Upcoming albums and tours: Winter 2024

There is a lot of new music slated for release during this winter term! If you are looking for new albums to check out in the new year, here is a list of upcoming albums and their respective tours that will be stopping in Philadelphia.

Today’s releases (Jan. 19):

“Saviors” – Green Day

Tour: 8/9 @ Citizens Bank Park

“Little Rope” – Sleater-Kinney

Tour: 3/18 @ TLA

JANUARY

1/26: “Everyone Can’t Go” – Benny the Butcher
1/26: “People Who Aren’t There Anymore” – Future Islands
1/26: “Lola” – Goth Babe

This new-age indietronica act is dropping his debut full-length album this month. The album “Lola” is named after lead artist Griff Washburn’s sailboat. Expect this project to encapsulate the outdoors in a euphoric, adventurous way; see the excellent single “Bioluminescence” for an example.

1/26: “Blue Raspberry” – Katy Kirby New York-based singer-songwriter Katy Kirby made a splash with her debut album “Cool Dry Place” in 2021. The album’s titular track is peak indie rock songwriting with a catchy, yearning chorus and gripping buildup. Kirby’s sophomore album should be a must-hear for fans of her debut. Tour: 3/7 @ Johnny Brenda’s
1/26: “All Is Yellow” – Lyrical Lemonade
1/26: “Wall of Eyes” – The Smile

FEBRUARY

2/2: “What Now” – Brittany Howard
2/9: “VENUS” – Zara Larsson
2/9: “Weird Faith” – Madi Diaz Tour: 2/28 @ World Cafe Live
*2/9: “ANY LIGHT” – Loving This album is another anticipated comeback, with Loving’s most recent project being “If I Am Only My Thoughts” from Jan. 2020. The quaint, lo-fi sound of this group is warbly and beautiful, however fairly experimental. Catch the band at PhilaMOCA on 3/20 for a comfortable evening of warm music.
2/9: “What Happened to the Beach?” – Declan McKenna
2/9: “I didn’t imagine this!” – Theo R (Drexel student)

2/12 – “We regret to inform you” – Bitcrush

Drummer, songwriter and producer Charlie O’Neill and keyboard/bass player Leo Buczkowski are Bitcrush, a jazzy electronic project creating futuristic and detailed ear-candy instrumentals and glitchy vocals. The Chicago-based duo will share their debut album in February, with two singles available now.

2/16: “Tangk” – IDLES
2/16: “GRIP” – serpentwithfeet
2/21: “Still” – Erika de Casier
2/23: “Loss of Life” – MGMT

Alt-pop juggernauts MGMT are back with another album this year. The 10-track project will follow up the viral success of 2018’s “Little Dark Age” as well as 2022’s “11•11•11,” which seemingly went under the radar. Does the band still have it 17 years into their mainstream career?

2/23: “The Past Is Still Alive” – Hurray for the Riff Raff Tour: 3/1 @ The Foundry

MARCH

3/1: “I Got Heaven” – Mannequin Pussy Tour: 5/22 & 5/23 @ Union Transfer
*3/1: “Playing Favorites” – Sheer Mag Sheer Mag is a longtime Philadelphia band who have gained recognition for their retro rock style. For a glimpse at their upcoming album and personality, check out the video for their 2023 single “All Lined Up.” Tour: 5/10 @ First Unitarian Church

3/1: “Parallel Realms” – STRFKR Tour: 4/23 @ Union Transfer

3/1: “TYLA” – TylaTour: 5/18 @ Union Transfer
3/1: “Underdressed at the Symphony” – Faye Webster

Webster has become a well-known and loved act within her class of late-2010s rising artists with her soft, country-tinged formula. This new project appears to be leaning towards a rock sound with grittier guitars and piano than past gentle tracks like “Kingston” and “A Dream With a Baseball Player.” 

3/8: “Bleachers” – Bleachers Whether you love him or hate him, Jack Antonoff has been helping shape pop music since his days with fun. In the early 2010s. He consistently gives top-shelf pop acts albums essentially watermarked by his production, resulting in a bit of an Antonoff overload in pop music this decade. How does he make so much music? When did he find time for this amid all the Taylor’s Versions? Tour: 6/12 @ The Met
3/8: “eternal sunshine” – Ariana Grande
3/8: “Glasgow Eyes” – The Jesus and Mary Chain
3/8: “Bullhead” – Slow Hollows

Austin Feinstein is a sneakily well-connected artist within music. He has credits on songs by Tyler, the Creator, Ryan Beatty, Current Joys and even Frank Ocean’s “Self Control.” On hiatus since 2019, his project Slow Hollows will return with their fourth album this March. 

Tour: 4/18 @ Johnny Brenda’s
3/15: “Starchild” – Sweet Pill Tour: 5/10 @ Union Transfer
3/22: “Bright Future” – Adrianne Lenker Tour: 11/25 + 11/26 @ Union Transfer
3/22: “Tigers Blood” – Waxahatchee Tour: 9/7 + 9/8 @ The Fillmore
 

Billboard’s Year End charts were shared following their Billboard Music Awards show on Nov. 19, which includes their list of the 100 most successful hits of the past year. Pop music fans can now look back at the biggest songs on the Hot 100 singles chart throughout 2023 and decide which ones to save, and which to block out for the rest of time. 

