Shane O’Connor The Triangle

Who doesn’t love coming home? To a college student, it usually means free food and laundry, possibly hanging out with the pet you haven’t seen a while; hopefully the family members you haven’t seen either. You gain a sense of comfort knowing that you know exactly where you belong, exactly where you stand. For the alt-rock band The Districts, homecoming was Valentine’s Day. In front of a sold-out Philly crowd at Union Transfer, The Districts put on a truly incredible performance.

Starting out in high school in a small town called Lititz, Pennsylvania (just outside of Lancaster), The Districts have steadily been growing their fan base. They self-released the album “Telephone” while still in high school before getting signed by the Mississippi-based record label, Fat Possum. A self-titled EP soon followed, as well as a move to the big city, Philadelphia. However, with the release of their second album “A Flourish and a Spoil” Feb. 10, The Districts have arrived in a huge way. Now they’re embarking on their first headlining tour. For a group of college-age kids, this hard-earned rise may seem meteoric.

After entertaining opening sets by The Lawsuits and Pine Barons, The Districts came out to a roar of applause from the patrons of the jam-packed venue. Lead singer and guitarist Rob Grote gave a brief hello before launching into the song, “Rocking Chair.” One song in, you could already tell that it was going to be quite the show. Drummer Braden Lawrence was set up towards the very back of the stage, giving Grote, bassist Connor Jacobus and guitarist Pat Cassidy plenty of room to operate. The Districts are known for their energetic live performances and this show in front of their home crowd was going to be no different.

Grote is a dynamo up on stage and the rest of the guys really drew off his energy. With his distinct vocal sound, he really imbues passion into every lyric. On songs like “Hounds” and “Bold” you see him build and build before exploding into frantic shouting by the end of the song. It’s awesome to see live as his hair flops about as he jumps and dances around before returning to the microphone stand just in time to deliver the next lyric.

While playing “A Flourish and a Spoil” in its entirety, the group sprinkled in some of their older songs along the way, including “Call Box,” “Lyla” and “Long Distance.” The latter was introduced with some sweet jamming before giving way to the signature-opening riff. Grote even let the crowd take over to sing some lines during the chorus. It was awesome.

After a 12-song set, The Districts really brought the house down with their three song encore. First, Grote played “6 AM,” a song he described as his “depressing attempt at a love song.” The rest of the band then joined him on stage to play the song that got the band on the map — “Funeral Beds.” Finally, it was time for the song that everyone was waiting for, the epic masterpiece from “A Flourish and a Spoil” — “Young Blood.”

“Young Blood” features some fantastic lyrics spread across about a nine-minute song that just builds and develops on itself in such a grand fashion. Lawrence starts out nice and slow before crashing in with a thunderous beat, propelling the rest of the song forward. Grote and Cassidy compliment each other nicely throughout the first portion of the song, but suddenly everything cuts out about halfway through, except for the smooth bass line of Jacobus. Then slowly but surely, the rest of the band comes back in before going into full on jam mode. Cassidy and Grote move all across the wide expanse of the stage, all the while hammering away at their guitars, driving the crowd into a frenzy. Singing, “It’s a long way down from the top to the bottom / It’s a long way to a high from where I am” over and over before launching into one last solo, Grote jumps right on top of the monitors, daring the fans in the front row to grab him. At one point he does what Buzz Lightyear might call “falling with style” off the stage, right into the crowd. It was bonkers.

It is safe to say that The Districts have firmly planted themselves on the upper tier of the Philly music scene. The band’s energetic style, coupled with their impassioned music and great live reputation should definitely win them fans all over as they continue on their tour. With a stellar new album under their belts and a tremendous stage presence to boot, be sure not to miss seeing The Districts the next time they come home.

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Shane O’Connor The Triangle

It’s hard to top a bar as a concert venue. You’re close enough to the band to reach out and touch them and alcohol is mere feet away. The problem is usually the acts aren’t of the highest quality. The groups that come through are raw, unknown and more often than not, kind of crappy. So when the opportunity to catch a seasoned performer in such an intimate setting, you jump on it. This was the case when Hamilton Leithauser, the former front man of The Walkmen, stopped by the storied Johnny Brenda’s Jan. 24.

Right around the corner from the Girard stop on the Market-Frankford line, Johnny Brenda’s is a neat little venue. There’s a bar and restaurant downstairs but upstairs is where the real action is. A stage is tucked away in the corner of the room next to the bar, and a small balcony lets concertgoers get a nice vantage point of the performance.

