Written By: Lisa Melograno

In a world where music can often feel like an endless cycle of sameness, Quiet Time emerges as a refreshing breath of bubblegrunge air. Their debut EP, “Everyone’s Having More Fun Than Me,” encapsulates the spirit of a generation grappling with isolation, nostalgia, and the absurdity of modern life. Hailing from Philadelphia, this band blends the raw, emotional edge of grunge with bubblegum pop sensibilities, creating a sound that’s both familiar and strikingly unique. Quiet Time’s inception during the COVID-19 pandemic gives their music an added layer of significance. Lead singer MaiAda Carpano and her husband, guitarist Nick Tuttle, found solace in songwriting within the confines of their basement. This intimate setting is palpable throughout the EP, where vulnerability meets creativity in a raw, unfiltered manner. The band’s name, a cheeky nod to a neighbor’s plea for quiet during their practice sessions, perfectly encapsulates the juxtaposition of their sound—joyful yet tinged with the chaos of reality.

“Shout Out, Mrs. Albertson,” the first track on Quiet Time’s debut EP, encapsulates the emotional turmoil and existential musings of a generation yearning for connection and understanding. With its blend of bubblegum pop and grunge influences, the song emerges as both a catchy anthem and a poignant exploration of self-identity. The lyrics are a compelling tapestry of vulnerability and introspection. MaiAda Carpano’s voice carries a sense of urgency and sincerity as she navigates the complexities of wanting to be loved while grappling with feelings of inadequacy. The chorus’s refrain about being the “derelict darling/of the deadbeats club” speaks volumes about feelings of alienation. The reference to Mrs. Albertson and the science teacher adds a layer of irony. In seeking to be “saved” and molded into a “good girl,” the narrator recognizes that conformity will never satisfy her deeper need for authenticity and love. “Shout Out, Mrs. Albertson” strikes a perfect balance between upbeat and introspective. The infectious melody, driven by jangly guitars and punchy drums, creates a contrast to the weight of the lyrics. Oren Roth-Eisenberg’s drumming provides a steady pulse that propels the song forward, while the dual guitar contributes to the vibrant soundscape. The production is polished yet retains a raw edge, echoing the band’s roots in the ethos of the Philadelphia music scene. The song’s emotional resonance is heightened by MaiAda’s vocal delivery. Her voice oscillates between vulnerability and defiance, capturing the essence of someone caught between longing for acceptance and the harsh realities of self-doubt.

“No Stars. Just Trash,” the second track on Quiet Time’s debut EP, “Everyone’s Having More Fun Than Me,” showcases the band’s knack for blending raw emotion with an infectious, upbeat sound. Clocking in at just under three minutes, this song packs a powerful punch, both musically and lyrically, making it a standout moment on the EP. The verses are introspective, exploring feelings of inadequacy and the desire for validation. MaiAda’s vocal delivery here is particularly poignant, capturing the frustration of feeling overlooked in a world obsessed with celebrity culture. MaiAda Carpano’s voice conveys a mix of vulnerability and defiance, reflecting the internal struggle of wanting to believe in someone despite their shortcomings. The repetition of “I’d still take them” emphasizes the longing for connection, even when it’s clear that the other person is unreliable. “No Stars. Just Trash.” is anything but slow. The track bursts with energy, driven by punchy drums and vibrant guitar riffs. Oren Roth-Eisenberg’s drumming is particularly noteworthy, providing a relentless rhythm that propels the song forward. The guitars, courtesy of Nick Tuttle and Randy LoBasso (former Origivation Editor), create a melodic interplay complimenting Tom Farnham’s bass playing that is both catchy and textured, blending the upbeat energy of pop-punk with the grunge influence that Quiet Time embodies.

