The Australian Pink Floyd Show –  Aug. 5 at Tower Theater

The Australian Pink Floyd Show are, as you probably have guessed, a Pink Floyd tribute band from Australia. Their show is known for having extremely high production value; the songs not only sound spot-on. They also feature impressive lights, visual displays and even giant inflatables. They pride themselves in replicating almost exactly how a Pink Floyd concert looked during any given tour. Their setup mirrors Pink Floyd’s set up, down to every last meticulous detail. The Tower Theater, located in Upper Darby, is a great venue and it’s sure to bring the show to its full potential. Anyone in that audience the night of Aug. 5 will be in for a real treat.

Coldplay – Aug. 6 at Lincoln Financial Field

Coldplay is arguably one of the most successful and defining new rock bands of the 21st century. They are currently touring in support of their recent album, “A Head Full of Dreams,” released in Dec. 2015. They have many years of touring under their belt and to say that they know how to put on a good show is an understatement. Performing at the Lincoln Financial Field, this show is one you’re not going to want to miss.

The Go Go’s and Best Coast – Aug. 11 at the Fillmore

The Go Go’s, the chart-topping new wave sensation of the 1980s are embarking on their Farewell Tour, starting August 2. Currently holding the record as the only all-female band that writes and performs all their own music to top the Billboard album charts, the Go Go’s have certainly made a name for themselves. Their simple, catchy melodies and energetic beats are sure to make for an enjoyable concert experience. It’ll be a fun night for moms and younger concertgoers alike, as the Go Go’s will be performing alongside the California-based indie rock duo Best Coast. From the shimmering guitars to the beachy vibes to the female singers, Best Coast will surely excel alongside the Go Go’s next Thursday at the recently opened Fillmore Philadelphia, located in Fishtown.

Blink-182, A Day to Remember, All Time Low – Aug. 12 at BB&T Pavilion

Pop punk fans, rejoice. Blink-182 has embarked on a world tour for their 2016 reunion album “California,” alongside some of the best names in the pop punk scene. A Day to Remember, known for their energetic and, at times, edgier sound, are supporting Blink-182 on the tour, alongside All Time Low, known for late-2000s hits such as “Dear Maria, Count Me In” and “Weightless.” A jingle contest or Philly’s alternative station Radio 104.5 will determine which Philly band will open the show.They will play at the BB&T Pavilion, which is a pretty neat amphitheatre located at the Camden Waterfront.

Kurt Vile & The Violators – Aug. 27 at Chameleon Club

Kurt Vile is probably one of the most treasured commodities of Philly’s current music scene. He’s an extremely talented guitarist, songwriter and performer. Vile has been a pretty big name in the local scene for a while, but he has garnered much more radioplay and international recognition with the release of his hit single “Pretty Pimpin’” in 2015. He will be playing a set the Chameleon Club in Bethlehem, PA Aug. 27. If you are into chill, lo-fi indie rock, I insist that you go check out Kurt Vile.

The Triangle: Shane O’Conner

On the night of Friday, April 15, South Street was crawling with college kids, and it wasn’t because of its many head shops or Jim’s Steaks. The Theatre of the Living Arts, located right in the heart of South Street, was the source of all the excitement on that particular evening. I’m sure every pop-punk fan in the Philadelphia area rejoiced upon hearing the lineup, which featured Citizen and Turnover as co-headliners, with support from Sorority Noise and Milk Teeth. The show was sold out, which comes as no surprise given the incredibly stacked lineup.

Turnover, who just released their album “Peripheral Vision” in 2015, have been picking up a lot of steam. Just this past September, they played as an opener at a World Cafe Live show, and have quickly graduated to headlining the TLA. The Virginia-based rockers play a unique blend of indie rock and dream pop, with just a distant hint of pop punk. Their sound is so interesting because they started as a typical, run-of-the-mill pop punk act who you could expect to see in a Warped Tour lineup. However, it’s like they flipped a switch with “Peripheral Vision,” and completely abandoned their punk roots in favor of a chilled-out indie vibe.

Their incredibly solid album is paralleled by their impressive live act. Their reverby guitars and smooth melodies are a real treat to hear live. A lot of bands sound quite different in concert than they do in the studio but Turnover replicates the shimmering beauty of their album flawlessly. After performances from Milk Teeth and Sorority Noise, they kicked off the set with their most popular song, “Dizzy On The Comedown,” which immediately energized the crowd. It was weird seeing a venue full of punk fans bouncing around and crowd surfing to the ambient, chilled-out jams. They played through most of “Peripheral Vision,” and closed with the solid “Cutting My Fingers Off.” Their set clocked in at 30 minutes, which felt far too short and somewhat unsatisfying, but it was a great set nonetheless.

