Modern jazz singer-songwriter Laufey captivated concert attendees at The Theatre of the Living Arts on Friday, Nov. 3 in Philadelphia. Like many other dates on The Bewitched Tour, this show was sold out. Audience members were dressed in true Laufey fashion with ribbons and bows in their hair and delicate, neutral-toned clothing. 

The opener, New Jersey-born indie pop artist Adam Melchor, took the stage at 8 p.m. starting off with a cover of “Somewhere Over The Rainbow” (1939) by composer Harold Arlena and lyricist Yip Harburg. Purple lighting settled over the stage as Melchor debuted his pure vocals. Preceding his song “it’sjustmyheart (voice memo)” off his first album “Melchor Lullaby Hotline Vol. 1” (2021), Melchor explained it was about a “person who dumped him.” He elaborated that a couple days later, a tree fell on this person’s car and they called him for assistance, which elicited a chaotic reaction from the audience. Melchor beautifully ended his set with another single, “Real Estate,” (2018) that was about “finding the person you love’s hair caught in your mouth…in your clothes.” It was the perfect precursor to Laufey’s love-focused set.

Laufey’s set began around 9 p.m., as she appeared on stage in a dark gray blazer and skirt, with silver metallic heels and a red guitar. The stage itself was adorned with lantern-like lights producing a warm hue. Following an instrumental intro, Laufey opened her set with “Fragile” from the album “Everything I Know About Love” (2022). From this track, she dove into fan-favorite “Valentine,” another single from the same album. All audience members were singing along for this one.

Laufey, a trained cellist, brought out her cello for “Second Best.” This track, off the tour namesake album “Bewitched” (2023), allowed the audience to be whisked away by Laufey’s soothing voice. It also featured a cello solo on the left side of the stage, with a spotlight shining over Laufey. “Second Best,” which is about being someone’s second choice, had everyone feeling a bit emotional.

But the sadness did not last for long, as Laufey increased the energy with the track “Dreamer” from the same album. “Dreamer” served as a contrast to “Second Best,” as it is about Laufey not letting anyone “kill the dreamer” in her when it comes to love. This endearing performance consisted of Laufey skipping across the stage and standing on its elevated center platform. 

“I just had a Philly cheesesteak before this,” she said as she finished her performance and expressed that she felt a bit queasy from jumping around.

Leading into the track, “Falling Behind” (“Everything I Know About Love”), Laufey explained that she wrote the song after seeing couples making out in coffee shops. She felt like she was behind in her life because she did not have a significant other, a sentiment many audience members related to.

As Laufey got further into her set, more lights appeared on stage, resembling stars. This provided a lovely atmosphere for the ballad “Beautiful Stranger” (“Everything I Know About Love”). Laufey explained that the idea for this song came when she was on the train in London and made intense eye contact with a stranger. 

After the song’s completion she playfully stated, “You guys are so delusional,” which elicited many laughs and screams of agreement throughout the crowd.

Continuing with the theme of anecdotes, Laufey revealed that her song “Promise” (“Bewitched”) is based on a long distance situationship that she had a hard time cutting off. The crowd screamed the bridge lyrics “I’ve done the math, there’s no solution / We’ll never last / Why can’t I let go of this?” The song’s performance in full was breathtaking.

“Promise” led into jazz classic “Like the Movies” from the “Typical of Me” EP (2021). This song gained traction on TikTok upon its release, boosting Laufey’s popularity and the appreciation for modern jazz among today’s generation. Needless to say, all audience members were singing along.

When it came time for the “Nocturne (Interlude)” (“Bewitched”), Laufey described that she wanted to “challenge herself to compose something that didn’t rely on lyrics or singing.” The interlude is a dazzling piano composition that seamlessly blends with the rest of the album.

The studio version of her single “Let You Break My Heart Again” (2021) is one of her most instrumentally impressive tracks as she is joined by the Philharmonia Orchestra. While the Philharmonia Orchestra was not present with her on tour, it did not stop this song from being just as exquisite live, making the audience feel as though they had transcended time. It is absolutely gut-wrenching, and conveys a level of emotion that is easy to be consumed by.

The penultimate song of her set was “Lovesick” (“Bewitched”). This track started off slow, but picked up intensely during the chorus. Laufey did a call-and-response at the end of this track, telling the right and left halves of the venue to sing “oooh” at different pitches to create harmony. The music continued to play as the audience sang their newly learned harmony, which sounded amazing for something that was learned only seconds prior.

Laufey’s main set ended at 10:15 p.m., but she came back on stage for an encore shortly after. The first encore song was “Letter To My 13 Year Old Self” (“Bewitched”), which is a heartfelt track where Laufey addresses and appeases the insecurities of her 13-year-old self. When she sang the lyric “One day, you’ll be up on stage / Little girls will scream your name,” audience members screamed “Laufey!” Fans also presented a project during this track, in which they all held up letters to their 13-year-old selves in the air for Laufey to see. She was warmed by the gesture and asked if there was a way to collect the letters or if fans wanted to swap letters with each other.

For her second encore song and last song of the night, Laufey explained that she was doing a “surprise song” for each show of her tour. This song could either be something from her discography or a cover. She chose a bit of a silly one for Philadelphia, performing a cover of “Makin’ Whoopee” (1929) by Walter Donaldson, that she said she posted on her TikTok two years ago, if any early fans remembered. The show let out a bit after 10:30 p.m., and released audience members to a classic chilly November night.

Laufey’s U.S. leg of The Bewitched Tour ends on Nov. 19 in L.A., before she heads to Europe in February. In the meantime, fans can stream her newly released Christmas tracks, “Christmas Dreaming,” and a cover of “Christmas Waltz” off her three-track single “A Very Laufey Holiday!”; her two-track single with Norah Jones “Have Yourself A Merry Little Christmas” and co-authored song “Better Than Snow”; and her Spotify Singles Holiday cover of “Winter Wonderland,” all released this month.

SETLIST 

Adam Melchor 

Somewhere Over the Rainbow (Snippet)

ADELAIDE

Moon in the Morning

JEWEL

itsjustmyheart

SEROTONIN

PEACH

Joyride

Real Estate

Laufey

Fragile

Valentine

Second Best

Dreamer

Falling Behind

Beautiful Stranger

I Wish You Love (Keely Smith cover)

Promise

Like the Movies

Nocturne (Interlude)

Let You Break My Heart Again

California and Me

Bewitched

Haunted

Best Friend

Lovesick

From the Start

Letter To My 13 Year Old Self

Makin’ Whoopee! (Walter Donaldson cover) 

Post Malone, the chart-topping rapper and singer, has never been one to avoid experimentation. With the release of his fifth studio album “Austin,” he continues to challenge the boundaries of his musical artistry, inviting listeners into a world of haunting honesty and introspection. Moreover, he christened the album with his birth name, symbolizing a profound rebirth in his artistic journey. 

