The Make the World Better Foundation (MTWB) hosted its annual concert benefit, this time extending the event into a double-night bill, with shows both Friday and Saturday at The Dell Music Center. The venue, owned and operated by the City of Philadelphia, is truly a hidden gem. Primarily hosting R&B, gospel, jazz, and classical concerts, it's a venue I’ve actually never been to, at least according to memory (though there’s admittedly some hazy periods back in the day…) That said, I hope this show specifically opens it up to a wider swath of artists who wouldn’t traditionally book there, or, at the very least, I hope this brings attention to the venue itself and gets more of the community involved and in attendance. It’s immaculately run and a clear source of pride for all involved. Also, it has, without question, the friendliest venue staff I’ve ever encountered in my entire life. A group of people lovely enough that I kind of just want to go hang out with them on the lawn. But onto the event...
Spearheaded by former Philadelphia Eagles defensive end (and current Eagles executive) Connor Barwin and local awesome dude Jeffrey Tubbs, MTWB serves a dedicated mission of urban revitalization and providing community spaces with a focus on recreation, sports, and art. And, as Ratboys lead singer Julia Steiner echoed during the show, it’s nice to have an organization dedicated to creating spaces where kids can simply be outside and away from their devices, living life in the most literal “touch grass” sense of the phrasing. You know, like we used to in the 90s…
Ultimately, the weekend served to be a celebration of community, the city of Philadelphia, music, the Eagles (go birds), and all-around good vibes. It’s the perfect mid-summer event, period. If you missed this one, mark your calendars for next year.
NIGHT 1:
RATBOYS
Chicago-based alternative band Ratboys have been cranking out quality music for more than a decade. I was very late to the party, but because of my friend Andrew’s persistence, I finally gave them my overdue attention with the release of their latest album, Singin’ to an Empty Chair.
Originally consisting solely of lead singer and guitarist Julia Steiner and her partner, lead guitarist Dave Sagan, the band churns out the kind of alt-rock-pop-folk mix that leads to the perfect soundtrack for pleasant, sun-filled days. While they are primarily rooted in the world of alt-rock, alongside contemporaries The Beths and Blondshell, they also have a knack for effectively employing a diversity of sounds that wade into other subgenres, including bluegrass and pretty much every other flavor of guitar-based alternative that presently exists. While clearly displaying an ability to evoke hard-rocking, guitar-driven riffage, the band is able to deftly and seamlessly maneuver between the loud pops of rocking out with the sublime and dreamy pedal steel and psychedelic, effects-adorned soundscapes that summon the feeling of letting your mind wander beneath the shade of a big tree on a hot summer day.
And all of this makes for a hell of a live show. Joined by drummer Marcus Nuccio and bassist Sean Neumann in 2020, the full outfit embodies a perfect balance of instrumental focus, catchy melodies, technical proficiency, and just raw, upbeat energy. Additionally, the aforementioned pedal steel is deployed expertly by touring member Andy Red, who swaps between that and an electric guitar, adding another layer to the full mix of the band’s electrifying performance.
Ratboys are a phenomenal example of the studio-to-live translation. I’m still amazed at vocalists as talented as Steiner, who are able to retain key, pitch, and cadence across the years and countless performances, and to do it all while shredding with a flying-V guitar.
The between-songs banter from Steiner was earnest and sincere, but the most memorable highlight was ending their set with the promise of a LeBron James appearance before clarifying that he texted her he’d missed his flight. While very clearly tongue-in-cheek, it was doubly hilarious to see the crowd’s immediate, knee-jerk excitement at the mere mention of his name. LeBron would serve to be a crowd theme throughout both nights, [very, very] understandably so.
In short, Ratboys are absolutely it. They have the chops, the talent, the songwriting, and the magnetic energy that make for a great live show. For anyone who’s a fan, I can’t recommend their performance enough. And if you aren’t, what are you waiting for?