Around 10:30 p.m., Leithauser took the stage with his band, including former The Walkmen guitarist Paul Maroon, Fleet Foxes instrumentalist Skyler Skjelset and Hugh McIntosh, Leithauser’s brother-in-law, on drums. Decked out in all black instead of his usual dress shirt and jacket, Leithauser launched into a track off his solo album, “Black Hours.” Released last year, “Black Hours” is a departure from the alt-rock The Walkmen played for over 10 years. That’s not to say that songs from “Black Hours” don’t rock themselves. “Alexandria” is a fast-paced, foot-stomping song that really got the sold-out crowd energized. “11 O’Clock Friday Night” was another standout track. Maroon played the song’s marimba line on his guitar instead, providing a neat sound.

After espousing his affection for Johnny Brenda’s, calling it “the cultural center of Girard Avenue,” Leithauser explained how the next few songs would be played just by himself and Maroon. The two of them are working on a new album together and they played a few cuts from it. No song titles were given so they are a bit hard to identify but they all sounded very solid and pretty different from the music on “Black Hours.” It was cool to see two veteran performers just do their thing with only guitar and vocals, especially considering what a passionate vocalist Leithauser is. While Maroon created beautiful, nuanced melodies with his guitar, Leithauser’s vocals soared through the crowd. Whether he is performing at a big festival or a small bar, Leithauser gives 100 percent on every song. When you are just a foot or two away, it is really a sight to behold.

Skjelset and McIntosh returned to the stage to finish up the set with “The Smallest Splinter” and the tremendous “I’ll Never Love Again.” The latter was released as a bonus track on “Black Hours” and it truly kicks ass live. McIntosh was a whirlwind on the drums while Maroon pounded out the guitar line and Leithauser just cooly strummed his acoustic guitar and delivered the lyrics. It was the perfect way to end the set.

I cannot recommend seeing a show at a bar enough, especially one as cool as Johnny Brenda’s. Every performance won’t be as polished as Leithauser and his band, but the setting and energy that live music bring to such a small space creates just should not be missed.

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Shane O’Connor The Triangle
Chrissie Hynde, of The Pretenders, continues to impress well into her musical career. The rocker played a mix of old and new material during her Nov. 4 concert at Tower Theater. Playing songs from her first true solo album, “Stockholm,” the famed singer wowed fans.

This year, arenas all across the world have played host to the Akron, Ohio-based rock band, The Black Keys. The duo never misses an opportunity to praise their Ohio hometown, the former Rubber Capital of the world.But on the night of Nov. 4, the storied Tower Theater had the pleasure of presenting the original Akron, Ohio, darling, Chrissie Hynde, to a crowd of fans that have followed Hynde throughout the course of her legendary career.

Opening up the night was the London-based folk-rock duo The Rails. Comprised of Kami Thompson and James Walbourne, the married couple creates a unique, emotional sound with their acoustic guitars and harmonized vocals. “Fair Warning,” the title track from their recently released debut album, was the highlight from their opening set. Walbourne is a real maestro on the guitar, playing some truly impressive solos. It proved to be a sign of things to come as Walbourne would join Hynde on stage as the lead guitarist in her backing band.

The mostly over-40-year-old crowd sprang to their feet as Hynde took the stage and launched right into some songs from her former band, Pretenders. Hearing some of the old Pretenders hits was definitely a big draw for fans, besides solid cuts from Hynde’s recently released solo album, “Stockholm.” Throughout the course of her 23-song set, Hynde alternated playing Pretenders songs and songs off “Stockholm.”

Although it was harder to keep the crowd on their feet when playing the new songs, they certainly had no problem getting up for the older ones. The opening riff of “Talk of the Town” sent a jolt through the theater as Hynde pounded out the chords on her bedazzled Fender Telecaster. Following that song was another classic, “Kid.” It was a one-two punch that drove those in attendance through the roof.

One neat thing that must be a staple at Hynde’s concerts is crowd members bringing her things throughout her set. There were flowers, teddy bears and even drinks. It has got to be cool to be either the one making an offering to a true rock icon, or the rock icon accepting the gifts like some sort of deity. At 63 years of age, Hynde still manages to deliver an energetic and passionate performance. She jammed out alongside Walbourne as his fingers danced up and down the fret board on his numerous guitar solos. She engaged with the crowd, especially the knot of older ladies down in front who danced and drank with aplomb the entire night.

