimsical band of Philadelphia natives. Among many other acts throughout the day include Dani Mari, who recently did an interview with That Mag! The night finishes up with Sean Hoots Trio at 10:00.

Saturday goes all day long, starting at 12:00 with Shane Palko. Throughout the day, The Lawsuits and The Toy Soldiers will be playing. You can catch interviews with both in That Mag’s recent print issue. The evening will come to an end with Doylestown natives Good Old War, who spoke to That Mag last year and never fail to entertain on stage.

Sunday, the third and final day, gets going at 12:00 with Pheonixville’s Mostly Maybe, an “organically structured and harmony-heavy” band. Coldfronts, Vita Wolf, and Nico’s Gun will make appearances throughout the day amongst many others. The whole festival will be closed out by a performance by Secret Sisters at 8:00.

Make sure to grab some tickets for either the whole weekend or just one day! Free parking starts at 5:00 on Friday and goes throughout the whole weekend. The festival is sponsored by many local companies and restaurants, such as Service Mark, 88.5 WXPN, and Victory Brewing Company. Not only will there be live music all weekend, but there will be tons more to check out such as Color Me Crazy Creations, Flapa Photos, Eclipse Body Jewelry, and Caricatoonz by John Sprague. Grab a bite to eat at one of the tons of places available on-site, from water ice to hot dogs to Korean “with a twist.”

No matter what you check out while you’re there, make sure to stop by the Brandywine Folk Festival this weekend!