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Tonight’s Concert Picks: Yeasayer at Union Transfer, Permanent Wave Benefit at Cha-cha’razzi, The Miners at Milkboy Philly, John Prine at Merriam Theater, METZ at Kung Fu Necktie


XPN Welcomes electro-pop/rock band Yeasayer to Union Transfer tonight. The group is currently touring in support of their third album, Fragrant World, which was released in August. The band’s psychedelic sound draws a mix of influences from electronic music, folk, and world rhythms, heard best on the 2010 release of Odd Blood, which skyrocketed their reputation, even earning the title of 2010′s most-blogged artist on The Hype Machine. Go here for more information about tonight’s all-ages performance; doors open at 8. Below, watch Yeasayer’s new video for “Longevity” from Fragrant World.

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John Prine playing Merriam Theatre in November

Photo by Jim Shea

Legendary singer-songwriter John Prine is playing the Merriam Theatre on Friday, November 16th. Tickets go on sale tomorrow, September 28th. Go here for tickets and more information about the show. Below, watch a couple reminders of Prine’s brilliance as a songwriter, including a version of “Angel From Montgomery” recorded at the 2004 Philadelphia Folk Festival.

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Gene Shay takes us through the Philadelphia Folk Festival photo album

Photo courtesy of the Philadelphia Folksong Society

Five decades can contain a lot of history, especially in the world of folk music. Thankfully, Gene Shay has an incredible memory. With the 51st Philadelphia Folk Festival descending on Schwenksville this weekend, we sat down with Shay and a collection of photos from the Folksong Society archives to get a picture of where the festival began and how far it has come.
The scene you see above is Wilson Farm in Paoli, the location of the very first Philadelphia Folk Festival in 1962, and the three subsequent festivals through 1965. Shay remembers the owner of the land, C. Colket “Collie” Wilson, as a patron of the arts in the Philadelphia region. “The Pennsylvania Ballet needed a place to rehearse during the summer, and he said ‘I’ll build a stage.’ There was no canopy, no sides, just an open platform on cinderblocks. The dancers would come and rehearse, swim in the swimming pool when they were exhausted. And that was the stage he offered us. He thought it would be nice to have somebody out there other than the ballet. There was an old barn, that was built in the 1700s; it was in ruins when we were there, but people used to play guitar along its wall.” Continue reading →