Caitlyn Grabenstein got involved in the Philly music scene while attending Saint Joseph’s University a few years ago. After graduating, however, she moved to Nashville for a job.
While down south, she launched a live music series, Bandade, that benefits the American Cancer Society.
Caitlyn recently returned to Philly and she’s bringing her events here. The first one is on Sunday at Milkboy.
We talked to her about the series and what she has planned for the Philly debut.
What is Bandade where did the idea come from?
Bandade is a charitable business that benefits cancer research with the help of nationally touring and local musicians. Participating artists have included Ingrid Michaelson, Jason Isbell, Judah & the Lion, Steve Moakler, Boyce Avenue, Portugal, the Man, Matt Hires, Carolina Story, and more. Bandade is one community, under one logo, of fans and artists fighting for a common cause.
The idea came from an experience I had during my senior year of college at Saint Joseph’s University. One of my best friends was suddenly, unexpectedly diagnosed with leukemia. While she was in the hospital I contacted Ingrid Michaelson‘s manager to see if they could do something special (we were all huge fans at the time). In response, her team sent my friend a beautiful care package of autographed tour tees, vinyls, and CDs.
About a year and a half later, after my friend’s passing and moving to Nashville, I had the thought, “How cool would it have been to have been able to order an autographed gift from our favorite artist online – and have it benefit a good cause!”
So I founded Bandade. Originally it was an apparel company that sold Bandade autographed merchandise to benefit the American Cancer Society. One logo, one community. But since, Bandade has developed into a live show and merchandise business, still all to benefit cancer research.
How does it work? Do proceeds go directly to the American Cancer Society or do you see the impact directly upon individuals?
It is a charitable business, not a nonprofit (people often get that confused). So, currently, 30 percent of our apparel sales are donated directly to the American Cancer Society. Initially, 100 percent of our show proceeds (after venue costs) were donated to the American Cancer Society. However, as we move more into the business realm and, make big Bandade plans for the future, we are going to start donating 10 percent of the door at every Bandade show. This is in hopes that we can continue to develop and book incredible talent.
Still, this show model is on a case-by-case basis because we have done individual benefit shows in the past. Actually, right before moving from Nashville, we did a special benefit for a local mother who was diagnosed with cancer. I always like to keep options like that open.
What were you doing in Nashville?
I was working for a publishing rights organization, doing mostly copyright infringement work. I love music. Maybe that goes without saying. It speaks most to me. So after having spent my entire life in the northeast, I decided to throw an air mattress and my dog in my little blue Hyundai and drive 11 hours south in hopes of working in music.
Fortunately, after a lot of hustling, countless applications and a brief stint of odd jobs, I ended up getting a position at one of the most reputable businesses in Nashville. I saw incredible shows, learned the industry from the inside out, and grew into an adult away from the comforts of home.
Why are you coming back to Philly?
Well, after that two and a half years away from home, my number one lesson was that a career will never replace the warmth and love of family and friends. Being so far away was tough. So when I was offered a new position up here, I took it.
I lived out my dream, got into the nitty-gritty of the industry, and even started a charitable business. But, like I said earlier, I went to SJU and just absolutely love Philly, so coming back was an easy decision.
What do you have planned for your debut Philly show?
The Bandade Kick-Off show March 20th at MilkBoy will showcase some amazing local talent, including Nik Greeley, Patrick Donovan, The Quixote Project and Katie Frank. We will also have Bandade merchandise available and information about getting involved. Beyond that, we have several show dates in the works for the spring and summer that will be announced soon.
Is it easy to line up talent when you explain the cause?
Hmmmm… That’s a tough one. Honestly, it really comes down to the individual artist and their management. As a musician myself, I understand the struggle of making these individual performances a sustainable profession. And I know that artists get requests like this very frequently.
With that said, the artists who do agree to perform or participate are always amazingly kind humans who are all-in the moment that I ask them. It’s because of this that I think the vibe at our shows is so positive and bright.
How do you know when Bandade has become a success?
That’s funny because before founding Bandade, I definitely measured success in a very traditional way – numbers and comparisons.
