Category: Entertainment

Entertainment news and reviews

  • What is the Camden bop, the region’s latest viral dance that has earned over a million fans across the world?

    What is the Camden bop, the region’s latest viral dance that has earned over a million fans across the world?

    Last week, just outside the Camden Waterfront walkway, stood a group of five men, ages 18 to 25. They were all decked out in embroidered hoodies with the words “Camden Bop” stitched on the front.

    They were quiet at first before the sight of a camera and sound of an up-tempo beat grabbed their attention. They smiled and their motionless bodies kicked into action.

    They shifted their hips from side to side, while their arms and heels bounced to the song’s drum kicks and chopped vocal sample. They added leg extensions and shifty pivots into the mix, creating a synchronized dance that flowed like water.

    The words stitched across their hoodies took on new meaning.

    This is the Camden bop. Viral TikTok videos and Instagram clips of the group, known as the Camden Bop Originators, have turned the move into a social media sensation.

    Ethan Tarte, pictured at the center of the image, is the man behind the now-viral dance, the “Camden bop.”

    The crew comprises Camden natives Ethan Tarte, Myles Thompson, Nafi Muhammad, Rodney Barge Jr., and Haleem Muhammad.

    At 16, Tarte unintentionally created the Camden bop by trying to imagine what it would be like to circle the rink at Camden’s Millennium Skate World. Before he had skates, he practiced his moves barefoot in front of his mirror.

    What emerged became the foundation of the Camden bop.

    The influence of Jersey Club dances is present in the heel-toe slides, leg extensions, and quick pivots they add to the Camden bop over up-tempo club remixes of popular rap and R&B songs like Ryan Leslie’s “Addiction” and R. Kelly’s “Freaky in the Club.”

    “We grew up Jersey Club dancing … back when dancing was allowed,” Tarte, now 25, joked, “so it definitely comes from that.”

    ‘We’re more than what everybody thinks we are’

    When the dance didn’t yet have a name, Tarte flirted with the idea of calling it the E Boogie Bop, after a nickname he had earned for his quick moves on the basketball court at Camden High School. But he opted for the name of his hometown, hoping the dance would change people’s perception of a city that was once among the nation’s poorest and most dangerous.

    “I hear how people talk about Camden, and people are genuinely afraid sometimes to come through here,” Tarte said. “I was excited it was the Camden bop, so that everyone knew that there was something good that came out of Camden. We’re more than what everybody thinks we are.”

    Not long after, Tarte started posting Snapchat videos of him doing the dance with his friends Thompson, Barge, and Nafi Muhammad. Haleem Muhammad, 18, joined later. Some of their peers called them corny at first, but the bop eventually caught on with others at Camden High.

    “It really started from us having fun, and wanting to be us,” Tarte said. “People used to make fun of us, but it really comes from the love [of dancing].”

    The same people who called the dance corny are now tripping over their feet to learn it, said Tyray Green, who graduated from Camden High with Tarte.

    “People are insecure with themselves,” he said. “The whole time, they could have minded their business.”

    “I feel like they’re doing it worldwide now,” Green said.

    A fan in 2Rare

    The dance shared among high schoolers has now drawn the attention of artists, athletes, and content creators from around the country.

    Among them is North Philly rapper 2Rare, best known for his viral TikTok songs and dance videos, who featured the Originators in the video for his single, “Camden Bop,” after seeing the group’s TikTok videos.

    2Rare, born Naseem Young, reached out to the Originators so he could put a face and name to the dance that was taking over people’s social media feeds.

    “I know how quickly people can steal a wave, and nobody will ever know who the dance was from, who started this or started that,” he said. “I’ve had it happen to me. People have stolen my dances and ran off with it, so reaching out to them was a big deal.”

    He first considered shooting the video in Philly, but thanks to advice from Gillie Da King, he recognized the significance of bringing the production to the birthplace of the dance.

    “I had to make it happen,” 2Rare said. “I want to really shed light on them, and Gillie said, ‘They will never forget about you for doing something like that,’ and he was absolutely right.”

    For Green, the recognition proves what he’s always known: Camden has more than just athletic talent. For him, it’s a city with both grit and style, deserving of its own recognition.

    “We get overlooked a lot,” he said. “To see [2Rare] who has eyes on him, stick their arms out to give our city notoriety is big.”

    ‘There’s love all over the map’

    In April, the dancers joined 2Rare outside of Camden High School to film the music video, now sitting at 2.8 million YouTube views since its May 7 premiere.