“No Stars. Just Trash.” is a testament to Quiet Time’s ability to craft songs that are not only catchy but also deeply reflective of the human experience. The song’s tempo and arrangement contribute to its lively feel, making it perfect for those moments when you want to scream out your frustrations but still feel a sense of joy. “No Stars. Just Trash.” serves as a perfect bridge between the playful and the profound, showcasing the band’s unique ability to convey complex emotions through their music. It’s a track that embodies the essence of bubblegrunge. “Shut Up, I’m Trying to Cry Over Here” is a striking exploration of emotional turmoil and the complexities of modern relationships. With its driving rhythm and relatable lyrics, this song captures the essence of vulnerability while maintaining an upbeat energy that keeps listeners engaged. The lyrics are a poignant reflection on the frustrations of love and the often-messy reality of emotional connections. From the outset, MaiAda Carpano’s voice conveys a mix of defiance and weariness as she confronts a relationship that is both enticing and tumultuous. “Shut Up, I’m Trying to Cry Over Here” is vibrant and energetic, striking a perfect balance between pop-punk catchiness and grunge-infused angst. The driving beat, complemented by punchy guitars and dynamic drumming creates a compelling sound that invites listeners to nod along. With its infectious sound and relatable lyrics, this track resonates with anyone who has experienced the tumultuous highs and lows of a complicated relationship.

Quiet Time successfully captures the essence of navigating love in a modern world, making “Shut Up, I’m Trying to Cry Over Here” a must-listen for fans of emotionally charged music that doesn’t shy away from the complexities of the heart. This song invites listeners to embrace their feelings, dance through the chaos, and find solace in the shared experience of longing and vulnerability. “Scheherazade” is a bold and provocative exploration of gender dynamics, power, and the complexities of victimhood. Drawing inspiration from the legendary storyteller of “One Thousand and One Nights,” the song intertwines themes of survival and deception, making a powerful statement about the narratives surrounding women in a patriarchal society. The lyrics delve into the manipulation of perception: “She set up a hoax and married a rich man/ Slayed him with her wit.” Here, the protagonist uses her intelligence in a world that often underestimates women, showcasing the theme of cunning as a survival mechanism. “Scheherazade” combines energetic instrumentation with a driving rhythm that complements its urgent themes. The arrangement features a blend of catchy melodies and grunge-inspired elements, creating a compelling sound that draws listeners in. The dynamic interplay between the musicians adds a layer of intensity that mirrors the emotional weight of the lyrics. “Scheherazade” is a track that sets the stage for Quiet Time’s ambitious debut EP. With its incisive lyrics, infectious melodies, and a potent social message, the song challenges listeners to confront uncomfortable truths about gender dynamics and societal expectations. “Scheherazade” is not just a song but a call to action for anyone willing to listen. It invites reflection on the complexities of female agency and the narratives that shape our understanding of victimhood. In a world that often silences women’s voices, Quiet Time’s bold proclamation through this track is both timely and necessary, ensuring that “Scheherazade” resonates long after the final note fades.

“Last Year at Elf Camp,” the closing track on Quiet Time’s debut EP “Everyone’s Having More Fun Than Me,” is a poignant and introspective examination of nostalgia, growth, and the struggles of navigating a world filled with uncertainty. The song captures a complex emotional landscape, blending vivid imagery with reflective lyrics that resonate deeply. As the song unfolds, themes of disillusionment and the passage of time emerge. This sentiment resonates with anyone who has grappled with the weight of the future and the fears that accompany maturity. The contrast between youthful idealism and the sobering realities of adulthood is a central theme, underscoring the struggle to maintain hope in a world that often feels broken. The chorus reflects this tension beautifully: “How do broken people save a broken world? We couldn’t even save ourselves.” It encapsulates a feeling of helplessness while yearning for agency—a relatable struggle for many in today’s chaotic landscape. “Last Year at Elf Camp” combines a driving rhythm with melodic elements that enhance its emotional depth. The instrumentation is layered and textured, allowing MaiAda Carpano’s vocals to shine. Her delivery is both heartfelt and earnest, perfectly capturing the song’s reflective tone. The arrangement builds gradually, creating a sense of urgency that mirrors the lyrical themes of change and liberation. The interplay between guitars and drums contributes to a sound that feels both organic and dynamic. The chorus bursts with energy, reflecting the enthusiastic yearning for change and connection that permeates the song. This blend of melodic hooks and rhythmic intensity makes it an engaging listen, inviting repeated plays. “Last Year at Elf Camp” is a compelling closer for “Everyone’s Having More Fun Than Me,” encapsulating Quiet Time’s ability to tackle profound themes with honesty and emotional depth. With its rich imagery, engaging instrumentation, and heartfelt lyrics, the song resonates on multiple levels, making it a powerful anthem for anyone grappling with the complexities of life, growth, and the desire for change.