While the tracking year for the charts usually runs into November, this year’s tracking was cut short on the week of Oct. 21, making it only a 49-week tracking year (this notably bumps the “1989 (Taylor’s Version)” chart impact to next year). It could be assumed that this was for the sake of the Billboard Music Awards, since the announcement of this change was made in an article by Billboard detailing the award show nominees. 

In my opinion, the 2023 year-end Hot 100 is pretty unexciting. It lacks many standouts in both the great and the horrible songs, which made determining this list a bit harder. Overall, it leans more towards the bad than the good for me, possibly due to the heavy saturation of pop country, a genre I find very repetitive and ignorable. 

Top 5 best hits of 2023:

5. “Fast Car” – Luke Combs (#8 on the list) We can only hope that the younger generations become aware of the legacy that this song had before Combs covered it. In a year where country’s dominance was tainted by backwards politics (see Morgan Wallen and Jason Aldean’s success), it was great to see such a classic, relatable song about the working class struggle from a genuine woman like Tracy Chapman get revived, even if it was through the voice of another artist. 

4. “Nobody Gets Me” – SZA (#77 on the list) 

With “Kill Bill,” “Snooze” and “Shirt” all qualifying for this list, the ballad “Nobody Gets Me” stands out for its potent chorus melodies and harmonies. The song’s overall sound is reminiscent of something Kelly Clarkson or Leona Lewis would have sung in the 2000s (inevitably written by Ryan Tedder), except none of them would have said anything from SZA’s first verse on record. This spot goes more to SZA’s breakthrough year than any of her songs specifically; it is shocking how quickly a 23-track album became overplayed. 

3. “Sure Thing” – Miguel (#24 on the list) 

I remember seeing this song on the iTunes Store charts when I was a child… despite including two songs that were originally released more than a decade ago on this list, I do in fact like new music a lot. This 2010 single admittedly lacks in the verse lyrics, where Miguel reuses the same metaphor setup over and over. However, the irresistibly smooth instrumental and chorus are why this song is back in the first place. Also, it has now been six years since his last album “War and Leisure,” hopefully the next project is in the works.

2. “Just Wanna Rock” – Lil Uzi Vert (#28 on the list) 

Admittedly, this song is very overplayed at this point. It does not help that it is barely two minutes long either. However the raw energy and spacey atmosphere of this song are pure Uzi, who has always claimed to be from another planet. The “Jersey club” drumbeat this song uses has existed long before this song, but since when has it appeared within the top 30 on a Billboard Hot 100 year-end list? “Just Wanna Rock” is now up there with Uzi’s defining songs, and it sounds like nothing they have made before. 

1. “Boy’s A Liar, Pt. 2” – PinkPantheress and Ice Spice (#20 on the list) 

If there is a hit song that should define 2023, it is this. Similar to “Just Wanna Rock,” “Boy’s A Liar, Pt. 2” fuses electronic music, hip-hop and pop while also managing to sustain an underlying melancholy feeling that is exposed perfectly at the end of Ice Spice’s verse as the instrumental breaks down. With the help of producer Mura Masa, this song feels futuristic yet a bit nostalgic at the same time, a trait that PinkPantheress has been effortlessly good at achieving (while Dua Lipa attempted and only landed one side of it). Hopefully these artists will continue evolving their sounds and spawning more girly hits in the coming years.

Top 3 worst hits of 2023:

3. “Thank God” – Kane and Katelyn Brown (#23 on the list) 

Why does this give me “JERIKA” flashbacks? “Thank God” is the most offensively inoffensive, conveyor-belt, factory made song of the year. It is an instant skip. 

2. “Try That in a Small Town” – Jason Aldean (#66 on the list) 

On the other hand, “Try That in a Small Town” may be the biggest reason why pop country was tainted with underlying racism this year, while artists like Zach Bryan and Noah Kahan are being pushed, frantically trying to save face for their genre. Threatening violence with violence does not make one side correct, and filming a music video in front of a courthouse with well-known racist history will obviously strengthen a message. 

1. “Made You Look” – Meghan Trainor (#53 on the list) There was a brief moment in late 2022 when humanity was faced with the reality of a Meghan Trainor mainstream comeback. Luckily, the crisis was swiftly averted before the even worse “Mother” could touch the Hot 100, and the public snapped back to their senses. This song tapped into the icky, horn-embellished retro pop that plagued Trainor’s breakthrough hits in 2015, recreating that horrible style that was apparently not missed at all, given no one has tried to recreate it since. Also, the brand name-drops on the chorus are the worst hook of the year. 

To the surprise of all fans, Blackbear and Mike Posner formally announced the comeback of their cult-classic duo project Mansionz on Oct. 18 via Instagram. Simply stating “m2 halloween,” the duo would release their sophomore album “mansionz 2” on the morning of Oct. 31, marking their first and only new music since the fan-favorite “Mansionz” album in March 2017. 

While neither Blackbear nor Posner have a reputation for making critically acclaimed or innovative music, Mansionz became their zany, devious side project with an odd image. The two sported green hair and made a mockery of themselves on the 2017 GRAMMY Awards red carpet. Their song “Dennis Rodman” proclaimed that they “did not care about who was watching” them and that they did their own thing. The genre-bending, boundaryless honesty of the original “Mansionz” album resonated with fans despite a surface level of goofiness and unfiltered lyricism. While fun at the time, a lot of the lyrics on “Mansionz” seem either lame, cringe or obnoxiously raunchy now. 