Citizen performed last, bringing the audience’s excitement to a maximum; these guys really knew how to work a crowd. From the moment the set started with their 2013 banger, “The Summer,” to the end of the closer, “The Night I Drove Alone,” the band and the audience were feeding off each other’s energy. Citizen is an emo pop band from Michigan, and their latest album, “Everybody Goes To Heaven,” was released 2015 on Run For Cover Records. They peppered several songs from the new record throughout their set.

After the closing song, the band returned to play one more song, “Drawn Out.” This was a great way to end the show, because it is the last song off their 2013 album, “Youth,” and it pleased many of the fans who may not have been expecting to hear it. In fact, the song is one of the least popular ones from the album, making it a real treat for true fans in the audience.

The post Turnover provides excellent support for Citizen at TLA appeared first on The Triangle.

Californian punk rock bands The Frights and SWMRS played to a packed crowd March 4 at a small bar on Girard Avenue called The Fire. The Frights classify their music as “dirty doo-wop,” which features melodic song structures reminiscent of 50s doo-wop songs, with a definite punk edge. They just released their album “You Are Going To Hate This” on Dangerbird Records Feb. 12. SWMRS, formerly known as Emily’s Army, released their album “Drive North” Feb. 12.

Local Philly bands Skyline the City and Spill opened the show. The Frights, currently on tour supporting SWMRS, played through most of “You Are Going to Hate This,” as well as other songs from their previous albums and EPs. They had a very goofy and entertaining presence onstage, showing off their dorky dance moves while crooning (and screaming) to the audience full of punk rock fans. Frontman Mikey Carnevale had a great voice; his singing was smooth and and his screaming was gritty, which fit their sound perfectly.

I thoroughly enjoyed their set, and the rest of the crowd seemed to feel the same way. In the middle of their set, they performed a cover of Weezer’s “Undone (The Sweater Song)” that was spot-on and really got the audience excited. A couple other tracks that really stood out were “Makeout Point” and “Submarines.” “Makeout Point,” which is my favorite song, is a lot of fun because it is slow and waltz-like, with hushed vocals that abruptly explode during the choruses. “Submarines,” the song they ended the set with, features many changes in tempo. It frequently slows down in the verses and speeds up in the choruses. By the end last chorus of the song, everyone in the venue were singing along: “If I were to go, would you go? If I were to stay, would you stay? If I were your man, that’d be great. I know that I’m not, it’s too late”

By the time SWMRS took the stage, the crowd was thoroughly warmed up. They immediately leapt into the opening track of “Drive North” and “Harry Dean.” No more than 30 seconds into the song, frontman Cole Becker stopped the song and half-jokingly demanded that everyone put away their cell phones and dance. Everyone delightfully complied and from then on the show was lit. They hammered through most of “Drive North,” which is full of high-energy bangers.

It was refreshing to hear SWMRS in a live setting, where there were no studio tricks to fine-tune the songs. I think a lot of punk bands suffer from overproduction in their studio work, and SWMRS is no exception. The songs themselves are real jams but they just feel a bit too polished for a genre that is supposed to feel raw and unpolished. Songs like “Figuring it Out” and “Turn Up,” which I usually skip on the album for that very reason, really shined in their live performance. “Miley,” the song that garnered the band a lot of recognition, was an obvious fan favorite. The song is an ode to Miley Cyrus, who the band considers to be “a punk rock queen.”

My favorite song of the night was “D’You Have A Car?”, which I would consider to be their best on the album. The hook is catchy, the beat is lively and the lyrics are perfect for belting out. They closed the set with their titular track from “Drive North,” in which they loudly profess their hatred towards the city of Los Angeles. If you like punk rock at all, you should try to see SWMRS next time they come around, because their show was a lot of fun.

The post The Frights and SWMRS bring punk to the Fire appeared first on The Triangle.