SETLIST
Alien with a Sleep Mask On
Victorian Slumhouse
Anywhere
Penny in the Lake
Know You Then
Morning Zoo
I Go Out at Night
Light Night Mountains All That
Black Earth, WI
PAVEMENT
“Fuck Dallas.”
Ok, context: Stephen Malkmus’ daughter, Sunday, was in attendance rocking a kelly green Saquon Barkley jersey. As we learned, courtesy of Connor Barwin’s brief introductory anecdote, she is a soon-to-be Drexel attendee who has gone all-in on her love of Philadelphia (or, at the very least, the Eagles). And it’s because of her love for this city and its football team that we landed Pavement as the night one headliner… so, regarding the context of the line itself, aside from it being as colloquial as “good morning” around these parts, it was evidently her message to the crowd when she came on stage as Pavement played a show in Dallas. Causing a ruckus in enemy territory? Is there a greater showcase of bleeding green than that? Legendary. If anything, “Sunday is for the birds” now carries a double meaning in the Malkmus household.
Anyway, Pavement is awesome, but we all already knew that. They are perhaps the embodiment of the persevering, artistic-merit badge-of-honor historically dubbed as being “indie darlings.” However, I would like to note that they lack the pretentious, cynical, self-seriousness of some of those who followed them in the ensuing decade-plus. You know, the ones who a certain internet publication declared Gods amongst us every time some obscure and now long-forgotten artist released an avant-garde exploration of why being an asshole is ”cool.” Contrarianism at its best (i.e. the worst). But I digress.
Perhaps Pavement coming into the spotlight in tandem with the height and subsequent downfall of grunge and mainstream alternative proved that they didn’t need to serve as some form of musical antidote to populist appeal, but rather that they were free to do their own thing on the fringes of that world. And do it they did. The sardonic wit is ever-present, but it’s a band full of goofy guys who clearly also actually enjoy writing and performing music. And they don’t seem to take anything too seriously. They know how to write hooks and riffs that’ll get stuck in your head for weeks (or years), they’ll make deep philosophical declarations and then follow it up with novel and mundane observations about everyday life and innocuous happenings, and then they’ll add some weird chords and vocal interjections into the mix. And I’m happy to say it all still translates live 27 years after the release of their last album, Terror Twilight.
Pavement. Photos by Justin Stercula.
Rocking a green “BIRDS” hat in solidarity with his daughter, lead singer and guitarist Stephen Malkmus emerged on stage with his band in tow, featuring Scott Kannberg on guitar and vocals, Mark Ibold on bass, Steve West on drums, multi-instrumentalist Rebecca Clay Cole, and the band’s eternal hype man and jack of all trades, Bob Nastanovich. Aside from the addition of Clay Cole, the band retains all its original members. Having just seen contemporaries Spoon with a much different lineup than when they started, it’s really nice to see the gang fully together over three decades removed from their inception.
The set was a diverse mix of their five LP discography, leaning heaviest on debut album Slanted & Enchanted, along with some relative obscurities and a Pink Floyd cover thrown in for good measure. The most surprising aspect for me was how “jammy” they can get. They’re able to just riff off of each other and extend tracks or add subtle intricacies not present on the studio recordings in ways that make a band that already kind of always sounds “live” in the studio sound truly “alive” on stage. And I have to add that the absolute madman energy of Nastanovich is amplified tenfold in a live setting. His cries, screams, backing vocal harmonies, and general stage antics were on a whole other level from anyone else all weekend. During “We Dance,” he invited an audience member on stage, where his function was not to play any instruments, but simply to waltz around the stage with his impromptu dance partner. These kinds of quirks are unique to bands like Pavement who toe the line between “we’re at our job” and a wink-and-a-nod surreal fascination that this is their job.
The band delivered on all fronts with a lengthy set, playful banter, and an ability to somehow sound completely unchanged over three decades later. This was a performance that I can genuinely say was a privilege to witness. They’re a legendary act still capable of humbly reminding everyone exactly why they’re legends.