    “It’s humbling,” Tarte said. “This all happened for a reason. It all fell into our lap.”

    Earlier this month, their performance on a New York-based music radio show, On The Radar, with 2Rare shined a brighter light on the movement. The viral clips from that performance have reached more than 3 millions views on Instagram, with hundreds of commenters lauding their performance and the homage to their hometown.

    “Keep [putting] on for the city @camdenboppers 🙌🏾🕺🏾,” one user commented.

    Even Chance the Rapper followed the group’s Instagram page, and top streamer Tylil dropped a comment, giving 2Rare and the crew props for their performance.

    Nafi Muhammad, 23, who started bopping as a junior at Camden High, said the reactions have been “overwhelming.”

    “My nephew watched it on his tablet like a thousand times,” he said. “It’s been a lot of love.”

    For years, Muhammad wondered where the group would be if they dedicated more time to promoting the dance back in high school. Now, with the millions of viewers they have reached, little is left to the imagination.

    They are living it.

    “If TikTok was jumping like it is now back in high school, we would have the dance in another stratosphere,” Muhammad said. “But we kept saying it, and then it happened.”

    The “Camden bop,” originated by dancer Ethan Tarte, has become a viral sensation. Tarte’s group, the Camden Bop Originators, includes members Myles Thompson, Rodney Barge Jr., Haleem Muhammad, and Nafi Muhammad.

    “There’s love all over the map, and it’s definitely only the beginning,” Tarte said.

    The group has met criticism too, with online comments often ranging from “wild dance” to “horrible song.”

    The criticism isn’t new territory for Tarte. “People used to call me weird in high school, and now I hear I’m too old to do the dance,” he said.

    None of that has ever stopped him.

    The “Camden bop,” originated by South Jersey-born dancers Myles Thompson, Ethan Tarte, Rodney Barge Jr., Nafi Muhammad, and Haleem Muhammad, has become a viral sensation.

    “Camden is a small city, but we’re making big noise right now, and we’re trying to keep that going,” Barge said, adding that he’s grateful for the collaboration with 2Rare.

    The love is not one-sided. 2Rare said the collaboration has elevated his career, too.

    “They are part of the reason I’m hot right now, so I could never not acknowledge them,” the rapper said. “If it wasn’t for the dance, it would have still been difficult. I had a quiet moment, but I had to pop out and show out. That was a big jawn.”

    The rapper is already planning for a remix of “Camden Bop,” and wants to bring the Originators to Atlanta for Streamer University, a multiday workshop for growing and aspiring content creators.

    As for the Originators, they want to continue spreading the joy that dancing has afforded them, and encourage others to absorb it as well.

    That’s the Camden way.

  • The man, the myth, the bar crawl: Jenkintown goes all out for Nic Cage-themed night

    The man, the myth, the bar crawl: Jenkintown goes all out for Nic Cage-themed night

    In an unbearably massive oversight, the city of Philadelphia has left National Treasure Nicolas Cage completely out of its Semiquincentennial festivities, despite the fact that he’s the only known person to have stolen the Declaration of Independence and climbed Independence Hall free solo in the last 250 years.

    But fear not, for a group of suburban bars have mustered to pay homage to this chameleon king of cinema, this skin-shedding Snake Eyes of the silver screen with their revolutionary event: “Uncaged in Jenkintown: A Nic Cage cocktail crawl.”

    Nic nugget: Cage has portrayed twice as many people as there were members of the First Continental Congress.

    From 4 to 8 p.m. June 28, four Jenkintown bars within stumbling distance of each other — the Keep Easy, the Drake Tavern, Buckets Bar, and Kings Corner — will be featuring Cage-themed cocktails, showing Cage movies, and hosting “Cage matches.”

    Songs from Cage’s films will be performed live in an alley, the local movie theater is hosting a late-night screening of a Cage film, and, for the Wild at Heart, even a tattoo parlor is getting in on the festivities.

    Nic nugget: Cage has a tattoo of a lizard wearing a top hat.

    In an Adaptation of a typical bar crawl, participants who register for this event will receive a pretty Kick Ass “Uncaged Cocktail Crawl Kit” filled with goodies that would be a Dream Scenario for any Cage fan.

    Mel Hager — an owner of the Keep Easy who described her Cage fandom as “AhaHAhahAA [maniacal Cage laughter] OUTRAGEOUS OOooOO!!” — said the participating bars host a Festivus-themed crawl during the holidays and they wanted to create a summer-themed crawl too (luckily, there’s no chance of getting Snowden at this time of year).

