This summer, Philadelphia’s premier public radio station, WXPN, challenged local musicians to write a song in 24 hours. While Khalil Amaru was named the grand prize winner, earning himself a spot on stage at this year’s XPoNential Music Festival, three other artists were named finalists out of the several hundred submissions.

Those artists are Yuneer Gainz, Mackenzie Johnson, and Best Bear, all of whom performed short but sweet sets Thursday night at World Cafe Live for WXPN’s Homegrown Live! show.

The free gig took place in WCL’s upstairs venue, The Lounge, and for a Thursday night show, the crowd was sizeable.

The fun kicked off with Yuneer Gainz, who was joined on stage by guitarist Sam Mandell and Andrew Miller on Keys. Offstage was Tyrell “Ace” Clark, working beats and vocal effect detail.

First was a heavy-hitting track featuring thumping bass and deep peels of a church bell. Yuneer Gainz showed off his skills both in rapping and singing in his first song. The chorus was overlaid with backing vocals, but Gainz’s shined when it was just him on the mic.

Best Bear

That became even more evident throughout his set, which featured his 24-hour song, “Grown Man Tears.” The track’s production is minimal, with just guitar and keys, no drums. He told the audience he recorded the song in just one take, a truly impressive feat.

Gainz later in the set performed his latest release, “Flight,” a song he dedicated to a late friend. This song was a more traditional hip-hop track in which Gainz showed off his ability to spit lyrics quickly.

He went on to play an unreleased track titled “Back Home in Bethlehem,” a song he wrote about visiting his brother in rural Pennsylvania. When Mandell began to play the song’s chords, Gainz was surprised at the key, noting it was different from what was laid down on the record. But Gainz found the key and nailed the vocal performance, and Mandell laid down a slick solo, continuing the motif of peppering crafty guitar licks, riffs, and solos throughout the set.

The last song was another new track and featured a lyric about the galaxy, which was fitting as Mandell and Miller’s guitar and keys were drenched in dreamy effects, complementing the lyrical content.

And it should be mentioned that Gainz told me after his set that Thursday was his first time performing live.

Up next was Johnson.

From the jump, her vocal control was on full display, and I immediately thought she could easily fit on a bill with acts like Phoebe Bridgers, Muna, or Taylor Swift.

Johnson was alone on stage with her guitar. She told the crowd her first open mic experience was at World Cafe Live, which made her set feel serendipitous.

Johnson’s song “The Sisterhood” highlighted her penchant for all things “witchy.” Leading with an eerily finger-picked minor chord riff, the song included word suggestions offered to her by fans, and Johnson put them to good use, evoking supernatural and dark vibes. We were all welcomed into her coven.

Then came a cover, featuring Blue Barnett of Best Bear. They gave the crowd a beautiful rendition of “Dreams” by The Cranberries. The two best friends delivered wildly good vocal harmonies on the classic 90s hit.

Johnson moved on to “Straight to Hell,” which she said will be her next single to release. She taught the audience a singalong section of the track’s chorus, and during the song, the audience participation aspect didn’t quite hit as hard as she surely would have liked. However, the song’s lyrics are relatable to many people: being with someone who just isn’t right for you but still pursuing that relationship. “Straight to Hell” made me think of Taylor Swift a bit, as the pop superstar often waxes poetic about her love life, and the song’s structure felt comforting like a good T-Swift song.

She closed out with “Sunburn,” her contest-winning song. While the song was written in summer, it was about the end of summer. More appropriately, it was about losing summer. “Sunburn” is a breakup song. Johnson performed the song live for the first time Thursday, and given its 24-hour turnaround, she showed true artistry in the composition and performance.

Best Bear finished the show.

The four-piece indie rockers started their set with “Apathy.” The song starts slow, with only Barnett on guitar and vocals. It builds up and includes some tasteful lead guitar work from Gwen McFadden.

Drummer Charles D’Ardenne and McFadden joined Barnett vocally on a few tracks, providing backup singing to make the band sound even more rounded out.

Best Bear’s contest-winning track was “Fireworks,” and it was recorded solo by Barnett. But Thursday, the band played a fully expanded version. The song reminded me of another band; maybe it was Soccer Mommy’s “Circle the Drain?” Either way, it was a great song that had a catchy riff and had the crowd’s heads bobbing along with the brainworm-y vocal lines.

