Ruby The Hatchet: “All the Songs We Wrote Over the Course of a Year Were With Purpose.”
Text and images by Rick Kauffman.
Ruby the Hatchet have very subtly been putting on kick-ass shows in Philadelphia that just recently have culminated in a bloody New Years Eve banger and a Friday the 13th album release show that saw the band perform their sophomore release, Valley of the Snake, in its entirety.
For those who didn’t grab the vinyl early, the album final drops today.
Through six tracks, the quintet, whose members, save for one, all live together on the wrong side of the Ben Franklin Bridge, offer another example of how Philadelphia, far and wide, has talent across all genre.
Women in particular have had a growing platform in this city that offers new and emerging positions in leading roles with new and progressive sounds. Jillian Taylor, leading lady and vocalist for Ruby the Hatchet, found a unique opportunity to help craft an original sound.
“Women have this witchy quality that men can’t really convey,” Taylor said. “With heavy music, too. It cuts more if you have a higher voice … at least in our genre, I think. That’s why you see a lot of women, because it works really well.”
Paper Route, Royal Tongues and Upperfields @ Johnny Brenda’s.
Text and images by Tyler Horst.
Sunday night is just as good as any night to party. The decked-out upstairs space at Johnny Brenda’s filled with a steadily growing crowd over the course of the evening for some very feel-good music from Paper Route (above), Royal Tongues and Upperfields.
First up was local band Upperfields, a folk band with pop sensibilities and an ear for harmonies. The songs were mellow but with a distinctly upbeat feel. Guitarists Shaun Gold and Justin Nawn’s sweeping combined with the soulful, resonant bass of Lee Clarke created a rich sound. For the final number, Gold and Nawn encouraged the crowd to join in the harmonies of the song.
Taking things to a more energetic place was Royal Tongues. Only on their eighth show as a band, Royal Tongues wowed the audience with their well-crafted and fun brand of dance-rock. With a driving rhythm section, poppy synths and some sharp, disco-esque guitar lines, Royal Tongues pushed many to tap their feet and dance. With such confidence and skill, Royal Tongues seemed a much older band.
“You’re such a beautiful crowd, can we take a picture of you?” asked singer Aaron Bonus toward the end of the set. The drummer climbed atop his seat and snagged a photo of the delighted crowd.
Closing out the evening was Paper Route. The room had filled out considerably since the beginning of the night, and the band was grateful.
“Thank you for braving the snow and the Oscars to come see us tonight,” said J.T. Daly.
Paper Route launched into a set of anthemic rock songs with heavy additions of electronica. The sparkling synths and expansive guitar riffs provided space for Daly’s soaring vocals. Many of the songs featured lifting melodies with vulnerable lyrics, suggesting a sort of guarded optimism, like watching the sun come out after a rain shower. Others were more straight-up dance tracks, owing more to synth-pop and ’80s new wave.
Even though things didn’t wrap up until around midnight, the audience still demanded an encore … and got one.
The Disco Biscuits @ The Electric Factory.
Text and images by Chip Frenette.
The Philadelphia-based Disco Biscuits played three nights at The Electric Factory this past weekend.
On Saturday, they played a three-set show. The laser show that accompanied the music was a sight that added to the incredible blend of jazz, electronic and funk that truly is what a jam band can be.
The Disco Biscuits will take a break now, returning to the stage in April for a show in Florida before moving on to Colorado, where they will begin a four night run with legendary jam band artists Phil Kreutzmann and Mickey Hart of The Grateful Dead.
Text by Tim Mulhern. Images by Emily Scott.
Touring in support of their most recent release, an EP titled Pioneer of Nothing, You Blew It! (above) brought Tiny Moving Parts, Sorority Noise and Rozwell Kid to The Barbary on Thursday night.
Kyle Blessing @ Saige Cafe.
Text and images by Diana Shalenkova.
The glass doors kept out the howling winds and the tangerine walls radiated a sunny disposition Thursday night at the Saige Café, where Kyle Blessing, a Temple University freshman, radiated an air of nervous confidence as he set up for his first gig.
