On Thursday, April 13th, LA songwriter Colleen Green and Philly’s Mannequin Pussy and Coping Skills will play a benefit show at Everybody Hits. The gig will benefit the Attic Youth Center, Philadelphia’s only independent LGBTQ youth center. With Green performing full band and this being Mannequin Pussy’s last Philly show until the fall, it’s an event that’s not to be missed. For tickets and more information, head over to XPN’s Concert Calendar. Continue reading →
Scottish post-rockers Mogwai have just announced an extensive world that takes them all across Europe and the United States. It includes a December 9th stop at Philadelphia’s Theatre of Living Arts. Apparently, they’ve just finished tracking a new album as well, so don’t be surprised if you hear some new material at the show. For tickets and more information, check out the Concert Calendar. Continue reading →
Scrantonites Tigers Jaw are freaking back, and man are they better than ever. The duo announced their fifth full-length spin, due out on May 13th through producer Will Yip’s new Atlantic Records imprint Black Cement Records. The announcement also came with a behind-the-scenes music video for the record’s first single “Guardian” and plans for a full US tour set to hit Union Transfer on June 23rd.
Live At the Vera Club came out in December, with 100% of the proceeds being donated to Planned Parenthood. It captures a night at the storied club and community creative space in Groningen, situated in the North of the Netherlands. The crowd was small, Stevenson recalls in the album notes, and she couldn’t speak Dutch, so she wasn’t as chatty as usual, but the show rules — the band sounds tremendous, from the uppers like “Torch Song” and “Runner” to the slow burn of “Out With a Whimper” and “Renee,” and a delightful cover of “Alex Chilton” by The Replacements.
Stevenson and her band — Campbell, Alex Billig on accordion and keys, John Burdick on guitar, and Sammi Niss on drums – just headed out on an east coast tour that brings them to Boot and Saddle Thursday. When I caught up with Stevenson via phone from the Hudson Valley home she’s lived in for the past few years, she had just gotten back from a solo tour of Australia with the frontpersons of various down-under DIY acts: Iona Cairns of Shit Present, Lucy Wilson of The Sugarcanes and Wil Wagner of Smith Street Band. We began by discussing this photo of them cuddling a chill koala named Waffles at the Lone Pine Sanctuary in Brisbane. Continue reading →
In January it was announced that Wilmington music venue World Cafe Live at The Queen would be closing this spring, hosting a final run of shows leading up to a big farewell event on May 25th. Details for the free final concert are now available, which will happen on the beautifully-restored former hotel/movie theater’s last day in operation and highlight many of the beloved Wilmington-area musicians who helped support the venue during its six-year tenure.
The thing about the retro R&B aesthetic that’s surfaced in the indie rock universe over the past five or so years: so many people do it at a merely superficial level. They do it out of irony, they do it to look cool, they do it for funsies. I won’t name names, but if you know what I mean, you probably know who I mean. And you know that Philadelphia’s Jesse Hale Moore is not one of those people.
This singer, songwriter and multi-instrumentalist has a deep appreciation of not only the smooth and suave style of late 80s / early 90s pop, but also the songcraft that lies beneath. Whether your reference points are Sade and Luther Vandross or the more contemporary James Blake, Moore genuinely loves this music, and it shows in Green End, the record he’ll release on April 7th. Continue reading →
Lansdale power pop punks The Sixties teased their new EP Haunt Me (out April 11th) with their newest single “Let’s Lose It All”.
Marking their first new material since 2014’s There It Isn’t, we find an upbeat indie-esque tune akin to some classic Gatsby’s American Dream, spilling the ultimate conundrum of roaming through life without a well-established purpose. A prancing guitar dominates the song in an instantly catchy fashion, landing the single as another anthemic track from the quintet.