Austin’s significant departure from Malone’s previous works is evident from the album’s opening track. The acoustic-driven “Don’t Understand” sets the tone with its raw vulnerability as Malone admits, “I don’t understand why you like me so much / Cause I don’t like myself.” This newfound lyrical openness carries throughout the entire record, revealing the artist’s personal and reflective side.

In a recent interview with Zane Lowe, Post Malone revealed that becoming a father and moving to the quieter Salt Lake City changed his perspective. This shift is palpable in the album, as it showcases a decelerated tempo and a preference for live instrumentation, reflected in his recent “If Y’all Weren’t Here, I’d Be Crying” tour, on which he was accompanied by a live orchestra band. By choosing to play guitar on every song and releasing a feature-less album for the first time, Malone offers fans a more intimate and stripped-back experience.

The album fuses elements of alt-rock, gospel, 80s vibe and pure pop, showcasing a diverse range of musical influences. Posty’s exploration of new creative directions is a testament to his growth as an artist and his commitment to pushing the boundaries of his artistry. “Austin” ventures beyond the rap style of the Beerbongs & Bentley era. It offers a captivating fusion of various genres, presenting fresh and exceptional melodies.

The album presents a poignant narrative of self-reflection and introspection. Tracks like “Something Real” and “Chemical” delve into opulent sins, heart-wrenching struggles and a search for meaning. Despite the cutting subject matter, the album’s intricate production serves as a bittersweet antidote, adding a spoonful of sugar to help the bitterness go down. It is like he is trying to tell a story while keeping a happy face.

Malone’s co-production with acclaimed creators Andrew Watt, Louis Bell, Max Martin and Rami Yacoub brings out the best in the artist, allowing him to shine in this new artistic direction. The collaboration with Martin and Yacoub on tracks like “Sign Me Up” and “Enough Is Enough” showcases a fruitful synergy that has resulted in some of the album’s most challenging and rewarding music.

More than an album, “Austin” is a testament to Post Malone’s growth as an artist and his willingness to embrace change. By slowing down and taking a thoughtful look back at his journey, he has delivered an album that resonates with fans on a deeper level. It explores life’s vices and the search for peace, wrapped in a musical package that captivates and moves the listener.

Tracks like “Green Thumb” highlight Malone’s pop prowess, where his vocals sound clear, and his lyrical treatise on love, inner growth and the fragility of life evokes a solemn reaction. Sharp metaphors are layered over timeless and stirring orchestration, leaving a lasting impact on the listener.

“Austin” eloquently demonstrates the potency of musical vulnerability. Malone lays bare his struggles, inner demons and longing for something genuine, creating an emotional connection that transcends mere entertainment. The album’s introspective themes are buoyed by Post Malone’s signature genre-blending skills, making “Austin” an intricate and mesmerizing listen from start to finish. The last song on the record, “Laugh It Off,” adds a perfect ending to the story Malone has shared throughout his album and ends the record with some strong instrumentation. 

Post Malone’s “Austin” is a bold and honest step in the artist’s evolution. With its haunting introspection, stripped-back approach and musical diversity, the album showcases a Post Malone that is not only unafraid to delve into uncharted waters but also skilled enough to master that art. “Austin” proves that slowing down and embracing change can lead to creative brilliance, and it solidifies Malone’s place as a boundary-pushing force in contemporary pop music. As listeners embark on this musical journey with Post Malone, they are treated to a cathartic experience that leaves a lasting impact and elevates the artist to new heights of artistry and emotional resonance.

Listeners should not confine themselves solely to rap and trendy tunes. Instead, they should approach music with an open mind and heart, embracing the beauty of soul-stirring melodies that delve into the profound aspects of life and the trials of a genuine person.

Top Five Picks:

• “Enough is Enough” 
• “Something Real”
• “Too Cool To Die” 
• “Green Thumb” 
• “Novacandy”

Indie rock band The National’s eager fans filled The Met Philadelphia on Tuesday, Aug.1. The band is composed of Matt Berninger (lead vocals), twin brothers Aaron and Bryce Dessner (keys/guitar) and brothers Scott (bass) and Bryan (drums) Devendorf. While the band is well-known on its own, Aaron Dessner is infamous for his production skills. The band has collaborated with Taylor Swift, Phoebe Bridgers and Bon Iver. 

At 7:31 p.m., opener The Beths took the stage backed by a screen with sunflower visuals that remained consistent throughout the show. There was also a fish prop towards the side of the stage. The New Zealand-based band has an indie pop sound and consists of Elizabeth Stokes (lead vocals/guitar), Jonathan Pearce (guitar), Benjamin Sinclair (bass) and Tristan Deck (drums). They kicked off their set with the upbeat track “Future Hates Me” from their 2010 album of the same title. However, the majority of their set was from their most recent album “Expert In A Dying Field,” released in 2022. 

This was The Beths’ first show on The National’s tour. The crowd seemed very engaged in their performance, with everyone enjoying the music even if they did not know the band. It was evident that the band is down to earth and has a close relationship with their fans, as Deck asked the crowd to send them videos of their performances on Instagram. Their set wrapped at 8:15 p.m. with lots of standing ovations.  

The National began their set at 8:44 p.m., opening with the Sufjan Stevens collaboration “Once Upon A Poolside” from their latest album “First Two Pages of Frankenstein” (2022). A somber aura settled over the venue, with the stage lights fading from gray to pink for the duration of the song. Berninger’s soft and heartbreaking vocals paired with the gentle instrumentation of the band made the performance of this song both memorable and emotional. The sadness did not last for long though, as the band launched into “Tropic Morning News” from the same album. The band showed up on the screen on a live cam, replicated three times, and made to look like old film. Berninger interacted with the crowd a lot during this track, making eye contact with different areas of the venue from the floor to the higher level seats. The live performance of this track exposed its true potential, as the studio version, while good, did not do it justice. 

“Eucalyptus” (“First Two Pages of Frankenstein”) was a standout track. The lyrics of the song were displayed on screen, along with the live cam of the stage. Berninger truly put his all into the performance of this track, especially during the choruses. Every time he sang the lyrics “You should take it / ‘Cause I’m not gonna take it” was more intense than the last. The Dessner brothers also had their first insane electric guitar solo battle of the night. 

Berninger spoke to the crowd a bit into the set, talking about his view of the chandelier at The Met from stage. This sparked a funny anecdote about how he bangs his head on the chandelier in his house all the time. After this moment, the band launched into “Conversation 16” off their album “High Violet” (2010). The screen featured cool pink, purple and blue tunnel visuals. 

The band even incorporated songs from years ago into their set, with the inclusion of “Wasp Nest” from EP “Cherry Tree” (2004) which was remastered in 2021. Cloud-like shapes appeared on screen, as the venue grew silent. This beautiful ballad may be an unrecognized and hidden gem to a new The National fan, but should be given more attention.