After six years of denying a sequel, both pieces of Mansionz have grown immensely as people. Blackbear’s career is in a similar place now to where Posner’s was in 2017; a two-hit wonder who swiftly rose and fell from pop-stardom. With Posner finally finding self-worth through personal achievements outside of music and Blackbear starting a family and kicking his addictions, what in the world was going to be unleashed in the fifteen track, feature-less “mansionz 2?” 

Before breaking down the actual music, the album’s interludes must be addressed. The disgustingly banal and unfunny intro, outro and “Mansionz Ranch” are painful to listen to, and severely hurt the artistic integrity of the project. They hint at an overall insecurity that made the artists feel the need to bookend their project with jokes and proof that “this is not a serious album,” despite going on to deliver extremely serious and heartfelt performances. It is a horrible look to begin the album with that — besides invalidating their own work — is not funny at all. 

The album starts out with an abundance of anger, expressed through loud shouting, aggressive instrumentals and lifestyle flexing. “Optionz” is surprisingly believable as a leadoff track, leaning into the hip-hop side that both artists have played with before. Blackbear delivers solid hook melodies throughout “Annihilate / Third Eye,” however it becomes obvious early on that the lyrics are going to be the downfall of this project. No clearer is this than on the following track “FYSU,” which stands for “f*ck your shit up.” The duo gets incredibly mad and proceeds to embarrass themselves with a horribly corny rage anthem about Hollywood and… just people in general. The first Mansionz project had the same project, with many of the lyrics coming off as cringey, lame or cliche. Even in their solo work, both artists have struggled with this. That being said, listeners should at least be able to see this coming and possibly see past it. 

The much-needed break from the anger-induced first half of “mansionz 2” comes with “High Again,” a simple guitar-based song that only features vocals from Blackbear. It is the first vulnerable glimpse into his battles with drug use and recent sobriety on the album, a topic and feeling that both artists delve into during the later tracks. He revisits this topic on “Mt. Everest,” which is more of a two-minute spoken poem than song; paralleling the longer “i’m thinking about horses” from Posner on the original “Mansionz.” Posner actually did climb Mt. Everest in May 2021, and getting sober from pills was Blackbear’s climb. 

Jammed within this transitional period is the divisive “Ride Die Eat Sleep F*ck Kill.” The five-and-a-half-minute saga is reminiscent of their earlier track “A Million Miles,” with a building front half that breaks down to an extended outro driven by Posner. The song’s structure and production do a lot to promote it, but of course the cliche “ride and die together” chorus from Blackbear and the atrocious opening line “first blowjob at the age of fifteen / ever since then I done been unleashed” from Posner on the outro are simply inexcusable. It is an oddly defining track for the album, as it contains some of the best and worst characteristics of the duo’s new material. 

While the latter half of “mansionz 2” is far more emotional and serious than the opening half, it does not necessarily make it much better. This is mostly to blame on Posner, who has a tendency to oversell and over-dramatize serious songs, whereas Blackbear usually takes an opposite approach with subtle, barebones melancholy like the earlier track “High Again.” Blackbear elaborates on his marriage and children, and Posner seems to have finally escaped depression and failure by achieving some rather insane natural feats, such as walking across the USA and climbing Mt. Everest. By the end of the project, it is clear that both artists have reached a better mental place since “Mansionz.” 

Frankly, this album is impossible to listen to in public due to the sheer embarrassment inflicted by (mostly) Posner and Blackbear throughout. The problem is that when they attempt a more serious approach, there is a high likelihood of a generic, cheesy outcome like “Stay Alive,” which has the worst production on the project. The album is in a constant battle to be taken seriously, especially since there are very potent and deep topics discussed between the outlandish lyrics and interludes. It also does not help that the duo lost most of their pop sensibility, which allowed the catchier tracks from their original project such as “Wicked” and “Gorgeous” to be taken seriously as lasting hits. For a first time Mansionz listener… good luck. The first project is far more digestible and dignified; start there. It may take a few listens to see past the glaring atrocities, but there is some worth to this album, especially as a fan or follower of Posner, Blackbear or the Mansionz duo. 

Best tracks: Optionz, High Again, Mt. Everest, Ride Die Eat Sleep F*ck Kill

Worst tracks: FYSU, Stay Alive, all interludes

It is time for a look at some of the upcoming albums and respective tours of the fall term. For more information on each release, make sure to visit the artist’s website or social media. To pre-order or pre-save an album, click the links!

Since the term started last week, here are some projects to check out already!

Notable releases from last week (Sept. 29)

“Isn’t It Now?” – Animal Collective

“We Buy Diabetic Test Strips” – Armand Hammer (Billy Woods & ELUCID)

“I Miss You Already + I Haven’t Left Yet” – Del Water Gap

“Again” – Oneohtrix Point Never

“Silver” – Say She She

“Yard” – Slow Pulp

“falling or flying” – Jorja Smith

“Cousin” – Wilco

“Hit Me When U Leave The Klub: The Playlist” – YG & Tyga

Today’s releases (Oct. 6)

“Live For Me (EP)” – Omar Apollo

“Blondshell (Deluxe Edition)” – Blondshell

Tour: 11/22 @ Franklin Music Hall (w/ Liz Phair)

“Fanfare” – Dorian Electra

“For All The Dogs” – Drake

“Voir Dire” – Earl Sweatshirt & The Alchemist

Back in 2021, it was first revealed that these two rap deities had hidden a project on YouTube under an alias. On Aug. 25, the album “Voir Dire” was released to Web3 music platform Gala Music for purchase, basically as NFTs. However, now you can hear the songs on streaming, as well as see them live on tour with support from Black Noi$e and MIKE. Tour: 11/21 @ Theatre of the Living Arts

“Re: This Is Why” – Paramore

“Trackhouse” – Pitbull

Yes, there’s a new  Pitbull album in 2023. It is a collaboration with NASCAR racing team Trackhouse Racing. It also features Zac Brown on the closing track: What joy.

