Written and Photographed by : Liv Foltiny

As the final remnants of orange and blue faded from the sky, I walked up to the TLA and was greeted by its illuminated marquee, which displayed the name of the night’s headliner, Fit For An Autopsy. Even though the night’s event started around 6:30 pm, there were still a few groups of people outside, conversing while the first band, Judiciary, performed. Being somewhat of an awkward social butterfly, I decided to talk with one of the guys in the closest group and, noticing his lanyard, thought I should ask if he worked at the venue. After politely informing me that he didn’t work at the TLA, he told me that he was there to perform with his band; this resulted in me apologizing and making a lame excuse for my inquiry. Upon learning I was speaking with Kyle (Carter) of Bodysnatcher, I explained that I was there to cover the show and gave him one of my cards in case the band would be interested in me sharing my photos with them.

Following my positive interaction with Kyle, I picked up my credentials and made my way to the photo pit just in time for the second band of the night, Sylosis, who hadn’t been in the U.S. for the past 11 years. A few songs into the band’s set, Josh Middleton (lead vocalist, lead guitarist) took a moment to hype up the other bands as well as address the crowd directly. He openly acknowledged to fans that he might sound a bit “off” since he was getting over a cold and stated, “I don’t take this shit lightly. I’m very happy to be here, even if my face looks like I’m miserable. Just know that I fucking appreciate your support. Thank you so fucking much.” With the crowd pumping fists and headbanging along to their music, Sylosis continued their set, playing with an undeniable fervor that could easily be felt from the energy and vibrations emanating from the stage.

Shortly after Sylosis finished, Distant, coming from the Netherlands, took to the stage. Filled with enthusiastic headbanging, guttural vocals, and interactions with the crowd, Distant’s performance built upon the energy stemming from Sylosis’ set. From Elmer Maurits’ emphatic, sweeping movements on bass to Nouri Yetgin’s spinning while playing his glittery guitar, Distant had all eyes on them. Plus, with Alan Grnja (lead vocalist) encouraging the crowd to run in circles and form walls of death, which he did before and after making hearts and blowing kisses to the crowd, the band made sure everyone was fired up and ready for more. At 8:45 pm, Bodysnatcher began to play, and, like Distant, they engaged in plenty of headbanging, dynamic motions, and rousing the mass of people in front of them. Having caught a glimpse (and taken a quick pic) of their setlist on the stage floor, I could tell you that songs like “Infested,” “Human Disdain,” and “Black of My Eyes” were part of the band’s itinerary for the night. Toward the end of their set, the band took a moment to speak with the crowd, asking if anyone had ever lost a loved one to addiction. Subsequently, they proclaimed that their final song, “Murder8,” was dedicated to everyone who succumbed to it. Following Bodysnatcher’s goodbyes to the audience, it was only a matter of time before the final band performed.

Around 9:45 pm, the house lights dimmed, yielding to the stage lights one last time to reveal the night’s headliner, Fit For An Autopsy. Like the previous bands, Fit For An Autopsy participated in headbanging and other acts associated with metal artists. However, while all of the bands undoubtedly connected with the crowd, Fit For An Autopsy seemed to do so on a different level. With crowd surfing continuing throughout their entire set, it was obvious the band not only had a substantial number of fans present but also knew how to incite them. From several fans crowd surfing more than once to the copious thrashing in certain parts of the venue, one thing was indisputably clear: the crowd was hooked. Performing at least a dozen songs, including “Pandora” and, conclusively, “Two Towers,” Fit For An Autopsy played for a little over an hour, ending their set by 11 p.m. As someone who doesn’t listen to deathcore music, I understood almost nothing being sung during the show, but that didn’t prevent me from enjoying it. Having the qualities of a successful show, the concert was full of enthusiastic performances and crowd work, as well as notable mutual respect and support between all of the bands. Overall, it’s safe to say that Fit For An Autopsy gave their fans a helluva night and a preview of their newest album on this stop of their The Nothing That Is Tour. You can check out The Nothing That Is wherever you stream music!

Fit For An Autopsy

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Bodysnatcher

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Distant

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Sylosis

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Written and Photographed by Liv Foltiny

Getting to The Fillmore slightly after 8 pm, I was well aware of the reality that I missed at least one of the bands scheduled to perform this past Friday night, and, honestly, with how I was feeling, I was only concerned about making it for the band I was assigned to cover—The Gaslight Anthem. Knowing nothing about the band other than what I learned from a very brief online search (e.g., that it formed in NJ and seemed to fall within the genres of music I listen to), I didn’t know what to expect and, to an extent, was going in blind.