But her voice, oh her voice. With her sultry sound and impressive range, it was easy to see why Hynde continues to tour to this day. She sounds like she has barely lost anything voice-wise since the first Pretenders album was released way back in 1979. She stands as one of the greatest vocalists, male or female, in the history of rock ‘n’ roll.

While it was somewhat disappointing that Hynde didn’t play some of her other big hits like “Brass in Pocket,” “I’ll Stand by You” or “Message of Love,” it was still a tremendous show. Dropping f-bombs left and right, Hynde commanded the stage and gave concert goers a night to remember.

Photo Courtesy The Weinstein Comapny
Fiona (left), the love interest of the main character Jonas (right), is played by Odeya Rush. While the original book, “The Giver,” did not include a love interest for Jonas, Fiona plays a crucial role in the film version.

Movies based on young adult novels set in a dystopian future are really having their day in the sun lately. First, Jennifer Lawrence turned “The Hunger Games” into a household name and a certified blockbuster series. Then it was Shailene Woodley snagging the spotlight by starring in the similarly themed “Divergent.” Now it’s time for the book that began it all to get its turn on the silver screen.

The long-awaited adaptation of Lois Lowry’s 1993 classic, “The Giver,” came to theaters Aug. 15. People will always tell you, “You know, the book is much better than the movie.” It’s a shame how often that they are right. While the spirit of the Newbery Medal-winning novel is apparent throughout the movie, the film misses the mark by trying to turn a finely nuanced story of discovery into a summer blockbuster.

For those of you who didn’t have “The Giver” on your required school reading list back in the day, let me set the scene. In a seemingly utopian society, people live in Communities where there is no war, pain, colors or feelings; only Sameness. At age 16 (12 in the book), children are assigned jobs they will do for the rest of their lives at the Ceremony of Growth. Jonas, the main character, is assigned to be the Receiver of Memory, a position no one has held in over ten years.

Under the tutelage of the previous Receiver, now known as the Giver, Jonas receives old memories that include colors, music, war and pain. As Jonas begins to question the strict rules of the Community, he garners unwanted attention from the Elders, who lead the Community. Once the truth of being “released into Elsewhere” becomes known to Jonas, he and the Giver conspire to release all the memories back into the Community. Don’t worry if that sounds like a lot to follow, the film spoon feeds you everything quite slowly and clearly.

The characters are the most interesting and important parts of the book, and I think that the movie would have been better off focusing on them instead of the events unfolding onscreen. The book’s main focus is the relationship between Jonas and the Giver. With the movie, you are supposed to focus not only on that relationship, but also on that of the Giver and Chief Elder, Jonas and his parents, and Jonas and his romantic interest, Fiona. There’s a lot going on, and trying to invest in all of these bonds becomes tiring and unsatisfying.

Jeff Bridges in the titular role and Meryl Streep as the Chief Elder are the strongest performances in the film by far. It takes a while to get used to Bridges’ voice sounding like he gargles gravel every morning, but nevertheless he is a strong presence on camera. Streep is pitch-perfect as the Orwellian overseer of the Community, and she plays the story’s villain quite well.

It’s a shame that almost everyone else in the movie comes off as so forced. Jonas (Brenton Thwaites), Fiona (Odeya Rush) and Asher (Cameron Monaghen) all look older than I do, hardly like the 16-year-olds they are billed to be. Don’t even get me started on the brief Taylor Swift cameo as the Giver’s daughter. You’ll know she is trouble when she walks in.

The feel and atmosphere of the movie was top notch at the start. Everything was shot in black and white with the Community’s strictures and customs on full display. But after the Giver gives Jonas some memories of colors, the film abruptly shifts from the black and white to full color.

It signals that the movie is no longer worried about creating a proper atmosphere, instead it focusing on turning the movie in a young adult blockbuster hit like “The Hunger Games.” There are confrontations with police, multiple chase scenes and even a race-against-the-clock scenario brazenly used to incite added drama where none was needed. It’s a shame that such strong subject matter was turned into such popcorn fare.

After watching “The Giver,” I was left wondering what could have been. Where the book delved into thought-provoking areas of rebelling against authority, the death of childhood and the responsibility that comes with memories, the movie just focuses on creating a Hollywood-like story.

In more thoughtful, delicate and creative hands, this movie could have been near the top of the book-to-movie adaptation list; that would have been a film anyone would like to be on the receiving end of. Instead, all you’ll end up doing is giving away your money and time.