But as the business has grown, its success has surpassed my wildest dreams. Once people began hearing about Bandade in Nashville, my inbox was suddenly flooded with personal messages, people sharing their stories, from caretakers, to patients, to just empathic and giving music fans. It was truly humbling and awe-inspiring.
Since then, cancer survivors have played our shows and patients, caretakers and friends have made Bandade concerts a regular outing. I have witnessed musicians and managers be overly gracious and giving for no reason other than they just want to help. Because of these events, my calculation of success has transformed and, in my book, Bandade has already succeeded a thousand times over.
It has become exactly what I had intended, a community of music lovers fighting for a common cause, something I wish had existed years ago. Moving forward, my focus is simply to expand this reach. And I have some pretty major things planned.
Leon Bridges @ The Fillmore with Son Little.
Text and images by Daniel Mrazik.
It felt quite intentional that Leon Bridges and company strolled onto stage last Sunday evening dressed in their Sunday best at The Fillmore. Rather, the band walked to their assigned positions and started the first song “Smooth Sailing” while Bridges waited for his own cue. The cue kick-started his fittingly smooth, groove-filled, almost moonwalk strut across the stage to his pulpit for the night – the mic at front and center.
From that moment on, he was the preacher and the audience was the congregation that swayed and danced and gave praise all evening long.
The soul-filled excursion started about an hour earlier when the opener Son Little, who has collaborated with Philly-based RJD2 and The Roots, led the crowd on a set filled with calm yet emotionally-driven drum beats and guitar riffs that felt like they belonged in an earlier era.
The music that felt utterly sensual finally received its validation as Son Little asked, “Is anyone standing next to someone they are attracted to?”
With screams of agreement from everyone, he dove into a song that could have been one of Bridges’ own, setting the tone for the main event.
After Son Little exited and Bridges had come sailing across the stage, he and his ensemble treated fans to a show that defined not only classy, but also classic. Coming straight out of decades past, the 7-person group arranged themselves territorially by instrument with backup vocals and bass/organ to the left, Bridges and drums center, and saxophone and two guitars to the right. A drape-like backdrop that must have been imported from a 60s theatre completed the time-warped look that Bridges showcases on and offstage.
The performance led the audience through many of the songs from Bridges’ album. He kicked off “Brown-skinned Girl” by asking, “Wanna know what I can’t get enough of?”
He then talked about his grandfather taking notice of his grandmother’s long legs before jumping into “Twistin’ and Groovin'” and ended “Coming Home” by pretending to forget the lyrics and coaxing the crowd to help him out. He also treated fans to new material commenting that though he may always be on the road, he is still always writing. Even with only one full-length album, the music did not struggle to fill every moment of the show.
After returning to the stage for three encore songs, he saved the best for last as most of the band left for the final song. With backup vocalist Brittni Jessie dimly lit and the organist in complete darkness, he strummed and waded through “River” with all the emotion that such a socially and historically motivated song evokes. While the spotlight mostly remained steady on Bridges, it moved back and forth as vocalists traded leads. The song faded out to a last harmony and a full room left to its own contemplation.
Leon Bridges and Son Little will be playing together through the end of March when they will continue touring separately. Leon Bridges Coming Home was released in June of 2015. Son Little released his self-titled album in October of last year.
Text by Eric Fitzsimmons.
Everybody Hits, the batting cages-cum-music venue on Girard Avenue was the first stop for New York-based Ryan Camenzuli and his band, Zuli, on a seven-week tour bringing them down to Texas and back up the west coast. They joined Philly’s Static Mountain, a resident favorite and big draw for the evening, along with Souldiers of Soul and R.R. Perkins for the show this last Friday.
The evening started with R.R. Phillips’ synth-heavy instrumentals with the still-small crowd chilling around the picnic tables then gets into gear with Souldiers of Soul (below).
Zuli was in the middle of the song “Forget my Name” before anyone knew what was happening, the lights flicked off and conversations ended abruptly, but just as suddenly the music stopped.
Just a soundcheck, does it sound good? Ready for more?
With the crowd’s attention, Zuli launched into the title song off his 2015 debut EP Supernatural Voodoo. His brand of bright psychedelic pop is hard to resist, the songs are quick; “Supernatural Voodoo” clocks in at a tight two-and-a-half minutes with shades of surf rock, the Flaming Lips and glimpses of other influences peeking through on any given listen.