SETLIST
Silence Kid
Grounded
Stereo
Zurich Is Stained
Frontwards
Trigger Cut
Embassy Row
In the Mouth a Desert
Two States
We Dance
Debris Slide
Date w/ IKEA
Perfume-V
Harness Your Hopes
Lucifer Sam (Pink Floyd cover)
Cut Your Hair
Type Slowly (Extended version)
Kennel District
Range Life
Encore:
Spit on a Stranger
The Hexx
Summer Babe
Here
NIGHT 2:
TWISTED TEENS
I’d be remiss to not give props and attention to this band. I missed the full set on account of the various logistical, social, and travel-related shenanigans of night two, so I can’t in good faith give a comprehensive recap. That said, they deserve credit and admiration simply by virtue of being on this bill and performing with top-tier contemporaries. I’ve also heard their praises from trusted sources (thanks, Tim), who liken them to Parquet Courts and offer a genuine seal of approval. So, my apologies to Twisted Teens, but I will catch you all next time.
I can’t imagine a better band to soundtrack the setting sun on a clear summer night.
THEY ARE GUTTING A BODY OF WATER
TAGABOW have an already stellar reputation as local shoegaze-ish heroes within our scene that has now extended well beyond the city limits and into the world of critical acclaim, best-of lists, and artists to pay attention to. Their live sets sometimes offer a unique setup in which they occupy the center of the venue (when feasible) and face one another as opposed to standing on stage and playing at the audience as is typical of 99.9% of performing artists. Their performance style lends a degree of immersion that encapsulates and hypnotizes the spectator. It’s like an alt-rock siren song, and I found myself absolutely mesmerized for the duration of their set Saturday night. And while they were on the stage at an amphitheater for this particular performance, their identity and aura carried through and remained fully intact, made significantly more dramatic as the sun disappeared beneath the horizon.
Originally a solo project of lead singer and guitarist Douglas Dulgarian, the band has extended into a full lineup consisting of bassist Emily Lofing, guitarist PJ Carroll, and drummer Ben Opatut.
Because of the shoegaze label, it’s easy to draw comparisons to My Bloody Valentine or Darker My Love. But this band expands so far in a multitude of directions that their identity remains wholly unique. There are elements of Mogwai and Explosions in the Sky mixed with sludge metal, early Smashing Pumpkins loud/soft dynamics, and more avant-garde acts like Slint. Their song structuring offers unique time signatures, sudden dynamic shifts, and creates an aura of unpredictability without losing the musical thread. The set served to be an intricately woven sonic web of a narrative in the form of soundscapes both colossal and ethereal.
There was no chatter beyond a rogue “Go Birds” delivered jokingly and then an abrupt “thank you, and goodnight” as their set went from 100 to 0 in an instant before they left the stage. It was pretty fucking cool how they ended their final song, as it was akin to emerging from a trance via a bucket of ice water, suddenly becoming aware of myself and my surroundings. “Right, I’m at a concert…”
In short, this is a band I look forward to seeing again (like at Union Transfer in December) and one that, if they’re not already on your “local musical hero” radar, you should add immediately.
What can you really say about Kurt Vile as a Philadelphian that hasn’t been repeated ad-nauseum? He’s arguably the most noteworthy and legendary contemporary Philly-based musician. His reputation over the last two decades has only grown in terms of critical acclaim, popularity, collaborations, performance chops, and, most importantly, his absolute love for the City of Philadelphia as being critical to both his personal and musical identities.
KURT VILE & THE VIOLATORS
When he came on stage with Courtney Barnett earlier this year, his first words to the Fillmore audience was “my people.” His newest album, of which this show is part of the tour, is literally called Philadelphia’s Been Good to Me. His merch is variations of vintage Phillies logos. He’s always around town (when not on tour); his Wakin’ on a Pretty Daze mural remains proudly displayed a couple blocks north of me in Fishtown. He’s, simply put, the most emblematic Philadelphia artist active today. And how lucky are we? Because he’s, by every account, a great human being.