Johnson then joined the band for a song Best Bear dropped that very day, “The Fall.” The song is reminiscent of unavoidable 90s alt-rock that many of us millennials grew up with.

Best Bear then came in with the track “Eleventh Grade.” Barnett’s lyrics tell the story about their coming out and serve as an anthem for anyone in the LGBTQIA+ community. The band seemed to put their hearts in this particular song, given its message of “do whatever’s going to make you happy.” And McFadden again delivered lead guitar work that shined, but not so bright to outdo the rest of the band.

They went on to play “When,” the title track from their 2022 album. I hadn’t looked around the venue in a bit, and I was disappointed to see many people left by this point. I get it was a school night and a free show, but Best Bear was killing it on stage.

I couldn’t tell you what the closing song was, but it was more rock than indie. The band kicked it into overdrive to bring an end to the night that celebrated local artists so well. It was fast and had a driving force thanks to bassists Storm Paul and D’Ardenne holding down the rhythm section.

Yuneer Gainz

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Mackenzie Johnson

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Best Bear

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Written by : Lisa Melograno

Quiet Time’s “Scheherazade“ is an electrifying, dance-punk anthem that reimagines the ancient tale of Scheherazade through a contemporary lens. As the second single off their upcoming EP “Everyone Is Having More Fun Than Me,” the Philadelphia-based emo band skillfully combines their unique sound with thought-provoking commentary on modern society. The song delves into themes of victimhood, power dynamics, and societal double standards, inviting listeners to question their biases and challenge preconceived notions of victimhood. Lead singer MaiAda’s lyrics offer a powerful critique of modern society, reimagining Scheherazade navigating today’s social media landscape, where public scrutiny and misinformation campaigns are all too common. Driven by gritty instrumentation and MaiAda’s incisive lyrics, “Scheherazade” demonstrates Quiet Time’s commitment to addressing important social issues through their music. MaiAda’s exploration of “feminine rage” serves as a poignant reminder of the ongoing struggle for equality and understanding faced by women today, both in the story of Scheherazade and in the present day. As Quiet Time continues to make their mark in the emo and punk scenes, “Scheherazade” stands as a testament to their ability to craft bold, introspective anthems that resonate with audiences. The band’s fearless approach to storytelling and their distinctive sound have garnered them attention and acclaim, positioning them as a compelling act to watch in the alternative music landscape. With their unique blend of engaging narratives and punk-inspired sound, Quiet Time proves that they are not only skilled musicians but also thoughtful storytellers, addressing pressing social issues through their art. As fans eagerly await the release of their upcoming EP, “Scheherazade” offers a tantalizing glimpse of what’s to come, cementing Quiet Time’s status as a rising force in the world of emo and punk music.

Quiet Time :

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Written By: Eric Sperrazza | Photographed By: Christina Cosenza

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

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

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

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

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

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

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

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Written and Photographed by : Eric Sperrazza

  Picture if you will a once vintage theater in the suburbs of Philadelphia that became a forty-year venue staple in the music industry; still adorning the lightbulb-lit marquee atop the entrance. Now imagine that same boutique venue packed with 500 fans on a warm spring night. Creating hot fusion and practically melding those in attendance together, as the imprinted energy of “David Bowie,” “The Ramones,” “Eric Clapton,”and “Pink Floyd” ooze from the pores of the walls. That was exactly the scene in Ardmore,  on Monday evening as fans took up every inch of real estate inside the legendary Ardmore Music Hall for a chance to see the elusive-faced guitar virtuoso that is Buckethead.

Born Brian Patrick Carroll in the heart of Orange County, CA, the persona of Buckethead was designed in the face of anxiety issues coupled with heart conditions. The “it-list” guitar hero wanted people to focus on his music and less on the man. An amalgam of “Michael Myers” and a night of good drive-thru chicken, the avatar was born and has stayed as Carroll’s alter ego.  From soundtracks to movies such as “Mortal Kombat: Annihilation”, “Last Action Hero”, and “Mighty Morphin Power Rangers” to collaboration work with “Les Claypool”, “Bootsy Collins”, “Iggy Pop”, and “Guns & Roses”, “Buckethead” has stood on his vibrant talent and his quiet mystique in the realm of rock and roll for thirty-six years. 

