Below are your search results. You can also try a Basic Search.
Five years after his breakthrough release The Never Story, Atlanta–born rapper JID has been praised for his undeniable potential. His ability to effortlessly flow and tell stories on any given beat earned him a signing to J. Cole’s Dreamville Records, with hip–hop fans noticing the move as an endorsement of the highest level.
As soon as you enter Pizzata Pizzeria, a take–out joint just a couple blocks from Rittenhouse Square, its outstanding determination for the craft of pizza–making might not be readily apparent from their simple layout. A small bit of room with a mirror for one wall and a neon pink “Welcome Pizza Lovers” sign and disco ball on the other, the New York–style pizzeria didn’t bear its praise until I got closer to the register. Once I saw articles pinned up to the wall from Thrillist and Pizza Today, I started to understand the hype.
Recently, celebrities have been more empowered than ever to open up about their struggles with mental health. Musicians and actors alike, from Demi Lovato and Lizzo to Bo Burnham and Lady Gaga, have come forward and tell their stories. While openness is always welcome, there are still more steps needed to ensure that artists can feel safe and comfortable with themselves. An incident that confirms this thought is Kid Cudi’s viral departure at Rolling Loud Miami.
The words “best tour ever” are a lot to toss about, especially in the post–COVID–19 pandemic age, but Aminé made those words worth their weight. On March 1, he brought his show, “The Best Tour Ever Tour,” to Philadelphia, performing at The Fillmore alongside openers 454 and Cochise. During his time on a hometown–inspired stage, he brought a lively and colorful energy to the crowd that came perfectly near spring break.
Since taking off in 2019 with a pair of intriguing singles, Black Country, New Road entered around the turn of the decade as one of the most promising outfits in rock music. The English post–rock group debuted with the intense and experimental For The First Time in 2021, which pleased fans and critics alike. Despite an unexpected change that will drastically alter the band’s future, lead singer Isaac Wood and company have continued the band’s trajectory beautifully with Ants From Up There, a soaring album of thunderous solace.
A gap year can be an opportunity to start building anything from a nonprofit to a solid resume. For Lila Dubois (C '25), it was the time she needed to start a music career. “I was just working a couple of waitressing and tutoring jobs,” she says about her time off. “Since I wasn’t doing any school, I had a lot of time to do music, and that was really when I started to actually record things.” Her time creating music has resulted in a promising trio of singles made with friend Miles Tobel, and with a full–length release planned for the summer, she’s just getting started. Her mindset, which reconciles artistry and education, only adds to her impressive work.
On Jan. 18, rock fans got hit with a shocking announcement. A flurry of the genre’s biggest 2000s artists will collide in Las Vegas for the When We Were Young Festival on Oct. 22. The lineup, headlined by Paramore and the highly anticipated reunion of My Chemical Romance, reads like a roster that an emo fan would have dreamed up for the Vans Warped Tour in 2009. After the initial date exploded on social media and quickly sold out, the festival announced two more dates, both of which retain a majority of the same lineup. In theory, the festival could become a fantastic exercise in nostalgia and drive the ongoing pop–punk revival even further. Despite how promising that sounds, in reality When We Were Young is quickly accumulating controversy after controversy, seeding the supposed dream festival with doubt and suspicion. If those suspicions come true in October, it might be a big blow to music festivals in a post–pandemic era.
Big news for David Bowie fans broke at the start of the year. His entire publishing catalog”—including every single album and song, as well as his short–lived Tin Machine project—was sold to Warner Music for more than $250 million. For those who aren’t aware of the buzz around publishing rights, this may prompt some big questions: why sell the rights? Are artists getting a fair share when they do so? Were they even initially willing to sell, or did music executives have to convince them for a payout? The Bowie story simply scratches the surface of an investment market that grows larger and larger by the day—the most important decision now is how that market should be handled.
All signs point to 2022 being a big year for music. January tends to be a quiet month for releases, but we've already seen The Weeknd’s blockbuster Dawn FM dropping on the first Friday of the year, plus other albums from Earl Sweatshirt, Band of Horses, and FKA twigs. Although some of the names floating around in the discourse have yet to make any official announcements, here’s a list of some of the projects that are expected to make an impact on the music industry.
Most artists might not be compelled to change their approach to music right after earning a Grammy. Adam Granduciel, the frontman of the band The War on Drugs, didn’t follow this notion—opting to depart sonically from the band’s last project, the award–winning A Deeper Understanding. Instead of moving their style forward into new territory, however, he decided to scale it back, shedding modern and neo–psychedelic elements and further embracing the sounds of heartland rock. While the aged genre has always been on the periphery of the group’s direction, it comes into clear view on I Don’t Live Here Anymore. The result is an album that, despite its cold and snowy cover, is warm and uplifting.
JPEGMAFIA traveled to Philadelphia on Halloween night to perform old and new songs at Union Transfer. After the opener—Detroit–based rapper Zelooperz—got the crowd going, an audience of costumes and complimentary masks (featuring 8–bit art of JPEGMAFIA) awaited the rapper. When he finally arrived, he gifted the fans with a lively and aggressive performance.
Radiohead is one of the largest rock bands of the 1990s and the 2000s. Their trajectory from their decent debut to their artistic peak at the turn of the century was unprecedented and thrilling. The band’s journey can now be streamed on Bandcamp, as they recently released their discography on the platform. The move came just weeks before they planned to drop a reissue of two albums, Kid A and Amnesiac, that adds unreleased B–sides from the era.
Posthumous releases have been a central topic in art ethics, most notably after a consistent wave of deaths plagued the hip–hop industry back in 2018. The discussion has covered many artists, from Juice WRLD and Lil Peep to Amy Winehouse and Tupac Shakur. One of the largest figures in the debate has been Mac Miller, who passed away in Sep. 2018, shortly after the release of his fifth studio album Swimming.
When it comes to current music in Philadelphia, no artist comes close to the iconic status of Meek Mill. Mill’s underdog story turned him into a champion for Philly, most notably with the city’s ubiquitous embrace of his 2012 anthem “Dreams and Nightmares.” Despite establishing himself as one of Philly's largest artistic figures, his hardships didn’t disappear. Behind multiple high–selling albums and mixtapes, the rapper has been caught up in a whirlwind of legal issues and personal drama. This mixture of fame and troubles has consistently been a compelling theme in Mill’s music, and that theme continues in his newest album, Expensive Pain; however, the album is uneven in emboldening that message.
In the wake of 2020, many musicians felt compelled to comment on last year's mayhem through their art; Bo Burnham’s Inside dealt with personal complications from the pandemic, and Lil Baby’s Grammy–nominated single “The Bigger Picture” tackled police brutality and protests that occurred last summer. Similarly, Injury Reserve, also affected by personal loss, responded by largely reforming their sound. In 2021, they released one of the most disorienting albums that mainstream hip–hop has ever seen.