As I made my way toward the stage, I was greeted by a huge crowd; the place was packed from the barricade in the front to the bar in the back. Joyce Manor, the second band of the night (following Pinkshift), was up on the stage, playing the final few songs of their set. From their short, energetic movements across the stage to their brief, appreciative conversation with the crowd about their love for Philadelphia, the band members drew everyone’s attention and had those familiar with their music singing synchronously. Even though the band wasn’t headlining that night, it was evident that Joyce Manor was capable of giving an engaging, successful performance.

Following Joyce Manor’s exit around 8:30 pm, concertgoers were left to their own devices for a bit since The Gaslight Anthem was not set to take the stage until 9 pm. It was during this intermission that I recognized a familiar face in the crowd — Sara from 93.3 WMMR (@radio_sara). After introducing me to her husband, Jake, Sara and I spoke for a bit, catching up and briefly talking about the show. I learned that she has been seeing The Gaslight Anthem for the past twelve years, and, upon hearing that I had never seen them before, she informed me that they put on a great live show and that, considering they’re from NJ, their performance at The Fillmore was “the closest to a home show we could get.

As 9 p.m. drew closer, I made my way over to the photo pit entrance, and, within minutes, the other photographers and I were given the go-ahead to approach the stage. The crowd excitedly burst into cheers while the members of The Gaslight Anthem took their places and began their set.

For around an hour and a half, The Fillmore was alive as attendees (many of whom appeared to be fans of the band) were immersed in the rhythms and lyrics emanating from the stage. People enthusiastically danced, sang along, and threw their hands up into the air while The Gaslight Anthem played a variety of songs, consisting predominantly of originals (such as “We Came To Dance” and “Positive Charge”) and, at the very end, with help from Joyce Manor and Pinkshift, a cover of Nirvana’s “Smells Like Teen Spirit.”.

Throughout their set, the members of The Gaslight Anthem intently focused on their performance. Brian Fallon (lead vocalist), alternating between soft and rugged vocals, belted out lyrics and played his guitar while Alex Rosamilia (lead guitarist), captivated by the venue’s lively atmosphere, regularly bobbed his head as he walked around on stage and, intermittently, leaned over his guitar. Concurrently, Alex Levine (bassist) and Benny Horowitz (drummer), from their fervent playing to their quick and frequent movements, exhibited the most energy out of everyone in the group. Notwithstanding these positive aspects of their set, it felt like something vital was missing.

Now, I didn’t expect Brian to climb and jump off of things like Remington Leith (Palaye Royale), playfully tease the crowd and dance on his toes like Tyler Glenn (Neon Trees), or rapidly spin with the mic stand on his shoulders like Yungblud; however, I guess I assumed, or hoped, that he would have exuded a little more presence on stage, namely when it came to interacting with the audience. Except for two very succinct conversations in which he spoke to the crowd directly, Brian didn’t seem overly invested in establishing an emotional connection with the mass of people standing before him. Then again, it wasn’t something he truly needed to be concerned with since a majority of the attendees there were happily engrossed from the second the band set foot on stage. Their roaring cheer

s and eagerness to participate in the moment undoubtedly evinced the strong, pre-existing connection the band already had with a majority of the crowd before the show even started. For newcomers such as myself, though, it could have been nice to learn more about Brian and the band on a personal level through additional, direct interaction with the audience.

Overall, it’s safe to say that The Gaslight Anthem’s show at The Fillmore undeniably had a positive impact on most — if not all — of the fans in attendance. From everyone dancing and singing on the floor to those doing likewise on the second level of the building, there was no refuting the joyous energy that permeated the venue throughout the entire night. The Gaslight Anthem made sure fans walked out of The Fillmore with memories and a “Positive Charge” to start the impending weekend.

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Written And Photographed By Liv Foltiny

Sept. 10, 2021, was a date of multiple firsts for me: my first time seeing a concert at The Mann, my first time serving as a contributing photographer for THAT MAG, my first time working with Nick Hopton (whom I now call a friend), and my first time photographing one of my favorite bands, The Struts. Prior to that particular day, I had only photographed a single concert at a much smaller venue. Needless to say, I was excited but also a bit nervous; everything was new to me, and, considering I was about to photograph a band that I love, I didn’t want to screw things up. Long story short, everything went well and led me to where I am today as well as where I was last weekend — at The Mann covering the Tour Of The Setting SUM.

Getting to the Skyline Stage slightly after 7 pm, I had just missed the opening band but made it in time for the second band of the night, The Interrupters. Kicking off their set with “Take Back The Power,” The Interrupters got the crowd excited through their energetic performance. The band’s commanding stage presence was evident as they climbed, jumped off stands and objects onstage, and engaged with attendees, encouraging them to sing along,the band commanded their attention and incited dancing and
jumping, demonstrating the members’ strong stage presence. Although The Interrupters’ invigorating showmanship was an important facet of their performance, it wasn’t the only one that stood out.