Javelin” – Sufjan Stevens 

October

10/13: “nadie sabe lo que va a pasar mañana” – Bad Bunny

10/13: “the rest” (EP) – boygenius

2023’s favorite trio is sharing a follow-up to their wildly successful album “the record.” Their new EP appears to serve as outtakes or B-sides from the album, hence the EP’s title. Four new tracks will be included in the project.

10/13: “A Great Chaos” – Ken Carson

10/13: “Almighty So 2” – Chief Keef

10/13: “Jonny” – The Drums

Jonny Pierce will be releasing 16 personal tracks of danceable instrumentals, surf-pop vibes and slightly whiny vocals on his new album. He daringly bares it all on the project’s cover art, embodying how transparent the songs’ lyrical themes will be. Read The Triangle’s review of The Drums’ recent tour here!

10/13: “Breath of Fresh Air” – Gucci Mane

10/13: “Something To Give Each Other” – Troye Sivan

It has been five long years since Sivan released “Bloom.” The album’s leadoff single “Rush” is one of 2023’s best pop hits, showing a boost in confidence, charisma and production from his already-solid sophomore album. Expect a proper mainstream breakthrough this time for Sivan.

10/13: “Tomorrow’s Fire” – Squirrel Flower Tour: 10/27 @ Ukie Club

10/13: “And Then You Pray For Me” – Westside Gunn

From the looks of it, this album will serve as the sequel to Gunn’s 2020 album “Pray For Paris,” which featured Tyler, The Creator, Freddie Gibbs and more behind an eye-catching album cover designed by the late Virgil Abloh. On Sept. 27, Flygod sold two full-size versions of the album’s cover art online.

10/13: “Water Made Us” – Jamila Woods

10/15: “SET IT OFF” – Offset

10/20: “ONE MORE TIME…” – blink-182

10/20: “All That Was East Is West Of Me Now” – Glen Hansard

10/20: “Hackney Diamonds” – The Rolling Stones

10/20: “Lahai” – Sampha

Yet another anticipated comeback album is ahead this fall, this time from electronic-soul singer and producer Sampha. With only one studio album to his name — 2017’s acclaimed “Process” — Sampha has become a well-known feature-god in the meantime on songs with Kendrick Lamar, Drake, Solange and Lil Silva just to name a few. Tour: 11/13 @ Franklin Music Hall

10/28: “Life’s Still Perfect” – Cadre Noir

10/29: “1989 (Taylor’s Version)” – Taylor Swift

November

11/3: “Blanket” – Kevin Abstract

11/3: “The Maybe Man” – AJR

Some may wonder how a band so deeply despised by some continues to grow and release music, seemingly unphased by their reputation as the goofiest, most obnoxious band working. The three brothers are a true testament to “sticking to your guns,” as they continue their brand of orchestral pop in yet another album. 

11/3: “Valentine (Demos)” – Snail Mail

11/4: “GOLDEN” – Jung Kook

11/10: “Heaven knows” – PinkPantheress

11/10: “Higher” – Chris Stapleton

11/17: “Random Access Memories (Drumless Edition)” – Daft Punk

The French electronic duo has announced one of the oddest reissues in recent times: a drumless version of their final studio album, 2013’s “Random Access Memories.” For an album already containing theatrical dynamics, this will likely emphasize the emotion of the songs even more. This idea is so left-field that it must unlock something new within the compositions… right?

December

12/31: “Hood Poet” – Polo G

This may just be a placeholder date, as it is not a Friday and very far in advance. According to the album trailer released on Aug. 15, the album was originally set for release on Sept. 15. The iTunes pre-order page now lists New Year’s Eve as the project’s expected release date.

Unconfirmed or theorized releases 

Bas

This Dreamville rapper announced the title of his fourth album, “We Only Talk About Real Shit When We’re F*cked Up,” through Instagram way back in January. With two recent single releases, it is only a matter of time until fans are given the release date.

Brittany Howard

The Alabama Shakes lead singer recently announced a small US tour for November, while also stating that she had just finished a new album. Could the “What Now Tour 2023” possibly be name-dropping said new project?

Zack Villere

Villere has shared three singles so far this year each sporting similar art. This quirk-pop polymath is due for a new album as well; his most recent project “Cardboard City” was released way back in February of 2020. 

Faye Webster

With two new singles being released since June along with a tour (stopping at Franklin Music Hall on Oct. 21), the soft-voiced indie-folk singer is basically shouting “New album soon!” However, nothing has been formally announced yet.

