If you love hip-hop, if you love R&B, and if you want to sprinkle some local ﬂair in between, this year’s Made in America festival is for you.
The ﬁrst day of the two-day extravaganza on the Ben Franklin Parkway was packed with huge names; Rihanna closed off the day with a set that was nothing short of legendary, but amazing sets went down right from the beginning of the day all the way to closing; Symone and C-Kan opened up two of the smaller stages with powerhouse vocals and Spanish ﬂows to rival the American ones of Eminem and Kendrick. Continue reading →
I stand now on the precipice of a new decade of my life, its experiences unknown, its joys undiscovered, its sorrows unmeasured. I see a decade quite similar in its turbulence in my rear-view mirror. Throughout the past ten years of my life, I changed in more ways that I could ever care to count, and I greatly appreciate the very few things that, throughout this past decade, remained somewhat constant. Coldplay, as a concept if not as a band, stands among those few. Continue reading →
On Wednesday night, Judah + The Lion turned World Cafe Live into the Electric Factory.
World Café Live, while being the venue I most quickly call home, has become a slight infamous for me; for every high energy show that I’ve seen I’ve seen two with little to none. Prior to seeing Judah + The Lion rip it up at World Café, I hadn’t seen a show comparably high-fenergy since I saw Blackalicious light up that same stage almost three years prior (in one of the ﬁrst concerts I ever photographed).
I knew I was in for some incredible antics going in; I had heard tell of Judah + The Lion’s stage presence before, but I was not prepared for what I was about to witness. Upon arriving at the lip of the stage, I saw that the roadies put out a setlist, that, at ﬁrst glance, looked like total nonsense (attached below). I had thought that this was just going to be a normal indie-folk show, to the tune of a Head & The Heart show, but after seeing songs like “Banksy Luther King Jr”, “!!!!!!!!!!!”, and “He Peed Ants” on the setlist, I knew a few more absurdities would have to follow. Continue reading →
This past summer, I had effectively written off Vance Joy as simply another singer songwriter with a famous falsetto and the propensity to write one, maybe two passable albums. In a world ever-increasingly populated with white, male, 20-something singer songwriters looking to distance themselves from the enormous one-hit-wonder pack and make a lasting impact, ﬁnding a permanent niche is rapidly becoming a taller task. However, nine months later, I’m conﬁdent that, while Vance is certainly still at the beginning of his career, he has found his niche. Throughout his set at the Electric Factory last weel, he proved to be genuine, unendingly humble, and the textbook deﬁnition of “adorkable.” Continue reading →
Coming hot off a World Café session taped that afternoon (be on the lookout!), London-based post-punk band Savages blew the roof off Union Transfer on Thursday night, in support of Adore Life, their sophomore LP. The album, like Savages’ previous longer-form releases, comes with an accompanying manifesto; “It’s about you and me and the others. It’s about the choices we make. It’s about ﬁnding the poetry and avoiding the cliché. It’s about being the solution, not the problem. It’s about showing weakness to be strong. It’s about digging through your dirt to look for diamonds.” Continue reading →
I’ve wanted a butterscotch blonde Telecaster since I was six years old.
The Boss has been spinning in the Pollack household for as long as I can remember; the harmonica intro to “Thunder Road,” the wailing of Clarence Clemons’ saxophone interlude in “Jungleland,” dancing around my room to “Glory Days,” all were irrefutable staples of my childhood.
My introduction to Bruce Springsteen came in 2002, in a post-9/11 era that saw the genesis of his greatest album of the 21st century (so far). I grew addicted to The Rising, and opted to look backward, ﬁnding gems like Nebraska, Born To Run, and The River waiting for me. When I discovered these records, I hadn’t exactly internalized their poetry; it’s hard for a boy of single digit age to internalize anything, let alone the harsh realities of a hum-drum working life, the limitedness of our existence and the stress that comes with wanting to leave the world a better place than we found it. I had the opportunity to see Bruce live once prior, in 2009 during his ﬁnal four-show residency at the Spectrum. The opportunity sadly remained just that, as I was the ﬁrst of my family to fall ill with Swine Flu that fall, and by the evening of the show I was completely incapacitated, leaving my mother to attend without me.
Thus, in a way, covering this show was several kinds of justice: I ﬁnally got to see one of my favorite artists in the world perform live, I proved (mostly to myself) that no disease would stop me from seeing one of my favorite artists in the world perform live, and I got good enough at photography that I was able to photograph one of my favorite artists in the world live.
I know there’s a rule about how you’re not supposed to meet your heroes, and I asked myself several times whether that rule would apply to photographing them as well. Either way, I didn’t particularly care; last night was a victory, and no taboo was going to take that from me. Continue reading →
For XPN’s second Free at Noon of the year, esteemed Canadian songwriter Basia Bulat came to town, promoting her upcoming Jim James-produced album Good Advice, which comes out in just under a month on Secret City Records.
Preceding this, I had heard tell from several colleagues that Bulat was a force to be reckoned with, and as such I walked into the room at World Cafe with markedly high expectations. At the start of the set, she met them with ease, and by the end, she had well exceeded them. Her sound was beautifully simple; comprised of guitar, keys/synth, bass, and drums. However, with these tools she managed to contrast her sound magniﬁcently. Continue reading →
I adore Philadelphia and I adore its music, and so when I got the opportunity to come home at the end of a far-too-long semester and watch Good Old War come home and play for crowd of loving hometown fans, I didn’t hesitate to snatch it. Continue reading →
I’ve given the title “best show of 2015” in my head to four shows so far this year, each one being eclipsed by the subsequent. In what will hopefully be the last of such eclipsings this year, Foals played the best set of music I’ve seen this year, and definitely one of the best I’ve ever seen.
I walked into the room at Union Transfer a bit concerned; compared to what I had heard the crowd at Terminal 5 was like the night prior, the room seemed alarmingly empty, especially for a sold out show. I had heard tell of frontman Yannis Philippakis’ on-stage / off-balcony antics, and was a little concerned at the feasibility of some of his reported stunts. Those fears were quickly dispelled as the crowd filled between set changes. The show started with “Snake Oil”, a jam whose choruses and breakdowns harken back to their Krautrock influences, and immediately got the crowd banging heads. Already, Yannis was breaking a sweat, bouncing all over the stage, accenting his guitar playing complete with a dizzying amount of spinning. Continue reading →
The feeling – expressed from the stage by The Wonder Years‘ frontman Dan “Soupy” Campbell – came for me in waves, each more forceful than the last. I was returning to shoot at one of my favorite venues, wearied from a long semester, a considerable lack of sleep, and most recently the wonderful, unpredictable mess of Philadelphia pre-Thanksgiving traffic. Continue reading →