Throughout their set, the love and respect the band members had for one another was on full display, presented in the forms of their closeness and shared smiles onstage as well as their playful teasing toward one another. The latter was mostly instigated by Kevin Bivona (guitarist) since he made sure to not only introduce Justin (bassist) and Jesse (drummer) as his younger twin brothers but also joked that they probably acquired portions of their wardrobes from their dad’s closet. These moments of lighthearted sibling rivalry coupled with the loving chemistry between Kevin and Aimee (lead vocalist and Kevin’s wife) added to the impact of The Interrupters’ set and complemented their showmanship. By the time The Interrupters reached their final song, “She’s Kerosene,” it was obvious that their performance cemented the initial foundations for what would undoubtedly be a memorable night.

Following a set change, “TNT” (song by ACDC) played over the speakers while the stage lights flashed in unison to the beat behind an enormous black curtain. Suddenly, the lights went out, and a deep voice reached out from the speakers, stating, “Gather, my children … We celebrate the beast at final curtains’ call. When day becomes night, the ritual has begun. We hold up our salutes to the Setting SUM.” As the voice and its Vincent Price-esque speech faded away, the black fabric concealing the stage dropped as the flashing lights returned, illuminating the anticipated headliner — SUM 41. After enthusiastically greeting and saluting the crowd, Deryck Whibley (lead vocalist, rhythm guitarist) and the band opened their set with “Motivation.” From Deryck’s expressive movements, dragging the mic stand, and energetically gliding across the stage to Dave Baksh (lead guitarist), Jason McCaslin (bassist), and Tom Thacker (guitarist) switching places, bobbing their heads, and, at times, coming together to play side by side, SUM 41 gave the crowd a fantastic preview to the remainder of, what would be, an incredible show.

Given this was their final tour, the band crafted a set list that represented their entire career. Songs like “Summer” (which, according to Deryck, they “liked so much [they] put it on two fucking records”), “Fat Lip,” and “Over My Head (Better Off Dead)” touched upon their early years while other songs, such as “Landmines” and “Rise Up,” characterized their more recent ones. Every song was a snapshot, a memory from the lives of the band members who were passionately performing up on the stage, giving it their all.

Like The Interrupters, SUM 41  knew how to command the crowd’s attention but, not to discredit the former band, did so on another level, especially when it came to interacting with the mass of people standing before them. Deryck spoke directly to the crowd throughout the night for various reasons: to encourage everyone to let loose, request attendees send up balloons for him to pop with his mic, talk about his bandmates, make jokes, thank everyone for coming to their show and supporting them, etc. All of these aspects demonstrated Deryck’s irrefutable prowess to connect with the masses as a first-class frontman; however, he made sure each of his bandmates — his friends — had their own moments to shine. Even though this notion was exemplified by the guitar solos from SUM 41’s set, it was best represented by the drum solo that followed Deryck’s story about how he and the guys didn’t “have all the cool shit” they have now back when they started and were performing in garages. Upon mentioning how the band didn’t always have the double-bass drums, Deryck had the stage crew bring out a smaller drum set reminiscent of their old one. Once the drum set was situated, Deryck had Frank Zummo come out from behind his large, LED-lit drum set to sit behind the smaller one for his drum solo. As his bandmates stood aside, Frank fervently played the drums, never missing a beat and performing with just as much zeal as he had behind the larger drum set. His absolute mastery of the drums, along with the support and respect of his friends, was undeniable.

After performing for around an hour and a half, they gathered center stage, expressed their gratitude to everyone there, bowed, and said their final goodbyes. Although it was bittersweet for longtime fans and newer ones, such as myself (yes, I’m regrettably late to joining the SUM 41 family), there was no denying the wonderful impression the band left on the crowd. While objects, like the confetti covering the ground and the last pieces of band merchandise being sold at the booth, physically attested the band had been there, the chatting fans with smiles on their faces evinced the genuine joy that stemmed from a perfect night, namely one full of great
music, sentimental stories, and stellar showmanship. Hell, trying to describe such an incredible show was daunting, especially since it felt like words could never truly do it justice. Let alone pay tribute to a band with an impressive career spanning nearly three decades. If I were to summarize the Tour Of The Setting SUM, I’d describe it as a celebratory event. Despite its slightly eulogistic undertones, the tour beautifully epitomized a band whose members not only inspired others but also brought together countless people through their music. In a world that, at times, seems consumed by malice, their music fostered a vibrant unity.

Thank you, SUM 41.

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Photographed And Written By Liv Foltiny

On April 20th, Ardmore, PA had its very first Spring Fest, an all-day outdoor event everyone could attend free of charge. Hosted by Mirror Image Events and JFS4 Enterprises, Ardmore Spring Fest sought to bring the community together through music (with live performances throughout the day) as well as the products and services from local businesses and artists. Even though I was only there for the second half of the event, one thing was utterly clear: the festival not only met its goal of fostering togetherness and communal support but also ended up surpassing any initial expectations I would have had regarding its magnitude.