    “Who doesn’t like Nic Cage?” she said. “It’s insane how he puts in the work. Every time I turn around I’m like ‘Is he a robot? How does he do so many movies?’ He’s an enigma but yet he does seem like all of us but also maybe he’s an alien? I don’t know, but it’s fantastic.”

    Nic nugget: Cage has never played an alien, but he was convinced he was one as a kid.

    The event is free to attend, but participants who want to compete for Cage-themed prizes will need to either preregister online for $15 or register in person the day of at the same price to receive their Uncaged kit. Each kit contains one of five random Cage masks to be worn during face-offs against opponents in “Cage matches.”

    Every bar will have its own Cage match competition that will pit two players in a tête-à-tête game based on a different Cage movie to determine who’s the Lord of War. The game at Buckets, for example, is called the “Flying Elvis” and it’s based on the scene in Honeymoon in Vegas where Cage goes skydiving with a group of Elvis impersonators. Contestants will have to throw toy parachute soldiers (hand-painted to look like Elvis) to see who can land them closest to a tiny mock-up of the Vegas strip.

    The games are designed to move quickly, with each Gone in 60 Seconds or so.

    Nic nugget: When Cage is gone he will be buried in a 9-foot-tall white stone pyramid he had built in a New Orleans cemetery.

    For every challenge won, participants will get a stamp in their Cage pub passport, which is included with the kit. At 7:30 p.m., an awards ceremony will be held and those with the most stamps will receive Cage-themed prizes. Hey, It Could Happen to You.

    Cage crawlers are also urged to get stamps in their passport for every Cage-themed beverage they consume. The Keep Easy will be serving “Mandy’s Electric Lemonade,” a reference to the surreal horror film, Mandy, that’s made with blue Curaçao, a libation just as colorful as Cage’s career.

    “We’re trying to bring out his spirit in our spirits,” Hager said.

    Also included in the kit is a photo scavenger hunt with challenges at every establishment, like snapping a picture with Picolas Cage, a life-size cut-out of Cage as a pickle (he’s kind of a big dill).

    “We had Picolas Cage already because we had a pickle crawl one year and I love Nic Cage…so he’s making a comeback,” Hager said, gherkin out.

    Those who preregister will also receive a piece of Cage cash, a very not legal form of tender with Cage’s face on it that will get you a specialty shot at one of the four participating bars, if you want to cash it in.

    Nic nugget: Cage once spent $276,000 on a dinosaur skull he later had to turn over to the Mongolian government.

    A Nic Cage-themed bar crawl? Just take our money now.

    During the crawl, local musician Gerard Regan will Rage in nearby Yorkway Alley, playing songs from Cage movies. Prior to the festivities, Nobleheart Tattoo Gallery will have a special on Cage-themed tats from 1 to 4 p.m. And following the crawl at 9:30 p.m., the Hiway Theater will show Cage’s 1988 film, Vampire’s Kiss, if you have Time to Kill.

    Costumes are encouraged and given that Cage has portrayed every kind of character from an angel to a vampire, the possibilities are endless. So get Primal with it, because you don’t want to be Left Behind.

    “It’s like the whole town is getting involved,” Hager said. “Like Nic Cage would, just come on out and have fun. You deserve it.”

    For more information on Uncaged in Jenkintown, visit the event’s Facebook page. To preregister for the crawl visit: uncagedinjenkintown.bigcartel.com.

  • A history of Black electronic music can’t exist without Philly. Philly DJ, producer, and UCSD professor King Britt tells us why.

    A history of Black electronic music can’t exist without Philly. Philly DJ, producer, and UCSD professor King Britt tells us why.

    King Britt is bringing Blacktronika back home.

    In 2020, the Philadelphia DJ and producer — then a newly hired computer music professor at University of California, San Diego — created a course called “Blacktronika: Afrofuturism in Electronic Music.”

    The popular class honors “people of color who pioneered groundbreaking genres within electronic music,” citing innovators like Sun Ra, Flying Lotus, and Philadelphia poet Moor Mother. Featured guests have included Herbie Hancock, Questlove, and Nile Rodgers.

    It has also grown into a music festival: Britt has presented Blacktronika events in New York, Paris, Los Angeles, and Durham, N.C. And now, as part of ArtPhilly’s festival What Now: 2026, Britt has curated the series “Blacktronika: Philadelphia Now and Then.” It is supported with a $50,000 grant.

    It takes place over seven nights in four venues around the city.