And that fact seems to be consistently solidified by his mere stage presence. Like a faithful dog in human form, Kurt Vile’s entire vibe elicits a sense of deep love, joy, and respect. I’ve never seen a performer smile as much as him. With his parents, friends, and peers all in attendance for his homecoming performance, Vile and his longtime bandmates, The Violators, took the stage to raucous applause and palpably high energy. It’s kind of a direct contrast to the style of much of his music, which can so often for me serve as the soundtrack to absolutely chilling the fuck out. But, as with every great talent, Kurt and his bandmates, guitarist Jesse Trbovich, drummer Kyle Spence, bassist Adam Langellotti, and keyboardist Matthew Jugenheimer, are able to inject significant levels of musical “oomph” into the live renderings of each of their songs. The loud parts are louder, the jamming is more exploratory, and even the acoustic guitar strings sound like they’re echoing through the heights of the city skyline.
As musicians, each of them is unquestionably top-notch. From the blues-rock-inspired jams to Vile’s intricate finger picking, to the complementary harmonies across various instruments, they’re just tight as hell. And I’m glad Vile’s FOH got a shoutout, because the mix was phenomenal. You can clearly hear every single instrument; all notes, chords, harmonics, words sung and spoken, cymbal flares, snare taps, keyboard presses… truly all of it is presented with crystalline clarity. And the veteran performer status of Vile and his bandmates only served to showcase the wonders of such talented musicianship emanating so sharply from the PA system. I’ve never been one for technical proficiency. Give me Cobain over Satriani. Four chords and a well-written song beat virtuoso noise any day. But seeing artists like Vile, whose technical proficiency complements rather than overwhelms the ability to be a good songwriter, is maybe the most important thing for me as a listener. I have little doubt Kurt Vile could make an album with the sole purpose of showing off his immense skillset. But thankfully, he has a knack for writing catchy melodies and crafting incredible songs on top of it.
And live, the balance between the band’s abilities and our shared love of his chilled-out anthems creates an atmosphere that’s in perfect harmony with the sentiment of why live music can never die. When artists elevate their material to a place that’s specifically unique to a live performance setting, you can connect in a way that only truly exists in the moment. It’s why concerts will forever remain my favorite pastime. They are intangible, immaterial experiences. And I will treasure this one for a while.
As Barwin shared preceding Vile’s introduction, the now more than a decade’s worth of success with the MTWB concert series began with Kurt’s unconditional and immediate participation in the inaugural show in 2014. Since then, it’s evolved to what it is now with various local vendors and the largest venue yet in The Dell. So it’s poetic, but perhaps even just logical, that Kurt Vile is the one to headline again 12 years later on the heels of his album celebrating the city he’s from.
And celebrate he (and we all) did, tearing through a setlist that included top picks across his career, but featuring some new album highlights, including my personal favorite track “Chance to Bleed.” I know I’m a broken record at this point, but seeing Vile in Philadelphia, performing songs from his album about Philadelphia, at an event celebrating and aiding the City of Philadelphia is just such a “high on life” experience that I’ll remember for a long time.
The event itself is noble and important in its purpose and mission, but it’s also just plain fun. I'm genuinely already excited for next year’s continuation and evolution.
Philly really has been good to us.
SETLIST
Red Room Dub
Zoom 97
Hey Like a Child
Rock o’ Stone
99 BPM
Blackberry Song
Girl Called Alex
Chance to Bleed
Like Exploding Stones
Mount Airy Hill (Way Gone)
Pretty Pimpin
Wakin' on a Pretty Day
Encore:
Bassackwards
You Don’t Know Cuz It’s My Life
99th song
Every Time I Look at You
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