Armed with only an acoustic-electric guitar and a mic stand and tuning between songs, Blessing played a variety of covers such as Johnny Cash’s “Ring of Fire,” The Handsome Family’s “So Much Wine” and the Grateful Dead’s “Brown-Eyed Women,” along with some of Blessing’s originals.
“This one’s about being homesick,” Blessing said about “Places I’ve Been,” a song he wrote in his first semester. “I’m kind of surprised I wrote this because generally I don’t get like that. But it happened.”
Blessing doesn’t wear his heart on his sleeve. As he sang “Places I’ve Been,” with his eyes closed, hair in his face, his voice milky as he belted the lyrics, almost pleading, it was apparent that Blessing’s heart lives in his music.
Blessing performs at Saige Café every Thursday at 6 p.m. Ask him to play “How to Break Your Own Heart.”
La Peg: A Hub for The Arts and Food.
Text by Dan Halma. Images by Charles Shan Cerrone.
An abandoned high pressure pump station isn’t the typical first choice for a restaurant but according to Peter Woolsey, executive chef and proprietor of La Peg, the building was “the first property that made sense” for his new restaurant. Located at 140 N. Columbus Blvd., La Peg officially opened its doors for business on Aug. 25. It sits nicely next to the Benjamin Franklin Bridge and directly across the street from Race Street Pier. Through the sizable floor-to-ceiling windows that are set into the original glazed brick walls of the pump station, diners are treated to fantastic views of the Delaware River waterfront as they savor Woolsey’s take on traditional brasserie fare.
French for brewery, a brasserie traditionally serves casual, yet refined food in a setting that is more relaxed than its cousin, the bistro. La Peg’s menu reflects this tradition. Woolsey insists that La Peg’s cuisine is “inspired but not strict” in its take on brasserie offerings.
“For example, we have Pho,” Woolsey says, “but it’s Pho through a Frenchman’s eyes.”
Originally from Lower Merion Township, Woolsey now lives in the Pennsport neighborhood of Philadelphia and is no newcomer to the art of cooking or being a restaurateur. Cooking since the age of 18, Woolsey has worked in restaurants across the country, under famous chefs and restaurateurs including Georges Perrier of Le Bec-Fin, Stephen Starr of the Starr Restaurant Organization and Alfred Portale of Gotham Bar and Grill.
What provided the springboard for Woolsey’s career in French cuisine was a chance move to France in 2000.
In France, Woolsey studied pastry making and worked at Lucas Carton, the famous Paris restaurant now owned and operated by chef Alain Senderens. Senderens is credited as one of the founders of nouvelle cuisine, an approach to French cuisine characterized by lighter and more delicate dishes with emphasis on presentation.
“France just happened,” Woolsey says. “I’m not a Francophone by any means but France is where I ended up. Now I speak French fluently, I’m married to a French woman and I run French restaurants.”
Woolsey owes not only his time in France to shaping La Peg’s cuisine, but also its name. When asked about it, Woolsey smiles and undoes the buttons of his flannel shirt and reveals the words “La Peg” which have been tattooed on his upper left arm for the past 10 years.
“I had this done when I got married,” Woolsey explains. “My wife’s name is Peggy but her father had nicknames for each one of his children. Her nickname was ‘La Peg.’”
The menu at La Peg serves as a testament to Woolsey’s time in France. On the brunch menu, diners can savor a variety of options including crepes, eggs florentine and benedict, pork terrine and the house mesclun salad. Patrons arriving for dinner can expect options including foie gras, pan roasted striped bass, beef and tuna tartare, pork cheek carbonade and choucroute garnie.
After moving back to Philadelphia in 2002, Woolsey continued to refine his craft and in 2008 opened his first restaurant, Bistrot La Minette, located at 623 S. Sixth St., where he still serves as owner and proprietor. While both restaurants follow a French tradition, Woolsey seeks to make a distinction between the two.
“Where Bistrot is inviting,” he explains, “I want La Peg to be exciting.”
The restaurant’s location on N. Columbus Boulevard is the perfect space to do so. In addition to housing La Peg, the building is also home to the offices and theater of Philadelphia’s Fringe Arts, curators of the annual Fringe Festival.