Grocery shopping, along with being a necessity for all college students, is also something that defines you as a person. What store do you choose as your main location, and how do you get there? Why do you prefer that specific place? Have you ventured out to the far-away shops? Without borrowing a friend’s car, there are a solid amount of reachable stores to choose from. The two on-campus options are both rather limited. Old Nelson at 3438 Lancaster Ave across from 7-Eleven is the smallest place on the list, with just enough variety to consider it a grocery store. Giant Heirloom is the mainstream, consensus choice at 3401 Chestnut St. for dorm-bound students, with a big enough selection to get by, but nothing more. Students who choose to descend west from campus, possibly down Lancaster Ave or Spring Garden St., have more affordable and complete options. A large Acme at 4001 Walnut St. is the closest full-size grocery store. For people living a bit farther southwest, Supremo is at 4301 Walnut St. For the biggest savings, take the Market-Frank- ford subway-line (MFL) to 44th St. and shop at ALDI.

There are a few grocery stores on the east side of the Schuylkill River that are within a close proximity to Drexel University’s campus, especially if you live in Chestnut Square or University Crossings. Trader
Joe’s at 2121 Market St. is a short walk, easy bus or quick trolley ride away, depending on where you live. A massive Giant is just a bit farther at 60 N 23rd St., and Whole Foods at 2101 Pennsylvania Ave is a convenient trip across the Spring Garden bridge for students moving north of campus towards
Mantua. Past those options, the journey becomes a bit longer and more complicated. MOM’s Organic Market at 34 S 11th St. has a large selection of products you may not find at the previous grocery stores. Down at 10th and Broad St., there is a very big Sprouts location, however this would require transferring SEPTA vehicles at least once so it may be more fit for specific goods or short visits. At 7050 Terminal Square there is an expansive H-Mart, and while technically located in Upper Darby, this store is very accessible via the 69th Street Transportation Center at the end of the MFL.

Going out to explore music in Philadelphia can be one of the most exciting new things about moving into the city. While it can get a bit expensive, it will most likely be worth the time and money. This guide will explain a bit about the local scene, give recommendations on where to shop, overview the general venue choices and tell you how to get involved through Drexel.

Record stores in Philadelphia

Repo Records (New releases, used CDs, music merch, listening events, main-stream but good)

Long In The Tooth (Used CDs, vinyl, some cassette tapes, curated sprinkling of new releases)

Rustic Records (Used older CDs and vinyl, instruments, small amount of recording gear)

Common Beat Music (Used CDs and vinyl, very few new, buy and sell, gear and repair)

Philadelphia Record Exchange (Used CDs, mostly used vinyl, rare and old items)

Creep Records (Just opened a new location in Old City, used and new CDs and vinyl, also a label)

Of students who want to create bands or host shows themselves, many end up playing and hosting house shows in their basements or houses. Around Drexel and Temple, there are communities of houses that book bands most weekends, creating a way for students to get experience playing live and make a bit of money from it. Currently, these houses will pop up online, creating flyers for their bills in order to advertise, usually on Instagram. One key aspect of this scene is to respect the houses; people living there do not want their addresses publicly displayed online. They also want you to treat their house and other visitors politely, as these are small concerts, not house parties.

Venues in Philadelphia Iceberg Ranking 

Tier 1 (biggest artists, large venues)

Wells Fargo Center – 76ers’ basketball stadium

Lincoln Financial Field – Eagles’ football stadium

Citizens Bank Park – Phillies’ baseball stadium, less concerts than the other two

The Mann – Fairmount Park, two outdoor stages, (Skyline Stage and TD Pavilion) 

The Met – older concert hall on Broad St. north of center city

Tier 2 (big name artists, bars included, more affordable, GA floor tickets)

Union Transfer – renovated historical building turned venue, 21+ balcony

The Fillmore – a bit farther than UT, 21+ VIP balcony

The Foundry – smaller extension of the Fillmore, GA floor only, smaller artists

Theatre of the Living Arts – old building on the east end of South St., 21+ balcony

Franklin Music Hall – just another concert hall, cool looking from the outside

Tier 3 (some bigger name artists, unique characteristics)

Underground Arts – underground club atmosphere, intimate stage setup

World Cafe Live – not WXPN owned — but frequently collabs, two stages, bar and food

First Unitarian Church of Philadelphia – rented out basement, more DIY shows than others

Tier 4 (more local artists, but some more famous tours)

PhilaMOCA – one large room, old renovated bank off of South St.

Johnny Brenda’s – bar and food in Fishtown, small standing area and balcony

Milkboy – one in Center City and one on South St, bar and stage upstairs from restaurant

Tier 5 (smallest names, lots of local acts and collectives, mostly bars)

Ortlieb’s – bar and food in Old City, small stage in back of diner area

Foto Club – Far away but SEPTA-able, old building that you have to buzz into

Kung Fu Necktie – bar and food near Fishtown, intimate stage 

Ukie Club – Ukrainian American Citizens’ Association’s basement rented out

Drexel music clubs and organizations

As for music at Drexel, there are several organizations and classes you can take to get more involved with music. The school’s radio station WKDU has new member meetings throughout the term that any student can attend. Drexel Flux is an organization that produces concerts hosted in Drexel’s URBN Annex, ending the spring term with their Lawn Jawn festival. If you are more interested in performance, the school has choirs, a capella groups and theater productions to audition for. As an elective, a one credit ensemble class such as Fusion Band, Jazz Orchestra or Pep Band could be a lot of fun. There are open mics on campus, as well as the annual Dragonfly concert hosted by Drexel Campus Activities Board (CAB). You could also possibly see a show or two if you wrote for the Entertainment section or took photographs for the Triangle.

