popwreckoning

Philadelphia International Records‘ Center City location was the victim of arson this past Sunday. Platinum and gold records melted and 40 percent of the label’s memorabilia was destroyed. Luckily, the legendary recording studio where the Sound of Philadelphia was born survived the tragedy.

A 27-year-old South Philadelphia man was charged today with setting the Sunday morning fire at Philadelphia International Records. Chris Cimini, charged with arson, burglary and other crimes, had to be rescued by firefighters from the third-story of the building, at Broad and Spruce Streets.

Cimini was treated at a hospital, questioned and released on Sunday. A warrant for his arrest later was issued, and Cimini surrendered to police today.

Investigators said Cimini had been drinking all night in Center City before he went to the studio around 6AM. From surveillance video showing him knocking and banging on the door until he eventually kicked the door until he broke the glass and squirmed inside.

Once inside the studio, police said Cimini vandalized the place, setting off a fire extinguisher and eventually igniting items in a merchandise storage room sometime after 7AM.

The building has been owned by founders and songwriters Kenny Gamble and Leon Huff, along with their partner Thom Bell, since 1971. Artists such as the Jackson 5, Chubby Checker, Dusty Springfield, Teddy Pendergrass and Patti LaBelle recorded their hits at Philadelphia International Records.

Here’s to a swift recovery.

Philadelphia International Records: website

Philadelphia’s Free Energy is set to release their debut album, Stuck On Nothing, produced by DFA’s James Murphy, digitally on March 9th with the physical copy to drop on May 4th via Astralwerks/DFA Records.

Opening the album and lead by a simple cowbell, the 70’s inspired self titled track “Free Energy” will get stuck in your head for days! “All I Know,” a lovesick pop-ballad, highlights the band’s unique sound seamlessly by incorporating dirty guitar riffs and bongo drums. The beat-driven repetitive lyrics of “Bang Pop” make for an irresistible  party anthem.

To pimp the album, Free Energy is embarking on a national tour throughout February and March with Foreign Born, kicking off tonight at the Echo in Los Angeles (all dates below).

Free Energy – “Hope Child”

Track Listing:
01. Free Energy
02. Dream City
03. Bang Pop
04. All I Know
05. Bad Stuff
06. Dark Trance
07. Young Hearts
08. Light Love
09. Hope Child
10. “Wild Winds”

Tour Dates:
Feb 22 – The Echo / Los Angeles
Feb 23 – Spaceland / Los Angeles
Feb 24 – Rickshaw Shop / San Francisco *
Feb 25 – Popscene / San Francisco
Feb 26 – Mississippi Studios / Portland, Or. *
Feb 28 – Chop Suey / Seattle *
Mar 03 – 7th Street Entry / Minneapolis *
Mar 04 – The Frequency / Madison, Wi. *
Mar 05 – Empty Bottle / Chicago *
Mar 06 – Video Saloon / Bloomington, In. *
Mar 08 – Beachland Tavern / Cleveland *
Mar 09 – El Mocambo / Toronto *
Mar 10 – Big Orbit’s Soundlab / Buffalo *
Mar 11 – Mercury Lounge / New York City *
Mar 12 – Knitting Factory / Brooklyn *
Mar 13 – Marathon Lounge / Philadelphia *
Mar 14 – DC9 / Washington DC *

* = with Foreign Born

Free Energy: website | myspace | @ tla w/ Tinted Windows

New York’s Jupiter One recently created their brand new Van Pilates video to help all you touring artists, musicians, and music fans alike to jump start that New Year’s resolution to get in shape! Spending a good portion of the latter half of 2009 on the road with Regina Spektor, Jupiter One is excited to shares moves like The Sub-Dominator, The Long Distance Relationship, and the Pelvis Costello with you so you can lose that unsightly tour fat, too. BOOSH!

Catch a fit and trim Jupiter One at Philadelphia’s North Star Bar on Saturday, January 9th with Run To Sandy, The Levee Drivers and Evergreen. Doors at 9PM, $8, 21+. Buy tickets now. Hope to see you there!

Jupiter One: website | myspace

Never having been to Saxbys, I almost drove past is on Lansdale’s Broad Street, seeing first only the sign for the coffee house’s other half, Abington Bank (photo evidence). It was a little odd to be sipping a [delicious] chai latte and listening to Philly folk artist Kevin James Devine play his CD Release show while people were applying for loans about 15 feet away, but Saxbys was charming and provided the perfect backdrop for a guy with his acoustic to connect with his audience.

