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.

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Written & Photographed by : Killian O’Neil

It’s a very rare occasion when I am in North Philadelphia and actually feel safe; this last Saturday was one of those times. As my Uber pulled up to The Met Theatre, I was greeted by a hand full of security guards, accompanied by a wall of walk-through metal detectors. The entrance of The Met was sectioned off with chain link fences that had fake grass woven throughout the openings. It turned out to be a pop-up beer garden, and a DJ was spinning Emo/EDM remixes. Everyone either had a drink in hand or was chatting amongst themselves, bopping around. Despite the heatwave that was ripping through the city, the excitement of the night seemed to trump the thermostat reading 100 degrees.

Once I entered the venue, it was wall-to-wall with people every which way. I had about 10 minutes to kill before the night began, so I did what anyone would do, and I went to stand in line for merchandise. The line was wrapped around the staircase, overflowing onto the second floor of the venue. I overheard the couple behind me getting frantic because they were worried they’d miss Something Corporate because the line was “so long.” It really shouldn’t come as a shock, seeing as it’s been nearly 14 years since they went on tour. What makes it even wilder is that this was the first time in 20 years that all five of the original members were on the road together. We were definitely in store for a very special night. I myself have been waiting for this moment patiently since I was 14. A little longer wasn’t going to make a difference.

Something Corporate came on right after nine p.m., following their opener, Days Away, who had one hell of a set. Keeping the theme of indie rock for the evening, they got the crowd roaring to go and singing along to every song they played. It was my first time seeing them, but it was quite clear they have been doing this for a very long time. I was only able to catch the end of their set, but what I did catch was profound. Right before they played their last song, the lead singer said, “It’s kind of beautiful that you can write a piece of something and give it to the world,” and immediately after, everyone went crazy.

Once Days Away ended, it was finally time for something corporate. The music cut and the lights dimmed, and next thing you know, Andrew McMahon is skipping out onto the stage. He was dressed in a white button-down, black suspenders, and black dress pants, which completely suited the evening that was in store. The band immediately went into the song “Straw Dog” without anybody in the audience missing a beat with the lyrics.

Continuing the high energy of the night, they bang out “I Want to Save You” and “She Paints Me Blue,” with a mix of nostalgia and memories penetrating the air. There wasn’t a single person who wasn’t singing along with their eyes closed, getting transported to their formative years. There were 21 songs played that night, and the band left little time for pauses and transitions.

They played every hit, including “Punk Rock Princess.” During this song, Andrew went and grabbed his daughter, bringing her out on stage. They both sang it together and danced around the stage, e

ating up every moment. Ending that song on a strong note, Andrew jumped into the crowd and ran around singing to finish it off. Following it was “I Woke Up in A Car,” and that is when I believe I lost my voice. The last time I sang along this much, it was at Taylor Swift! The lights cut and all filed off.

A few moments later, after echos of “one more song” chants and screaming from the crowd, Andrew walks out on stage, walks to his piano, and takes a seat. At this point, everyone was losing it because there was still one song in particular that had yet to be played. The first key was hit, and the crowd started to sing in unison, “Konstantine.” It’s a seven-minute beautiful song, mainly on the piano, and seeing it live was out of this world. The emotions were swirling for everyone that was in the crowd that night. I swear I saw a girl crying in front of me. The second-to-last song that evening was a throwback of all throwbacks to close out the night, for real this time. It was none other than “If You See Jordan.”.

The synergy I saw that night on the stage between the bands is something that you don’t see often. It is quite clear that their brotherhood has weathered the seasons of life together. Which has transferred beautifully to the stage. Every single one of the members of Something Corporate was having the time of their life, and you could tell that. Everyone was feeling something on some level that night. In the middle of the evening, Andrew said to the crowd, “You can’t manufacture magic; you just have to try to put yourself on the path, and if goddamn, tonight wasn’t magic.” That’s exactly what this night was to not only them but to everyone in attendance.