The chemistry among the band members shines through every note. Their collaborative effort is evident, with each member contributing to the band’s distinct sound. Tom Farnham’s bass playing and Oren Roth-Eisenberg’s drumming are both energetic and nuanced, providing the perfect backdrop for the melodic explorations of the guitars. Nick and Randy’s guitar work complements MaiAda’s vocals beautifully, creating a rich tapestry of sound that is both intricate and accessible. “Everyone’s Having More Fun Than Me” is not just an EP; it’s a reflection of a moment in time. Quiet Time captures the essence of a generation navigating uncertainty and isolation while yearning for connection and joy. The band’s ability to blend introspection and catchy melodies makes this debut a must-listen for fans of both grunge and pop. For anyone looking to find solace in music or simply a good time, “Everyone’s Having More Fun Than Me” is an EP that deserves a spot in your playlist.

Instagram  | Spotify | Youtube | Bandcamp

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.

Facebook  |Website  | Tiktok | X | Youtube

Written and Photographed by: Lisa Melograno

On Sunday, July 14th, The Pretenders, with Chrissie Hynde leading on vocals and guitar, Kris Sonne on drums, Dave Page rocking the bass, and James Walbourne completing the lineup on guitar, captivated a sold-out crowd at Philadelphia’s historic Fillmore. The venue’s intimate and lively vibe, steeped in rich history, contributed to the evening’s enchantment. Fans, primarily aged forty and older, turned up in jeans and a variety of ’80s band t-shirts, creating a nostalgic atmosphere that transported attendees back to the golden age of rock.

The Pretenders’ exhilarating performance at The Fillmore was a masterclass in stage presence and raw musical talent. The intimate setting of the venue allowed fans to fully immerse themselves in the band’s captivating sound as they delivered hit after hit with palpable passion and energy. Their chemistry on stage was undeniable, and as the show unfolded, it became clear that The Pretenders’ status as rock legends was as solid as ever, leaving an indelible impression on the hearts of those lucky enough to witness their unforgettable performance at the Fillmore.

From the electrifying first note to the final round of applause, the band’s dynamic performance captivated the audience. Chrissie Hynde’s iconic voice, with her undeniable stage presence, was phenomenally complemented by James Walbourne‘s electrifying guitar riffs, Dave Page’s rich, pulsating bass lines, and the thunderous beats from Kris Sonne on the drums. The synergy of their skilled talent reaffirmed their legendary status in the world of rock, proving that they remain as vibrant and powerful as ever.

Kicking off the night with “Losing My Sense of Taste,” the band immediately showcased their iconic sound and captivating stage presence. As they transitioned seamlessly into “A Love,” the crowd was treated to a powerful testament to The Pretenders’ unique sound and enduring chemistry. The atmosphere buzzed with increasing energy during the performances of “Turf Accountant” and “Hate for Sale,” setting the stage for a vibrant sing-along from the audience to the timeless classics “Kid” and “Precious.”

The Pretenders’ setlist served as a sonic journey through their storied career, with each song evoking a wave of nostalgia that created an emotional resonance throughout the audience. The performance of “The Buzz” offered a nuanced, mellow vibe, engaging the audience with its intricate melodies, while “My City Was Gone” prompted a moment of reflection on the band’s enduring legacy and their contributions to music.

Chrissie’s rapport with the audience added a personal touch to the evening, as she unveiled a pink box and tossed a gift to the crowd after concluding their set. This simple gesture exemplified the connection between The Pretenders and their fans, as Chrissie’s warmth and charisma radiated throughout the venue. The fans, not willing to let the night end, chanted for an encore, and The Pretenders obliged.

The concert reached a thrilling climax with a two-part encore that showcased The Pretenders at their absolute best. The first encore ignited with the raw emotional appeal of “Stop Your Sobbing,” followed by the melodic resonance of “Back on the Chain Gang,” and then seamlessly transitioned into “Let the Sun Come In,” from their new album “Relentless,” crafting a blend of classic sounds and vibrant melodies that resonated with the audience. This set the perfect stage for the second encore, amplifying the anticipation for what was to come.