It took a bit for the crowd to catch the beat. Everybody Hits is one of the more intimate concert venues in the city and in this case it was less about the size than the feel. Everyone seemed to know each other and the bands and the artists hung in the back by the merch table. People streamed in mostly after 10, usually running up to greet friends already there with the groups shifting and merging throughout the night.
It was an away game for Zuli, but he knows the touring game and he was pleased to see the crowd moving along to “Better all the Time” towards the end of the set. For those who have been following since his well-received EP, there were a couple treats as he broke out two brand new songs, “Funky Feeling” and “Four Blaze.”
Camenzuli mostly hung in the back, taking in the other bands. He had some bad luck in Philly in the past – vehicle trouble mostly – and already, he hit snow and had to cancel a stop in New Brunswick when the bar got robbed. But he got to the concert without incident and was digging the show.
Static Mountain suggested Everybody Hits when he connected with them about a show and he liked the vibe. It’s a tall room with a lot of empty spaces to the side in the batting cages.
The place was just about filled up when Zuli took the stage for his six songs. When he’s finished, it looks like a house party again. A couple people step in for a round in the batting cages, but the local headliners take the stage.
As Static Mountain began their set, everyone who was mingling back by the art and merch shifted forward as images from Superman, Star Trek and The Land of the Lost flashed on the wall overhead. Static Mountain’s sound is dirtier, longer, trippier.
Camenzuli was on the floor too. He was psyched to see the home team live too, before heading to D.C. for the next stop on the tour.
Text by Donte Kirby. Images by Magdalena Papaioannou.
It was California bands SWMRS and The Frights first time in Philadelphia, along with locals Spill and Skyline The City, that made sure it was a night everyone in attendance last Friday at The Fire will remember.
Skyline The City opened the night with their brand of romantic, angst-filled pop punk. The four piece played songs such as “Awkward Silence” from their EP Misery vs. Your Apathy and newer material like “Fingers Crossed.” Songs melded lovelorn lyrics like “You can’t save me, it’s so frustrating” with upbeat melodies. Contrasting elements were a signature of their sound as guttural backing vocals set against the lead singer’s nasally vocals.
Spill took the stage next and immediately built a rapport with the crowd calling them sweethearts and exuding a laid back, cheery vibe. The band was so comfortable with the crowd that brief asides about favorite holidays or how the bassist was playing at the wrong tempo last song was met with laughter and engagement from the crowd. All the bands of the night leaned heavily towards the punk spectrum, save Spill, that boasted a more indie sound. The screaming vocals and guitar breakdowns were reminiscent of Modest Mouse, possibly a new direction the band is going as they were testing out songs to record next week.
The Frights got on stage and went straight into their set. Despite the no-nonsense start, the four-piece was relaxed and jovial on stage. Often the San Diego natives would intro their songs from You’re Going to Hate This with banter with the crowd or amongst themselves. Their sound had a laid back surfer vibe that would tsunami into punk chaos. Add snarky lyrics like “Do you think I’m cute, well it’s too late to check” to the pot and the crowd was charmed before the end of their first verse.
As charmed as the crowd was with The Frights, SWMRS excited the crowd to the point that something black and laced was thrown on stage. The Oakland four-piece told the crowd they were only getting $100 so they weren’t there for the money, they were there to see them dance, and the front two rows filled with girls was happy to oblige.
The crowd sung along with every word and lit lighters for “Miley,” SWMRS ode to Miley Cyrus. When the night was through SWMRS left the crowd with two seemingly universal truths: “You’re all beautiful. The Liberty Bell is beautiful.”
JUMP Presents the Red Bull Sound Select Featuring Moosh & Twist, Loaf Muzik, Tunji Ige and Michael Christmas on 4/21!
We’re pretty excited to announce our next Red Bull Sound Select show, which will feature Moosh & Twist, the cover boys from our summer 2012 issue. It will be on Thursday, April 21st at Underground Arts and tickets are only $3 if you RSVP here.
We curated this big night of young talent, which will also feature Tunji Ige, who is 19, and Michael Christmas, who is 21. Hip-hop collective Loaf Muzik will also perform.