I arrived during sound check, along with a dozen or so others who sat gossiping and drinking hot beverages on the cold night. Following sound check, Devine’s shoeless friend Matt Leece, in whose basement Devine’s Through the Fields was recorded, opened with a short three song set on his acoustic. While Matt’s vocals seemed slightly flat, his guitar playing was outstanding, my favorite stretch coming at the end of his final song. The fast and catchy strumming was oddly out of place amongst the mellow backdrop of the song, but was nonetheless invigorating.

Devine took to the “stage” immediately following his opener, beginning with “Winter,” a mellow and melodic tune inspired by loneliness. The recorded version features Devine’s talent on the harmonica, while this night’s live version was enhanced by a twangy tinge from accompanist Leece on guitar. Devine’s soulful harmonica playing came out, much to my delight, on follow up “As Long As I Love You So,” a sweet love song; “Doesn’t matter where we go / As long as I love you so.”

“Carry Me” displayed Devine’s great potential for songwriting and his talents on the guitar and harmonica. Still green in the world of music, it seems as if Devine isn’t yet utilizing his full vocal range and would benefit from some vocal training to actualize his full talents. Yet, with such an eclectic sound, from the upbeat “Dancing in the Streets” to the tender and emotional “Wait For Me,” it’s no wonder that Devine is garnering attention through local radio including Drexel’s WKDU, Delaware’s WSTW, and Elizabethtown’s WWEC to name a few.

Many thanks to Kevin for the Popwreckoning shout out following a wonderful rendition of fellow Philadelphians’ Good Old War‘s “Coney Island” (watch below and the original here). The dark and lovely “Love You Well” followed, accompanied by a wonderfully complex rhythm guitar part by Leece.

Devine ended the set with the first single from Through The Field, “Long Way To Go” (watch below). Leece’s flourishes on the rhythm guitar seemed a bit odd, but the lively song was the perfect end to a great show.

Set List:
Winter
As Long As I Love You So
Carry Me
Dancing in the Streets
Wait For Me
Honey Island (Good Old War)
Love You Well
Dark is the Night
City of Steel
Long Way To Go

Kevin James Devine: myspace | interview with

Photo: my blackberry.

Last month, Metric took Philadelphia by storm on the eve of Thanksgiving. Attendance initially seemed sparse — it being the night before a holiday, no doubt a lot of people were out of town to celebrate the most delicious holiday of the year with family. I myself, regrettably, showed up just 3 mere songs before openers Band of Skulls left the stage. I blame an early start time, but I may have been a little late to the party. Luckily I didn’t miss the entire reverb heavy set. And it was hard not to compare Emma Richardson to a Ramone.

I’ve been a long time fan of Metric, in particular one Ms. bad ass Emily Haines. Their bouncy indie joints and high energy antics really made the show something special. Em totally owned the stage, running and jumping around in a fantastic sequined, backless LBD (little black dress) with an infectious energy. Touring on their latest, Fantasies, the band tore through a great deal of the record while keeping long time fans happy with key selections off previous albums including Live It Out‘s “Monster Hospital” and “Combat Baby” from Old World Underground, Where Are You Now?

I first became acquainted with Kevin James Devine when I happened upon a listing for a show of his at Philadelphia’s The Fire. I was wildly excited, but mostly confused because, “Why is Kevin Devine playing The Fire?” Well friends, therein laid the problem: I immediately assumed it was Brooklyn’s Kevin Devine, with whose music I’ve had a love affair since it was introduced to me back in 2003. Nay! It was Philadelphia’s very own Kevin James Devine. Upon this discovery, I was intrigued that Philadelphia, too, has a Kevin Devine. I was also slightly annoyed that I had been had.

After another KD-KJD mix up the following week, I tweeted “Philly singer/songwriter Kevin JAMES Devine is *really* fucking my shit up.” You can find this in the archives of this very website (though we no longer have a weekly Twitter recap). Mr. K. J. Devine happened upon this entry and he and I have been in talks since then. On the eve of his debut album’s release, he’s been kind enough to answer some questions that I’m happy to share with all of you.