Following “Wasp Nest” was one of the crowd favorites, “Alien” (“First Two Pages of Frankenstein”). The audience was chanting along with the chorus lyrics “Drop down like an alien.” This track also included another Dessner brother guitar-off. At one point, the brothers switched which sides of the stage they were standing on. Another crowd favorite was “England,” which started out slow, but ended high-energy. People were jumping and dancing during the chorus, as well as clapping their hands to the beat of the song. The clapping continued during the last song of the pre-encore set “Fake Empire” from the album “Boxer” (2007).

The National left the stage and allowed fans to cheer for them before returning a couple minutes later with a five-song encore. The highlight tracks from this encore were “Terrible Love” and “Vanderlyle Crybaby Geeks,” both off “High Violet.” The whole crowd sang during “Terrible Love,” putting their hands up and feeling every emotion that the lyrics conveyed. The lyrics “It takes an ocean not to break” were especially prominent and yelled louder than the rest. The ceiling lights were blue, shading the entire venue, matching the ocean lyrics of the song. 

“Vanderlyle Crybaby Geeks” was an intimate experience and the perfect song to end the show. Berninger stepped away from his microphone and the Devendorf brothers abandoned their instruments. The Dessner brothers traded out their electric guitars for acoustic ones and began to play a soft melody. The crowd started to sing the song, keeping in tune with the Dessner brothers’ playing. The band members sang with them. No microphones were used throughout the entirety of the song, and this seemed to be a routine part of The National’s performance history as none of the audience members were surprised. According to Genius, this is always the band’s last song. 

Berninger was once again engaging with all sections of the venue and the crowd enthusiastically shouted “The geeks!” after every time they sang “I’ll explain everything to the geeks.” This chant “The geeks!” is not an official part of the song and must be an addition that happened live. The band fully connected with their fans in this special moment. It was wonderful to see and be part of something so unifying and raw. 

The National’s performance ended around 11 p.m. It was a tad hectic to exit the venue, as people were scrambling everywhere to attempt to get out the fastest or buy merch. The National’s music is definitely something worth experiencing live. The meaningful lyrics, paired with the band’s passion makes their music enjoyable to fans and non-fans alike.

SETLIST (posted by The National on their Instagram)

Once Upon A Poolside

Eucalyptus 

Tropic Morning News

New Order T-Shirt

Don’t Swallow The Cap

Bloodbuzz Ohio 

Demons

The System Only Dreams in Total Darkness

I Need My Girl

Conversation 16

Humiliation / Murder Me Rachel

Wasp Nest

Alien 

Grease In Your Hair

Space Invader

Day I Die 

Pink Rabbits 

England 

Graceless

Fake Empire

ENCORE

Weird Goodbyes (feat. Bon Iver)

Mr. November 

Terrible Love

About Today 

Vanderlyle Crybaby Geeks 

Cavetown’s Bittersweet Daze Tour kicked off in Philadelphia, featuring special guests Grent Perez, Ricky Montgomery and mxmtoon. The event took place on Aug. 4 at the Mann Center’s Skyline Stage. Attendees not only enjoyed the music but also supported Cavetown’s This is Home Project and its mission to support LGBTQ+ youth in need. The project focuses on enhancing access to LGBTQ+-related healthcare, safe housing and vital resources. With doors opening at 4:30 p.m., the shining sun created a vibrant atmosphere. The audience eagerly anticipated an evening of dance and emotion. The venue featured food and merchandise trucks, cavetown-themed inflatables and more. Picnic blankets were sprawled across the grass, while attendees expressed themselves through pride merchandise, creative hairstyles and eclectic outfits.

Grent Perez

At 5:30 p.m., Grent Perez opened the stage, captivating the audience. Encouraging connection and love among attendees, he performed “Clementine” and urged everyone to dance, regardless of knowing the lyrics. Perez, in a white t-shirt, bleached cargo pants, a blue sun visor hat and blue guitar with a star embellishment showcased his signature style. His energetic performance featured jumps and dance moves between Perez and his band. Amidst songs like “Old with You,” Perez led the audience in meditations, inviting deep breaths and joyous dances. Perez’s interactions continued during breaks, by involving the crowd in the legendary beat from The White Stripe’s “Seven Nation Army.” During “Cherry Wine,” he collaborated with his bassist, Timmy, for a guitar solo, while his drummer, Josh, and stage manager had their dance moments. Perez concluded the song with a trumpet solo as his lively presence energized the audience, making for an unforgettable performance.

Ricky Montgomery

At 6:20 p.m., Ricky Montgomery took the stage, wearing a red vest with patches, sunglasses, middle-part hairstyle, black shirt and cargo pants. Montgomery, full of energy, drummed alongside his drummer and bassist, delivering a collaborative performance. He engaged with the audience, as he reached out to his fans and ran offstage to serenade from the barricade. Montgomery excitedly announced plans for a new album and playfully mentioned his girlfriend. “Talk to You” and “Eraser” were crowd-pleasers, followed by the emotive “Line Without a Hook.” 

The joyful “Black Fins” featured poignant lyrics, and “My Heart is Buried in Venice” followed a drum solo. He encouraged dancing during “Don’t Be Sad,” intertwining melancholic themes with a lively beat, even immersing himself in the crowd. Montgomery’s dreamy presence resonated, as he stood on the barricade fence above the audience. He returned to the stage, emotionally connecting with individuals through laughter, goofy faces during offbeats and eye contact. During intermission, he  launched personalized merchandise into the crowd using slingshots. Transitioning to “Out Like a Light” with his band, the Honeysticks, he showcased unique guitar and drum sounds. Despite introspective lyrics, Montgomery brought joy to each song. The audience embraced the electric performance of “This December,” and Montgomery concluded with “Mr. Loverman.”

mxmtoon

As the sun set, mxmtoon took the stage at 7:30 p.m., connecting with her target audience, “sad gay girls.” She wore a tight red floral dress, as her performance had a lighthearted, goofy essence. Beginning with “fever dream,” she shared personal struggles, setting the tone for a “sad disco” experience. Shifting gears with a self-love anthem, “no faker,” mxmtoon interacted with the crowd playfully, even prompting quack noises from the Philly audience. Interestingly, the sky turned gray and cloudy, an ironic contrast to the previous openers’ sunny sets. mxmtoon acknowledged the weather and her own seasonal depression, leading to “seasonal depression.” 

Starting with her band, she later took the stage alone with her ukulele, known from her TikTok videos. Each song came with a different ukulele, progressively smaller. As rain drizzled, mxmtoon introduced a song for “delulu girls” and sang “cliche.” Shifting from happy to sad songs, she humorously said, “so that song’s really happy, but unfortunately, I sing sad songs.” She had the audience pretend to cry before leading into “feelings are fatal.” Acknowledging the rain, she encouraged the crowd, saying, “it’s starting to sprinkle, right Philly? That’s alright, I need your energy for the next one,” and performed her popular song, “prom dress.” During the encore, mxmtoon led the audience in choreography. The lighting mixed white and purple hues, creating a visually captivating atmosphere. She ended with “Mona Lisa,” her drummer adding unexpected beats. The audience enthusiastically waved their arms throughout the encore, and mxmtoon joined in, ending the show with gratitude to Philly and skipping offstage while her band finished the set.