Walking up to the lot behind John Henry’s Pub a little after 2:30 pm, I encountered a mass of people, the first being children and their families playing games, which included corn hole and a large-scale version of Connect 4. While I didn’t stay in that area for long, I did end up having a few laughs as a boy who was playing corn hole with (whom I presumed was) his mom accused her of cheating or not playing fair after being told (something along the lines of) one of his shots didn’t count because it hit her before landing elsewhere. Despite this short-lived accusation, the game continued and was just as lighthearted as when I arrived.

Moving on, I found myself in the second section of the lot: the vendors’ area. From books, paintings, and vintage clothing to hoagies, local brews, and funnel cakes, the vendors’ section had a little bit of everything and welcomed everyone, including visitors’ four-legged friends. Multiple dogs visited throughout the day and added to the joyous ambiance through their presence. Many of them enthusiastically received pets from attendees, and others were shy but affectionate (yes, I’m referring to Coach, a dog I met later who snuck up and gave me a kiss while I was focused on taking a photo). Overall, the vendors’ section effectively served as a networking platform for the local community; however, it wasn’t the festival’s main attraction. That particular title was reserved for the stage at the end of the lot.

Flagged on each side by colorful Ardmore Spring Fest banners (courtesy of Mirror Image Media), the stage functioned as the primary focal point, both visually and audibly, in the lot. It not only was where each of the bands performed but also included DJ Korvez’s station. All of the music, announcements, and introductions came from the stage, and the first artist introduction I was present for was that of Melt With You.

DJ Korvez

Donning graphic tees, jeans, jackets, patterns, sequins, or a combination of those things, the members of Melt With You took to the stage. Covering a variety of songs, ranging from “I Want Candy” (The Strangeloves) to “Tainted Love” (Soft Cell’s cover), Melt With You’s set touched upon the 1960s, 1970s, and 1980s and led to many attendees dancing. The band commanded the crowd’s attention and made sure to include everyone in their performance; this was most evident during their performance of “99 Luftballoons”/“99 Red Balloons” (Nena). Playing upon the title of the English version of the song, Melt With You, with help from family, tossed red balloons into the audience. Following this, the band continued to play as adults and children happily threw, kicked, and swung the balloons around. Moments like this undeniably established a genuine connection between the artists and the crowd, and it was this connection that ultimately created the positive energy that persisted through the final performance of the day.

Melt With You

After Melt With You finished their set, there was a brief intermission; then, the Atomic Rock Band gathered onstage and began to play. Like the previous band, they performed covers of various songs; however, their setlist covered a larger span of time as it incorporated contemporary hits. Not being familiar with the band and assuming they only played rock music, I was surprised when, seemingly out of nowhere, they played a medley of Taylor Swift songs in the style of rock n’ roll. Needless to say, seeing a group of grown men confidently belting out lyrics to songs typically associated with a female audience was great; the juxtaposition of it all stood out and presented the music in a slightly different way (which was a welcome change for those who weren’t Swifties).

Atomic Rock Band

Besides demonstrating their musical prowess, the members of Atomic Rock Band also showed their ability to play up to the camera and the crowd. I undoubtedly witnessed this firsthand as there were multiple instances when I, upon being spotted by one or more of the band members, was presented with dynamic poses or funny facial expressions (e.g.- tongue sticking out). Their relationship with the cameras went further than this, though, since one of the members intermittently used the tablet embedded in his instrument to record the crowd. When he wasn’t recording the audience, he would switch the images displayed on his tablet, so pictures of MegaMan, zombies, etc. were all fair game. Unfortunately, a technical issue ended the Atomic Rock Band’s set earlier than expected; the band explained this to the crowd and, after thanking everyone for coming, broke down their equipment and stuck around to interact and take photos with fans.

After attendees left, vendors, artists, organizers, and staff stayed to clean up the lot and, even though the festival had come to an end, continued to exhibit that sense of togetherness that permeated the day. From chatting and telling lighthearted jokes to helping one another move things, everyone connected in some way, and, by the end of the day, two things were irrefutably clear: Brian Cronin, the man behind the festival and Mirror Image Media, was more than capable of organizing a successful event, and Ardmore Spring Fest, despite being in its infancy, was on its way to becoming an invaluable asset to the surrounding community.

Brian Cronin (Organizer)

You can learn more about the festival by visiting the links below!

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Written and photographed by : Liv Foltiny

As a music journalist and/or photographer, you don’t always know how your day is going to unfold. You may have a note somewhere or a space blocked out on your calendar, reminding you there’s a chance you’ll be covering a show on a certain day. While there are plenty of times, you’ll receive your credential confirmations and information well in advance, there are instances where you may not know until the day, or even the night, of the event. This happened to be the case this past Tuesday — when I was given the final approval to cover

IDKHOW’s show with Benches at the Brooklyn Bowl in Philadelphia, Pa that night. 