Jessica, Popwreckoning: How long have you been making music and what got you started?
Kevin James Devine: I received an electric guitar in 9th grade, but my hands were too small to play.
Sometime during my senior year of high school I heard “Like a Rolling Stone” by Bob Dylan. I wondered who this guy was. So I picked up a greatest hits sort of thing and from there just became so obsessed with the man and his music that I had to play a guitar and harmonica–I just had to.
So I asked for an acoustic guitar and some harmonicas for Christmas and played them for like hours that day and taught myself the chords and stuff (laughs). That was almost two years ago.
So since that time, I began writing my own songs. I went off to Point Park University for acting; I found myself skipping class and staying home writing songs constantly. I knew that I had to let people hear my songs. I played my first show some time in January 2009 at Saxby’s in Lansdale and now I’ll be releasing an album there in December 2009. I guess you could say I’m bringing it all back home. And you could say that I’ve been an active musician for almost a year.

PW: As a local artist, just outside of Philadelphia in Lansdale, how do you find the flourishing Philly folk scene amongst the like of Langhorne Slim, Hezekiah Jones, Sisters3, etc?
KJD: Langhorne Slim?! Let’s talk about how beautiful “Diamonds and Gold” is (laughs). I’m a big fan of Hezekiah Jones. [Front man] Raphael Cutrufello and the band are extremely talented–they’re regulars at the Fire in Northern Liberties, which is facing some hard times. Everyone can donate money to this great venue at my Saxby’s release show and by attending the World Cafe Fire Benefit Show on December 13th. I’m telling you that place is like our CBGB.
I actually talked to Raphael about possibly setting up a show with him sometime, but right now he’s touring with one of PA’s great bands, Good Old War. Sisters 3 is a great group. They just have this beautiful sound going for them and I really dig it. It’s great. I feel extremely lucky to be a part of the flourishing Philly folk scene. I’m surrounded by a large group of talented musicians and to be included in that is just a dream come true.

PW: How did you get hooked up with ToFo Records, to which you are the first signed artist? Congrats for that, by the way!
KJD: Thank you so much! It was all started by a couple of college students: Carter Fox, Dan Toll, and Ryan Hall. I went to high school with Carter and he was pretty big on Lansdale’s jazz scene as the head of his own group (The Carter Fox Group). Once I quit college and came home, he was going to school for music stuff and he told me, “Hey, I’m starting this indie label and I really want to put out your music. And I knew he was a good guy and so we went with it and so far, I must say, things are really looking up.

PW: That’s good to hear! I love hearing about DIY labels that work so hard to get great music heard. You recently recorded your debut record, Through the Fields, which will be released on ToFo this week. Explain the process for recording the album.
KJD: This first album I recorded in my friend Matt Leece‘s basement. He heads his own production company: Leece Productions. ToFo offered to put me up in a studio and everything to finish out the songs, but I already had some of them recorded and didn’t remember how certain parts went. So there are some really lo-fi songs on the album that I recorded before I started working with Matt and then there are the songs that I recorded with Matt that were supposed to have a lo-fi sound, but actually came out sounding like they had that studio quality.
They’re also all mastered by Sean Comber who does a lot of odd jobs for ToFo Records like mastering, recording, graphic designing–he’s a brilliant guy. The process of recording was a lot of fun. We spent about nine hours on the single, “Long Way to Go” and we finished the album on December 11th just seven days before the release. It was a thirteen hour session and I went straight from Matt’s basement to work at 6:30 in the morning. After working with a guy like Matt, I really like how all of the songs sound and I’m really hoping that people will enjoy them, too.

PW: What have you learned from your first go at record making with Through the Fields that you’ll apply to future albums?
KJD: I will never again announce a release date until the album is finished. We did that and it almost killed us (laughs). Every time we record, I find myself using the Phil Spector “Wall of Sound” technique and I think I will always use that.

PW: I love that! It’s so lively. The CD Release show at Saxbys in Lansdale — what can the fans expect?
KJD: Me on an acoustic guitar and harmonica with Matt opening and playing some lead guitar on my songs. I just really want to show them the songs as they were before anyone heard them. When it was just me, a guitar and a few words on a page. I also wanted to do the first release in a coffee shop because a lot of my friends will be there and I want to be able to connect with everyone. It’s harder to do that at a larger music venue.