When searching for locations for the Fringe Arts space, president and co-founder Nick Stuccio had a specific idea for what he wanted to establish.
“I wanted to create a place where artists hatch ideas to change the world,” says Stuccio.
In the 18 years that Fringe Arts has been operating in Philadelphia they have followed this vision. As one of the area’s leaders for contemporary and experimental artists, Fringe Arts has provided Philadelphia with an outlet for some of the most cutting edge artists from around the world.
While Fringe Arts is most known for Fringe Fest, they also host events and performances year-round. But what was missing from Stuccio’s vision was a bar and restaurant that would make Fringe Arts a true hub for artists. With La Peg now a few months into operation it seems that his vision is complete.
But no performing arts hub would be complete without live music. La Peg is also the home for Philadelphia’s Red 40 & The Last Groovement, who are enjoying their residency as house band performing every first Friday night. In addition to Red 40’s residency, La Peg also hosts live music every Friday night.
Woolsey explains that the restaurant and Fringe Arts have had a very symbiotic relationship. The restaurant opened just prior to this year’s Fringe Fest and theatergoers would try La Peg’s offerings before or after the events of the festival.
Woolsey is already brainstorming ideas for next year’s Fringe Fest, expressing an interesting in blurring the lines between a dining and theater experience.
“John Waters made a film where you had a scratch-and-sniff card that you’d smell at different parts of the movie,” Woolsey says, referring to Water’s 1981 film “Polyester.” “Maybe we could do something like that but you’d eat certain things at different parts of the play instead of smelling them.”
In the meantime, Fringe Arts and La Peg’s intersection of food and theater can be experienced as early as this coming March when Yumi Kendall, acting associate principal cellist of the Philadelphia Orchestra, will be “playing brunch.” Kendall will be working with Stuccio and Fringe Arts staff to pick a selection of music that Woolsey will then plan an accompanying menu inspired by Kendall’s pieces.
While managing a restaurant with more than 45 staff members “… is sometimes like herding cats,” Woolsey is happy to take on the challenge.
“Who gets to have this much fun at work?” he asks.
Voyeur: Where All Flags Fly.
Text by Christopher Malo. Images by Charles Shan Cerrone.
Gates and a table cut off Saint James Street from 13th Street as a line forms around the corner and down the block. Under a tent, wanna-be patrons huddle in the rain, waiting for their cue to pay their way and pass through the first threshold.
And true to form – not only because it is Halloween, various cops, sailors, Waldos, a kid dressed like Pharrell (replete with a red Adidas track jacket and that now ubiquitous hat) and football players wait their turn. Maybe because it is Halloween, there are also superheros, werewolfs, Flintstones and two people dressed like Nerds candy boxes.
In the heart of the Gayborhood, at 1221 Saint James St., Voyeur Nightclub is one of the city’s few and far between spots for nightlife after 2 a.m. The building that houses Voyeur is owned by the Mayfair Social Club, which also owns Woody’s. The club also has an interest in Transit, Palmer Social Club and Bump.
Inside, partiers pack the club’s three floors. After passing the coat check, you can either venture underground or continue onto the main floor. As if someone is pulling back the curtain, however congested you thought the hallway was to navigate, it pales in comparison to the main floor, where bodies gyrate, sweat flows and people lose themselves letting their flags fly – be it gay flags, freak flags or American flags.
“They have the best overall staff, the best DJs in Philly, the most bang for your buck,” says Katie K Rex, who has been DJing at Voyeur as a part of Factory Girls since October 2012. “Everybody in Philly is going to Voyeur, regardless of age, gender or orientation. It’s an all-inclusive environment.”
There are various reasons that people have and continue to flock here. There is a freedom that is hard to put a finger on but easy to witness, as expectations and inhibitions are lost in the cacophony of sound and movement. DJ Tripp is this particular evening and early morning’s maestro. It is impossible, even sober, to notice if people are on or off rhythm, as the state-of-the-art system pulsates through your ears and a light and laser show assaults your eyes and keeps you slightly off balance, unable to focus on any one thing for any length of time.