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Photo Courtesy Jack English/Sony Picture Classics
Emma Stone (pictured) stars in Woody Allen’s latest film, “Magic in the Moonlight.” Colin Firth plays a magician who tries to uncover a fraudulent mystic.

I think that I may take Woody Allen for granted. He’s been working at nearly a one-movie-per-year pace since 1969, writing every screenplay himself, directing every film himself and starring in quite a lot of them. It’s consistency that has not been seen in decades and may not ever be seen again. But more often than not, critics will write off his yearly productions as “just another Woody Allen movie.”

Compared to a lot of the films that come out these days, even “just another Woody Allen movie” stands above the rest. So, although “Magic in the Moonlight” is middle-of-the-road for Allen, it is still a very enjoyable film that will entertain any moviegoer.

Set in 1928, the movie revolves around a renowned magician (Colin Firth) who is brought to the French Riviera to uncover a possibly fraudulent psychic (Emma Stone). As a “great debunker of mystics,” Firth’s Stanley Crawford meets his foil with Stone’s character. She is constantly being asked to predict this, foresee that, which she manages to do with uncanny accuracy. Over time, of course, Firth’s doubt is replaced by affection for Stone.

Firth is well-cast as an arrogant, self-centered magician who can seemingly talk himself into anything. He routinely flip-flops on whether Stone’s abilities are for real or even whether he is in love with her.

We get a glimpse into Allen’s mind as Stanley and the other characters muse on whether we need our illusions and beliefs to get through life or that “the world may be without purpose but it isn’t without magic.” These contemplative moments feel right at home during the film, a rarity compared to other films that bluntly preach opinions to their viewers.

The feel of “Magic in the Moonlight” is similar to many other Woody Allen movies. The transient scenery of the south of France, which provides a beautiful backdrop for the movie, doesn’t really take on a character of its own. The dialogue is sharp, using scarcely heard words like “chicanery” and providing thought-provoking sound bites like “desperate for hope in a world that has none.”

The characters are somewhat one-dimensional and neurotic — particularly Allen’s self-centered leading man, Stanley Crawford. However, Stone is a breath of fresh air on screen every time Allen tightens the camera on her adorable, old-timey-hat-covered head. It’s a shame that she isn’t given more freedom to be the quick, sassy character that she plays so well in other movies (like “Zombieland” or “Crazy Stupid Love”) but she does her best to fit in here nonetheless.

The more I think about this movie, the more I remember how enamored I was with it after the final credits began to roll. It was truly delightful. I’m not sure if it was the British accents, the gorgeous setting or Stone lighting up the screen, but it was an enthralling experience. I tend to get this way during Allen’s films.

He manages to create this fully envisioned world in almost all of his films that I have seen. You can’t help but get engrossed in the events unfolding on screen. Even though “Magic in the Moonlight” doesn’t have the lasting impact of last year’s “Blue Jasmine,” it is a pleasant experience for any filmgoer.

“Magic in the Moonlight” is not among Woody Allen’s best, but it is a charming movie nonetheless. It’s best if you don’t worry about where it ranks in the annals of Allen’s filmography. Take it for what it is: a very enjoyable movie that will draw you in and make you start to wonder about how you view to world. All I know is that seeing this story through the lens of Woody Allen’s camera is an opportunity that should not be missed.

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A band breaking up is something that you never want to see. Fans mourn what was lost and look to see who Yoko Ono’d the band they used to know and love. But in the case of The Walkmen, there was no breakup to be seen, no infighting to be reported. Instead, they amicably went on an “extreme hiatus.”

While we have no idea if and when that hiatus will end, we do know that solo projects from a few of the band members are coming out sooner or later. In the case of lead singer Hamilton Leithauser, it has definitely been sooner. Leithauser came to the Prince Music Theater’s Black Box July 12 while touring in support of his first solo album, “Black Hours.” Leithauser and his band delivered a strong performance in an extremely intimate setting.

The Prince Music Theater is neatly tucked away on Broad and Chestnut streets, right behind City Hall. It’s a venue with a classic feel that felt right in line with the throwback vibe of “Black Hours.” On the second floor, the Black Box lives up to its moniker: covered wall-to-wall in black and filled with no more than 75 or so black chairs, it felt like a place where someone might perform a one-act play.

The opening act, Torres, seemed a bit unsettled by the space at first as she played guitar and sang, backed only by a drummer. Playing songs such as “New Skin” and “Sprinter,” Torres gave a visibly impassioned performance that toed the line between haunting and beautiful.