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Photos and Written by : Alexandrea Da Veiga

 As I ascended from the bustling first floor filled with the typically boring Center City Saturday crowd, the transition to the upstairs venue felt like stepping into an alternate universe. The loud, punk, hot, and queer space exuded an energy that was much closer to what I like, which is what my pre-show research lead me to expect from this band.

Thus Love, a queer post-punk band hailing from the woods of Brattleboro, Vermont, and one of the few good things to emerge from the Pandemic (the band was “forced” to their debut album, Memorial, during COVID-19) brought a taste of the 80’s to the second floor of Milkboy.

The show was kicked off with the electrifying performance of Philly-based Lahnah, followed by the raw intensity of New York punk rockers Native Sun. Thus Love opened with “On The Floor” which highlighted Lu Racine’s powerful drumming, followed by a special on-stage collaboration with the members of Native Sun for “House on the Hill”, an unreleased single coming out this November.

Within just a couple of songs, Thus Love succeeded in breaking down barriers, enticing people away from the edges and towards the stage. There was a decent amount of people hanging out in the periphery(Why? I do not understand, you paid to see this, get close to the action!). It was a testament to the band’s ability to forge a genuine connection with the audience and get the crowd going.

This was the final stop of a month-long, sixteen-show tour. Lead vocalist and guitarist, Echo Mars, candidly addressed the challenges of their rigorous touring schedule. Likening it to the monotonous existence of a “french feudal peasant” due to the repetitive drive-wait to play-perform-drive routine. The toll of the road was evident, with Lu Racine’s broken cymbal and Echo Mars’s weathered guitar held together with tape, Ally Juleen(bass) and (Guitar and Synth) seemed to have had some mercy on their gear.

Throughout “Get Stable”, “All Pleasure” and “Lost In Tranz” they struck a delicate balance, leaning into their genuine expression without turning into excessive theatricality that could overshadow their music.

To finish the night, “Centerfield” slowed things down and wrapped us in the new wave gloom and mesmerizing guitar tricks and magic that the audience, including me, loved and grooved to. “Put On Dog”, one of Thus Love’s most popular songs,  served as the perfect finale, the cherry on top of the loud, sweaty cake.

The turnout was respectable, but I am surprised that there were not more bodies in attendance. Thus Love is certainly a band not to miss next time they are in town. As the house lights came on and Echo Mars told us to go home it was clear that even after a long month up and down the East Coast, Thus Love left an enduring impression on the minds of everyone lucky enough to attend this performance.

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

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

Saturday, September 18, 2021

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

photo credit: Liv Foltiny

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sunday, September 19, 2021

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

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

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

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

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

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

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

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

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

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

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

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

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

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While known for delivering lyricism with real issues and substance, Weathers has channeled a personal experience on the song “Feel Good.” The four-piece brought in award-winning songwriter/producer, Tim Pagnotta, and the band and Pagnotta were able to create a song that delivers a mix between retro and modern influences while balancing the more serious lyrical content with the song’s danceable, upbeat instrumentation.

When asked about the song and its meaning, frontman Cameron Boyer honestly shared, “There was a time back in January/February of 2019 where I felt completely lost. I was on tour and had started having these feelings of intense self-doubt. That led to me feeling like I wasn’t myself. I didn’t want to talk to anyone. I didn’t want to eat. And I felt like I was going to be a failure… I eventually started to feel like I was a shell of a person. I had lost all feeling for a short time and started to think ‘what’s the point?’ I just wanted to disappear.”

He went on to explain, “I didn’t like feeling this way. So before I felt like I was completely gone, I started to talk to people. I started to reach out for help. And I surrounded myself with little things that made me happy. And slowly, I came out of the place. Shortly after, we started writing a bunch of new music. And I wanted to write about this experience. It’s a reflection of how I felt at the time but also how I wanted to feel better. I didn’t want to feel that way. It was dark and lonely. And all I wanted to was to get out.”