PW: Aside from a few shows in late January, what does 2010 have in store for Kevin James Devine?
KJD I’m not sure what 2010 has in store for me, but I know that I have another release in store for 2010. MAYBE 2011. I’ll be playing shows on and off and attempting to make an album that really captures the sound of summer nights in Philadelphia and that one week you always spend at the Jersey shore. And I’m not talking about the TV show.
PW: Ha! I’ve heard so much about that show and am so glad I’ve never seen it. I am, however, looking forward to the next album from the idea of it. Thanks for taking the time to answer some questions for Popwreckoning. Best of luck with the record and the CD release show.

Through the Fields CD Release Show
Friday, December 18 || 7 PM
Saxbys Coffee Shop
401 South Broad Street
Lansdale, PA 19446

Kevin James Devine: myspace

Photos: Erika Smith

Speaking from the girl who claims The Starting Line as one of her top three favorite bands, I was ecstatic when I heard that Kenny Vasoli was starting a new band after the sad, seemingly abrupt ending of TSL. It’s becoming apparently that a lot of members of bands start new projects simply for the fact that they feel their new sound will not match their previous bands’ i.e. Andrew McMahon (Jack’s Mannequin), Craigery Owens (Cinematic Sunrise), Stephen Christian (Anchor and Braille) and now Kenny Vasoli and Person L.

I have to admit though, after hearing Person L’s debut album, Initial, I was a little hesitant. It was extremely different than the pop-punk, catchy vibe of The Starting Line and I selfishly didn’t know if I was okay with that. Vasoli has changed directions and moved into a more offbeat, groovey folk rock sound. That may sound like a strange combination, but if you have listened to Person L’s first album, Initial, you know that it is difficult to describe their eclectic sound. Their follow up album entitled The Positives continues on the same track, but it’s apparent that this album is a little more radio friendly than their debut. With an album full of one-of-a-kind beats and Vasoli’s passionately unique voice, The Positives is a strong follow up to Initial.

The album is kicked off with the starting track “Hole In The Fence,” a song with a mellow beginning but it explodes into a drum-driven instrumental piece with almost a triumphant feeling to it. It becomes obvious that this album has an underlying theme about change by the 3rd track, “The Positives.” I believe this song resonates the meaning behind Person L the best, quoting Vasoli’s lyrics – “At the risk of sounding like a hypocrite, cause lord knows I’ve changed myself.” “The Positives” is followed up by straight rock and roll tracks “Goodness Gracious” and “New Sensations.” “New Sensations” has a classic 70s rocker feel to it aided by slick guitar breakdowns and the edgy attitude in Vasoli’s voice. The “change” image is presented blatantly with track 9, “Changed Man.” The predominantly upbeat album is brought to a halt with the mellow, eerie melody of “Stay Calm.” The epic “Untitled” quickly displays the fury and positive strain of Vasoli’s voice. His vocals are the definitely driving force behind this very fierce and intense album.

Whether you are a fan of Person L or not, everyone has to agree upon the fact that Vasoli has one of the strongest, most recognizable voices in the business. Although, that is kind of a catch 22 because yes, his voice is amazing on this record, but he was with The Starting Line for so long that now the only thing I think of when I hear his voice is them. It’s hard to get past the pop-punk legacy of The Starting Line. However, I recently saw Person L on tour as an opener for John Nolan, and I was completely blown away by the energy he had on stage. You could initially sense the explosive passion he felt about Person L that I had never really sensed with The Starting Line. I am a self-proclaimed music snob, and this album isn’t exactly my cup of tea, but it is evident that it is a very well put together album, and if you were a fan Initial, you will no doubt love The Positives.

Track Listing:
01. Hole In The Fence
02. Good Days
03. The Positives
04. Goodness Gracious
05. New Sensation
06. Stay Calm
07. Sit Tight
08. Loudmouth
09. Changed Man
10. Pleasure Is All Mine
11. Untitled
12. I Sing The Body Electric

Person L: myspace | Intial review | @ the record bar

Innerpartysystem‘s always down with cereal…and that wasn’t the only knowledge Kris Barman (programming, guitar, synth) and Patrick Nissley (vox/programming) of Innerpartysystem dropped on me. We talked about their current Pac Sun Tour, upcoming album plans, cereal and they explained what “Butt Rock” is. Check out the full interview below:
Bethany, PopWreckoning: This tour just started about two weeks ago. How has it been treating you so far? It is a pretty diverse line up. Has that changed the audience reactions to your set?
Patrick Nissley, Innerpartysystem: We have a tendency to win people over. Our show is really high energy so rock kids will like it. We have some heavier sounding beats. I think hip hop kids like it. At least that’s what we’re going for. They might hate it.