A little after 9 p.m., Leithauser took the stage to a warm ovation with a four-man band that included his former Walkmen bandmate, guitarist Paul Maroon. The opening song, “5 AM,” set the tone for the evening, which begins with Leithauser crooning over a simple piano and string arrangement. This was followed by “The Silent Orchestra,” which slinks along and features Maroon on the marimbas.

While the backing music on either of these songs wouldn’t be out of place on an old Sinatra recording, Leithauser attacked the vocals in the same manner that he did as a member of The Walkmen. Delivering his trademark vocals while clutching the mic stand for support, Leithauser’s singing really stood out throughout the evening.

“Alexandria” is the big single off “Black Hours,” and it was surprising to hear it in the early stages of the hour-long set. Nevertheless, it had the Black Box rocking as crowd members sang along with Leithauser’s fervent cries of the song’s title lady. At first, Leithauser seemed upset at playing to such a small crowd, remarking, “It’s pretty vibey in here.” Who wouldn’t be when you used to play festivals and sold-out venues? But after singing the “shooby doo-wops” during “I Retired,” he looked to settle in for the rest of his set.

Maroon should also be noted for his stellar performance on guitar and the marimbas. While not nearly as an imposing stage presence as Leithauser, he was steady and precise the whole night.

While it was slightly disappointing not to hear Leithauser reprise any of The Walkmen’s songs, “Black Hours” supplied plenty of solid songs throughout the hour-long set, including the fantastic “I’ll Never Love Again” and “Smallest Splinter.” Returning on stage with a Corona in hand for the encore, Leithauser played one more song before calling it a night.

With more than a decade of touring under his belt, Leithauser is the consummate performer. Decked out in his trademark suit jacket, he made the Black Box his own and gave the crowd a great show. While he’ll always be a Walkman, Leithauser showed that he is definitely capable of making a solo career for himself.

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Shane O’Connor The Triangle
Audience members look on as the Philadelphia Orchestra plays with Ben Folds underneath the roof of the Mann’s amphitheater. The venue’s great atmosphere provides concertgoers with a unique experience no matter the performance.

Ben Folds helped kick off the Philadelphia Orchestra’s summer season at the Mann Center for the Performing Arts with a performance June 24. The show was a part of the Ben Folds Orchestral Experience, featuring a piano concerto composed by Folds as well as many of his pop hits.

This was the Philadelphia Orchestra’s first show after completing a tour of Asia, including stops in China, Japan and Taiwan. The conductor for this performance was Steven Reineke. He is a very sought-after pop conductor who has worked with orchestras all across the country. After a brief introduction by president and CEO of the Mann, Catherine Cahill, Reineke got the concert underway.

Following a brief orchestral intro, Folds appeared on stage to a thunderous round of applause. With a career spanning almost 20 years, he has a large catalogue of songs, a wide fan base and experience playing with orchestras before. Although the Mann’s band shell was only half-full, there was a large crowd on the lawn that made its presence known when Folds took the stage with the orchestra.

Sitting at the piano in front of the tens of musicians and a crowd of thousands, Folds seemed right at home as he launched into the opening song, “Effington.” Folds’ concerts usually consist of just him on stage with a piano, so having a whole orchestra backing him up was extremely exciting. Songs like “Smoke,” “Jesusland,” and “Picture Window” take on a whole new sound. There’s more depth to the arrangements and all of the different instruments add so many dimensions to the songs. “Smoke” in particular was a standout track. The string and woodwind sections sounded incredible and really boosted a song that falters a bit on the album.

The main reason for Folds’ going on this orchestra tour is to show off the piano concerto he spent a whole year writing. Folds was the first to admit that 2014 is “not the year of the piano concerto” before giving the crowd the “pinhead’s version” of what a concerto is made up of. There are three movements. The first has the “big hook” that grabs the audience’s attention that is followed by a slower second movement before building into a triumphant third movement. Folds said that’s where the composer “gets to show off” and that the third movement is “generally where you are going to throw your bra.”

Folds is known for his asides to the crowd in between songs and this concert was no different. He prefaced “Fred Jones, Part 2” by saying that the song’s titular character was inspired by the local newspaper editor who got fired, and how the song reflects that newspapers are a dying breed. (That is something I am very familiar with!) On the next song, “Steven’s Last Night in Town,” Folds shed some light on the funny story behind the song and the odd lyric, “Lost points with the ladies for sayin’ he couldn’t love a woman with cellulite.”