Cavetown’s This is Home Project

After the performances, Ellie Wasserman, Director of Lifeskills at The Attic Youth Center, addressed the crowd. She introduced Cavetown’s This is Home Project and spotlighted The Attic Youth Center, a haven for LGBTQ+ youth in Philadelphia, celebrating its upcoming 30th anniversary. The center serves queer individuals aged 14 to 23, offering programs such as drag, songwriting, academic assistance, counseling services, meals and more. It also provides training related to the LGBTQ+ youth in the community. 

Cavetown

At 8:40 p.m., the band emerged under a moonlit sky amidst purple and white lights, creating an eerie silhouette. Cavetown (Robbie Daniel Skinner) took the stage in his signature look: black beanie, glasses, hoop earrings, striped long sleeve shirt, black cargo pants and old skool sneakers.

During the opening, an audience member’s minor injury prompted Skinner’s caring response, highlighting the dedicated passion of the audience. With most attendees there for Cavetown, the concert’s energy peaked as the crowd fully became present.

The set began with “Worm Food,” followed by “Fall in Love with a Girl” and “Lemon Boy.” Cavetown danced with a non-binary flag provided by an audience member. Shifting lights and enveloping fog created a distinctive visual atmosphere. Cavetown appreciated fellow performers and expressed gratitude for fans that had been there since Perez’s performance, leading to a segment of gentle melodies and swaying. During “Wasabi,” he poured emotion into the lyrics, transitioning smoothly into “Juno,” an emotional song about his cat.

During “Hug All Your Friends,”  Cavetown immersed himself as audience members embraced. Alongside mxmtoon and Ricky Montgomery, they united for “Nobody Loves Me,” exuding genuine friendship. The atmosphere transformed with dynamic colors and spirited sounds. Cavetown  acknowledged a fan’s frog hat, his emblematic symbol, showing appreciation for the audience.

Transitioning smoothly, he delved into “a kind hing to do,” dancing with his band. After “Juliet,” he exchanged the non-binary flag for an audience member’s transgender flag. Shifting gears, “Home” embraced introspection with rainbow lighting symbolizing LGBTQ+ pride. The encore featured “Boys Will Be Bugs” and “Devil Town,” encapsulating the essence of the event.

As the show concluded, attendees gathered their picnic blankets, transitioning back to reality from five hours of musical euphoria. The weather mirrored the event’s mood, alternating between sprinkles, sunshine, clouds and darkening skies. The performers radiated positivity, staying true to themselves while united by their dedication to the LGBTQ+ community and Cavetown’s “This Is Home” project. The concert wove threads of connection and self-expression, with genuine cherishment from Cavetown, mxmtoon, Montgomery and Perez.

Greta Gerwig‘s “Barbie” adaptation, starring Margot Robbie as Barbie and Ryan Gosling as Ken, premiered worldwide on July 21. Initially thought of as a seemingly one-dimensional feel-good movie, it shifted public discourse into a thoughtful contemplation on society’s deep-rooted misogyny.

Barbie’s story is conveyed through her fashion, designed by Jaqueline Durran, who captures her glamorous style using fashion history. The carefully chosen pinks in Barbie’s costumes seamlessly transition from day to night, coordinating with the Mattel line. Durran focuses on empowering and freeing looks, ensuring everyone feels confident in Barbieland. Robbie flawlessly rocks iconic Barbie outfits — a sailor blue romper and blush-colored gingham dress from the ’60s to the ’90s. Durran’s inspiration from the Barbie catalog preserves her rich history and diverse style, promoting self-expression and celebrating Barbie’s love for playful and perfect fashion.

Barbie’s set production caused a global pink shortage due to its intricate design. Barbieland features mid-twentieth century California design, with the Dreamhouse showcasing Palm Springs modernist style. The intentional absence of doors adds to the plot, with Barbies constantly seeing and being seen. The set exudes innocence and fosters trust and safety, creating a space where women feel comfortable. Gerwig, along with production designers Sarah Greenwood and Katie Spencer, talked to Vogue about the intricacies of Barbieland, such as setting strict rules with avoiding black, white or chrome, and excluding fire or water elements, resulting in unique visuals like Barbie showering without water and solid waves on blue sand at the beach. Barbie’s wardrobe resembles a toy-box, emphasizing tactile play. Greenwood also told Vogue how the set’s proportions mirror the Barbie Dreamhouse, with props reduced in size by 23%, making Barbie slightly oversized for her surroundings. The vibrant Mattel office reflects the childlike qualities of its male occupants, with playful pink walls and a heart-shaped desk. Irony lies in the contrast between the colorful executive area and the stark lower-level workspaces. The 17th floor, where Barbie inventor Ruth Handler’s ghost resides, symbolizes the midway point between both worlds.

The Barbie soundtrack perfectly captures the film’s essence and complements Gerwig’s message. It conveys girlhood, transitioning between glitzy pop and melancholic indie tunes. Lizzo opens the film with “Pink,” narrating what Stereotypical Barbie is doing on screen. Billie Eillish’s ballad, “What Was I Made For?” emotionally intertwines the film and characters, expressing Barbie’s existential dread and self-doubt. As Eilish sings “I used to float, now I just fall down,” Barbie inventor, Ruth Handler, shows a montage of real women, reminding the audience what it is to be human — more specifically, a woman. Sam Smith’s “Man I Am” serves as Ken’s machismo anthem, as they sing about muscular appearances, strip clubs, Wall Street, and being “so beefed-up you can’t get through the door.” It cleverly alludes to the contrast between Barbie’s doorless Dreamhouse and Ken’s Mojo Dojo Casa House with wooden doors. Ryan Gosling’s himbo act is showcased in his power ballad “I’m Just Ken.”

Gerwig blends politics, cuteness and humor for all ages, empowering young girls and destigmatizing aging. Barbie’s encounter with the old woman, played by costume designer Ann Roth, challenges societal norms of glorifying youth. After making women feel beautiful her whole life, Roth is recognized for her beauty — both physical and craft. Meanwhile, Ken represents the transformation of boys into misogynistic teenagers, urging us to confront their obliviousness.

Through taking a doll that shaped so many girls’ childhoods, Gerwig was able to remind them why being a woman is powerful. For some, this film served as a reminder that they are just as capable as their male counterparts, but for others, this was an eye-opening lesson on feminism and the certainly prevalent patriarchy. The marketing encouraged people to watch the film who wouldn’t normally watch a feminist film, and therefore created the first step to learning about what feminism really is: believing in gender equality. The story works so well because every person can come out with a new interpretation. Although this film is marketed toward women, people of all genders should watch it. Everyone can relate to the Barbies, Kens and even Alan in their life and these Barbies, Kens and Alans have expectations society has forced upon them. The first step to mending the crack between genders is self-awareness and what better way to understand than a comedy about a Barbie doll?