As anticipation built, The Pretenders returned to the stage for their second encore, unleashing “Mystery Achievement” in a powerhouse performance that solidified the night as unforgettable. This final song, with its driving beat and compelling rhythm, encapsulated the band’s dynamic range and musical prowess, leaving the audience in awe. The strategic arrangement of these encores, from the emotive beginning to the robust conclusion, highlighted The Pretenders’ mastery in creating a dynamic musical journey, providing a performance that was rich in depth and profoundly gratifying.

As I turned to leave for the night, I spotted a group of ardent fans approaching the stage, seeking keepsakes from the stagehands. Much like The Pretenders concerts of the ’80s that I had attended, a stagehand with a broad smile began distributing setlists and guitar picks to the fastest hands reaching forward. In that instant, the crowd, many of whom were of middle age and beyond, momentarily recaptured the exuberance of their teenage selves, alight with youth and excitement.

The strong bond They share with their fans ensures every performance is as captivating as their debut, fortifying their perpetual mark on the rock and roll genre. Their concerts stand as a vivid showcase of their immense talent and their unbreakable connection with the audience, affirming that their passion and energy remain as vibrant and profound as ever. The Pretenders continue to serve as a reminder of the power of live music, proving that rock and roll will always thrive and connect people through shared experiences and unforgettable performances.

Instagram | Facebook | Website | Youtube | X | Tiktok 

Written by: Nick Hopton and Photographed by Michael Greco

As the lights dimmed in the heart of Philadelphia, the air thick with the smell of overpriced beer and rarely washed denim, we felt the weight of life lift off of our shoulders, if only for a little while. Frank Turner and his band of Sleeping Souls ended their Undefeated Tour of 2024 in our city, promising an evening that would resonate deeply with every lost soul fortunate enough to find their way. Standing amid a sea of fans as I had many times before, I couldn’t help but feel a sense of being at home…. connected by a shared passion for a sound that defies the boundaries of genre and generation.

Show 2097 was about to begin.

As we gathered at The Fillmore Philadelphia, the venue itself seemed to pulse with the energy of anticipation. The newer yet somehow historic charm of The Fillmore set a perfect backdrop for the evening to come. The doors opened at 5:30 PM, ushering in a diverse crowd, from eager teenagers experiencing their first concert to seasoned punks who have been through hell and back. Each person’s excitement added to the collective buzz, making the air electric with pre-show wonder.

The venue’s layout, with its own excellent acoustics and intimate setting, promised that every attendee would feel the raw energy of Turner’s performance, no matter where they stood. Amigo The Devil, Bridge City Sinners, and Micah Schnabel & Vanessa Jean Speckman took the stage in the earlier hours and owned it in their own right, each more than capable of headlining their tours. The crowd’s chatter turned into cheers with each passing moment, setting the tone for what was to come. It was a gathering of love, ire, and song. The final stop on the tour.

At 9:15, Frank Turner took the stage. The atmosphere shifted palpably, charged with an electric anticipation that only his performances could elicit. Opening with new fan favorites “No Thank You For The Music” and “Girl From The Record Shop” from his latest album, the crowd was instantly captivated, singing along to every word, their voices a unified chorus in the hot as-hell Philadelphia night. The real sing-alongs began directly after as “Get Better”, “Recovery” and “Try This At Home” damn near blew the chandeliers off the ceiling. Turner’s ability to blend heartfelt lyrics with soaring, electric songwriting was on full display, creating an opening that was both emotive and exhilarating like a tornado of emotion. You knew damn well where you were at…and it wasn’t Kansas anymore.

As the night progressed, the energy surged as Turner and his band launched into rousing epics “I Am Disappeared,” “Haven’t Been Doing So Well,” and the always massive singalong “Polaroid Picture”. Two highly emotional tracks followed, “Ceasefire” and “A Wave Across The Bay” which damn near brought the entire room into a sea of tears from the inspiration they carry. The connection between Turner and the audience deepened with every passing moment, each song acting as a cathartic release for both the artist and his fans.

As the show progressed, one singalong after another in a massive 25-song set, and the night drew to a close, Turner’s performance of “Photosynthesis” was a standout, embodying the spirit of defiance and renewal that his music champions. The crowd’s enthusiastic participation, shouting back “I won’t sit down, and I won’t shut up, and most of all I will not grow up” was a reminder of resilience in the wake of shit that life will throw at you, and to always be you. A quick break ushered in a 4 song encore featuring “Undefeated”, “If Ever I Stray,” and “I Still Believe,” closing the night out with the riot dance anthem “Four Simple Words.”