PW: I know that your guys’ set is highly influenced by the light show, how involved are you in the planning of that?
Kris Barman, Innerpartysystem: Yeah. We built that. We did all that stuff. I’m serious. We went to Home Depot. Bought wood and bought lights. Then we figured out how to sync it all up with the computer. So we built that and Jesse [Cronan] (synthesizer, sampling) actually designed the light show.
PN: Yeah. We don’t actually have an ld. It is all synced to our computer.
PW: Yeah. That’s awesome and your light show is awesome and it seems like everyone else always hires their own light guy.
KB: We try to be as DIY as possible. We want to save money. We don’t want to pay anybody.

PW: Nice. I know you just released a “Winter Mixtape.” Tell me about that.
KB: A majority of that is Jared [Piccone] (drums). Jared does all the mixtape stuff. We just like putting more shit out there for kids to listen to. Music is free pretty much nowadays, so the more stuff you can put out and get them to listen to, well it’s just cool to let them here what we’re listening to and what we’re hearing. It is kind of what we’re listening to now and what we think is cool.

PW: So what are some of the bands you’re sampling now or listening to now?
KB: Listening to now… I’ve been listening to the same bands forever. There aren’t any new bands. I should listen to new music, but I don’t.
PN: I’m really into Hall and Oates right now.
KB: Hall and Oates is something you’re always into though.
PN: Um. Usually a lot of really obscure electronic shit that a bunch of dudes from Sweden do that no one has heard.

PW: Now, you’re all from Pennsylvania, right?
IPS: Yeah.
PW: It seems like you don’t hear too much about electronic-based bands from Pennsylvania. Is there a scene that I just don’t know about?
KB: Where we are from, the only scene is cover bands.
PN: I think Gwar. Gwar’s the scene.
KB: Gwar does all of it.

PW: So how did you guys get into it?
KB: I personally, I’ve been doing it since I was really young. I got into programming beats from I don’t know, 27 down, so I’ve always done it. I’ve always had an interest in it. I don’t know where it came from. When you sit at home on your computer, what else are you going to do? I love music, so I learned how to make music and I was like, oh this is really cool. I’ve been doing it ever since.
PN: For me it kind of started with like fruity loops in high school.
PW: Fruity loops?
KB: It’s like a really sh-well, actually, it’s not shitty at all, it is a beginner program, but it can do a lot of stuff. It is like beginner to pro. So you can make music.
PW: OK, I for some reason was thinking cereal.
PN: No.
KB: Haha, no. Totally different. I’m always into cereal though.
PN: I’m always down with Fruit Loops. That’s how I got into electronics. Cereal. Can we quote that in your thing, so it is a little blurb here?
PW: Innerpartysystem loves cereal.
KB: Cereal. What drives Innerpartysystem.

PW: Haha. We’ll see. My mom lives in Scranton, so that’s about as familiar as I get with Pennsylvania.
PN: There’s a lot of butt rock in Pennsylvania.
KB: Yeah.
PN: I’m going to say it is safe to say we coined the term “butt rock.”
PW: I would say that’s safe to say.
PN: Butt rock is where the drummer has the gotee and the lengthy hair. Always the ripped guitar player with the white beard and they play like a cover band.
KB: They do the “Jugh jugh jugh jugh jugh ooo.”
PN: Like really shitty breakdowns. There’s a lot of that in Pennsylvania.
PW: I really wish this was a video interview right now. So it has been about a half a year since you parted with Island. Is that a decision that has been good for you? Have you learned a lot since then? Do you still find major labels relevant?
PN: I’m about to drop some knowledge on you. We’re not on Island anymore.
PW: Right. It has been about half a year.
PN: Oh, right. Fuck me. I’m not dropping shit. It was a mutual thing. Island wasn’t doing anything for us. Obviously we didn’t sell three million records and become the biggest band in the world. We’re not fucking Lady Gaga. For us, it is more of an indie route and we’re trying to find that way.
KB: It’s nice now that we don’t have a label to talk to for the “big single” and all that shit.
PN: Yeah.
KB: We could make a song out of fart sounds if we wanted. No more of the chorus needs to be “bigger.” Make it “big.”
PN: A&R people say that a lot. “It’s just not big enough.”