The quartet broke onto the music in scene in 2016 and haven’t slowed since then. Last year, 2019, was an incredible year for Weathers as they released four singles [“Dirty Money”, “Problems”, “Lonely Vampire”, and “Always Tired”], launched a U.S. radio campaign for their track “Problems”, and toured extensively with the likes of Magic Giant, Palaye Royale, One Ok Rock, and Badflower.

The Los Angeles-rockers are continuing their success in 2020 by touring alongside alt-pop darlings, Echosmith, on their Lonely Generation tour.

by Brittany Rotondo, Contributing Writer

Philadelphia’s MilkBoy is a charming chameleon of the City’s backbone. The restaurant, café, bar and live music venue has had its fair share of attributes throughout the years, most notably in its humbled beginnings, founded by owners Tommy Joyner and Jamie Lokoff.

“To us, that means that we could take a risk eventually and it could go as professionals, which we did. It became caught up in what we thought it would,” explains Joyner about he and Lokoff’s partnership.

What started as a local recording studio in North Philly has turned into more than a brand, more than a business, and is gradually scaling the summit that is the entertainment and hospitality industries of Philadelphia and beyond.

Grammy-nominated MilkBoy the Studio (Located adjacent to Franklin Music Hall, formerly Electric Factory) offers premier recording spaces that have captured the sounds of artists spanning from Kanye West to James Taylor, Erykah Badu, and Miley Cyrus.

MilkBoy Recording offers four separate studios that specialize in customized mixing, monitoring and expertise. The SHAKE offers audio post for film, TV, web and sound design. They have earned 2 EMMYs, 4 CINEs, 10 ADDYs and 2 dozen TELLYs.

After relocating its original setting to Ardmore, then subsequently on to Center City, MilkBoy was officially born. Located at 11^th and Chestnut, the two-floor building caters to resident foodies with a fully stacked food and beverage menu downstairs featuring the Hangover Burger and an endless list of draft IPAs. Live entertainment echoes upstairs, highlighting local and national touring musicians alike. See upcoming events here.

You keeping up?

The venue recently expanded onto the most infamous and interesting strip of Philadelphia: South Street (401 South St) The addition sees That Mag’s sponsored weekly open mic night amplifying with each passing week, cultivating to a greater audience.

The open mic, Homegrown Showcase, features local artists and musicians competing for the ultimate reward of a cash prize, a record contract with Milkboy Studios CDs/Printing from Mirror Image Media, Promotions through REC Philly and a publishing contract with Pint Publishing.

“It feels really good for us to be doing an open mic and working in this way to connect with artists who are not famous yet, as well as people that are well known,” explains Joyner. “The music, the connections. That’s why it’s been successful because there’s a lot of heart in it. It comes from the studio and how we started the whole thing.”

The battle royale takes place every Monday with a winner announced, each week, each month and finally, an ‘End of the Year’ full set showcase brings the frontrunners to a finale face-off.

“We make our open mic a little more exciting by setting it up in a way where there’s a standout performer each week. It’s low pressure, but we’ve got folks who are bringing their ‘A’ game,” says Joyner. “We’re looking to break an artist out of our market and out of Philadelphia. The talent is all over the map.”

On the addition of MilkBoy on South Street coming to fruition, “It’s very humble and the only normal bar on South Street! When I first moved to Philly, South Street was Philadelphia,” Joyner exclaims. “I lived at 4^th and Monroe when all the venues kinda started to drift away. The opportunity came to take over the lease on that building and we were encouraged by some of the people in that neighborhood. It’s been very cool. It’s wild the stuff that we’re seeing. It’s fresh, it’s special. We’re excited!”

MilkBoy’s trademark seeps into neighboring avenues and continues to grow with a brand-new venue in College Park, Maryland. The empire has fathered three locations, and now the expansion to another state entirely at MilkBoy Arthouse. Say that five times fast. What sets this location apart from the rest, is the multitude of creative channels available within the setting itself.