As the packed-in Ardmore Music Hall became a human-powered convection oven, Buckethead silently took to the stage with Dan Monti (bass), Brian” Brain” Mantia (drums) and Madeline “Cyrille” Miller (vocals.) The scuttlebutt around the audience was that some fans had been lining up for prime general admission vantage points as early as noon, that day. As Buckethead and friends ripped into the song, “Fountains of the Forgotten,” that same passionate crowd came alive, making the temperature spike almost immediately to levels only rivaled by Arizona summers. Throughout the set, a potpourri of song offerings was delivered with as much surgical precision as the venue and subsequent equipment would allow. A venerable tour de force with the likes of Iron Maiden’s cover, “Wrathchild,”  Buckethead original “Night of Slunk” and even the Cyrille collaboration song, “Solar and Lunar Rain” were given up as a tribute to the rabid attendees. What’s more, was the covers of Black Sabbath’s “War Pigs” and even the Rick Springfield classic, “Jessie’s Girl.” Without uttering a solitary word, Buckethead finished the almost two-hour event with his single, “Jordan.” Despite the enigmatic axe-man’s talent spilling over in abundance onto the powder keg of the crowd, the night was fraught with issues. For the songs Cyrille had offered up vocals for, it seemed like her microphone was inoperable, and thus even those in the very front of the stage could not hear her. At one point, fans were telling her, “Your mic isn’t on!”. Even Buckethead, himself, wasn’t immune to technical difficulties as his amplifier feedback was that of a garage band’s first practice on a second-hand Marshall box. At least a half-dozen times, roadies took to the stage, being whispered concerns in their ear by Buckethead and scurried about to try and save the day. Even Cyrille got down on her knees to try and ameliorate difficulties with floor pedals and wiring. 

Then there was the accommodation of the press, we were told moments before the show by the band to shut down the press photography area. The staff of AMH, photographers, and writers who were there to cover the show were forced to navigate the general admission crowd. The media that was there were met with militant ticketholders either too packed in to move or uninterested in giving an inch of the space they fought to imbue. The staff tried to accommodate and came off wildly apologetic, but it didn’t make the night any easier.

As the show ended, the live audience spewed out into the streets of Ardmore, drenched as if they spent all day at a summer festival during a heatwave. However, the chatter amongst concertgoers was, by large positive. Space and technical difficulties aside, Buckethead gave the crowd the experience of a living guitar legend in full-costumed regalia. Showcasing his untouchable talent and delighting those who came to bask in awe. 

As for those of us who frequent Ardmore Music Hall, there is plenty that could have been mitigated differently, but the vibe given was that it wasn’t missed by those working the venue. Hopefully, the next time a Monday night sold-out crowd arrives looking to satiate their desire for music, the famed Hall will be more than ready to accommodate.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Learn More About The Fire and International Opera Theater

Dante, The Opera | Philly-in-FLOW Project

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photo credit: Sophia Varoumas

Carina Round gives you full-body chills with her compelling performance, alongside living rock legend Maynard James Keenan at Philadelphia’s The Met.

By Sophia Varoumas

“Phil’s Friends” receive the satirical and theatrical probing performance they anticipated. Maynard James Keenan (vocals) and Carina Round (vocals/guitar/percussion/keys), of Puscifer, performed in divine masculine/feminine post-punk harmony at The Met.

Alongside bandmates, Mat Mitchell (guitar), Gunner Olsen (drums), and Josh Moreau (bass/synths) on this year’s, Existential Reckoning tour, like the hierophant compliment the Empress, Carina Round, and Maynard James Keenan, showcase their voices in the Opera house, achingly beautiful and synthesized with a dusting of retro electronica.

The alternative rap trio, Moodie Black, opens the evening with a dark stage, bright white screen, and the band scattered across the stage, an industrial backdrop eerily hanging behind them, reminiscent of an old Nine Inch Nails video. Moodie Black features the lead singer, Kristen Martinez (she/her), guitarist Sean Lindahl (he/him), and drummer Bentley Monet (he/him).

Moodie Black rage on stage as Martinez’s silhouette haunts, as she towers, and paces in front of the band’s backdrop. She has an enormous voice that demands attention. The band calls it noise rap. It sounds super thrashy and industrial combined with the super-fast spoken word. You may find yourself rocking your head to their set.

Suddenly, the energy shifts dramatically when the TV screens on each side of the stage light up with static, and Maynard James Keenan (MJK), a.k.a. agent Dick Merkin, pops up on the screens with a message about “spam.” He reminds the crowd that, “ignorant entitled outrage,”  adds just enough spice to the cynical mix of processed meat, so if you pull out your phone, it will land you in Puscifer’s meat grinders, and dispose of you. The crowd roars at the announcement and then the band walks across that stage.