Being the eighth time I’ve seen him live, I can say that no Frank Turner show is the same. Always different emotions, and different themes of the night. Reflecting on the Undefeated tour, especially the unforgettable evening in Philadelphia, this felt more raw. More heartfelt and to the point, no cherry on top of the melted structure of life we once knew and loved. He spoke often about how fucked up things have been and continue to become over the past few years. He’s right when he says that we don’t open up and truly talk about where we are and the shit we’ve been through. But the one unifying thing we do have…is this. This synergy between his thoughts written on paper then conjured into a release, and the palpable enthusiasm from the audience united in the transformative and healing power of live music. Turner’s ability to connect through his heartfelt lyrics and energetic performances, coupled with the engagement and shared passion of the fans, created moments that transcended the boundaries of the event, leaving lasting memories and a deep sense of community among those present. We don’t have many things we agree on anymore. Nights like these are a reminder that we still can have hope to remedy that.

The significance of this tour goes beyond the confines of The Fillmore, weaving into the fabric of the attendees’ lives a tapestry of musical fervor, collective joy, and the enduring human connection that music fosters. As we look back on that night, the experience serves as a vivid reminder of music’s role in shaping our narratives, keeping them true, and enduring through the storm. This tour not only celebrated Frank Turner’s artistry but also the communal spirit of his fans, highlighting the enduring impact of gathering in appreciation of music that speaks to the soul.

Facebook | Website | Instagram | X | Tiktok 

Rod Kim / Marvelous Xe ‘Worthy’ Single Artwork

Written by Lauren Rosier

It’s been nearly a decade since the Los Angeles-based, Wilmington, DE, originated, singer/songwriter, Rod Kim, has released music under his name.

However, that’ll all change today, November 8, 2021, as he is releasing a brand new track titled “WORTHY” featuring Marvelous Xe. This will be the be 6th anniversary of when he moved to L.A.

He says, “being ‘Worthy’ was a recurring theme popping up in my life recently: I looked around at me and all my talented friends who were constantly being gaslit

by anxiety, as well as other people, to believe that they weren’t good enough.”

“The musical vibe of ‘Worthy’ is a swagger I’ve wanted to do for years but was always told that I didn’t have it in me… so it was a pretty perfect way to start over,” Kim explains.

On the same day, “honest, (demo)” will also be released quietly. “It’s kind of a b-side, but also the prelude to ‘WORTHY.’”

Connect with Rod Kim

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

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.

Connect with WXPN

WXPN | XPN Fest | Facebook | Instagram | Twitter | Spotify | Apple Music

photo credit: Daion Chesney

Written By Maria Arroyo

Montreal-born and New Jersey-raised artist, Love Mansuy, releases his new single “I’ll Be There” featuring his own son, Carter Mansuy. This new single had intentions of reflecting on his commitment to raising his son. When it came to making the video to match, they chose to “reflect on not only the need for black men to show up for their sons, but the need for black men to be there for black women.”

Love Mansuy is able to dig deep into his emotions to create this moving song. Bringing his son to feature the song only enhances the strength that lies in the bonds of families, which is so important in today’s society.

“I’ll Be There” creates a beautiful visual into just one individual’s life as a person in the black community. The needed scheme pans to a wall with the word “revolution” written bigger than all the rest. The stories that artists like Love and Carter Mansuy are bringing to life bring our nation a small step closer to dealing with the injustices that flood the black communities all over the nation. The problems are real, relevant, and won’t just go away.

Keep up with Love Mansuy below!

Connect with Love Mansuy

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

Talking with Garcia Peoples

Interview with Maria Arroyo

Rock n’ roll psychedelic jam band, Garcia Peoples, is officially a 6-piece band but has played anywhere from 2 to 6 band members, with one of their guitarists being from the Chicago area. The Brooklyn-based band is just getting started.

The band consists of songwriters and guitarists Danny and Tom, Derek on bass, Cesar on drums, and other members Pat and Andy.

My Skype interview was with the singer and co-songwriter of Garcia Peoples, Tom Malach. We spent a lot of time talking about the writing process and how fast everything was able to fall in place in such a short amount of time.