The irony is in the people hating the film. Barbie centers around the female experience and the impossible standards pushed on by the patriarchy while still sympathizing with the patriarchal affect pushed onto men. Yet, these people are fine with or even support films that center only around men and see women as a two-dimensional character, objectifying women for the plot line. Barbieland did not sexualize, mistreat, or abuse the Kens but it rather was a place of ignorance that could have been solved with a healthy dose of communication. The purpose of Barbie is to highlight the need of empathy between all people and those who did not grasp that should put their egos away and watch the film again.

Barbie is a film about womanhood, made by women for women, shedding light on patriarchal cracks while Barbie discovers the realities of the not-so-feminist real world and Barbieland. It highlights important topics across the gender spectrum, from motherhood and ageism, gender fluidity, toxic masculinity and men’s mental health and more. The film explores modern feminism and the complexities of womanhood, balancing humor and depth to evoke both pain and joy from the audience. Never underestimate the power of girlhood.

On July 12, Philadelphia-area music fans began filtering into the Mann Center for the Performing Arts for an exciting installment in their Summer 2023 concert series. With near perfect weather for the concert, fans were excited to see headliners The Revivalists and The Head And The Heart (THATH) perform at the Mann Center’s Skyline Stage, a smaller outdoor music festival style stage with general admission and lawn seating. 

The venue opened around 5:00 p.m. and fans were soon milling around the venue, getting food and drink from one of the many vendors and laying down their picnic blankets on the lawn in front of the Skyline Stage. The original lineup included an opening performance by Jaime Wyatt, so fans were slightly confused when, in her place, Philly-based musician and songwriter Julia Pratt took the stage. Pratt explained that Wyatt was unable to perform that night and invited her to take her place as the opening set. Pratt took the stage around 6:30 p.m. for her set, which was enjoyed by all fans and concert-goers. Pratt performed some of her more popular songs including “Would It Kill Ya,” “Little Bug” and “Odyssey.” She also ended her set by playing one of her unreleased songs set to come out soon. According to her Spotify profile, Pratt prides herself on making songs she would want to listen to. 

Shortly after Pratt’s 30-minute set, The Revivalists took the stage around 7:20 p.m. According to their Spotify profile, The Revivalists are an eight-member rock and roll collective composed of David Shaw (lead singer and guitarist), Zack Feinberg (guitarist), Andrew Campanelli (drums), George Gekas (bass), Ed Williams (pedal steel guitar), Rob Ingraham (saxophone), Michael Girardot (keyboard and trumpet) and PJ Howard (drums and percussion). The Revivalists’ website explains that they got their start in New Orleans nearly 15 years ago in the wake of hurricane Katrina. They built their bond on a mission to use art and live music as a tool to bring hope and vibrancy back to their community and New Orleans’ rich live music scene. Since then, their audience has grown massively (with nearly two million monthly Spotify listeners) and fans find joy in their rock and roll style with heavy southern and country music influences. Their Philly performance was the 15th stop on their United States tour, “The Pour It Out Into The Night Tour,” which features several solo shows as well as co-headlined shows with THATH, Band of Horses, Jaime Wyatt and The Heavy Heavy.

The Revivalists opened with a bang, playing one of their edgier rock songs: “Criminal.” They also played several songs from their latest album, “Pour It Out Into The Night,” including “Down in the Dirt,” “How We Move,” “Don’t Look Back” and “Only You.” For their third-to-last song, the band played their most popular single with nearly 185,000 Spotify streams: “Wish I Knew You.” They then played one more song from their latest album, “Kid,” in which THATH also rushed out onto the stage to accompany them in the performance. After THATH’s surprise cameo in The Revivalists’ set, they closed out their performance with the upbeat song, “Good Old Days,” also from their latest album. 

After the Revivalists’ set, the audience enjoyed a thirty minute intermission before THATH took the stage to perform their set at 9:00 p.m. THATH came out to join The Revivalists for a few select destinations on their tour, including Philadelphia, after wrapping up their own United States tour for their latest album “Every Shade of Blue” in Oct. 2022. According to their Spotify profile, THATH is a Seattle based band who formed in 2009. They are an indie folk band with influences drawn from Americana, country-rock and “Beatlesque” pop. The band is composed of six members: Josiah Johnson (singer/songwriter), Jonathan Russell (singer/songwriter), Kenny Hensley (pianist), Chris Zasche (bassist), Charity Rose Thielen (violinist) and Tyler Williams (drummer). 

THATH’s set included 14 songs total, with three of those being encore performances. They began their set with the song “All We Ever Knew” from their 2016 album, “Signs of Light.” Their fourth song was another of their most popular, “Lost in My Mind” from their 2011 self-titled album. For this song, The Revivalists joined them on stage. THATH ended their “official” set with another of their most popular songs, “Honeybee,” and the title track of their most recent album: “Every Shade of Blue.” THATH then came out for an encore set of three more songs including “Library Magic” and “Shake.” The final song of their encore set was by far their most popular and beloved song, with over 225,000 Spotify streams, “Rivers and Roads.” THATH’s performance highlighted their incredible talent as vocalists and musicians. Charity Rose Thielen’s breathtaking vocals and violin accompaniments were definitely a highlight of their performance. 

The July 12 performance by Julia Pratt, The Revivalists and THATH was clearly enjoyed by fans of all of the performers. THATH will be continuing to tour as co-headliners with Father John Misty around the western United States throughout the month of August. The Revivalists are also continuing “The Pour It Out Into The Night Tour” in the United States through late April 2024. Several of these performances will be co-headlined by Band of Horses and The Heavy Heavy. Check out each group’s upcoming tour dates and performances on their websites. 

THE REVIVALISTS’ SETLIST (according to setlist.fm)

1. “Criminal”
2. “It Was a Sin”
3. “Down In The Dirt”
4. “How We Move”
5. “Don’t Look Back”
6. “Keep Going”
7. “Monster”
8. “All My Friends”
9. “Celebration”
10. “Only You” 
11. “Wish I Knew You”
12. “Kid” (with The Head And The Heart)
13. “Good Old Days” 

THE HEAD AND THE HEART’s SETLIST (according to setlist.fm)

1. “All We Ever Knew”
2. “Ghosts”
3. “Dreamer”
4. “Lost in My Mind” (with The Revivalists)
5. “Missed Connection”
6. “Another Story”
7. “Down in the Valley”
8. “Virginia (Wind in the Night)”
9. “Living Mirage”
10. “Honeybee”
11. “Every Shade of Blue”
12. “Library Magic”
13. “Shake”
14. “Rivers and Roads”

There are two types of movie-goers who greatly anticipated the release of “Insidious: The Red Door,” the fifth installment in the Insidious film franchise. First is the avid horror fan who waits eagerly to consume anything and everything new in horror films. The second is the die-hard fan of the Insidious franchise—or anything, really, released by James Wan and Blumhouse. If you fall into the latter category, then this film is one that will likely provide you with all of the nostalgia, plot and scares that you have felt were missing from the franchise since “Insidious: Chapter 2” was released in 2013. 