After a brief intermission, Folds and the orchestra came back and played the crowd-pleasing “Zak and Sara.” This song was the first time that Folds adopted his trademark stand-up playing style and it was met with applause from the audience. Following the heartfelt song “Gracie,” Folds gave a short speech about why “world-class” orchestras like Philadelphia’s need to be supported.

Putting it succinctly, “We need the orchestra more than the orchestra needs us.” He then encouraged the crowd to come see the orchestra play classical pieces like Beethoven because concerts with pop artists like himself are “really just wet T-shirt contests to get people in the seats.”

“Not the Same” was the standout track of the night. Folds showed the audience how to sing along with the chorus and he signaled them to sing throughout the song. Standing at the mic stand, away from his piano, it was the orchestra and the crowd backing up Folds’ performance. Next up was “Brick,” the ballad that put Ben Folds on the map back in 1997. For an encore, Folds played a raucous rendition of “One Angry Dwarf & 200 Solemn Faces.” Although the crowd stayed around, begging for an encore, unfortunately Folds and the Philadelphia Orchestra did not oblige.

The Mann is a fantastic place to see a concert. Whether you are seated inside the amphitheater or laid out on a blanket on the lawn, you can’t go wrong. There’s something special about taking in a great performance with fireflies lazily drifting through the air as the stars shine overhead. Ben Folds playing with the Philadelphia Orchestra was a fantastic concert and if you have a chance to catch the orchestra at the Mann this summer, I recommend that you take it.

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Runners enjoy the beginning of the 2011 Philadelphia Marathon. (Sarah J. Glover/Philadelphia Inquirer/MCT)

I don’t like running. Never have. It’s something that I will go out of my way to avoid. Going for a nice run on the Schuylkill River Trail is not my idea of an enjoyable time. I mean, how can you even watch Netflix while you’re out there pounding the pavement?

In the past, I’ve even had the gall to look down upon running as a sport. I gave the cross country runners at my high school lots of grief, saying how “monumentally boring” it was and that, in the end, it was just “glorified transportation,” not a real sport.

I attended the 35th annual Broad Street Run May 4 to support my sister, and it was a fantastic experience that has totally changed my opinion of running. I can see now that what I said before was out of ignorance, so I am here to take that all back.

Although I had always known about it, I had never actually attended the Broad Street Run before. The 10-mile race course starts out in Olney (Ol-what?) and ends at the Navy Yard, just past the Sports Complex.

Security was air tight, which is something that is to be expected ever since the Boston Marathon bombings that happened a year ago. Police were everywhere I looked. When I got onto the subway there were two SEPTA, two Philadelphia and two Department of Homeland Security officers all in the same car. I had to double-check to make sure there weren’t any foreign dignitaries or members of the Cabinet sitting around me. Outside of AT&T Station, bicycle cops roamed in packs, waiting (I assume) to arrest wrongdoers, sit them on their handlebars, and pedal them down to the station.

I situated myself right on the corner of Broad Street and Pattison Avenue, across from FDR Park, just past the nine-mile mark. I thought I had gotten there early enough, but people were already lining the streets in droves.

After standing around for a while I was struck by how each group of spectators was there to support just one or two people out of thousands. People around me muttered about where “their” runner was along the course while giving words of encouragement to the few elite runners going by at a rapid clip.

As the crowd of patrons and participants began to grow and grow, the sense of worry among the other supporters and me became palpable. Would we see whomever we came out here to support? Would they see our hand-crafted signs and, even better, get a quick high-five in? Personally, I was terrified of missing my sister, and I began quickly doling out the praise to those already going by in the hopes of swiftly establishing some good Broad Street Run karma.

As I kept scanning each passing face, I began to realize just how unique the Broad Street Run is. It’s not as long as a marathon, so while the runners look pained, there are still a few with smiles on their faces. By mile nine, most were still in good spirits as they looked to finish the race strong.

It’s an event that is different from any other sporting event I have attended before.

Unlike baseball or hockey, these participants are people you can easily relate to. I saw mothers and daughters running side by side; an older man trotting along carrying an American flag, stirring up a frenzy of “U.S.A.!” chants; and kids far younger than I. There were a great number of people in superhero and Star Wars costumes. And I would be remiss if I didn’t mention the wheelchair racers who stared right down at the road with looks of pure focus as they kept pumping their arms to keep their wheels spinning.

Thousands of people, from all walks of life, ran by, and it was just incredible to see.

Cheering half-heartedly as I continued to look for my sister, or by that point, any familiar face, I began to wonder why so many people would put themselves through 10 miles of running, even if the weather was as perfect as it was that morning.