Arriving at the venue just after 8 pm, I went up stairs and was greeted by a huge crowd, which undoubtedly reaffirmed the online notices of the show being sold out. However, I wasn’t aware that the show had started later than the listed time, so I worked my way through the mass of people as quickly as I could, unsure of whether I would be able to see, let alone photograph, the opening band, Benches. Fortunately, I was able to do both. 

Up on the stage, Benches filled the venue with rock music that ranged from melancholic to slightly upbeat. People bobbed their heads along to each song, attentive to the young band whose lead vocalist, Anson Kelley, put me into one of those “it’s on the tip of my tongue ”mindsets. He reminded me a little of another singer, but, at the moment, I couldn’t think of whom. I expressed this thought to one of the security staff members, and he knew exactly what I meant. It wasn’t until a few days after the show that I haphazardly realized that the artist I couldn’t put a name on was Matt Bellamy, the lead vocalist of Muse. 

Despite not being the headliner, Benches made sure they put their mark on the night. They not only captured the crowd’s attention but also demonstrated their perseverance as they quickly handled and continued to perform through various technical issues (e.g. – mics cutting out) until they finished their set.

Following Benches’ performance, there was a brief intermission; the stage was bathed in blue light while the stage crew moved things around and added flowers. Venue staff passed out cups of water to people who needed it and made sure everyone was alright. With that, it was about 9pm when the stage was set, and the crowd was greeted by the night’s headliner — iDKHOW.

Surrounded by enthusiastic, cheering fans, Dallon Weekes and his band took to the stage and opened with “SPKOTHDVL”, the fifth track on iDKHOW’s latest album, Gloom Division. With the crowd singing and dancing along, the band continued playing through their set but stopped a few songs in so that Weekes could speak with the audience directly. In what would be just one of several heartfelt moments, Dallon shared how he wasn’t able to sleep the night before because he was “too excited” knowing that his wife and children were flying in to be at the show. Of course, this resulted in a chorus of “awes, which I unashamedly contributed to. Hilariously, he responded, “Don’t ‘aw’ me. Don’t you patronize me, Philadelphia.” Then, showing the front and back of his shirt (which had the text “66WNBC” and “Cousin Brucie 66” respectively), he stated, “I’m patronizing you. Is this a Philadelphia thing? The person who sold it to me said that it was, and, as we all know, Philadelphians don’t lie.” After making this comment, Dallon effortlessly segued into the next song, “DOWNSIDE”, by telling everyone that he couldn’t lie and that the song “is a lot of fun”.

Throughout their entire performance, iDKHOW’s fantastic stage presence was on full display. From strutting across the stage to moving in tandem with the rhythm of the music, the entire band commanded the audience’s attention. However, it’s safe to say that Dallon was the driving force behind this. Regardless of whether he was staying in a particular area or dancing across the stage, he was always moving, and each movement drew everyone’s focus. Using hand gestures, like mimicking horns and pretending to pull a rope during “INFATUATION”, Dallon emphasized certain lines by turning himself into a canvas that represented his words visually. Between this, his occasional anecdotes, sharing the mic with the crowd, and, at one point, going into and singing from the GA area, Dallon undeniably connected with his fans on another level. From their EPs and singles to RAZZMATAZZ and GLOOM DIVISION, iDKHOW’s setlist covered a little bit of everything in terms of discography. Combining that with their wonderful performance and heartfelt moments (e.g. – Dallon being excited about seeing his family), iDKHOW provided

Philadelphia with a look at the sunny side through the creation of shared memories and the evocation of genuine human connection

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Written And Photographed By Liv Foltiny

Have you ever had one of those days where you don’t want to go anywhere? You know, the kind where you want to stay home in your sweat clothes? Well, that was how this past Wednesday initially started for me; my only definitive plan for the day was to
do a little bit of graphic design work for my boss. However, after receiving a press credential confirmation email in the afternoon, I accepted that I’d have to go out that night, and, in the end, would be glad that I did.

Only knowing one of GAYLE’s songs “abcdefu,” I didn’t exactly know what to expect from her upcoming performance. If anything, maybe I thought her show and music would have fallen more on the pop side of things, but that wasn’t the case.
Unbeknownst to me, I was about to see how it wasn’t only millennial artists and millennial-fronted bands (e.g. – The Struts, The Neon Trees, and Radkey) helping to keep rock n’ roll alive.

At 9 p.m., with “GAYLE” written in safety pins projected onto the stage curtain, GAYLE (bassist, guitarist, and lead vocalist), Andrew Grasso (drummer), and Max Landis (guitarist) took to the stage and began to play. A few songs into their set, GAYLE asked fans to raise their hands if they were a part of Gen Z. Now, I don’t know exactly how many people put their hands up, but, surprisingly, it wasn’t an overwhelming majority. Including children and Gen Zers to millennials and Gen Xers, the crowd encompassed several generations, not just the expected one.