    The Southwest Philly-raised artist, who founded the Ovum Recordings label with then musical partner Josh Wink, and created the Philly house and soul music project Sylk 130 in the 1990s, has a full week worth of musical history lessons in store for his hometown.

    ‘Illuminate just Philly’

    “This is different from any other Blacktronika festival,” said Britt, 58, speaking via Zoom from the UC San Diego campus. “At all of the other Blacktronika events, I fly people in from all over the world,” said the DJ, who was born King James Britt. “For this one, I wanted to illuminate just Philly.”

    King Britt is the curator for ArtPhilly’s “Blacktronika: Philadelphia Now and Then,” taking place for seven consecutive nights starting June 23.

    Philadelphia’s role in Blacktronika history dates as far back as Sun Ra’s forays into electronic music in the 1960s and forward to 102-year-old Arkestra leader Marshall Allen’s mastery of the electronic valve instrument.

    Britt’s personal connection to Philadelphia’s Afrofuturism goes back to when his mother, who was friendly with members of the Arkestra, would take him to rehearsals at the Sun Ra house in Germantown.

    “I didn’t understand the music when I was a kid,” he said. “But I loved the costumes.”

    The band members were all dressed in colorful space-age outfits.

    A Central High School graduate, Britt was studying marketing at Temple when he dropped out as his career took off.

    Working with Wink under the name E-Culture, the duo had an international deep house hit with “Tribal Confusion” in 1990, when Britt was the dance music buyer at the Tower Records store on South Street. He toured as DJ for the Grammy-winning hip-hop group Digable Planets early that decade and teamed with Wink for a long-running series at Fluid nightclub called “The Womb.”

    The 2005 album King Britt Presents: Sister Gertrude Morgan married dance beats with street-corner sermons by the New Orleans folk artist. And his Afrofuturist project Fhloston Paradigm showcased his love of sci-fi, in particular Luc Besson’s 1997 film The Fifth Element.

    Prof Britt

    Britt never thought of himself as an educator until an ex-girlfriend and his daughter, Summer Sloane-Britt, now an art professor at Occidental College, urged him to apply for the post at UC San Diego in 2019.

    DJ King Britt at Filo’s downstairs club, 408 S. Second St., in 2000.

    He did a Skype job interview while in Portugal for a gig, and though he doesn’t have an undergraduate degree, got hired on the basis of a lifetime of experience.

    “My CV was 40 pages long,” he said. “It was crazy.”

    Shortly after moving from Philly to Southern California, Britt realized that “no one was talking about Chicago house, Detroit techno, drum & bass, dub. Ninety percent of the dance music we listen to is rooted in Black culture. But the pedagogy was nonexistent. So I created Blacktronika.”

    The course debuted with 20 students the first week of the COVID-19 lockdown, with guests including Greg Tate, the critic who Britt calls “my mentor.” Tate died in 2021; his seminal book Flyboy in the Buttermilk has just been reissued on Questlove’s AUWA imprint.

    Now, Britt has 420 students for his virtual Blacktronika class. Interviews with guests like George Clinton, Patrice Rushen, and the Arkestra’s Allen and Knoel Scott are archived at Blacktronika.com.

    In a post-Zoom-interview email, Professor Britt — who is now tenured and was named MacArthur Foundation Endowed Chair in Digital Media and Learning in 2025 — expounded on Philadelphia’s central role in Blacktronika history.

    He cited drummer Earl Young’s “development of the four-on-the-floor rhythmic approach that became foundational to Disco and later House music” and Dexter Wansel “expanding the sonic palette of Philadelphia International Records.”

    The prof, who is working on a Blacktronika book, gives props to “the turntablism of Cash Money and Jazzy Jeff,” plus gangsta rap pioneer Schoolly D, as well as The Roots and their keyboard player James Poyser.

    A homecoming

    It was ArtPhilly cofounder Bill Adair who brought in Britt, says Tania Isaac, a curatorial director of the fest. Britt “is singular in terms of what he represents,” said Isaac. “Artists who are from Philly, whose work is grounded in Philly, but are global. We’re able to support artists coming home.”

    Britt’s series kicks off at Fishtown cocktail lounge Margolis on Tuesday, spotlighting TastyTreats, the party hosted by Stacey “Flygirrl” Wilson. DJs Mike Nyce and Yameen Allworld will be joined by a just-announced special guest: DJ Jazzy Jeff.

    Wednesday night’s Johnny Brenda’s showcase was designed as a tribute to Wansel, the songwriter and producer whose groundbreaking synth-centric album Life on Mars was released in 1976.