“The reason it’s called MilkBoy Arthouse is that it’s in conjunction with the University of Maryland, we’ve partnered with them on the space. We’ve done art, dance, theater, it’s more overall artistic than just a music venue,” Joyner describes.

Owners Joyner and Lokoff not only have dabbled into the local music scene, but they also have an agenda that includes sound design, audio production TV and film. Notably, the pair’s producer credits of Slow Learners, a romantic comedy the two conspired on, that has reached Sundance and the Tribeca Film Festival’s radar. Talk about a resume. Also in the works is another movie project, quietly under wraps. “We continue to push ourselves artistically,” Joyner states.

When asked if there’s more expansion in the future, without missing a beat, Joyner undoubtedly counters, “Definitely. We’re not done.”

Whether you want a Pharmacist cocktail, crabcake sliders, a kicking rock and roll show, a road trip or a simple cup of coffee, just follow the addresses in these lines. MilkBoy is forging a certain class of cool and keeps on cementing their name’s in a special place of Philadelphia history.

Photos by MilkBoy’s Sites.

Watch the video below and let us know what you think!

Other YouTubers and musician friends offered their opinions on the duo’s first new music in two years. Watch below to see their reactions.

photo credit: Charlie Lowe

by Ziggy Merritt

I have single-handedly altered the course of history. That’s what my insecure ego wants me to write and something I’ll return to later in this feature. Here’s a long-winded explanation: In my time with THAT MAG I’ve been able to interview some of my hometown heroes in the indie music scene.

Recently I had the chance to talk once again with James Alex, otherwise known as the public face and persona behind indie punk outfit Beach Slang and its acoustic offshoot, Quiet Slang before their tour stop at Underground Arts on July 14. We had previously chatted way back in 2015, not long before the release of his debut LP, The Things We Do To Find People Who Feel Like Us.

Three years, two albums, and a smattering of EPs later, Alex continues to make music that resonates with embittered teenagers, social outcasts, and consummate loners. He doles out extra helpings of angst with music that deserves nothing less than to be played loud and fast. But even with a now international audience attuned to his brand of distorted noise pop, Alex continues to make music with his friends in mind. “Music for us,” he writes.

On Alex’s latest tour, the loud and fast adjectives have been ejected. With his side project, Quiet Slang, the thrash and hazy feedback and distortion are sliced away. The emotional heft is channeled instead through the lens of stripped-down chamber pop, inspired by one part Stephin Merritt of Magnetic Fields fame and one part NPR.

“Stephin Merritt offered the spark and Tiny Desk offered the allowance,” wrote Alex on the inspiration behind the Quiet Slang project. In 2015, he made a solo, acoustic appearance on NPR’s popular Tiny Desk Concert series. Watching that same performance now, you have a grounded sense of what can be expected from his first proper Quiet Slang album, Everything Matters But No One is Listening.

“Inspiration and permission are fear-wreckers,” Alex continued. “After I had them, I lunged forward. I mean, I wasn’t nearly sure I could pull it off, but that wasn’t a concern. I’m a big chaser of unfamiliar things. It’s important to dream bigger, you know?”

He added, “Being allowed to fail is a gift. And I have that in spades. Look, none of this is particularly overthought. I just want to make records that feel honest to what I want to make, regardless of whether they‘re sensible or unpredictable or even accepted. I’m just not built with fake-it wiring. It has to rattle me. It has to scratch at me. When that feeling comes, I make songs and offer them to my friends. Whatever happens after that is whatever happens.”

Whether you attach punk or chamber beforehand, those same offerings bleed the blood of pop through and through. For Alex, this is intentional and perhaps the only rational way to make a record.

“The only thing I know how to write are pop songs,” Alex wrote, responding to how he has come to define pop and more specifically the self-described “chamber pop for outsiders” descriptor he labeled his Quiet Slang debut.