Before introducing her song “z,” GAYLE noticed a woman holding a photo from two years ago, when she performed at The Foundry as an opener for Winnetka Bowling League. After promising to sign the photo later, GAYLE, Andrew, and Max continued playing their set and fully utilized the stage as well as the space in front of it. Between walking and dancing, GAYLE and Max consistently moved across the stage. GAYLE, in a somewhat punk-rock fashion, jumped and kicked at the air multiple times while Max swayed and engaged in some light headbanging. Despite his inability to move around the stage in the same way as his bandmates, Andrew exuded just as much energy and passion. He didn’t skip any beats and demonstrated his dexterity every time he spun, tossed, and caught his drumsticks.

Progressing through their set, the trio didn’t strictly stick to songs from their repertoire (e.g. – “z,” “snow angels”, and “kiddie pool”); they performed several covers, too, including “Get the Party Started” (Pink), “London Bridge” (Fergie), “I Love Rock ’N Roll” (The Arrows), and “Wiggle” (Jason Derulo). Even though the last cover was memorable (partly because hearing “Wiggle” done as a rock song created a hilarious dichotomy), the one that stood out the most was that of “London Bridge” since GAYLE had Armani White join them on stage to perform it. Like the undeniable chemistry between GAYLE and her bandmates, there was a connection between GAYLE and Armani as they performed. Feeding off of each others’ energy, they moved in unison and alternated between singing together and taking turns. They also made sure to involve the crowd by encouraging them to shout, “Oh shit,” with them whenever it came up, especially toward the end of the song. This connection with the audience didn’t start here, though.

Throughout their entire performance, they connected with the crowd. From GAYLE holding fans’ hands and sharing her mic with them to Max occasionally playing music from SpongeBob to make people laugh, they brought their fans into the show, never excluding them from it. In addition to establishing an inclusive environment, the band members also welcomed the crowd into their own lives, sharing personal stories as well as vulnerable moments. From recounting how Andrew drew one of GAYLE’s tattoos to GAYLE losing a friend at a young age, which led her to write “god has a sense of humor,” they touched upon different events that helped shape them as individuals and as artists. Sadly, one of these instances involved being bombarded with negative and, at times, malicious comments online. Not being impervious to negativity, GAYLE acknowledged that she’s had moments in which she’s doubted herself and questioned whether she’s “on the right path”. Fortunately, through therapy and the support of her fans, she’s gotten better at brushing off her haters and is continuing to do what she loves—being an artist who puts her heart in her lyrics.

Before playing the last song of the night “abcdefu,” GAYLE took a moment to thank everyone for coming to the show, expressing how she didn’t care how many of her songs they knew—she was grateful they came to see her perform on her first
headlining tour. Following this, and with the crowd singing along, they performed the song, took their bows, and, then, proceeded to talk with, take photos with, and sign things for their fans whom, it’s pretty safe to say, they love. Between their passionate performance, energetic stage presence, and heartfelt moments, they proved that, despite being younger than other artists, they can hold their own in the music industry. As for all of the haters who have harassed them online, follow GAYLE’s words—“you can all fuck off”.

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My dream of being able to listen to live music while sitting on comfy couches finally came to fruition this past Saturday night at The Living Room in Ardmore. I had the absolute pleasure of attending a night of music hosted by the one and only That Mag of Philadelphia. The MC for the evening was no other than Brian Cronin, the publication’s publisher. That Mag has always presented live music nights and sponsored various open mic nights in Philadelphia. Due to the pandemic, it had stopped, and this was the first artist showcase since then.

It was a cold and stormy fall night, and the rain fell in buckets. As I walked into the venue, I was greeted with a wave of warmth from inside. The lights were dim to almost a candle lit, and the seats were full. It was exactly what I hoped for, with a welcoming, intimate atmosphere. The way that the living room is set up is that the room is sectioned off into two separate sections. The room starts at the front of the stage and goes almost all of the way back, and that part is filled with couches, which is the VIP. The rest of the room is GA and filled with comfy chairs and tables to sit at and enjoy as well. Couples and people were cozied on the couches, awaiting the night’s performers.

The lineup consisted of Maria Arroyo, Nick Lombardo and The Decent OK Duo, and Pawnshop Roses. All are local musicians who have been weaving themselves throughout the Philadelphia Music scene.

Maria was first up, and she is a local singer-songwriter. While opening the show, she explained that she makes “sad girl” music. I couldn’t have been more excited because I’m the biggest emo girl at heart. Like any true artist, she turns her pain into a work of art, with her ballads of heartbreak and pain. Maria made the stage look like her home with how she commanded it. Not to mention, her song’s lyrics are relatable to anyone with a pulse. From heartbreak to taking back your power, she covers it all, and you don’t want to miss out on her powerhouse voice and runs.