Philadelphia’s own Alex G co-headlined the Dell Music Center alongside the Canadian alt-pop band Alvvays on Aug. 26 as part of a seven-show summer tour. The show benefited the Make The World Better (MTWB) foundation, a charity based in Germantown that focuses on public space renovation within the city. As both acts have been active for over a decade, this tour was slated to be a celebration of their indie rock legacy.

The show was opened by Tanukichan, an electronic pop artist who has released a fairly small amount of music since their debut EP in 2016. Their live band consisted of singer, songwriter and bassist Hannah van Loon, drummer Joe Lyle and guitarist Jared Mattson of duo The Mattson 2. Their set was unfortunately cut short due to a smoke machine malfunction during their song “Hunned Bandz.” While no announcement was made to the audience, a stagehand approached the confused band and had them exit the stage. However, the audience was able to stay in place while the crew dealt with the smoke.

Following this mishap, Alvvays took the stage at 8 p.m. to perform a set that spanned their three-album catalog with a focus on their most recent album “Blue Rev,” released Oct. 2, 2022. Lead singer Molly Rankin’s live vocals shone, sounding remarkably similar to the band’s recorded work. The large outdoor amphitheater setting treated their dreamy, reverb-drenched style well, as their songs drifted through the evening. Throughout their set, fans milled about the premises in search of food, refreshments, their friends or an open area to chill in while they waited for Alex G.

Alvvays is a five-piece band, featuring Sheridan Riley on drums, Abbey Blackwell on bass, Alec O’Hanley on electric guitar, Kerri MacLellan on keyboards and Rankin on lead vocals and guitar. Each of the band members lent backing vocals at points as well. MacLellan’s synth work stood out as it was the glue for many of the songs, giving all the other instruments a textured pad to lay on top of. For the song “Tile By Tile” off of “Blue Rev,” the band executed the complicated arrangement to full effect, which was driven by the synth keys. Many fans stood for their classic hits such as “Archie, Marry Me” and “Dreams Tonite,” the latter of which featured a live-only synth intro and a standout drum outro. 

When the band left the stage at 8:57 p.m., anticipation was heavy in the air for Alex G. It was apparent that most of the audience was predominantly there for him, even though the two co-headliners likely brought a fairly mutual fanbase — hence the idea for their joint tour. Previously known as (Sandy) Alex G, the singer/songwriter made his major label debut on Orchid Tapes with his album “DSU” in 2014, the same year Alvvays debuted with their self-titled album via Polyvinyl Records. Despite Alvvays finding a more lo-fi, dreamy-pop sound in comparison to Alex G’s off-kilter, acoustic guitar experiments, the two acts both occupy space under the “indie rock” blanket term. 

However, Alex G has witnessed a large uptick in listeners and streams recently due to the viral success of early tracks “Sarah,” “Mary” and “Treehouse.” After his well-received 2022 album “God Save The Animals,” Alex G is currently experiencing his peak popularity so far. On the other hand, Alvvays saw their most prominent popularity with their earlier aforementioned hits, despite also dropping an acclaimed project in 2022. 

In the moments leading up to Alex G’s set, fans crowded in front of the stage, peeping with excitement and talk of “Alex.” At around 9:20 p.m., MTWB played a short video to explain their work around the city. Connor Barwin, founder of MTWB and former Philadelphia Eagles linebacker, took the stage for a brief word on his foundation. 

Alex G’s band appeared at 9:32 p.m. and began the set with the ominous “God Save The Animals” album cut “S.D.O.S.” Alex G switched between electric piano and three different guitars during the performance. The setlist went on to feature nine songs from his newest album, including “Runner,” “Mission” and “Ain’t It Easy.” The main set closed with the album’s final two tracks “Miracles” and “Forgive.”

The performance was far more theatrical and bombastic than some would imagine if they had only heard Alex G’s recent viral hits. Through many songs, one such being “Bug,” Alex G sang through vocal effects such as auto-tune or distortion. The setlist went from loud and electric to acoustic guitar based, and his stage had bars of light that cycled through colors. As with Alvvays, the amphitheater setting made his music sound larger and deeper, and the night sky above made the stage lights seem even brighter. Alex G did not speak to the audience much, only stopping briefly to thank the audience and previous bands for coming out.

Later in the show, Alex G played “Sarah” and “Mary” back to back, followed by the classic-rock inspired single “Gretel” from 2019’s “House of Sugar” album. The band returned for a four-track encore that capped with “Message” from 2012’s “Rules.” Prior to the encore, audience members began filing out of the venue. The Dell Music Center, while providing glorious outdoor entertainment, is known for its parking and traffic difficulty.
With their summer tour finished, Tanukichan is set to headline a short fall tour with up-and-coming Indianapolis group Wishy. Alvvays and Alex G will each embark on their own Oceania tours this winter. Check out each act’s most recent work, and visit the Dell Music Center’s website for more information on their upcoming events.

Common Beat Music celebrated their store’s sixth anniversary on Saturday, Aug. 5 with an in-store event featuring art, drinks and music. Located at 4916 Baltimore Ave, the West Philly shop is one of many small businesses surrounding 50th Street Park. 

The store celebrated from 1-5:30 p.m., with many DJs from local collective Vinyl Tap 215 taking turns mixing records. The door was open with a table of used CDs and vinyl out front, and speakers pumping the music out to Baltimore Ave. Complimentary hard seltzer and beer was sponsored by 31st and Wharton brewery.

Owned and operated by Carlo Frese and Keri Girmindl since Aug. 1, 2017, the shop is marketed as a record store that also does audio repairs. However, they sell all sorts of music related equipment, such as drum sticks, mics, music books and guitar pedals. 