“I go because I enjoy the crowd, the bartenders are fast and pour stiff drinks,” says Tracy Washinsky, who has been going to Voyeur a few times a month for the past eight years. “And I can enjoy a cig while at the bar.”
The Ruby Lounge, one floor down, is exactly what one might imagine – low hung ceiling, an island bar in the center surrounded by red, sparkley vinyl couches and an intimate dancefloor on the far side. Between the dim lights and lingering smoke, it makes things seen difficult to discern, intentional or not.
“The Ruby Lounge has great vibe late night on Wednesdays,” Washinsky says.
Traversing the stairs up from the main floor leads you to a horseshoe shaped balcony where one can overlook the main floor. Sofas and chairs offer patrons a place for respite and the bar in the corner offers spirits for those looking to wet their whistle. Two doors peek into another room, where those looking to break up their EDM/club beats with some hip-hop flavors can get their Shmoney Dance on. But along the mezzanine is where the club earns it name as gawkers line the railing to take in the debauchery beneath.
A chandelier hangs in the middle with sashes of cloth streaming off of it to the railing for effect. There is an elevated box in the middle of the dance floor that people clamor to claim space on to be seen. If there’s not enough room, there is always the main stage where magazine-worthy muscled men move to the beat, adorned in nothing but Speedos. The DJ booth hangs above the main stage, looking over the pulsating and undulating crowd.
“Voyeur will always be classified as a ‘gay bar’ but, Voyeur has always been welcoming to every demographic and thats what makes it special,” says club manager Matt Ricciotti. “Male, female, transexual, drag queen, hipster and everything in between. Voyeur has some really gay nights and we also have some really straight nights.”
Its patronage certainly isn’t all gay. LGBTQ-friendly? Sure. But people of all races, colors, creed and sexuality show up to have a good time.
And from the view overlooking it all, it looks as if they are.
AstroProm II @ Vox Populi.
Text by Dan Halma. Images by Charles Shan Cerrone.
Traditionally prom nights are generally uniform affairs. There’s the rush to get suits and dresses matched and ordered, the booking of limousines, the planning for after-prom parties and the loom of graduation following a memorable night of dancing and partying.
This changes when prom night follows a theme of “Stars Wars: The Empire Strikes Back” colliding with one of Terry Gilliam’s nightmares in outer space in addition to robot battles and a musical performance by a band of time traveling cyborgs from the planet Vitrus.
Saturday, February 7th was such a night when Vox Populi was home to “AstroProm II: Promageddon,” a prom night set in a “… future-dystopia-space-time [where] proms have become outlawed by the evil Galactic Empire and rebels have to hold their sacred proms in the shadows.”
After climbing up to the third floor of the Vox, visitors were greeted by a tin foil wrapped security desk that was flanked by old televisions broadcasting white noise. Beyond the desk lay a classic prom-styled balloon archway that underscored the atmosphere beyond its latex borders. Crossing the threshold presents guests with yet another prom classic: the prom photo booth. But it’s at this point the similarities between regular prom and AstroProm end.
Accenting the Vox’s minimal overhead lighting were green and red strobe lights projecting an ever-changing array of patterns and symbols across the dancehall. The center left of the room served home to a makeshift bar, decorated with silver wrapping paper and Erlenmeyer flasks filled with mysterious blue and red drinks.
The bar menu, though small at only four drinks total, reflected the theme of a party in space. In the category of mixed drinks, options included Moon Juice (gin and fresca), Fuzzy Cosmonaut (vodka and tang), and test tube shots that featured a mysterious combination of ingredients, but those feeling less adventurous were welcome to drink some of the finest Earth Piss (Pabst Blue Ribbon) this side of the Milky Way Galaxy.
A little after 9 p.m. Trial by Battlebot, the first of the evening’s events, began. After signing up in an elimination bracket, combatants were called to the stage two at a time to don their armor and learn the rules of combat. Each suit of armor consisted of a large cardboard box decorated with a wall of CDs on both sides and armholes covered with flexible aluminum tubing. On the upper corners of each suit were two CDs held to the suit with duct tape.
