Year-End Mania is the Key’s annual survey of the things below the surface that made 2017 incredible. But sometimes we get a little seasonal, and as it gears up for its final show of 2017, Philly’s York Street Hustle weighed in on its favorite sounds of the holidays.
Philadelphia ten-piece York Street Hustle always brings the party, whether they’re celebrating R&B, soul and Motown hits from the stage of World Cafe Live and Underground Arts, or they’re celebrating with stringed lights and tinsel at their annual holiday spectacular.
With this year’s show set to take place at Union Transfer tomorrow night, December 8th, we asked York Street’s Imani Roach to share the band’s five favorite holiday jams. Read on below, and get tickets and more information on tomorrow’s show at the XPN Concert Calendar. Continue reading →
Year-End Mania is the Key’s annual survey of the things below the surface that made 2017 incredible. To kick off the series, Key editor John Vettese recaps six of his favorite Philadelphia music discoveries from the past 12 months.
Earlier today, I was listening to a conversation with Johnny Brenda’s talent buyer Chris Ward on the 25 O’Clock podcast, and he made a very interesting point. The bumper crop of musical talent in Philadelphia, or what is often perceived as such, is no sudden phenomenon. It’s not as though, pre-2006, the city was in some dire straits or a lesser creative state, and has subsequently grown and evolved to the present-day bursting of the proverbial seams.
The truth is that amazing music — rap music, rock music, pop music, soul music — has always existed in the 215; in many cases (the Gamble & Huff era), it’s downright thrived. But as Ward pointed out, a more recent confluence of factors and persons and places and institutions over the past decade (like him and JBs, I might add, or like our friends at The Deli and Jump, or like countless others) have helped amplify the scene tremendously.
Every year around this time, as we launch into The Key’s annual year-in-review extravaganza, I begin by sitting down and reflecting on the new artists and new-to-me artists who, over the past twelve months, have knocked me sideways. There have always be artists like this, whether or not the outside world is paying attention. And there always will be; even if, at some point, the zeitgeist declares Philly to be “over,” if you look and listen, you’ll find them continually creating, somehow, somewhere.
As far as years go, 2017 was…complicated. And so it stands to reason that The Key’s annual go at determining the top 15 albums of the year — the records that resonated the most with us, the collections of songs that best captured the spirit of the past twelve months — was no straightforward affair.
In 2017, we thrilled to the reflective psych-rock sprawl of Philly’s The War on Drugs, a seasoned band delivering its most confident and refined artistic statement to date. We also heard the hushed introspection of Big Thief‘s sophomore album, which transformed trauma and pain into beautiful atmospheric folk. Artists looked deeply inward to discover raw personal truths, whether we’re talking about U.K. singer-songwriter Sampha, Philly newcomers Katie Ellen or hip-hop mogul Jay-Z, sounding more down to earth and honest than he has in years (decades?). They refused, as Lorde and (Sandy) Alex G did, to be confined by boxed-in preconceptions of their work, and pushed their chops into new territories, whether they be on album three (The Districts) or nine (Spoon).
A common thread was embracing vulnerability, practicing self-reflection and finding inner strength. That’s the story of albums by Waxahatchee and Harmony Woods, Cayetana and Kelela. It’s also an undercurrent to Kendrick Lamar‘s remarkable DAMN., which The Key’s contributors rallied around to vote it number one album of the year. Our John Morrison does a deep dive on the record, dissecting its nuanced pairing of hard-hitting hip-hop production with complex themes about fear and internal conflict, virtue and vice, weakness and wickedness and whether those traits make us flawed.
Last year, you’ll recall, was also a complicated year. It left many in artistic circles revving up to fight and affect change…and some, like Hurray for the Riff Raff, chased that impulse with thrilling results. But it seems that the records that stuck with us the most at year’s end are all saying, in one way or another, that before we go out to better the world, we need to look within and (to borrow a phrase from Adam Granduciel and co.) gain a deeper understanding of ourselves. – John VetteseContinue reading →