“We wrote the music over a long stretch of time… a lot of these songs that we are working on now are actually quite old, and a lot of the songs that are on the first, second and third albums are even older,” Malach explained, then adds, “There was a point a few years ago when Danny and I were both unemployed and we would get together very often and just kind of plan out these albums… and now they are actually happening.”

So…you really just had a lot of time to sit around and write music? “Yeah… kinda,” he answers.

The band is already on their third album in just a year and a half and is currently recording their fourth album in Philadelphia with Jeff Zigler, who also helped them record their second album.

As we talked more and more about the explosion of released songs, he elaborated on the recording process and how much they have learned and adapted to being in a studio.

“It was a great experience because we’ve always recorded in our own bedrooms and whatnot and done things pretty simple… like friends pushing the buttons and stuff,” he explains. “But going to a studio and paying someone who knows what they’re doing where you can ask them for things and they give you suggestions… I love working with people that give input. We have all these songs, so we said let’s pay the money and record these songs for real, and it turned out even better than we expected!”

As a musician myself, I know how many tons of books of songs that I’ve written, so to be able to publish almost all of them back to back in less than 2 years is very impressive!

“So do you and your band do music full-time?” I asked.

“We all still work 9-5 jobs… but from the beginning, we knew that if we were going to do something, we need to commit to it,” Malach admits. “We had a pretty strong sense of what kind of sound we wanted so we really didn’t have to search too much.”

We talked some more about the band’s approach to writing music. Malach told me that their ultimate goal is to have every band member have a hand in songwriting.

“We write separately and then bring it to the practice space and flesh it out as a full band,” Malach stated.

“Does your music take inspiration from anything in particular?” I questioned.

Now I thought the answer would be some major bands, huge moments in life, girl problems, etc., but their answer was definitely so much more meaningful than any of the above.

“Well, my father is a musician and has always been a big inspiration and I’m always trying to learn from him,” Malach replied. “We are definitely inspired by a lot of different music but more so influenced by our peers and other bands we hear… we can see their whole process, how they think about things, and how they execute them.”

And that… THAT moment… made my heart so full.

“So you have all this music, what are some venues that you’ve tried out?” I wondered.

“Well, Union Pool in Brooklyn is like a second home for us,” He admitted. “We also did a residency at a fantastic club called New Blue in Manhattan that was really fun. There’s also a place in Portland, Oregon called Doug Fir that is very comfortable and has a great sound to it.”

Since having played a decent amount of venues, I was curious to find out what makes a venue “playable.” I mean sure, having a sound system and some sort of stage is a given, but I love knowing all the little nuances that musicians look for when playing at a venue. What makes them WANT to come back and play at that SPECIFIC venue?

Malach slightly pauses, trying not to give an answer that makes some venues look bad, so much respect for that!

“I mean, some performances have felt like an uphill battle because soundcheck wasn’t that great, but any number of things can happen,” He begins. “When I

think back to venues that I like, I think back to our performance there and that would be why I liked it. There’s also something to be said for the people at the venue putting you at ease and giving you a space to be to wind down before we perform because that really helps.”

As I started wrapping up the interview, we talked about some possible collaborations that the band would like to have which included artists like Sarah Louise, the Oh Sees, Gang Gang Dance, and other New York bands. The band also had huge plans of touring Europe at some point before 2021 so be sure to be on the lookout for that!

“This is probably my last question, but what’s your favorite part of being a musician and some roadblocks you’ve hit along the way?”

“My favorite part? You can always get better… there is no end in sight,” He begins. “There are always new ideas and things to access and new music to explore. It’s always ongoing and evolving to be a musician… but the biggest roadblock? Time… or I guess the lack of time when things are really going and the amount of time we have on our hands when things aren’t going.”

“Anything else that you want readers to know?”

“Thank you for coming to the shows and thank you for picking music… what we do isn’t possible in a vacuum… it takes a whole village.”

Thank you to Tom Malach from Garcia Peoples for taking time out of your day to talk with me, it was a blast and I look forward to all of the amazing things that you and your band will do in the future.

Today she shares a new remix for her song “Let Me Know”, the Franklin Remix. The tour kicks off in Atlanta on March 30th and will hit cities including New York, Toronto, Los Angeles, and Philadelphia on April 5 at Franklin Music Hall.