Next up was Nick Lombardo and The Decent OK duo. Typically, they play as a band, but this night, they featured Nick Lombardo and his Lead Guitarist, James Gaffield. Nick would come out to MilkBoy South‘s Home Grown open mic nights before the pandemic and play there. Now he had the stage and was sharing it with his exceptionally talented Lead Guitarist James. Watching the two of them on stage was a real treat. If it wasn’t Nick belting out those lyrics, it was James countering on the guitar. I couldn’t tell if I was listening to 90’s indie music or was at a rock concert in the 70s. Either way, I was getting lost in the sound and loving every second of it.

I am looking forward to seeing them again and with a full band. If you can listen to them play live, I highly suggest it.

Last but not least, Pawnshop Roses headlined the night. A Folk-Rock band that mixes influences of bluegrass and sounds of Americana into their sound. Pawnshop Roses is a five-piece band who have nothing but a blast as they perform on stage. They have been a staple in the Philadelphia music scene for the last twenty-one years, and they continue to push out music that is uniquely their own. Their sound reminds me of if The Avett Brothers had a hard rock cousin, from how they tell a story through their music to how they sound only like themselves. One second, I was in my feels with some of the lyrics, and the next moment, my foot wouldn’t stop tapping. It’s hard to pinpoint exactly what they sound like because each song differs from the next. They are certainly in a league of their own, to say the least, I’m pretty mad I have just discovered them because they are that good. The energy the guys bring onto the stage is refreshing and rare. The band’s frontman was jumping around the entire time and feeding off the bassist living in his world while ripping away at the chords. It was a blast hearing musicians play just for the love of the music. These days, the set lists consist of newer and older songs from the last 21 years. The evening ended with the most recent digital release from The Pawnshop Roses called “Not What it Used to Be,” which is them tipping their hat at growing older and growing up and living life differently at 40 than 20.

This evening was action-packed and full of talent from start to finish. I think it is a wonderful platform,That Mag gives for local musicians. It enables them to show off their talent and continue to work towards their dream of being musicians and performing. I am eager to see when the next one happens and what is brought to the table.

Pawnshop Roses

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Nick Lombardo and the Decent OK

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Maria Arroyo

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Last September (2022) was my first time attending a show at the TLA and my first time writing a show review. Back then, I witnessed one of my favorite bands, Palaye Royale, bring their Fever Dream to Philly. This time, I was there to experience the Favorite Daze of an underrated band that’s quickly joining the ranks of my favorites — the Neon Trees.

Doors opened at 7 p.m., but my friend Stan and I made sure we got to the TLA a little bit before then so that I could pick up my credentials at the box office. At that point, there already was a line of people outside, waiting and set to rush into the venue as soon as the staff members said it was okay to do so.

Once inside the TLA, we waited for the show to begin as people made their way toward the barricade before the stage. Some remained and chatted with their friends, while others went to check out the merch stand or struck up a conversation with someone new; the latter ended up being the case for Stan since a wrestling fan recognized him and asked him about an upcoming show. Shortly after this, the house lights went out, and we were greeted by the stage lights as the first band, Silent Rival, took to the stage.

Knowing nothing about the band, I didn’t know what to expect from Silent Rival’s performance; however, it quickly became apparent that they had the energy to get things going. Between Sara Coda‘s graceful yet powerful vocals, Joz Ramirez‘s immersive guitar playing, Brock Bowers‘ precise drumming, and Yutaka Sao‘s passionate and, at times, wild bass playing (you know, the kind where he’d have the bass over his shoulders behind him while playing), Silent Rival captured the crowd’s attention. At the end of their set, Etai Abramovich (drummer of LAUNDRY DAY) joined them for their final song of the night, followed by the band expressing their thankfulness and a quick set change.

A group of young men donning school uniforms (picture Jack Black in School of Rock) bearing an emblem-style logo containing “LAUNDRY DAY” greeted the crowd. They took no time getting into their set, and after having explained how they were friends that all met in high school, their camaraderie was undeniable. They not only fed off each other’s playfulness and positive energy but also ensured each member had their moment in the spotlight. Examples of these moments included Etai Abramovich and Sawyer Nunes (vocalist, guitarist, and keyboardist) switching places on the drums and keyboard and Sawyer and Jude Lipkin (vocalist) alternating between providing the main vocals.

LAUNDRY DAY’s energy never waived at any point, either. None of the band’s members stayed still for too long, and they moved about and covered the stage. One of the best instances was when Sawyer and Henry Pearl (bassist) got together behind Jude and had their own little instrumental face-off, repeatedly cycling between leaning toward and away from each other while smiling the entire time. Their joy was infectious, and it continued to live on after their final song and thank yous as Etai, upon being handed a sign from the crowd, made sure to sign it (and possibly got his bandmates to sign it) before handing it back to its creator.