PW: “Don’t Stop” was pretty popular in Kansas City.
IPS: Was it?
PW: Yeah. Last year you played our Christmas show.
KB: Oh that’s right. The Buzz.
(crazy announcer voices)
PN: You’re listening to the Buzzzzz.
KB: The Buzzzz. 93.3
PW: Haha, oh no. Not that. They’ll kill you. 96.5.
KB: 96.5 the Buzzz.
This continues for quite awhile
KB: AM Radio.

PW: So no label plans for the future, or sticking with DIY?
KB: Maybe. It depends.
PN: There are some people looking at us, but really we need to write the next record and see where it goes.

PW: Have you started planning it out at all?
KB: A little bit. It really needs to come to fruition. Like that word?
PW: How do you, well, you do a lot of remixes vs. original music-how do you draw the line between the two or is there a preference?
PN: Remixing is easy.
KB: Yeah. We love remixing.
PN: A lot of the things we create and I get most excited about are remixes. I don’t know if there is even a line to draw. It is just whatever rules. We could be writing a song and working on our remixes at the same time. We don’t spend like three days on a song and stop. We get bored on one thing and we move on. We have A.D.D.

PW: To wrap up since it is still pretty loud and I’m sure you want to get back to the show, do you have a favorite musical memory of the “Naught Decade?”
PN: Personally or music in general?
PW: Personally is fine.
KB: Last ten years?
PW: Yeah. You don’t have to be cliche too and say KC is the best or something. Just a favorite memory. Super easy.
PN: Favorite musical place or?
PW: Just favorite musical memory?
PN: Just playing a huge show.
KB: We played Projekt Revolution in the UK and there were 49,000 people there. That was huge for us.

PW: Are your UK crowds pretty different than your US crowds then?
KB: Yes.
PN: Yeah. For some reason, we did way better over there. “Don’t Stop” hit radio really hard and MTV and all that crap, so yeah.
KB: I think shows are better there. Kids just flip shit. Drinking age is lower, too. That loosens them up and fuels the fire. Kids, well, music is still thriving over there and radio is still good over there. They just know music better than in America. Americans can be boring or listen to just down music.
PN: Another way to answer that question: I think it is great the way electronic music is coming to the pop culture now. Definitely in the last five or six years, a lot more bands are using a lot more electronics, which I love since we are all huge electronicheads. A lot of the bigger bands, bands like Daft Punk and Justice, are getting huge.
PW: I’ve noticed that too. Sweet. Well, we’re wrap up there since it is loud and cold.
IPS: Cool.
PW: Thanks so much.
IPS: Nice to meet you.

Innerpartysystem: website | myspace | @ afentra’s vd party

Fall in Philly is a beautiful thing—especially when the soundtrack to the season is one that includes M. Ward, Mike Mogis, Jim James, Conor Oberst AND Bob Dylan. The city has seen itself nearly taken over by both contemporary and classic folk musicians this November—first with Dylan’s performance at the Liacouras Center and then Monsters of Folk festival at the Academy of Music (on the same night, no less.)

To wrap up this folk-themed month, Popwreckoning’s Jess McGinley and her roommate (yours truly) braved the rain-slicked streets of Fishtown Thursday night to see recent MP3 Minute feature and local folk hero Langhorne Slim perform a sold out show at Johnny Brenda’s.

And when I say local, I do mean local: a mere 24 miles up I-95 North lies the little town of Langhorne—a Philadelphia suburb Sean Scolnick (better known as Langhorne Slim) and I both call home [Ed note: proof below]. Slim sums it up perfectly in his song “Hello Sunshine”–“There’s a place I know in Pennsylvania / If you never want to go, well darling I can’t blame ya.” Poignant lyrics, when you consider we’re best known for a Sesame Street inspired water park and the planet’s largest auto dealership.

Langhorne the musician, though, offers much more than our hometown. Perched precariously on a packed balcony above the stage, I watched Slim and company perform in support of their new album Be Set Free.