I began to think that running, whether it be a race or just around your neighborhood, is not really done for fun per se, but as an exercise in self-affirmation. You are out there by yourself when running; it’s totally a solo pursuit. It must be scary, out there all by yourself, not a teammate to be seen. Connecting with anyone in the crowd must be a relief for a runner, to get a brief respite from the isolation they have forced upon themselves.

Hundreds of self-determined faces continued to run by me — none being my sister — and they all seemed to be telling themselves, “Come on, you can do this!” and then once they ran 100 yards past me, “Oh sweet, free water!”

Finally I saw my sister, just barely, as she sped by me and my “RUN!” sign, which was handwritten on the back of a Fruit Loops box. We both seemed equally excited to be able to make that connection among the thousands of people out there on Broad Street. It was an exhilarating, even euphoric, moment, and I got to experience it all over again when I saw my friend from economics class. It was a great run of luck.

Walking around at the Navy Yard, surrounded by all of the runners wearing their shiny new medals, I saw nothing but happy faces. These were people who were able to answer their self-doubts with a resounding, “Yes, I can!”

Whether we were there with family, friends or just by ourselves, the Broad Street Run seemed to unite us all together. It was a race where everyone really won. Will I try to attend next year’s Broad Street Run? You bet. Should you go down there yourself? Oh yes, I highly recommend it, five out of five stars.

Even go ahead and run in the race. It looked like a lot of fun once you finished all that running!

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Adam Slawek The Triangle
Bassist and vocalist Toby Leaman (pictured) put on a spectacular performance Feb. 1. Leaman provided some outstanding, passionate vocals on songs like “The Beach” and “Too Weak to Ramble.” Leaman also crowd sufed after singing the hit song, “Lonesome” from the album “Be The Void.”

There was palpable energy emanating from the crowd in the Electric Factory Feb. 1. The doors had only been open for half an hour and the venue was already three-quarters full with a wide variety of patrons. There were plenty of 20-somethings like myself but also a ton of older adults, people who would not be out of place at a Fleetwood Mac or Rolling Stones concert. What was great to see was that most of these older concertgoers had brought their kids with them, or maybe it was the kids who convinced their parents to take them. The look of wonder on this one kid’s face gave me the impression that this concert was the real deal for him; he got to go to the big city AND listen to music with grownups — talk about a win-win. His head was engulfed in a giant blue knit cap emblazoned with the name that brought everyone together that night: Dr. Dog.

After St. Rich, the opening band, played their set of alternative rock to a warm reception, the excitement began to build throughout the old warehouse venue. Dr. Dog already has a devout fan base due to the band’s reputation for incredible live performances, so playing in their hometown only helped ensure the sold-out show. With seven albums in their repertoire, Dr. Dog had plenty of material to use to cover the two-night stand they played at the Electric Factory Jan. 31 and Feb. 1.

Just before 10 p.m., the lights dropped and the crowd went bananas as the six-piece band took the stage. They launched right into “The Truth,” a single from their latest album “B-Room.” The soulful keyboards really stood out as the lights suddenly focused on a disco ball, giving the venue a late-70s vibe. The next song, “These Days,” featured a layered guitar riff played by Scot McMicken and Frank McElroy that was reminiscent of the Allman Brothers’ “Jessica.”

After a few more upbeat songs, the band turned it down a notch with a slow burn, “The Beach.” The guys eased their way into the song before it culminated with bassist and singer Toby Leaman passionately wailing the chorus before jamming out to end the song. “Heavy Light” was another standout track. It opened with drummer Eric Slick playing the congas as McMicken sang the opening verses, with Leaman and McElroy backing him. It slowly built before bursting wide open with guitars, keyboards and vocals all coming together spectacularly.

Slick deserves a shout-out; he provided a rock-solid backbone for the band from behind his elevated drum set. He was powerful and controlled in a style that reminded me somewhat of E Street Band drummer Max Weinberg. Leaman also put on quite a show. Between his impassioned vocals and energetic bass playing, he really brought something special. The lighting was also captivating with a glowing, shimmering arch behind the stage that nicely accented the multicolored lights roaming across the walls and ceiling.

After playing their popular cover of “Heart It Races” by Architecture in Helsinki, the band played the intimate, stripped down “Too Weak to Ramble” from “B-Room.” After that they brought the crowd to a roar with the intro to the hit “Shadow People.” The crowd danced and sang along with McMicken as he cried out, “Where did all the shadow people go?” Without letting up, they moved right into “Lonesome” from the album “Be the Void,” closing their set and ending with Leaman somewhat successfully surfing the crowd.