To make sense of the film, it is easiest to separate the Insidious franchise into parts; there is the franchise as a whole, which tells the story of experienced psychic Elise Rainier (Lin Shaye) as she fulfills her mission of helping families plagued by otherworldly entities. The second part is a distinct trilogy within the franchise consisting of “Insidious” (2010), “Insidious: Chapter 2” (2013) and finally “Insidious: The Red Door” (2023). This distinct trilogy follows The Lambert Family and the demonic entities that haunt them as a result of the father’s and eldest son’s—Josh and Dalton Lambert, played by Patrick Wilson and Ty Simpkins—gifts of astral projection. “Insidious: Chapter 3” (2015) and “Insidious: The Last Key” (2018) were great departures from the story of The Lambert Family that fans had grown to love. While these two films did provide some backstory for the beloved Elise, and offered some excellent scares, they felt like a let down in comparison to the first two films of the franchise. Because of this, many Insidious fans were quite anxious to see what the fifth installment had in store. However, when it became clear that “The Red Door” would be a continuation on The Lambert’s original tale—which, in my opinion, was the story that made Insidious so incredible in the first place—hope was restored for many that it would live up to the incredible plot-driven scares of the first two films. When watching the film, the reason for The Lambert’s 10-year hiatus became quite clear and purposeful. 

“Insidious: The Red Door” opens on The Lambert Family—the father Josh, eldest son Dalton, mother Renai (Rose Byrne), middle child Foster (Andrew Astor) and youngest child Kali (Juliana Davies)—at the funeral of Josh’s mother Lorraine (Barbara Hershey), who played a large role in the first two films. The opening shot also informs us that nine years have passed since the events of the second film. All of the actors from the first two films are the same—except for Kali, who was just an infant in the first two films. Dalton is reading a eulogy for his grandmother and we quickly learn that things have not been idyllic for The Lamberts since we last saw them. Josh and Renai have since divorced and Josh is clearly somewhat estranged from his children, especially Dalton. It is also immediately evident that Josh and Dalton are suffering from the memories of their blurry pasts and forgotten connection to the afterlife, despite the events of the second film in which the family decided to hypnotize Josh and Dalton into forgetting their gift of astral projection and the subsequent horrifying events it caused the family. Although they remember nothing of the events seen in the first two films, the two cannot help but feel a disconnect from the family and a looming air of secrecy. Dalton, who is now preparing to attend college as an art student, finds himself in all too familiar danger as his gifts reemerge while honing his artistic abilities. As a result, the estranged father and son must confront their murky pasts in order to save their family’s future. 

Despite the missteps made in the third and fourth films, “Insidious: The Red Door” definitely delivered on everything that fans of the first two films had been hoping for. More than anything else, I think the decision to use the same actors who played The Lambert Family in the first two films was a genius one. If you were already a fan, then that aspect alone will win you over. In addition to this, “The Red Door” offers many plot points that provide closure to some of the franchise’s unanswered questions, as well as terrifying jump-scares rivaling some of the first film’s iconic moments. 

Overall, “Insidious: The Red Door” is a must-see for fans of the franchise and horror fans alike, however it is clear that a love of the franchise will influence your opinion of the film. For Insidious fans, it is a nostalgic and effective continuation of the franchise. However, the more casual movie-goer might find it unoriginal or feel that it falls a bit flat. “Insidious: The Red Door” officially premiered in theaters on July 6 and it has not received the best reviews from critics; IMDB rated the film 6/10 and Rotten Tomatoes gave it a 34%. In my opinion, this should not influence your decision to watch the film. Although, it is clear that the film is targeted towards fans of the franchise, it is still worth the watch—if not for nostalgia, then for the impact that the Insidious franchise has had on the horror genre as a whole.

“The Flash,” released Jun. 16, is among the final entries of the DC Extended Universe (DCEU), pioneered by commercial hits such as “Man of Steel,” “Batman v Superman: Dawn of Justice” and “Suicide Squad.” 

Loosely inspired by the limited comic series “Flashpoint,” the film follows forensic scientist and titular scarlet speedster Barry Allen, portrayed by Ezra Miller, who discovers that he can travel through time via his superspeed. With this newfound ability, he travels to the past to prevent the murder of his mother (Maribel Verdú) and, consequently, the imprisonment of his father (Ron Livingston), who was wrongly framed for the crime. However, doing so creates a new reality in which superheroes are scarce and, to make matters worse, formidable Kryptonian General Zod (Michael Shannon) is preparing for global annihilation. 

To protect this reality, Barry forms a ragtag group of heroes including his inexperienced teenage self (also portrayed by Miller), a retired Batman (Michael Keaton) and the imprisoned cousin of Supergirl (Sasha Calle). 

One of the major challenges in presenting a story of the grand, multiversal scale “The Flash” sets out for is maintaining some sort of anchor point throughout that the audience can remain attached to. Otherwise, it is fairly easy for stories of this ilk to become a muddled array of ideas without a central core. Unfortunately, “The Flash” falls victim to this common pitfall, and understandably so. 

After being officially announced in 2014, the movie cycled through numerous creators’ hands, with the director’s seat shifting from Seth Grahame-Smith to Rick Famuyiwa to John Francis Daley and Jonathan Goldstein before finally landing on Andy Muschietti. The film’s tumultuous development history bleeds noticeably into the final product, which often feels like a bombardment of concepts that do not quite mesh together. 

The emotional core that “The Flash” attempts to establish is, unsurprisingly, centered around Barry as he learns the value of accepting the scars of his past. To the film’s credit, it does mostly retain this focus for the first hour or so of its runtime, providing audiences an adequate glimpse into Barry’s superhero life, his work life and his relationships with colleagues and family. 

Even when Barry delves into time travel, the film continues to revolve around his perspective and even doubles down on it once he crosses paths with his teenage self, one of the most clever narrative decisions on display. Having adult Barry act as a mentor figure to teenage Barry is an enjoyable dynamic to watch unfold onscreen and provides a creative means of character development. 

From here, however, I found the multiversal elements of “The Flash” to become severely distracting, rendering the remainder of the film a somewhat disjointed assemblage of disparate characters and events. Prime examples of this are General Zod and Supergirl who are given so little characterization that they are relegated to uninteresting props whose sole purpose is to keep the plot moving along. While Michael Keaton’s Batman plays a more significant role, he too feels haphazardly thrust into this narrative to simply cash in on nostalgia for Tim Burton’s 1989 film. 