“They’re buried in distortion and knee-jerking, but they’re unapologetically pop. As a kid, I was clubbed with way too many Beatles and Beach Boys records for it not to stick. So, that part of the description is the easy part. The chamber part, that’s the lavish bits. This is trickier,” He explains, then continues, “For me, rock & roll is guitars, drums, and swagger — plug in, turn up and go, no rules and devil-may-care. Searing the more well-dressed instruments into the thing takes real nerve. It takes cellos with guts, pianos with brass knuckles. It’s like lining the gutter with flowers. And I dig that. The ‘for outsiders’ bit is for me and all my friends who’ve only ever felt worthless and forgotten. We aren’t. We never were. And these songs are for us.”

Following this, I wanted to take it back to the song (“Filthy Luck”) that originally made me more fan than a purely objective reviewer. Adapted from the brash and breathtaking original, it still packs the same dynamic punch now with the accompaniment of lush strings acting as the Greek chorus for Alex’s unfiltered delivery.

“It was the first song I wrote for Beach Slang so I knew I wanted to have it on the quiet record,” wrote Alex. “Reworking it started as a joke. For no interesting reason, maybe self-entertaining, I sat at the piano and banged those first three chords in this exaggerated Beethoven kind of way. I stopped right after and was like, ‘F*#k, that actually sounds pretty alright.’ Accidental composing or something, you know?” He explained. “After that, I knew a rewrite could work. I plucked out the keeper guitar parts I’d written for the loud versions, cut them on piano and cello, and then built the fuller arrangements on top of those with Keith (piano) and Dan (cello). I read this thing about the recording of ‘Astral Weeks’ and wanted to chase that idea — maybe not as purely improvisational as those sessions, but at least a half-thought-out and half-in-the-moment approach. And that helped crack the whole idea of this open.”

As with the seminal Van Morrison album that Alex references here, his LP-length debut as Quiet Slang required more thought and feeling for what may be reductive to boil down to a covers album. After all, with No One is Listening, Alex is covering himself not someone else. There’s so much more at stake to get right not even accounting for keeping the integrity of the original tracks alive and well. With much of his attention focused on the all-too-ambiguous goal of “getting it right” this made me naturally curious for what the future held for both Quiet Slang and Beach Slang.

“I hope to have the chance to make more Quiet Slang recordings. Like, really hope,” wrote Alex when questioned about the future of both projects. “I‘ve been so messed up on, ‘Will anyone even care about this?’ that I haven’t really looked too far forward,” He admits.

“But then this tour happens and starts to show me that maybe some people care a whole lot. It’s humbling and melting. I mean, this whole process pushed me along as a writer, forced me to think in really left-field ways. I needed that. And, yes, the idea is to definitely include original, non-Beach Slang songs. Rewrites were the right first step, but I think I’m ready to test my luck a bit more. Right now, the plan is to get home from the Quiet Slang tour and pretty much go right into pre-production for the new Beach Slang record. I have it all home-demoed and am chomping to start making it. Once I sack that thing properly, I’m guessing I’ll be itching for cellos again.”

Alex appears to remain optimistic that the future of his loud and quiet sides will continue to be productive. It’s encouraging news for those wondering when, or if, Alex would resume work on new Beach Slang material. It’s also a boon for people, such as myself, that appreciate the output from both projects.

Very near the start of this feature I mentioned a little something about how I changed the course of human history. Now, while I’m not vain enough to believe that I actually changed the course of history for a well-known indie band, I at least like to entertain the fantasy. It began by asking whether or not two halves, Beach Slang and Quiet Slang, would ever merge into a single, unified project.

“It’s interesting you mention this,” wrote Alex. “Charlie and I were talking about this same idea the other night in Minneapolis — a split 7″ of Slangs. I think there’s something to it. Even more so now that someone outside of my head thought to think it.”

When I first read this, I had this purely smug, self-satisfied reaction that perhaps I had acted as a catalyst for some future creative endeavor. That remains to be determined.