Take a listen to “Let Me Know” and make sure to stay up-to-date with all things Winona Oak.

Check out Oak’s stunning music video for her song “Let Me Know” below.

Winona Oak live dates:
# supporting Oh Wonder

Wed 1.22 – Brooklyn, NY @ Baby’s All Right @ Popshop NYC HERE
Mon 1.27 – Toronto, CAN @ The Drake @ School Night Toronto (FREE w/ RSVP HERE)
Wed 2.19 – Los Angeles, CA @ Moroccan Lounge @ Popshop West HERE
Mon 3.30 – Atlanta, GA @ Buckhead Theatre #
Tue 3.31 – Asheville, NC @ The Orange Peel #
Wed 4.01- Charlotte, NC @ The Fillmore Charlotte #
Fri 4.03 – Silver Spring, MD @ The Fillmore Silver Spring #
Sat 4.04 – New Haven, CT @ College Street Music Hall #
Sun 4.05 – Philadelphia, PA @ Franklin Music Hall #
Tue 4.07 – Brooklyn, NY @ Kings Theatre #
Wed 4.08 – Boston, MA @ House of Blues #
Fri 4.10 – Montreal, QC @ MTELUS #
Sat 4.11 – Toronto, ON @ Queen Elizabeth Theatre #
Mon 4.13 – Detroit, MI @ Majestic Theatre #
Tue 4.14 – Chicago, IL @ The Vic Theatre #
Wed 4.15 – Minneapolis, MN @ First Avenue #
Fri 4.17 – Denver, CO @ The Mission Ballroom #
Sat 4.18 – Salt Lake City, UT @ The Depot #
Mon 4.20 – Portland, OR @ Roseland Theater #
Tue 4.21 – Seattle, WA @ Showbox SoDo #
Wed 4.22 – Vancouver, BC @ Orpheum Theatre #
Fri 4.24 – Oakland, CA @ Fox Theater #
Sat 4.25 – Anaheim, CA @ House of Blues #
Sun 4.26 – Los Angeles, CA @ The Wiltern #

by Olivia J. B. Baxter

Musician and jazz/soul songstress, Macy Gray, and band played to a full house at the brand new City Winery in Philadelphia.

The show started with Gray’s band serenading the crowd with an upbeat jazz-soul fusion jam. Once the audience was on the edge of their seats in excitement, Gray took to the stage and jumped right into her set. She performed songs from her new album, Ruby, as well as songs from her decade-long catalog.

The room was never silent. Between the cheers and accolades of appreciation being shouted for her talent and performance from the audience, fans singing along in harmony with her every song, and each band member rolling songs to a roaring start and end with respected solos, the energy was high, the mood was joyous, and the vibe was chill. 

Gray’s songs were a thrilling fusion of jazz, soul, and indie-rock— the show satisfied the diverse palate of musical tastes and satiated the rooms hunger for entertainment. The venue itself is a sit-down establishment specializing in house wines on tap and an accessible menu of victuals for every budget. The intimate environment allowed people to indulge in a glass or bottle of wine, nosh on some delicious eats, and interact with Macy throughout the evening. 

Half-way through the set, Gray paused to take a moment to introduce herself to the audience and ask everyone to shout their name so she could get to know who she was performing for and sharing space with. While this was a performance with a nationally known legendary performer, in many ways it resembled nights I’ve had at one of Philly’s many small local venues with any one of our many local bands—the close proximity of stage and audience, the casual lounge-like atmosphere where people could eat, drink and respectfully interact with friends and strangers while engaged with Gray and the show. 

It was clear Gray encourages that form of atmosphere. Between songs she would take time to speak with us. As she introduced her song “Buddha” off her latest album, she asked everyone to close their eyes and be present with her, in that moment. 

She continued to engage with the audience who was fully present and engaged with her.

“It’s a Sunday night and while other people are home, tucking their children in bed or reading a book… you ‘Wild One’s’ are here, with us. Singing and dancing and having a good time.” Gray dedicated several moments throughout her performance to expressing gratitude for our presence and share messages that encouraged unity, love, peace, and joy. 

This show endorsed and embodied just that– people embracing this moment– being present and expressing and sharing in love, unity and joy while they danced, sang, and hung with the queen ‘Wild One’, Macy Gray.