The absolute worst instance of superfluous fan service appears in the film’s climax, which involves the impending collision of numerous universes, during which time a series of cameos from characters throughout DC history, seemingly chosen at random, ensues. Though the sequence is relatively brief and certainly did not ruin the film for me, I would be remiss if I did not at least mention it. It is truly one of the most egregious and desperate examples of nostalgia bait to appear in recent years.

Part of what sours the aforementioned montage of cameos along with other pivotal moments in “The Flash” is their poor application of CGI. This glaring shortcoming presents itself as early as the opening action sequence, which involves Barry rescuing people from a crumbling hospital. The scene is a simple yet fun way to introduce The Flash’s abilities, limitations, and courageous heroism. However, the poor VFX work riddled throughout makes it difficult to feel as though anything happening on screen is tangible and, as a result, lessens the stakes. A similar issue persists as the film delves into bigger and more bombastic action set pieces. In this sense, the action scenes in “The Flash” are emblematic of the film as a whole, littered with conceptually sound ideas that are not realized to their fullest potential.

Several blockbusters of recent months, such as “Black Adam” and “Shazam! Fury of the Gods,” have proven to be technically competent, middle-of-the-road experiences. Frankly, I find most of these films to be uninteresting subjects for discussion. In this regard, “The Flash” is a standout. Its troubled development in tandem with the bizarre behavior of its leading actor and the financial and critical blows that plagued its release has been fascinating to watch unfold. The film itself is an equally interesting enigma that elicited emotions ranging from sheer embarrassment to amusing befuddlement.

Philadelphia is the go-to place to explore during the summers. With activities ranging between seasons, the hidden treasures are countless. The city of brotherly love is filled with orchestrated drive-in movies, fresh farmer’s markets, local art, shopping deals, unforgettable festivals and more. Bored at any point this quarter? Refresh your summer bucket list with these effortless, enjoyable festivities.

HOLIDAY FESTIVALS

Wawa Welcome America July 4th Concert and Fireworks

When: July 4

Where: Benjamin Franklin Parkway

This free-for-everyone party begins at 7 p.m. with a concert headlined by superstars Ludacris and Demi Lovato. The fireworks finale is at 9:45 p.m. Note: Guests can enter the Parkway through gates at 20th Street and Logan Circle beginning at 4 p.m.

Philadelphia Chinese Lantern Festival at Franklin Square

When: June 21-Aug.13

Where: Franklin Square, 200 N. 6th St.

Celebrate the Year of the Rabbit among dozens of spectacular glowing installations, live stage performances, festival-themed crafts by Chinese artisans, international food and drink and the Dragon Beer Garden.

SHOPPING

The Philadelphia Bookstore Crawl

When: Aug. 26

Celebrate Philadelphia’s vibrant bookstore scene where two dozen participating indie bookstores around town are hosting unique and special events with discounted books, giveaways and in-store author signings, with numerous bestselling and award-winning authors appearing at shops throughout the city.

Good’s Vintage

Where: South Philadelphia’s Italian Market

Give vintage and antique items a second life by checking out local antiques dealer Keith Allibone’s independent business. This small shop specializes in hand-picked rare jewelry, distinct home decor and other treasures curated by Keith himself. Good’s Vintage sells exciting pieces for everyone, ranging from $5 to $15,000, amidst the burgeoning vintage scene in Philadelphia.

Baltimore Avenue Dollar Stroll

When: Sept. 7

Where: Baltimore Ave. between 40th St. and 51st St.

Enjoy some inexpensive fun with West Philly’s bi-annual tradition, Baltimore Avenue Dollar Stroll in University City with free family-friendly programming, pay-as-you-go food and $1, $3 and $5 deals from vendors and neighborhood businesses.

MUSIC AND ART

Rising Sun: Artists in an Uncertain America

When: Until Oct. 8

Where: Pennsylvania Academy of the Fine Arts, 118-128 N. Broad St.

The African American Museum in Philadelphia and the Pennsylvania Academy of the Fine Arts are showcasing installations by two dozen artists exploring the question: “Is the sun rising or setting on the experiment of American democracy?”

Lancaster Avenue Jazz & Arts Fest

When: July 15 | 12-7 p.m.

Where: Saunders Park Greene, 39th & Powelton Ave.

Dance along to Philly’s unique jazz musicians, visit community vendors with locally-made goods, or try food-truck eats.

The Philadelphia Orchestra Presents: “Jurassic Park” in Concert at The Mann Center

When: July 22 | 8 p.m.

Where: The Mann Center, 5201 Parkside Ave.

Celebrate the 30th-anniversary of “Jurassic Park” while listening to John Williams’ iconic score live as the 1993 film plays in high definition across three enormous screens.

Made in America on the Benjamin Franklin Parkway

When: Sept. 2-3 

Where: Benjamin Franklin Parkway & North 21st St.

Two-day music festival held every Labor Day weekend. This year’s lineup includes SZA, Lizzo, Ice Spice, Miguel, Tems, Coco Jones, Lil Yachty, Weston Estate and more.

FILM/MUSICALS/PLAYS

BlackStar Film Festival

When: Aug. 2-6

Where: Various locations in Philadelphia (TBA)

Attend the nation’s premier fest for Black, Brown and Indigenous filmmakers, showcasing features, shorts, documentaries, panel discussions and parties to venues citywide.

Musicals at the Academy of Music

Where: Academy of Music, 240 S. Broad St.

Support student artists at the upcoming shows:

“Moulin Rouge! The Musical”

When: July 5-30

“The Lion King” at the Academy of Music

When: Aug. 16-Sept. 10

Shakespeare in Clark Park: “Two Gentlemen of Verona”

When: July 26-30 | 7 p.m.

Where: Inside “the Bowl” in Clark Park, 4300-4398 Baltimore Ave.

This theater company hosts free, outdoor productions of Shakespeare’s plays, creating a cultural event accessible to the greater Philadelphia area. Reimagine the world of the park through the works of Shakespeare. This early comedy inspired future Shakespearean plays, exploring familiar themes of friendship and the foolishness of lovers.

Opera Philadelphia’s Festival O23

When: Sept. 21-Oct. 1

Where: Various locations including The Wilma Theater, 265 S. Broad Street

Live performances, opera film screenings and panel discussions at venues with performances including Grammy-winning soprano Ana María Martínez, award-winning baritone Quinn Kelsey and more.

HISTORY

Disney100: The Exhibition at The Franklin Institute

When: Until Aug. 27

Where: The Franklin Institute, 222 N. 20th St.

Celebrate 100 years of The Walt Disney Company and its world premier in Philadelphia with behind-the-scenes glimpses into the creation of the company’s most popular characters, films, shows and attractions.

The Official Historic Philadelphia Walking Tour 

When: Saturdays only through Sept. 2

Where: Tours depart from the Independence Visitor Center

Brand-new 45-minute tour led by a rotating cast of costumed history makers portraying one of three real-life Philadelphians.