You see and feel this synergy on stage when Keenan and Round, the alto and soprano dance around each other in an alienesque fashion opening with the tracks, “Bread and Circus,” “Postulous,” and then the crowd-pleasing, “Fake Affront,” giving the audience Max Headroom meets Reservoir Dogs feels with their rude boy, all-black suits, white button-down shirts, and black tie attire.

Dozens of fans dress up like MJK’s personas and some, like MJK, don’t break character. Appearances by personas, Agent Dick Merkin, the agent in training on the Pusciforce, is the audience’s host for the evening probe. ‘Agents’ appear on stage scanning the audience for potential new subjects. It was quirky and entertaining adding an extra element to the night’s show.

Prior to the band’s quick seven-minute intermission and wardrobe change, the six-piece performed the songs “Humbling River,” “Apocalypticical,” “Remedy,” and “Singularity.”

Billy D, MJK’s other Puscifer persona emerges, a glass of alcohol in hand, prepared to raise a glass and run from the aliens on stage trying to probe him.

Puscifer continues in their ever so subtle way to say, “shut the fuck up” with a world in its current state of affairs, masking some rage with video “spam” entertaining the crowd to add a sense of sarcastic comic relief, but still showcasing how social media is evil, and how they may feel about society’s current events that are unfolding.

The most monumental and compelling moment of the evening was by Carina Round in her performance of “Flippant.”

Round singularly dances standing still and waving her arms pointing up, then circling her belly and up again. Suddenly she circles her belly again, points up, then points back down at her other hand circling back at her belly, and silently screams, MINE! Before the stage goes black, they end the night with, “Bedlamite” and tell Puscifer fans that they can break out their phones to take some pictures if they choose.

Want to relive the show? Philly’s Setlist below:

Bread and Circus
Postulous
Fake Affront
Underwhelming
Grey Area
Theorem
Vaginamine
Upgrade
Apocalypticical
Remedy
Personal Prometheus
Singularity
Humbling River
(Intermission)
Bullet Train
Man Overboard
Flippant
Bedlamite

Connect with Puscifier

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Toby & Zach of Dr. Dog

Written by Brian Cronin  Photos provided by Lisa Schaffer

The first annual We Live On benefit concert was held on March 13 and March 15 at Ardmore Music Hall (AMH) in Ardmore, right outside of Philadelphia, and was hosted by Dan Fein. The benefit was set up to raise money for Derek Dorsey, a longtime music promoter, manager, and talent buyer in the Philadelphia music scene.

Sunday’s show brought out many artists and folks to support both Derek and this new foundation.  

I attended Sunday’s show that featured: Dr. Dog‘s Toby and Zach, Hoots & Hellmouth, Hezekiah Jones, John Faye, Anjuli Josephine, Stargazer Lily, Ben Arnold, Illinois, Andrew Lipke, Don McCloskey, Johnny Showcase & The Mystic Ticket, to name a few. It was a great night of music as each one of the artists had been covered by Origivation/THAT MAG at some point throughout the years.

Personally, for me, it was good to reconnect with the artists both performing or showing their support in the crowd. AMH did a great job, as always, with their house sound and keeping the night on a constant flow. Derek has touched so many lives throughout the years, and to see and feel the energy in the room, was electrifying.

I regrettably did not attend Tuesday’s night’s show, as they had another great lineup featuring Talib Kweli, Karl “Dice Raw” Jenkins, Schooly D., Chris and Herb of Fathead, Mike Voss, Flipside Esq., and Wardell Piper. Tuesday night’s festivities were hosted by Elements of Hip Hop. Not only were the funds raised to help Derek with his immense medical bills, but also for his new foundation, We Live On. The foundation has the goal of creating a space for people with rare diseases to network and to provide information on services and providers available. We Live On strives to create that safe community space as rare diseases are isolating and often end in suicide rather than death by disease. Most importantly, the foundation will serve its community of individuals and families who are facing medical adversity, establishing that people are not alone and that there is hope.

YouTube star and rising pop star, Andie Case, always knew she wanted to do music, but her journey to the industry wasn’t a normal one. She told me that “she always gravitated towards music” and “didn’t do great in school.” 