The rules were simple: the first person to knock both CDs off of their opponent’s armor wins.
Participation was widespread and competition fierce. After an hour and a half of rigorous battle only the first round of battles were completed. This served as the perfect time to postpone combat in favor of the night’s musical entertainment: West Philly based band, Starwood.
The “cyber art rock” group’s set began with some technical with bassist ZeeBot’s amplifier, but this afforded frontman Gabriel Starwood ample time to provide their backstory to the audience: sent back in time from the year 2776, Starwood, a “man-machine and master manipulator” and a small team of android musicians fled their home world of Virtus moments before its destruction. Since then they have called Earth their home and have taken a keen interest in humanity with Starwood having controlled the minds of famous individuals such as Nikolai Tesla, John F. Kennedy, and Brendan Fraser.
Joined on stage by keyboardist NeXus, synth player GeeRod and drummer CenSor, Starwood performed an eclectic mix of electronic vibes and punk rock energy with the songwriting chops of prog rock only briefly slowing down their futuristic sound so that prom-goers could slow dance to a cover of The Penguins’ “Earth Angel.”
The band kept everyone in the Vox dancing until close to 1 A.M. and would have continued to do so for even longer if the performance wasn’t interrupted by Space Cops and a warrant for Starwood’s arrest.
AstroProm II was the brainchild of Chloe Bach and Zach Shapiro, friends and former roommates, who hosted the first AstroProm at their home in June of 2012. After going through possible themes for a party, the duo decided to make their own and came up with the idea of an astronaut party, Bach explained, but dropped the astronaut theme in favor of a more general space theme.
“We turned our house into a space station,” said Shapiro. With whitewashed walls, their kitchen wrapped in tin foil and a bridge made from old keyboards, Bach and Shapiro did just that. The first party was such a memorable night that friends were hitting up the duo to throw another one years later. Although friends offered crowd-funding the second party, Shapiro paid for everything in addition to taking the lead on organizing AstroProm II.
“We all kind of know each other through this other band that does a really big show on Halloween,” Shapiro explained, referring to The World/Inferno Friendship Society and their annual Halloween show, dubbed Hallowmas, “so we want to do another right before Halloween as a kick off for that.”
But that all depends on how much they make back from the night.
“This is not about money at all,” Shapiro adds. “Even if I lost $200 I’d still do it. I just think this is the coolest thing ever and I’m stoked on it.”
Project Positive: Flipping Inspiring.
Text by Brianna Spause. Images by Jason Melcher.
Damon Holley moved to West Philadelphia when he was 14. The shy Rhode Island transplant wouldn’t even ride the train for the fear of being mugged. And now he’s dancing on one.
His boisterous dance troupe, Project Positive, rolls around moving subway cars and onto crowded street corners. Loud enough to grab attention and friendly enough to incite a smile, Project Positive raises awareness of their program through public breakdancing performances.
Spare change donations are invested back into the program that Holley and a few longtime friends started, which engages and inspires young people through hip-hop dance.
The plan started off small in 2010 by making dance accessible in their own neighborhoods through workshops for children age 6 and older. Project Positive exploded when Holley, now 26, was arrested in March on the Broad Street Line, charged with disorderly conduct and defiant trespassing while dancing. The charges were later dropped.
Since then, the program has expanded to six locations around the city, offering $5 workshops Monday through Saturday.
Red Bull Sound Select Presents Pissed Jeans, Amanda X, The Abandos and Cheerbleeders!
We’re just a little excited to announce this show that we curated: Pissed Jeans will headline at Underground Arts on Thursday, March 19 with Amanda X, The Abandos and Cheerbleeders.
And the show is only $3 if you register here.
If you don’t register, it’s $10 at the door. Register now though, as this show will sell out quickly. Our three Red Bull Sound Select shows from last year were super fun parties. You won’t want to miss this.
We’ll be announcing a lot of giveaways, specials and other stuff connected to the show over the next few weeks, so stay tuned!
JUMP: The Philly Music Project 