Frese and Girmindl purchased the space from the owners of The Marvelous! Music, which had been on the block for 14 years. Frese began Common Beat Music as a music repair business out of his house, before partnering with Marvelous and working out of their store following a house fire. 

Despite Marvelous’ significant quantity of CDs, Common Beat just recently began selling the format again. “When we initially bought this store, we knew that we wanted to make it have more room for musical equipment supplies…” Frese explained, “we bought the store in as-is condition. We just acquired some PA speakers, so we want to do more events.” In addition to repairing and selling used gear, the store also offers turntable and speaker rentals.  

“We want to expand what kind of music supplies we have too,” Girmindl added, referencing items such as woodwind reeds, drum heads and strings. 

The celebration kept friends and customers packing the store throughout the day, many of whom stayed to chat with the employers or the Vinyl Tap 215 crew. Painter Anthony “Seper” Torcasio, a Vinyl Tap affiliate, was creating a large circular, abstract work with spray paint in the store’s backyard area, which was open during the event. At 4:02 p.m., Frese and Girmindl gathered in the backyard for a photo with the fifteen Vinyl Tap 215 members who had come to share their talents. 

After six years of growth, Common Beat Music seems to have developed a solid identity in the eclectic diversity of West Philadelphia. “We need to adapt to the community that we are in. It’s a part of… keeping the culture alive because Philly has such a musically rich history,” said Girmindl. “But also, we want to put money back into the neighborhood, so if we can pay you for records you don’t want or need anymore and keep that money cyclical in this area, that’s really important.”

The renowned New York-born indie pop group The Drums headlined Theatre of the Living Arts in Philadelphia on Saturday, July 29. The show featured support from Cold Hart, and promoted The Drums’ upcoming album “Jonny,” due out Oct. 23.

Since their self-titled debut album in 2010, The Drums have been known for their brand of light, lo-fi, surf-inspired tunes based around simple, staccato electric guitar picking, rapid bass lines and vintage drum machine sounds. Fronted by the singer/songwriter Jonny Pierce, the band began as a four-piece group. However, since the release of their album “Abysmal Thoughts” in 2017, The Drums has become a solo project of Pierce’s. 

Cold Hart began at 8 p.m., and consisted of singer Jay Quilisadio and guitarist Roman Luna, aka YAWNS. Both artists are part of the influential collective GothBoiClique — co-founded by Cold Hart — which has housed artists such as Lil Tracy, co-founder Wicca Phase Springs Eternal, Horse Head and the late Lil Peep. Cold Hart’s sound was dark, moody and melodic, combining elements of rock, hip hop and trap music. While a bit of a sonically odd pairing with the danceable upbeat headliners, it was interesting to witness someone with such rich, underpublicized history perform. Cold Hart’s set went for nearly 45 minutes, with a few of the songs performed being “Never,” “Decompose,” “Big City Blues” and “Me and You,” the latter two being collabs with Lil Peep. 

At 9:17 p.m. the house lights went down and The Drums’ band took the stage. As it consisted of two guitarists (one of whom occasionally switched between electric guitar and bass) and a drummer, lead singer Pierce was able to prance freely across the stage without needing to play an instrument. And that he did, entering to the 2017 song “Are U F*cked” and beginning to feel out the venue. He wore a black jacket with small details and straight black pants. The band followed in theme, wearing either black or white. The stage decorations were minimal, opting for their band name simply projected on the blacking curtain and some stylish, clear circular cymbal shields. 

Following a few lesserknown tracks which began the set, The Drums broke into the fan favorites, with the extremely singable melodies of “Days” and “What You Were” getting the crowd vocally excited. This song is from their standout sophomore album “Portamento,” which came out in 2011. Only one year prior, The Drums had released their debut single “Let’s Go Surfing,” which the band pulled out next. As one of their trademark tracks, it currently sits as their second most popular song on Spotify. This back-to-back sequence brought the energy up, and the band continued with a new single from May 11 titled “Plastic Envelope,” plus the “Portamento” opener “Book of Revelations.”

For some representation of their less popular albums “Encyclopedia” (2014) and “MOMMY DON’T SPANK ME” (2021), the group performed the tracks “I Hope Time Doesn’t Change Him” and “I Can’t Save Your Life.” Another fan fave “Down By The Water” provided a slower moment in the show. The song “I Need A Doctor” was rather off-putting, beginning with the line “You’re like a child and I like that.” When delving into the lyrics and considering the title, it seems to be very self-aware of the messed-up themes, a common trope in its parent album “Portamento.” Still, it’s a bit jarring to hear live in a time when controversial content is more likely to be questioned out of fear of an ugly truth. 

To round out the set, the band brought out two crowd-pleasers with the buzzing new single “Obvious” and the classic hit “Money,” their most popular song. After about four minutes of “JON-NY” being chanted from the audience, the band returned for their encore. They performed the dreamy combo of 2011’s “I Don’t Know How to Love” and recent single “I Want It All,” released April 3. Pierce had switched out his original jacket for a similar one with “Jonny P” written on the back in colorful sequins. 

Overall, the show did a great job in highlighting the band’s large history as well as the pure charisma and songwriting of their frontman. Even before The Drums, Pierce has brought smaller groups to notoriety. Now at the age of 41, he still puts on a lively show and expresses himself proudly. 