At the beginning of her career at age 18, she moved out and spent time living out of her Pontiac Bonneville. She eventually met two male musicians and they began creating YouTube music videos together. They were able to slowly grow their fanbase on YouTube and via social media.

“I’ve always known I’ve wanted to do music,” Case told me. “At age 11, I tried out for my school’s talent show.”

You may have recognized Andie’s name from Usher’s Megastar competition, where the singer/songwriter was the sole winner of the competition winning the $1 million prize and the “right to audition for a role in a digital film produced by Digital Riot Media/John Baldecchi and several other prizes.” (PR Newswire)

“[It was] ultimate freaking anxiety,” Case exclaimed.”It was incredible. The whole competition was based on fans’ voting and conversing with Usher.“

As the winner of the competition, Case spent a great deal of time with Usher, and he offered advice to her. She explained he told her to, “Trust the process. Enjoy the destination. Money goes fast. There’s no end. Enjoy what you’re doing.”

Case just released a brand new track called “I Think I’m God” and it’s definitely one of the incredible bops of the year! Case explained the inspiration behind the song: “I was feeling really depressed and I really needed to get myself out of this funk. I really knew I didn’t want to feel this way.” She continued on to explain that instead of feeling shitty, she decided to write a song as if she was feeling like she was on top of the world, or feeling like God.

This track she says, “is the most personal to me. This has the most of me as in releasing a song.” She hopes that the song gives people hope when they’re feeling down.

Case continues to work on more new music and potentially has a tour in the works for the summer.

Connect with Andie Case

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photo credit: Eyeflair

Written by Jaz Bowens

FYF Scales (F-Y-F) aka Christopher Green Jr. is an independent rapper hailing from East Baltimore, Maryland. He recently released his third album, Cruzing, in March 2021. Observing his continuous growth and consistency, That Mag wanted to take an opportunity to have a sit down with an up-and-coming rapper pathing his own lane into the music industry.

Always a rambunctious kid, he became enamored with rap after being introduced by his uncle, Tobias Scales. It was well known that even as a young child, FYF Scales was musically inclined.  At about 11 or 12, he began hanging around freestylers in his neighborhood. He would remember the lyrics and claim them as his own when he would return to school. With the success of that and writing his own rhymes to throw in the mix he realized rap was something he could peruse himself.

FYF began to explore his options as a rapper at Patapsco High School. What was once rapping and freestyling amongst friends had the opportunity to reach broader audiences and paid shows, “I was introduced by my brother (Omar Green) to a person named Stacks who was already doing shows and things like that,” Scales explained.

At no more than 15 or 16 years old, and going by the name of C4 at the time, FYF Scales decided to give a group with stacks, who they named Heavy Hitta Squad, a go. During performances the reaction from the crowd was undeniable. The reaction he received during gigs reassured him of his talents and motivated him to achieve greater heights with his music.

photo credit: Eyeflair

Unfortunately, Scale’s time with his newfound rap group was short-lived, “….finding out that he (Stacks) was getting paid (by club promotors/owners) and we weren’t, is what ended the group. He would get a cut of ticket sales and all we would get was a party,” Scales chuckled.

Sadly, it’s a common story many new artists within groups can tell. Thankfully, only a year was spent with Heavy Hitta Squad and his departure only lead to further personal growth and development.

Whether he was riding solo or working alongside other rappers, he never put his pen down.

With a fresh solo start, at the age of 17, he started True Hand Production. “Everything I write is true,” he said about the inspiration behind his production company. With the help of social media, technical savviness, and friends he was back writing and producing his own pieces. “Mookie (Kevin Saunders) was actually the first piece. He would download the software, I could record on…Right in his basement and his mother didn’t mind and she supported me.” Sadly, after Mookie’s mother passed they lost touch but FYF is sure Mookie is still a supporter.

In 2016, he dropped his first solo mixtape. Creation. Part one in a 3-part series. “3 series mixtapes include; Creation (2016), Plus Life (2018), and Scales (2020).” In between each mixtape he wrote and recorded an album.

“There are the mixtapes and then the albums, the tapes are like the warm-up plus its free music. So while I’m working on the album you still have music to listen to.” Albums Dirty politics (2017) and Split Personality (2019) are the two albums written and produced by FYF Scales prior to the release of his latest album, Cruzing. When asked what body of work best represents FYF Scales as a whole, he quickly pointed out his first mixtape Creation, which provides a good introductory to who FYF Scales is so that when you listen to Cruzing, you’ll be nothing short of a fan.