Following LAUNDRY DAY’s performance, there was one final set change. The back portion of the stage was lowered, and the dark fabric that was present the whole show thus far was replaced. As the new backdrop rose, the crowd was welcomed by a wall of magenta fabric displaying the logo of the night’s headliner — the Neon Trees.

Except for some blue lights, the stage was dark as the Neon Trees made their way out and began to play “Versions of You,” which brought about a somewhat melancholic ambiance. That particular mood didn’t stay for long, though, as the lighting changed from dark blues to a brighter and wider variety of colors while the band passionately belted out “Favorite Daze,” an upbeat, self-reflective song they released as a single over the summer.

Playing for nearly an hour and a half straight, the Neon Trees took the crowd through the eras of their music thus far. From “Animal” and “In The Next Room” to “Nights” and “New Best Friend,” their set was a carefully constructed kaleidoscope that represented them as artists. For a newer fan such as myself, you couldn’t have asked for more — and that sentiment didn’t just apply to their selection of songs.

From what I saw, it’s safe to say that each member could still express their individuality while working together. No one had to hide any part of their identity to fit into some kind of mold formed by society’s bullshit expectations. Tyler Glenn (lead vocalist) danced across the stage in a shimmering suit, swung the mic around in the air, and playfully teased the crowd here and there. Elaine Bradley (drummer), armed with rainbow earrings and a humorous graphic t-shirt, never missed a beat. Chris Allen (guitarist), dressed in black and white clothing adorned with fringe, glided through space as fabric extensions on his sleeves followed his movements, and Branden Campbell (bassist) swayed and played without losing his hat. All of this exemplified how the band embodies the notion that fully embracing yourself as an individual is just as important as being able to work together. Like the individual pieces inside of a kaleidoscope, each member of the band stood out on their own while coming together to create something truly incredible — a wonderful daze of great music, stunning showmanship, and an intimate connection Philly won’t soon forget.

Neon Trees

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Laundry Day

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Silent Rival

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Written by Liv Foltiny Photos provided by Girlie Action Media

As of this week (and to the tune of “One Week”), it’s been eight weeks since I looked at them, took their photos, and wrote about seeing them, three weeks since I agreed to give their new album a listen and critique.

Silliness aside, after photographing and reviewing the Barenaked Ladies’ show at The Met back in July, I decided I’d give reviewing their newest album, In Flight, a shot, considering how their live performance was fun, witty, and good-hearted to say the least. However, because I had never listened to any of their albums from beginning to end (until now), I didn’t honestly know what to expect.

With my laptop open and the volume up, I pressed play and was greeted by the first track, “Lovin’ Life,” a cheerful and upbeat song in which the band describes how being alive is a wonderful thing, even though life has plenty of bad moments, not just good ones. The song nicely fits into the kind of playlist you’d create to combat a shitty day. Following suit, “One Night,” the second track, carries a positive concept by encouraging people to live in the moment and indicating how taking risks is necessary sometimes. Simply put, both of these songs have the ability to put a smile on your face and, for lack of better words, exude joy.

Between this song, “What Do We Need?”, “Just Wait”, and “Waning Moon”, the band covers various topics ranging from the changes that come with getting older to wanting to be there for their loved ones and how they continue to experience life lessons. Between this song, “What Do We Need?,”  “Just Wait,” and “Waning Moon,” the band covers various topics ranging from the changes that come with getting older to wanting to be there for their loved. ones and how they continue to experience life lessons. Out of these four songs (and possibly the entire album), “What Do We Need?” was, without a doubt, the one with the hardest-hitting line: “I love it more than anything, but please make it end.” This statement follows Ed Robertson singing about how the band members leave their families to go on tour with one another and continue to grow older as the years pass. Given the order of the lines, I wasn’t sure (and still am not sure) whether the “please make it end” was directed toward one, both, or neither of these sentiments. In the case of the latter of these options, I wonder if the plea refers to the heartache that can come with having to decide whether to tour and, if so, the blunt recognition that they’ll be away from loved ones for a while.

Although a majority of the tracks following “Just Wait” (with the exception of “Wake Up”) don’t appeal to me personally, they are still put together well and continue to carry a self-reflective voice. They also have lyrics that plenty of us can relate to. Yes, I’m looking at you, “Too Old” because “I’m too old for this shit” is a comment that, regardless of its tone when spoken (i.e., joking or serious), is something that can resonate with a lot of us in some way. Lines like this, as well as the beautifully painful ones (like that line in “What Do We Need?” I referenced before), are things that make In Flight stand out and indisputably make it human.

In Flight is available now! You can check it out on your favorite streaming device or buy it directly from the band’s online store.

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