The Drums will be touring for the rest of August, and tickets are still available through their website. Their seventh album “Jonny” will be released on Oct. 13. 

SETLIST

Are U F*cked

Heart Basel

Best Friend 

What You Were

Days

Let’s Go Surfing

Plastic Envelope 

Book of Revelations

I Hope Time Doesn’t Change Him

Down By The Water 

I Can’t Save Your Life

I Need A Doctor 

Obvious 

Money 

ENCORE 

I Don’t Know How To Love 

I Want It All

Looking for new summer songs as the season comes to a close? Visit forgotten favorites with this playlist incorporating songs from recent years: 

“Summer Baby” – Jonas Brothers (2023)

While 2023’s “The Album” from the Jonas Brothers was released just three months ago, the single “Summer Baby” was overlooked by mainstream audiences. This was a mistake, as the catchy track is precisely built for the summer. Jon Bellion became an honorable Jonas brother for this album, and helped craft some of the group’s strongest material in years. 

“Bad To Me” – Wizkid (2022)

Following the worldwide success of his track “Essence,” Wizkid delivered a solid album with “More Love, Less Ego.” The project’s leadoff single “Bad To Me” is bouncy and replayable, packed with fun melodies and grooves. 

“cough drops” – almost monday (2022)

While the title does not exactly scream summer, this upbeat indie pop track from the album “cough drops” is the perfect soundtrack to a hot summer hookup. Even though they are on the smaller side, almost monday has plenty of songs in their discography to spice up the summer. 

“Kissing Lessons” – Lucy Dacus (2022)

Ever kissed a friend under the pretense of it being “practice”? Everyone knows it is more than that, especially Dacus who details this experience in this endearing and cute single. It tells the story of a first kiss between two girls and is a great addition to any hidden crush playlist. 

“This Hell” – Rina Sawayama (2022)

Sawayama does not play around in this track off the album “Hold the Girl.” It is an absolute banger from start to finish that should be included on any hype playlist. As stated by NPR, It is a clapback to religious attacks on queer people at the time of its composition. The use of Hell challenges the common religious belief that all queer people will end up there. Pride is all year long and Sawayama makes sure to acknowledge that fact with this song.

“A Kiss” – The Driver Era (2021)

Many people are unaware of who is actually behind indie pop duo The Driver Era, composed of brothers Ross and Rocky Lynch. This track off their album “Girlfriend” describes what it is like to be so into someone that all logic is lost. The energy of this song is infectious and it is beyond catchy.

“Sugar” – Men I Trust (2021)

Off of the fantastic 2021 “Untourable Album,” the song “Sugar” is upbeat and sweet, while still retaining the chill vibe of Men I Trust’s soft production. The Canadian group has always leaned towards slower tempos in their music, and their faster tracks always stand out because of this (see “Billie Toppy” and “Ring of Past”). 

“12.38 (feat. 21 Savage, Ink, Kadhja Bonet)” – Childish Gambino (2020)

The Childish Gambino persona of Donald Glover has gone through many transformations, with his perplexing 2020 album “3.15.20” being somewhat of a combination of his past styles. The project’s fourth track “12.38” was its most successful song, likely thanks to its standout use of 21 Savage, whose deadpan delivery contrasts the funky beat as well as Glover’s squeaky inflections. It is a very creative track that gets overlooked in Glover’s vast catalog of hits.

“Buzzin (feat. Unknown Mortal Orchestra)” – Aminé (2020)

Despite Aminé’s development into one of the more artistic and colorful rappers of the recent era, his 2020 collab with indie rock project Unknown Mortal Orchestra off of the deluxe edition of “Limbo” was still surprising. Aminé delivers a sticky chorus on UMO’s guitar-driven beat, creating an interesting pop-rap crossover fitting for a warm evening outside.  

“I feel bad” – blackbear (2020)

blackbear’s speedy rise and fall from the mainstream was encapsulated nearly from start to finish by his 2020 album “everything means nothing,” which featured his most glitzy pop production yet. “I feel bad” is one of the most straight-forward pop songs on this list, so when looking for a loud banger to blast in the car, try this one. 

“If I Can’t Have You” – Shawn Mendes (2019) 

This single is the epitome of what it is like to want someone but not be able to have them. It is the ultimate pining anthem, but in a high-energy, not at all sad and wallowing way. While most of Mendes’ drops are popular, this song got a bit left behind in the discourse surrounding his music and should be brought back into the spotlight. 

“Retrograde” – Maggie Rogers (2019)

Throughout Maggie Rogers’ rise to popularity, she has never lost the ability to create huge, soaring hooks. “Retrograde,” off of her debut album “Heard It In A Past Life,” is one of her biggest, most euphoric choruses, with the energy of a hot, moonlit party somewhere on a beach, or near the woods. Like a lot of Rogers’ early work, this song is laced with the outdoors.

“Ruthless” – The Marías (2018)

This smooth sounding track off EP “Superclean, Vol. II” feels almost daze-like, for those well-known summer daydreams. The Marías vocals are extremely soothing and they are not talked about enough within the music scene.

“Talk It Up” – Sammy Rae & The Friends (2018) 

In the mood to prove everyone wrong? This track off the EP “The Good Life” will help do just that, adding a needed confidence boost to the summer. This song paired with a walk down the street on a sunny day is the most elite combination. 
Check out this playlist on Spotify and enjoy the tracks mentioned above plus six bonus songs!