Grateful Dead founding member and guitarist Bob Weir has just announced a fall tour spanning through October and November with a new trio project, Bob Weir & Wolf Bros. The group is set to rework classic Dead tunes as well as old tracks from Weir’s repertoire in the form of guitar, Don Was on upright bass, and Jay Lane on drums. Continue reading →
Philadelphia-rooted singer-songwriter Nick Cianci‘s debut EP High Fidelity Depressed is a high-energy take on themes of angst and loneliness. With beautifully intricate guitar melodies and clear, eager vocals, the recent NYU grad via the Clive Davis Institute of Recorded Music has proven that he’s clearly not new to the game. His sound is incredibly mature and perfected, even though he’s a solo artist. Not only is he a gifted musician and songwriter, but he also understands the technicalities of production. That’s his edge right there. Continue reading →
L.A.-via-Philly up-and-comers Mt. Joy played the second slot on the Marina Stage for the last day of XPN Fest, and their set was vibey and wild and enigmatic. It was all over the board in the best way. These guys are sort of chameleon rockers – each song is so different from the last, but still fits in the pocket of indie soul folk if you had to categorize their sound. Continue reading →
Brooklyn natives and WXPN regulars Sunflower Bean shared more of their Twentytwo in Blue record with the day two crowd as the sun beat down on the Marina Stage. To open the show, they played the fan favorite “Burn It,” and front woman Julia Cumming’s signature alto-toned vocals welcomed the crowd back to Twentytwo. Interspersed with quick drum fills and lead bass tones, the band was tighter than ever. Continue reading →
Bucks County-bred, Los Angeles-based Mondo Cozmo took the River Stage full of gratitude as frontman Joshua Ostrander reflected on how he’s been sending music to WXPN host Helen Leicht since he was a kid, and now here he is. They kicked off their set with “Come With Me,” as well as a quick reveal of Ostrander’s Embiid basketball jersey. Do we love him or do we love him?
Following the release of Your Motherfucker, of which Leicht joked that 88.5 can’t play the title track on the radio, the band played a special censored rendition just for our crowd. Continue reading →
For their first time in the Philadelphia area, Jupiter & Okwess performed a spectacularly high energy set at the River Stage for day two of #XPNFest.
Born in Kinshasa, in the Democratic Republic of the Congo, Jupiter Bokondi emerged into Africa’s rhythmic music scene in the 1970’s in the form of a wedding and funeral performer. After moving to Berlin for the duration of his adolescence, he delved into the psych pop scene and formed groups that incorporated his country’s musical styling of percussive beats and erratic yet unifying vocals. After years of musical experimentation, appreciation for the European soundscape, and the unending ties to Africa, Jupiter & Okwess emerged.
They took the XPNFest Marina Stage decked out in the most fun, bright clothes, and the biggest smiles on all their faces. Continue reading →
Last night, The Punch Brothers took the stage at Union Transfer for a seamless two hours of nearly constant orchestral bluegrass music from their new album All Ashore.
The only word that I can think to use to describe this show: “beautiful.” Everything about it was so incredibly inspiring and chills-inducing. They took the stage silently, and played even quieter a stunning version of “Movement and Location.” But when they played The Phosphorescent Blues’s hit “My Oh My” early in the set, I thought that it couldn’t get any better than this. The whole audience sang along with that timeless chorus. I’ve never seen a show like this before. I’ve never seen a band so spot on in their harmonies, so tireless in their performance, or so genuinely happy with the response from the crowd. Punch Brothers is a gift to watch live. Continue reading →
Blur’s Graham Coxon has just announced that he will play a string of North American dates featuring work only from his solo career, which spans an incredible eight full-length albums. Most recently, Coxon did the entire score for Netflix’s End of The F***ing World, which could very well also be featured in the setlist.
This is a big deal for Coxon, considering he’s never played a US tour on his own. Continue reading →
Found Wild, a new project featuring Good Old War members Keith Goodwin and Tim Arnold, released their debut EP while out on the road with Anthony Green and his Avalon 10 Year Anniversary Tour. If you’re lucky enough to see them live this summer, then you’ll hear this masterful new collection of songs front to back.
Leading up to the release, Found Wild teased us with two singles, “Weatherman” and “Nothing Gold Can Last.” The rest of the songs follow the singles’ themes of loss, regret, and forgiveness, and the cool thing is, if you know anything about the relationship between Arnold and Goodwin, then you get to glimpse the most deeply personal parts of it through this new music. Found Wild is the second-winded passion project that pulled Arnold out of the darkness and back into his life, and these songs are sort of like apologetic and explanatory letters to himself and the people he loves about where he was and how he’s ready to move on to a brighter future. Continue reading →
Tim Arnold and Keith Goodwin of Good Old War have finally given us a release date for Found Wild‘s forthcoming self-titled EP: July 20th. That’s just Days Away (hahaha), and to celebrate, we have a new single to check out. “Weatherman” is the somber track of the album, and if you caught the Avalon Tour at the TLA last week, then you know this since they played all of them for a captivated audience. Continue reading →