As the crowd chanted the obligatory “One more song!” they were treated to a surprise that no one saw coming: an appearance by the Phillie Phanatic. Smartphones were whipped out in the blink of an eye to capture the big, green furry guy throwing T-shirts into the crowd, running up and down the stage to pump up the fans before Dr. Dog came out for an encore. The band looked just as happy as the crowd to have the legendary mascot on stage with them. As they launched into “Oh No” from “Easy Beat,” the Phanatic did his thing — strutting up and down the stage dancing, sticking out his tongue and pantomiming the guys. He played air guitar next to McMicken and McElroy, and shook his belly in time with the music. Everyone loved it, and even the band members couldn’t keep the smiles from their faces. It was surreal.

After two more songs, the band played a great rendition of “Jackie Wants a Black Eye.” The crowd joined in with McMicken as he sang the line “Are we madly in love, or are we madly insane?” a capella. The night ended on a high note with everyone dancing along to the stand out track “The Rabbit, the Bat & the Reindeer.”

Dr. Dog put on a tremendous concert and showed why they are one of the best Philadelphia-area bands. The doctor (Dog) is definitely in.

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Photo Courtesy Anti
Philadelphia area band Dr. Dog has just embarked on a headlining tour across the country. There will be two shows at the Electric Factory Jan. 31 and Feb. 1.

On Jan. 14, I had the chance to do a phone interview with Scott McMicken of the indie rock band Dr. Dog. McMicken, along with childhood friend Toby Leaman, make up the core of the band from West Grove, Pa. Although the band has had different members over the years, McMicken and Leaman have been there to maintain the group’s signature lo-fi sound. Dr. Dog currently has six members and has embarked on a headlining tour in support of their eighth studio album, “B-Room.”

“B-Room” was the first album Dr. Dog recorded in their new studio, which is just outside of Philadelphia in the Upper Darby area. McMicken said, “We had outgrown our old studio,” and explained that their new arrangement was more comfortable than their old recording space in Kensington. The new space was once a mill and is now a recording studio with eight rooms and a place to sleep overnight. As far as Dr. Dog’s recording process goes, McMicken said that they tend to do “stay-at-home” and do the producing and engineering themselves rather than bring in outside help. As for figuring out the name for the album, McMicken said they threw around ideas and “B-Room” just seemed right. The name and the album art are “a nod to the early days.”

The music on the album, much like Dr. Dog’s earlier albums, is reminiscent of an earlier time. While Leaman and McMicken are still the primary songwriters, the “band was more incorporated” and had “more collaboration” for this latest record. One thing that Dr. Dog is known for is their great live performances, and the band plays to their strength by often recording most of their studio albums live. McMicken said that on this latest album they “set out to get all of it live, but it ended up about half live with some tweaking afterwards.” On songs like “The Truth” and “Too Weak to Ramble,” you can feel this raw, heartfelt sound that is often absent in most modern albums. The latter song was one of McMicken’s favorite tracks on the album. He said, “We recorded it live, stripped down. It was a fulfilling, vulnerable experience.” The decision to try to record as many instruments as possible in one take is a smart way to try to bottle up the magic that Dr. Dog creates live on stage.

After an uncharacteristically long break since this past Thanksgiving, McMicken said he is eager to get back on tour. “We’re never typically off this long; a couple of months, the two-month break, is such an anomaly.” With their headlining tour getting underway Jan. 27, Dr. Dog is playing back-to-back shows at the Electric Factory Jan. 31 and Feb. 1. McMicken talked about how special playing so close to home can be. When asked if he enjoyed playing in Philly, he said, “I do, [it’s] always an event, always a big deal. It can be overwhelming due to the sheer amount of friends and family there, but it always works out great. All the things that make it overwhelming are the things that, in the end, always make it such a great time.”

McMicken said that the band has over 100 songs in the catalogue to play in order to mix up the set list between Electric Factory shows. The band’s musicianship has grown since the early days of “Toothbrush” and “We All Belong,” and their legendary live performances continue to be a major draw for all concertgoers.
My final question for McMicken was “What kind of music did you listen to in college?” He answered almost instantly, “The Beach Boys. I lived them.” He humorously added, “You could say I majored in the Beach Boys.” Now wouldn’t it be nice if Drexel offered a major like that …

Tickets for both shows are still available on the Electric Factory’s website.

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