Rob Grote of the Districts – Shane O’Connor The Triangle

The Districts only had one stop left on their most recent tour: the Electric Factory on Nov. 6. Hailing from the small town of Lititz, Pennsylvania (just outside Lancaster), The Districts have risen to success very quickly. They formed in high school and released their first EP, “Kitchen Songs,” in 2011. Now, they return to their old stomping ground to wrap up their fall tour in support of their second full-length album, “A Flourish and a Spoil.” The Districts played the show with openers Purples, an experimental indie rock band from Philadelphia, and Lady Lamb, an indie folk group from Brunswick, Maine.
After getting the crowd thoroughly warmed up, Purples left the stage and Lady Lamb took their place. As soon as Lady Lamb started singing, it was clear who in the crowd were fans and who were not. Apparently, it’s not possible to be a moderate fan of Lady Lamb because those who knew the lyrics were belting them at the top of their lungs. As she played through her catalogue of catchy songs, I began to understand just why she is so adored by her fans.
I think Lady Lamb is gaining steam as a songwriter, a fact that her growing fanbase only serves to reinforce. If you’re looking for a nice fusion of pop, folk and indie rock, look no further. “Billions of Eyes” especially stood out to me, with its infectious melody and lively tempo. At the start of the song, one of the super-fans who happened to be right next to me removed her bra and threw it at Lady Lamb. It was completely absurd.
Finally, it was the moment we were all waiting for. The lights went down and Metallica’s “For Whom the Bell Tolls” blasted through the public address system as The Districts took the stage. They opened up with the first track off their new album, “4th and Roebling,” and it was immediately apparent how energetic the show would be. The band and the audience fed off each other’s energy; everyone was jumping around fanatically and singing along to every word. With the band romping around onstage, banging away at their instruments and singing their hearts out, it had a truly authentic vibe. Even though the venue itself was large, the concert felt like an intimate basement show because of the rawness of their music and their lively performance.
Throughout their set, The Districts managed to play all the fan favorites from both of their albums—even the less commonly played live “Lyla.” Thrown into the mix were two new, unreleased songs that held the same spirit and energy of all their other material. They ended the set with their hit “Funeral Beds” from their first album, “Telephone.”
They returned onstage for their encore and busted out an older song, “Silver Couplets,” much to the audience’s approval. For the last, and probably most anticipated song of the night, they played their nine-minute magnum opus, “Young Blood.” Right as the song started, lead singer Rob Grote’s guitar was cut out. Instead of losing momentum, the rest of the band kept jamming to the opening riff of the song. When the guitar—or cable, whichever was the problem—was eventually fixed, they jumped into the first verse of the song. At this point, the fans were about ready to explode with excitement after being teased with the intro for about five minutes.
As the song progressed and built towards the climax, the energy of the crowd escalated higher than it had been all night (if such a thing was possible). As the song drew near to a close, Grote, along with every fan in the building, belted out “It’s a long way down from the top to the bottom, it’s a long way back to a high from where I am” over and over before launching into the longest and most impressive guitar solo of the whole evening.
It’s satisfying to see a “perfect show,” and that’s how I would describe The Districts’ concert. Their playing was flawless, their onstage presence was incredibly lively, the setlist was bulletproof, and even the opening bands were really fun. If you’re a follower of the Philly music scene or even indie rock in general, these guys definitely need to be on your radar.

The post Philly natives The Districts rock out at Electric Factory appeared first on The Triangle.

Photo courtesy Baha Men

In the summer of 2000, a group of Bahamian singers asked a question that would resonate throughout the entire decade: “Who Let the Dogs Out?” 15 years later, the Baha Men have released their newest album. “Ride With Me,” on Oct. 9, the first of a three-album deal with Sony.
After a hiatus of more 10 years, the Baha Men have emerged back into the music scene. Formed in the late 1970s as High Voltage, they have always played with a distinct style, incorporating the traditional Bahamian genre of Junkanoo into modernized styles of music such as reggae and hip-hop. Junkanoo is parade-like, characterized by loud percussion, horns and chanting. While the Baha Men’s music has changed drastically with the times, elements of Junkanoo have always been present.
“Ride With Me” features nine energetic, upbeat songs that encompass the spirit of the band, but with a more mature edge. The first two songs on the album, “Night and Day” and title track “Ride With Me,” sound more like American Top 40 hits than the traditional sounds of their older material. At first listen, it may seem as though the band has given up their Junkanoo roots and resigned to releasing generic pop music, but a closer examination of the album reveals that its influence is still strong.
Elements of Junkanoo are incorporated throughout the album but are especially prominent on the tracks “Miss Behavior” and “Rewind.” These tracks are the highlights of the album, since that style is what the Baha Men do best. Even weaker songs on the record (“Ride With Me,” “Tonight” and “Winding Up”) do not fail to bring the energy and positive vibes upon which the band was founded.
The inclusion of the last song, “Off The Leash,” a remix of “Who Let The Dogs Out?,” did not come across as a good idea for a band that is so desperately trying to distance themselves from the moniker of “one-hit wonder.” The remix, which was not particularly notable, felt less like an homage to their past work, as they intended, and more like an indicator that the song is what carries their career.
While “Ride With Me” certainly won’t rank as one of the best albums of 2015 as even its highlights weren’t very memorable, it does make a statement: the Baha Men are back, and they can still bring the fun. Their fusion of world and modern dance music is just as exciting and energizing as it was 15 years ago.