As always, we’ll have a lot of surprises (like free T-shirts for the first 25 people in the building). We’ll announce things as the date nears.
Our past Sound Select shows have been massive parties (see pics from past shows with Plastic Little, RJD2 and Pissed Jeans by clicking the links). Our last show, with Vacationer, Weekender and Queen of Jeans, sold out and people had to be turned away at the door.
So, please, RSVP here ASAP and show up early!
Garage punks Le Butcherettes will perform at Underground Arts on 3/11 and we’re giving away tickets.
Like us on facebook and email us at FreeJumpStuff@gmail.com to enter to win a pair of tickets (give us your name and put “Butcherettes” in the subject line).
If you want to play it safe and get your own tickets, find details for the show here.
Text by Vince Bellino. Images by Erin Marhefka.
The British invaded Philadelphia on Wednesday night when Bullet for My Valentine appeared at The Fillmore with Asking Alexandria and While She Sleeps.
While She Sleeps set off the aptly-named “British Invasion” tour with a high-intensity set. No one on stage could stay still, running and jumping onstage throughout each song. Vocalist Lawrence Taylor interacted heavily with the crowd, even climbing on top of them at one point in their set. He encouraged moshing and expressed gratitude to the crowd for coming to see them. Taylor mentioned that he didn’t care what people had heard or said about While She Sleeps before because they were at the show anyway. He encouraged fans to come talk to the band and get to know them because they appreciate all of their fans.
Entering to a flashing, dazzling light show, English metalcore giants Asking Alexandria followed, promoting their forthcoming album, The Black, due for a late March release. It will be their first with new vocalist, Denis Stoff, formerly known for his work with Make Me Famous and Down & Dirty.
Stoff was energetic and appreciative of Philadelphia and nearby areas, saying they would always be home to Asking Alexandria because the East Coast was where they first arrived in the United States. The band played a mix of new music, including new single “The Black,” and older music, including “A Prophecy” and “The Final Episode (Let’s Change the Channel),” which drew a massive roar of excitement from the crowd as Asking Alexandria’s closing song.
Stoff and lead guitarist Ben Bruce both bantered vulgarly to the crowd throughout the night, hyping the show and Bullet for My Valentine. The two members heckled each other, even getting the crowd to chant about each other, including that Stoff is a dickhead, which their fans found incredibly funny.
Bullet for My Valentine controlled the crowd most intensely of the three bands on Wednesday. The band released its album Venom less than a year ago, playing many songs from that album, including their first three songs. It didn’t take long for Bullet to return to their classic metalcore songs, mixing songs like “4 Words (To Choke Upon)” and “Scream Aim Fire” into their setlist.
Lead vocalist and rhythm guitarist Matt Tuck took a moment to make the crowd aware that Bullet’s usual drummer, Moose, could not be at the show because he was expecting a child at home in Wales. Instead, Jason Bowld, who played drums in Axewound with Tuck, filled in. Bowld performed an intricate solo after the announcement that launched into their song “Raising Hell.”
Tuck thanked fans new and old for their support, saying anyone had a spot in Bullet’s “fucked up family.”
The band finished their set, thanked the other bands on the tour and walked off stage to chants of “Bullet” and “Tears Don’t Fall,” their hit from their debut record, The Poison, that Tuck noted just turned 10 in 2016. A few moments later, they came back on and played “Tears Don’t Fall” and “Waking the Demon,” a single from Bullet’s second album, Scream Aim Fire. These two songs had the largest crowd reactions, with fans singing along at a level comparable to Tuck’s vocals.
The floor remained packed until the last song, satisfying both new fans and old.
WIN FREE TICKETS: See GoldLink @ The Foundry on 3/15!
Washington, DC’s D’Anthony “GoldLink” Carlos will perform at The Foundry on 3/15 and we’re giving away tickets.
Like us on facebook and email us at FreeJumpStuff@gmail.com to enter to win a pair of tickets (give us your name and put “GOLDLINK” in the subject line).
If you want to play it safe and get your own tickets, find details for the show here.
Philly’s own Beanie Sigel will perform at The Troc on Sunday with Jahlil Beats and we’re giving away tickets.
Like us on facebook and email us at FreeJumpStuff@gmail.com to enter to win a pair of tickets (give us your name and put “BEANIE” in the subject line).