Twilight Tours hosted by Independence National Historical Trust 

When: 6 p.m. daily through Sept. 4, 2023
Where: tours depart from the Commodore Barry Statue behind Independence Hall

One-hour walks along the cobblestone paths of the Historic District.

Philly Gayborhood and LGBTQ History Tours from Beyond the Bell Tours 

Learn about the community’s controversies, paradoxes and hidden histories and the nation’s longest continually operating LGBTQ+ bookstore; work of activists, and history of Pride.

ARTS FESTIVALS

Philadelphia Magic Gardens

When: Wednesday-Monday | 11 a.m.-6 p.m. 

This art environment is open to the public for self guided tours of the permanent mosaic art installation and temporary exhibitions. Some programs include:

Twilight in the garden series

When: ​​Fourth Fridays, June–October | 7-10 p.m.

BYOB with live performance, adult art activity and self-guided tours.

Garden party

When: July 12 | 5:00-8:00 p.m. 

Happy hour series for arts and crafts and music in the sculpture labyrinth.

2nd Street Festival

When: Aug. 6 | 12-9 p.m.

Where: Northern Liberties: North 2nd Street from Girard Ave. to Spring Garden St.

Party with live music, merchants, cocktails and a range of gourmet food.

Independence Blue Cross RiverRink Summerfest

When: Until Sept. 24

Where: Independence Blue Cross RiverRink, 101 S. Christopher Columbus Blvd.

Penn’s Landing’s annual extravaganza hosts boardwalk games, carnival rides, mini-golf, an arcade, the city’s largest outdoor roller skating rink and much more. There is a variety of food and drinks including the funnel cake at Skelly’s, the creative cocktails at The Lodge Bar and the Crabfries at Chickie’s & Pete’s. 

NATURE/OUTDOORS

Eakins Oval Pop-up Outdoor Space

Where: Benjamin Franklin Parkway

Pop-up outdoor space to enjoy art, music, and free entertainment and concerts at The Oval XP with a beer garden, a mobile Ferris wheel, a Summer Sound Stage, a carousel and more.

Spruce Street Harbor Park

When: Until Sept. 24

Where: Spruce Street Harbor Park, 301 S. Christopher Columbus Blvd.

This is the perfect escape to relax and unwind with hammocks, patio and arcade games, musical performances and tasty treats from local vendors along the boardwalk.

Delaware River

Spend time on the water with a stunning river cruise or visit the Independence Seaport Museum, which offers a family-friendly paddle boat experience and kayak excursions.

Cherry Street Pier

Take a look at local artists’ work in progress, purchase goods from these creators and grab a bite with seating overlooking the Benjamin Franklin Bridge.

OUTDOOR MOVIE SCREENINGS

When: June-October

Every year, Philadelphia hosts various outdoor movie screenings under the stars including:

• The Betsy Ross House screens classic science fiction movies in its courtyard. 
• West Philadelphia, Sunset Social hosts outdoor movie nights each Wednesday on the lawn of Cira Green.
• University City has partnered with Philadelphia Parks and Recreation and Friends of Clark Park to offer Movies in Clark Park every Friday night in August. 
• Picnic with your friends for Movies @ the Mann where a live orchestra plays along to blockbuster films.

FOOD AND DRINKS

Local Farmers Markets

• Saturdays at Clark Park’s farmers Market.
• Tuesdays and Saturdays in Rittenhouse Square Park.
• Sundays in Head House Square.
• Thursdays at the Fairmont farmer’s market.

Philly Food Truck Festival with non-profit Kamp for Kids

When: July 29-30

Where: IKEA in South Philadelphia, 2206 S Christopher Columbus Blvd

Fundraiser with live music, food trucks, vendors, carnival games, bounce houses and more.

Center City SIPS (21+ event)

When: Wednesdays until Aug. 30 

Where: Various locations including Pagano’s Market and Bar, 2001 Market St. 

Happy hour deals at participating restaurants and bars all summer long.

Old City Eats

When: 5-7 p.m. Thursdays until Aug. 31

Where: Various locations including The Olde Bar, 125 Walnut St.

20+ participating bars, restaurants and eateries offer small plate and drink specials. 

University City Dining Days

When: July 20-30

Where: University City locations including NAM Vietnamese Kitchen

Food world tour with meal deals from locally and internationally inspired restaurants.

Founded by the hip-hop group The Roots and co-founded by Live Nation Urban President Shawn Gee, the Roots Picnic is an annual music festival held in Fairmount Park, Philadelphia. Though Philly is home to many music festivals, most notably Jay-Z’s Made in America, the Roots Picnic differentiates themselves from the rest with their personal sentiments attached to the initial formation of the festival in 2008. 

I was lucky enough to have the ability to attend the first ever Roots Picnic Con, a free one-day convention filled with informative sessions about topics ranging from achieving financial health to the importance of music education and creativity in Philadelphia school districts. These panels were very informative, as they gave me insight into the values of the Roots Picnic founders: lifting up and advising the Black citizens of Philadelphia. These kinds of financial and educational programs are indispensable for the citizens of Philadelphia, serving as catalysts for empowerment, social mobility and economic growth. By equipping individuals with financial literacy, access to capital, quality education and career opportunities, these programs address the systemic barriers that affect marginalized communities and provide the necessary tools for success. 

In the last panel of Roots Picnic Con, panelists Shawn Gee, Ilia Ghee, Geoff Gordon, Jazelle Jones, Brandon Pankey and Tarik “Black Thought” Trotter went into detail about how much Philadelphia and its citizens matter to them. Their idea for The Roots Festival was a place where Black people can unify and enjoy themselves without fear of any sort of violence or conflict. the Roots Festival is a safe place for everyone, so much so that every year hundreds of tickets are given out for free to students in the Philadelphia area so they can see their favorite acts live. While Roots Picnic did hold the 2016 Roots Picnic festival in New York, the panelists discussed the importance of the festival continuing in Philadelphia. They also spoke about the significance of Philadelphia-born artists and their involvement with the Roots Picnic, with Trotter mentioning rapper Lil Uzi Vert and how they used to perform outside the Roots Picnic festival, only to become a headliner a few years later. 

I also found the panel very educational, as the panelists went into the specifics of orchestrating a festival of this capacity, speaking about things from booking artists to choosing venues and vendors. There were a lot of people in the audience who were a part of the entertainment industry in some way or wanted to be a part of the industry, so the fact that they shared this information was very generous and shows how they are open to assisting other Black creatives so they can do the same and develop their own festival or other projects. 

The first annual Roots Picnic Con showed me that the Roots Picnic is a lot more than a festival. The creators of the Roots Picnic are dedicated not only to producing a good set of performances, but also to fostering an experience that can empower those who have attended to do the same for themselves. Though they admit they still have a long way to go with the picnic, it is clear that the creators have a deep love for Philadelphia and the culture associated with the city, which blossoms each year into a wonderful experience for everyone involved.