Returning the focus to James, I was curious enough to follow up on the threads of our previous interview some three years ago. Back then we discussed some of his graphic design work for the cover art on his albums and his interest in vintage photography, some shared via Beach Slang’s own Tumblr page. Had his own design aesthetic continued to, in some way, influence the direction of the band?

“In this tiny, weirdo bubble called Beach Slang, music and design are all-the-way stuck with each other,” Alex wrote in reply. “They were born into that way and are both stronger because of the other’s influence. It’s difficult, I suppose, to clearly define how the relationship works, but maybe it’s as simple as when you see something that rattles you, that makes your heart notice, you feel compelled to make something in return, like writing a love letter and really meaning it. Influence and inspiration don’t deserve to go unrequited.”

Like the interlinked nature of music and design, Alex has never strayed far from his roots here in Philadelphia. The War on Drugs, Japanese Breakfast, and even his own band have all garnered more than a fair share of exposure along with a bevy of others in just three short years. Those three years have been tumultuous, chaotic, even downright fucking frightening, but our own burgeoning and evolving music scene have scarcely wavered in its fervor and intensity. James has a way of putting that all into perspective.

“I think the thing I dig the most is the blue-collar-ness of it,” wrote Alex. “It’s a wrecking ground. It isn’t pretty or perfect and doesn’t want to be. It has dirt under its nails and bruises on its cheeks. It means it — every bit of it. And that’s all rock & roll has ever asked of us. If it’s changed, I haven’t noticed. But I look down a whole lot.”

Watch the latest music video for Beach Slang‘s “Dirty Cigarettes” below and follow the links to find more out about Beach Slang / Quiet Slang.

Website • Twitter • Facebook • Bandcamp

By Jane Roser

photo credit: Margaret Malandruccolo

“My parents didn’t own a car, but they did have a guitar, an accordion, and a piano. So I’d like to thank my parents for having their priorities straight,” musician Alan Doyle explains gratefully.

Canadian singer-songwriter Alan Doyle is on a roll. He’s currently on tour playing sold out shows, including the Sellersville Theater earlier this month. His high-energy, engaging concerts are always a big draw.

I was lucky enough to catch both the Sellersville and DC shows, both very diverse, and included traditional Newfoundland songs, sea shanties, cover songs, rock, and roll, as well as tunes from Doyle’s tenure with iconic Canadian band Great Big Sea. Audience participation abounded, two birthdays were celebrated, and one couple got engaged. Seriously, no one does it better than Alan Doyle and his Beautiful Band.

“For me, touring has always been the most enjoyable part of the music business,” says Doyle. “I got into it because I wanted to travel and play shows for people. Getting to visit a new part of the world to play music is always such a thrill for me. We played our first ever gig in Oklahoma [on this tour]. It was a legendary music hall in Oklahoma City called the Blue Door and you could just feel the history from decades of concerts performed there.”

When I asked about the Sellersville Theater, which he’s played for decades starting with Great Big Sea, Doyle’s fondness of the venue shines through. “The history of the place is apparent the moment you walk in,” he observes. “You feel like you’re in a place that a great vaudeville show would’ve been in and you’re adding to a part of a continuous history. We love Philly, it’s always a thrill to play there.”

Doyle spent two decades as one of the lead singers of Great Big Sea, known for combining traditional Newfoundland music with pop sensibilities. The band’s nine albums, double-disc hits retrospective, and two DVDs have sold over 1.2 million copies in Canada alone.

Last year, Doyle was awarded the Order of Canada, the country’s second highest order for merit, and specifically, “for his contribution to the musical traditions of his home province and for his commitment to numerous charitable initiatives.”

The charitable organization Doyle founded with Dr. Andrew Furey and Brendan Paddick encourages folks to donate a dollar or more a day. The funds raised sponsor programs and facilities which help people suffering from mental health issues and addiction get the treatment they need. It’s called A Dollar A Day Foundation and you can donate here.