The post Baha Men energetically return to music scene with ‘Ride With Me’ appeared first on The Triangle.

Hundreds of flannel-clad college students filed into Union Transfer Oct. 4 to see Massachusetts-based punk rock band Four Year Strong. After releasing their self-titled album this past June, the band has embarked on a North American tour. Their music balances on a very thin line between pop punk and hardcore punk, but their fan base is definitely derived from the latter.

When I heard that Four Year Strong was coming to Philadelphia, I was interested but apprehensive. I fell off the bandwagon after the release of their fourth album, “In Some Way, Shape or Form,” which marked a major departure from their signature sound. When I looked up their newest release, “Four Year Strong,” I was pleasantly surprised with how much it sounded like their older material. In an interview with Kerrang! magazine, lead singer Dan O’Connor described the album as “One of the most raw records we’ve ever made, it’s just us playing. No fancy computer shit. Made for singing along and head-banging.” And they certainly delivered.

Elder Brother, a side project of Kevin Geyer (The Story So Far) and Dan Rose (Daybreaker), was the first band to open. I didn’t know where Dan Rose was, because the performance just consisted of Kevin Geyer perched upon a stool, playing a short set with only his electric guitar. Nevertheless, his performance was very enjoyable, largely due to the fantastic acoustics of Union Transfer. Following his performance was Philadelphia’s very own Superheaven, who really brought the energy up. The deafening volume of the band’s performance set the bar and got the audience ready for the following acts. As loud and intense as Superheaven were, nothing could have prepared me for the next band.

Defeater, a melodic hardcore band from Boston, held nothing back as they took over the stage and plowed through 11 songs, screaming each line more passionately than the last. The most jarring part of this experience for me was the crowd’s reaction to this band.

During their first song, an intimidatingly large fan marched to the center of the crowd pushing people aside. At first I was sure he was trying to start a fight, but then I realized he was making a large open circle. Immediately, excited fans ran into the dance circle, flailing their limbs and jumping around frantically. I’m sure I must have stuck out like a sore thumb among all of the adoring fans who screamed along to every word while thrashing about. The general atmosphere during Defeater’s set struck me as very “Fight Club”-esque. The violent nature of the set was characterized not only by the angsty music and erratic dancing but also by fans climbing over each other onto the stage, and then diving back into the audience.

When the lights finally went down for Four Year Strong, a single man stumbled onto the stage in a zebra-striped leotard and a scary clown mask. The main speakers played the audio from an iconic scene of Stephen King’s “It,” while this man walked around—or rather, crawled around—acting out the parts of both Georgie and Pennywise the Clown on stage. As the final lines were delivered (“when you’re down here, with me… You’ll float too!”), the band emerged onto the stage and opened with a song off their new album, “We All Float Down Here,” whose title references that very scene. As soon as they started playing, the audience erupted with energy. In some ways, the reaction was similar to that of the Defeater crowd, but instead of a large dance circle, everyone was just moshing and crowd-surfing. The amount of stage-diving during Defeater’s set was nothing compared to Four Year Strong; it seemed like there was a fan jumping off the stage every single time I looked.

It seemed like every song was a fan favorite, and that’s because they all were. On their official website, there is a poll asking what songs they should play on the Fall Tour, which would ensure satisfaction among most fans. The balance between old and new songs was perfect; a little less than half of the songs they played were from the new record.

From a musical standpoint, they were remarkably good. They played all of their songs significantly faster than the album versions, which is pretty impressive considering the speed and complexity of the songs to begin with.

Overall, the concert was pretty rowdy but it was a fun experience. I really liked Union Transfer as a venue because it’s big enough to accommodate a moderately large crowd and yet small enough to maintain the vibe of an intimate concert setting. I would recommend seeing Four Year Strong to anyone who enjoys punk music and doesn’t mind bearded twenty-year-old men jumping on them.

The post Punk band Four Year Strong gets rowdy at Union Transfer appeared first on The Triangle.