Cruzing is a trippy, nostalgic ride through FYF’s past and present internal world spilled on paper accompanied by smooth beats perfect for a ride. It reminds you of Summertime.

His motivation is his family; his wife and three children, who are his biggest fans. Also, the love of music itself is what keeps FYF Scales going.

“Music is everything to me. I don’t look at it as a job, career, or even a hobby. Music moves me. Everything I interact with is music,” FYF says.

FYF isn’t just a musical artist, he wants his experience in the music industry, especially as an independent artist, to help others in their journey as well. He’s currently in school for Audio Production with only one year left from Full Sails University. His goal is to on his own studio.

Being a rapper himself with the production and engineering skills he’s acquired hands-on and formally, he believes he has the ear and the know-how to help another artist take their craft to another level. He remembers looking for assistance when he was getting started and remembers how frustrating it was to be met with closed doors and dead ends. Now that he is in the position to guide those less experienced than him, he is always open to helping those just getting started in the industry.

All under True Hand Production, he plans on continuing to write, produce, and perform once venues are open. “If you’re a free thinker, aren’t hung up on the norm, and simply because you want to, you should check out my music.” FYF Scales welcomes constructive criticism and thought-provoking conversations about his music and music in general.

You can hear the organic passion throughout his whole discography. For more information about FYF Scales and his music please reach him on his social sites and remember to check out his latest album titled Cruzing released today on all your streaming platforms below.

Connect with FYF Scales

Facebook | Twitter | Soundcloud | Pandora | Apple Music | YouTube | Spotify

Photo and Review By Jimmy Abgarian

With only about 500 tickets sold Canadian Rockers Three Days Grace seemed to be on the losing end of a successful Philadelphia return. There were a few things working against the band in their defense. Firstly it was Yom Kippur, The holiest of Jewish holidays.  And secondly the preparation for the Papal visit had the city pretty much on lockdown with Center City looking like a ghost town until Saturday’s arrival. With that being said the band performed as if it were a sold out show.

Finger Eleven opened the show and I was shocked at how much different they were from previous appearances here. Their 10-song set featured their 2 hit songs “Paralyzer” and “One thing“.

As well as a cover of “Another Brick in the Wall” thrown in the middle of “Paralyzer”. Finger Eleven is one of those bands that have all the tools to make it to the next level. The only problem is a lot of people have seemed to have forgotten or have never heard of them. It’s sad because they are entertaining and sound great. The highlight of the band is Guitarist James Black. He is non-stop from beginning to end and a blast to watch. After the show Singer Scott Anderson went into the lobby and met with fans and took pictures. I can’t stress enough how important things like this are for fans. He was appreciative and took his time and answered everyone’s questions. They get bonus points for that simple gesture.

Up until the second 3DG took the stage Finger Eleven’s banner hung against the backdrop. I really thought it was a mistake and that someone was going to be working at WAWA the next day. Thankfully it was part of the show and as the band took the stage the banner came down revealing 3DG’s album themed backdrop. Their production was very cool with ego ramps and a full lighting and sound production. It’s evident that they are ready and full prepared to start playing bigger venues. This being their first time in Philly with new singer,  Matt Walst, we were all trying to be optimistic. To no one’s surprise Matt handled the vocals exceptionally well in theory. He sang the songs pretty much the way they were recorded and he sounded even better in some spots than original singer, Adam Gontier. What was missing was the pain and feeling that Gontier has. He did however sing the songs great and did more than justice to them. Guitar player, Barry Stock is a phenomenal player who goes all out at every show. The Rhythm section was a tight as ever.

When you change singer/front men, there is always a risk of comparisons, especially when the Former singer was such an integral part of the songs and the way they are written. Matt Walst seems to have studied Coby Shaddix from Papa Roach to a Tee. He performed like a thinner version of Coby, which isn’t necessarily a bad thing it’s just the same thing. It was weird because Matt Walst has been around for a while having previously been the front man of My Darkest Days. I really have nothing negative to say about the show because it was great. They really held nothing back throughout the 13-song set. They played all of their popular songs as well as the new with the same caliber. I can see them touring with either Breaking Benjamin or Shinedown and being hugely successful. If you get a chance to see 3DG, you wont be disappointed.