Never one to sit still, Doyle spent 2017 recording his third solo album, A Week at The Warehouse, and putting the finishing touches on his book, A Newfoundlander In Canada: Always Going Somewhere, Always Coming Home, the follow-up to his best-selling 2014 memoir, Where I Belong.

Turning to Great Big Sea bandmate Bob Hallett to help jog his memory of their early days of touring, the book is a treasure trove of the band’s beginnings and early gigs playing pubs and at least one dance hall in Stephenville.

“One story was this crazy gig we got early on. It was a huge three-day festival in central Newfoundland,” says Doyle. “Our set was over by 5:00-6:00 PM and the rest of the day was ours, so we celebrated and realized way too late that, that evening that we’d been contracted to come back early the next morning and open for Barney the Dinosaur. And of course, it was a disaster, but later on I couldn’t find any evidence that it had actually happened, only had this hazy memory of it. So I asked Bob and he said, “‘dude, it was horrible.'”

After catching our breath from laughing at these tour stories, I ask Doyle about the new album, which was recorded last year at the Warehouse Studio in Vancouver. Doyle worked with famed producer Bob Rock (Aerosmith, Bon Jovi, Michael Bùble) and features guest vocals by Paul Hyde (Payola$, Spirit of the West).

“I learned a lot from him [Bob Rock],” Doyle begins. “One thing he taught me is that nothing trumps the song. Whatever arrangement, set up, serves the song best, is what you should do. Often times in the music business you consider doing a song a certain way because it might serve a radio station better. And Bob very quickly said that we’ll be served best if we serve the song and he’s such a fan of music from different genres, so it was a real thrill to get to work with him.”

Every song, save two, were expressly written for the album. The song “Close to the Sun” was written by Doyle six or seven years ago and never made it into any records, but his band (Kendel Carson, Cory Tetford, Todd Lumley, Shehab Illyas and Kris MacFarlane) loved it, so they started playing it at live shows. The track “Bully Boys” is a sea shanty that Doyle wrote in 2009 when he played one of the Merry Men in the Russell Crowe film “Robin Hood.” When deciding which songs to include on the album, Rock asked Doyle if he had any Celtic-style or sea shanty songs.

by Ashley Paskill

Artist: Hall & Oates

Year: 1973

Album: Abandoned Luncheonette

Every band has an album that launches them into fame and remains iconic through the years. For Philly-area natives Daryl Hall and John Oates, that album was 1973’s Abandoned Luncheonette, the duo’s second studio album. Though they both were involved with other musical projects in the past, they met through fate at Temple University. The rest is history.

I live about 15 or so minutes from where Oates grew up. We graduated from the same high school, and we both graduated from Temple with a degree in Journalism. I have been a fan of the duo all of my life, having grown up with their music and even seeing a workshop put on by Oates. I have seen Oates perform multiple times, both solo and with Hall.

Abandoned Luncheonette includes hits such as “Las Vegas Turnaround” and “Had I Known You Better Then.” This album also features “She’s Gone,” which Oates still plays at all of his shows, whether he is performing solo or with Hall. He says he has played it at every show since the song’s inception. To this day, that song remains one of the duo’s most famous songs.

Each of the album’s nine songs contains a song. “She’s Gone,” according to a story in Oates’ memoir, is about the time a girl stood him up. “Abandoned Luncheonette” talks about an actual luncheonette diner that existed in Pennsylvania, and the song talks about various characters seen there. The songs are also conversational as if the listener is having a conversation with the duo. Every song talks about a personal experience that occurred.

While Hall often takes the lead vocals in some of the duo’s most popular hits, it is nice to hear Oates featured on quite a few of the songs on this album. His voice is so underappreciated, though he is more known for his songwriting, which also shines on this album. It is fascinating to hear how each of their voices has matured over the years while keeping the same excellent quality.

This album proves that big dreams can come true, even for those who hail from small towns, and that even the most famous people have struggled with heartbreak and insecurities. Despite the fame, the duo always returns to their Philadelphia roots, which are highlighted in story and sound on Abandoned Luncheonette.