If you want to play it safe and get your own tickets, find details for the show here.
Ryan Tennis has traveled the world and brought back bits and pieces of things he encountered along the way. He’s incorporated various sounds and styles into a new album, The Easier Mile, which will officially be released Friday at his show at Milkboy.
We caught up with the globetrotting musician from South Philly and talked to him about his latest project.
Where you been? Haven’t seen new music from you in minute.
I’ve been on the road! One of my goals when I started playing was to be touring internationally, sharing my music with other cultures and learning from theirs. In the last couple years, that’s become a reality. I just returned from a six-city tour in Colombia, and on March 14th I’ll head out on tour again for a month in Argentina and six weeks in Europe.
Tell us about the tours in South America.
The energy of the people is incredible – the rhythm, the language, the dancing. There’s a warmth and a zest for life that rubs off on you, literally and figuratively. Colombians specifically are a lot more comfortable with physical contact, and personal space is not particularly important. The hospitality is also amazing. We’ve always felt so welcomed there, both by crowds and by the friends and families who have put us up and fed us while we’re traveling. The key with the shows is to keep the energy up. The crowds just wanna dance!
How did the relationship with El Caribefunk begin?
Three years ago I went to Colombia to visit my brother, Bronson, who was playing bass with El Caribefunk. I’d been hearing about this amazing group of guys for a long time, and the day after I arrived in their city of Cartagena, I had the opportunity to open for them.
The show went great, so they invited me to go on tour with them as the opener. For three weeks, we were sleeping two-to-a-bed in tiny rooms, cramming onto packed buses, putting together last-minute shows, busking on the streets, and figuring everything out as we went, but it was such an expansive time for me. I was totally immersed in Spanish and picking it up as I went. Even more, I was immersed in Latin music all day and night.
With the Caribefunk guys, every free moment was a moment to jam or write. I’d never experienced that kind of flow before, and from that first time I saw them perform, wheels were turning in my head about how to get them to the states.
Fast-forward three years and I’ve organized tours and hosted them at my house (the Clubhouse) for the last two summers, and with their help have toured three more times in Colombia and once in Argentina, with another tour their coming up in March. At this point we’re like brothers.
Are you still doing your house shows?
I am! In the 8 years since moving to South Philly we’ve hosted more than 70 Clubhouse Concerts with groups like El Caribefunk, Swift Technique, The West Philly Orchestra, Hezekiah Jones, De Tierra Caliente, Chris Kasper, Mieka Pauley, Devon Sproule and too many other great acts to name.
The crowds and shows have changed over the years – we’ve shifted towards more of a dancey, funky, world music vibe recently – but we’ve always had a foundation of warmth, openness and great music. We want people of all ages and backgrounds to feel welcome and comfortable being themselves when they’re here. My mom has helped a lot with this. Whenever she can, she works the door. She’s great at making people feel comfortable and welcome right when they walk in.
Who did you work with to create The Easier Mile?
I recorded The Easier Mile with Pete Donnelly (the Figgs, Soul Asylum, NRBQ) who I had worked with on a previous album. My group, The Clubhouse Band, and I have been busting our asses over the last few years playing clubs, tours, parties, even weddings and we’re really comfortable together. Pete is great at capturing the authentic, raw energy of music, so the recording process happened quickly and easily (which fits the title of the album I suppose).
This is also my most diverse album to date. Our live shows touch on a lot of styles and rhythms, and this album reflects that. We’ve got an Afro-Caribbean song, a cover of “Harlem” (a soul song by Bill Withers), some reggae, some folk. It’s the kind of album that’s going to keep you on your toes.
What can people expect from the release show on Friday?
You can expect all that variety but also you can expect to dance! We’ve got two great opening acts – Looseleaf and Chickabiddy. Then, we’ll play the album through. Afterwards, I’ll invite some friends and bandmates to sing some tunes. Then we’ll mix the closing set with some older originals and covers by our favorite artists (some Stevie, a little Bill Withers, maybe even some 90’s hip-hop), and we’ll play til we can’t play anymore.
Oh, and you can also expect to walk out The Easier Mile in your hands – everyone who comes will get a free copy!
JUMP: The Philly Music Project 