Sort of like Tom Waits without five decades worth of cigarette smoke, Slim successfully crooned and yelped along with his band for a full two hours. For me it mostly felt like a drunk sing-along with some townies at the Langhorne Hotel bar (better known as the black and white building in the beginning of the music video for “Restless”).

Although his backwoods brand of blues/folk seemed like inauthentic posturing at times, (C’mon man-you’re from Bucks County) there were genuinely beautiful, touching moments throughout the set (“Restless,” “Worries”) and songs that left me teetering back and forth on my bar stool. It was nearly as good as the Dylan concert—if only he’d broken out the harmonica.

Langhorne Slim: website | myspace | @ acl 2008 | interview with

Words: Jennifer Robnett
Photos: Jessica McGinley

It’s not always easy to get on board with who Rolling Stone dubs as an Artist to Watch, no make no mistake that Edward Sharpe and the Magnetic Zeros more than live up to all the hype surrounding their raucous and friendly alt rock, selling out shows across the country. I’d been spinning their debut record Up From Below for weeks and was amped to see how their eclectic sound translates live.

Openers Fool’s Gold, comprised of much of Foreign Born, wholly impressed with their bouncy groove rock that incorporates elements of African soul, tropicalia, ’80s dance jams and Hebrew to create a glorious sound scape perfect for partying to. It’s hard to imagine that the collective’s front man Luke Top is a paralegal by day. The band nailed a hot set gearing up the sold out house for the main act

The First Unitarian Church isn’t a huge venue; sure it holds a hell of a lot of music lovers, but it’s by no means a large venue. Rather, it’s a dark, unventilated church basement that has continuously put on some of Philadelphia’s greatest shows for years. I had myself convinced that the show was at Johnny Brenda’s — how could a ten piece band perform on the Church’s stage? Especially one with the wild amounts of energy that Edward Sharpe and the Magnetic Zeros is known for.

When a ragtag looking bunch took to the stage, my hopes of an elaborately dressed ensemble were dashed, but nothing about their stage presence was lacking. Their energy, which was mirrored by the crowd, rivals only that of the couple shows I’ve seen Tilly and the Wall perform at the Church. ES&TMZ opened with their bounciest tunes, whipping the crowd into a cheering frenzy for each song that followed the one before it. Front man Alex Ebert nailed every note, sounding just as polished as on the record. Pixie-ish front woman counterpart Jade Castrinos‘ are transfixing and beautiful; she surely would have stolen the show if her mic had been turned up slightly.

What was a show stopped was the band’s performance of crowd [and my personal] favorite “Home.” Alex and Jade stared into each other’s eyes, belted out the love song with vigor and ad-libbed the spoken word bridge that on the CD recounts when Alex fell “deep, deeply in love” with Jade. While the below video of the Magnetic Zeros at the NPR offices in DC doesn’t do their on-stage show justice, catch a glimpse of what you missed if you couldn’t snag tickets to the hottest event in Philadelphia this past Sunday night.

If you miss Edward Sharpe and the Magnetic Zeros when they head your way, I am sorry for and disappointed in you in advance. You will not have [and haven't had] a better time at a concert this year.

Tour Dates:
Nov 21 - Pearl Street Downstairs / Northampton, Ma.
Nov 22 – Metronome / Burlington
Nov 23 – Cafe Campus / Montreal
Nov 24 – El Mocambo Club / Toronto
Nov 25 - El Macambo Club / Toronto
Nov 27 – Lincoln Hall / Chicago
Nov 28 – High Noon Saloon / Madison
Nov 29 – The Varsity Theater / Minneapolis
Dec 01 – Boulder Theater / Boulder
Dec 02 - Sheridan Opera House / Telluride, Co.
Dec 04 – The Bell Tower / Pullman, Wa.
Dec 05 – Neumos / Seattle
Dec 08 – The Biltmore Cabaret / Vancouver
Dec 09 - Doug Fir Lounge / Portland, Or.
Dec 10 – WOW Hall / Eugene, Or.
Dec 12 – Great American Music Hall / San Francisco
Dec 14 – The Mayan / Los Angeles

Edward Sharpe & the Magnetic Zeros: website | myspace | @ monolith 2009
Fool’s Gold: myspace |