    Wansel was scheduled to join a Philly all-star band with Black Buttafly on keys, Anthony Tidd on bass, Tim Motzer on guitar, Elliot Levin on sax, and singers Lady Alma and Tonja Dixon. Poet Ursula Rucker was also on the bill.

    Wansel died last month at 75, so the inaugural Blacktronika Icon Award will be presented posthumously to his son, producer Pop Wansel. Black Music Month founder Dyana Williams will host.

    The week also includes a celebration of the Beat Society hip-hop party hosted by rapper Hezekiah on Thursday at Johnny Brenda’s, followed by Moor Mother’s Rockers at Solar Myth on Friday, and an Illvibe Collective soiree at King Fu Necktie on Saturday.

    On Sunday at Silk City, Tracey Moore of Jazzyfatnastees hosts a tribute to Black Lily, the neo-soul incubator that helped birth the careers of Jill Scott, John Legend, and others. That band will include many Wansel tribute players, plus punk rock skateboarder and drummer Chuck Treece.

    Dozia Blakey and King Britt in Philadelphia in 1992. Britt, now a music professor at the University of California, San Diego, has curated the ArtPhilly festival “Blacktronika: Philadelphia Now and Then,” taking place over seven consecutive nights starting June 23, at venues throughout the city, including Margolis, Johnny Brenda’s, Kung Fu Necktie, Silk City, and ARS Nova Workshop at Solar Myth.

    Britt will perform on Monday, when he’ll DJ and be joined by guests at Silk City, paying homage to Back2Basics, the party that blended DJs with instrumentation, which he created with Dozia Blakey in 1990.

    Each day during Blacktronika week except Saturday, Britt and guests will join Clubfriends Radio and Records founder Alexa Colas for conversations at her Meantime pop-up at 926 Market St. It’s free.

    And “Philadelphia Now and Then” is only part one of Britt’s plan to bring Blacktronika back to his hometown.

    In November 2027, he’ll partner with the African American Museum in Philadelphia for “Tangible: Blacktronika Artifacts and Archives,” an exhibit funded by a $360,000 grant from the Pew Center for Arts & Heritage. That will be accompanied by a second Britt-curated Blacktronika festival, which he says will include artists “from all over the world.”

    But before he brings the world to Philadelphia, “Philadelphia Now and Then” will first tell the story of how Blacktronika blossomed in his hometown.

    “It’s important to honor all the parties that were pushing the sonics, the sound of electronic Blackness in Philly,” Britt said. “From Philly, born in Philly, all the musicians are Philly. Everything’s Philly.”

    King Britt’s “Blacktronika: Philadelphia Now and Then” takes place daily from Tuesday, June 23, to Monday, June 29, at venues across the city. Information at artphilly.org.

  • A Delco man built a Harley in his dad’s basement and could win $10,000 for it

    A Delco man built a Harley in his dad’s basement and could win $10,000 for it

    Behold the bike: a custom Harley-Davidson Panhead chopper painted deep purple replete with classic stylings, an iconic Wassell Banana gas tank, and sharp-as-knives merlot-colored acrylic-glass fins that throw shark-fin shadows when the riding is smooth and the sun hits just right.

    And designed and built by Jack Weidmayer in his dad’s small basement shop over the last three years.

    The custom chopper has won Weidmayer, 27, of Newtown Square, a finalist spot in the Biltwell People’s Champ, an international motorcycle-building competition hosted by the Southern California motorcycle company on June 26.

    Designed to spot up-and-coming, grassroots chopper builders — Weidmayer, a Villanova communications grad who rode his first motorcycle in 2018 — the annual, crowd-voted competition features builders from all over, competing for a $10,000 prize and a coveted chance to display their homemade hogs at Harley-Davidson’s Born Free motorcycle show, on June 27 and 28 in Southern California.

    Jack Weidmayer, 27, of Newtown Square, poses with two officials from the Biltwell motorcycle company earlier this year.

    “I was super surprised to even get in,” said Weidmayer, who works as a machinist at a West Chester tool company when he’s not building bikes.

    The final round of the competition — which annually draws hundreds of thousands of votes — began in September when Biltwell scoured the amateur ranks for prospective builders. As of Monday, Weidmayer and five other finalists are competing in five days of online voting. On Friday, the finalists will ride their creations to the legendary Southern California biker bar Cook’s Corner, where final voting takes place — and a winner is declared.

    “It’d be nicer if he was interested in something a little safer,” joked Weidmayer’s father, Mark, a former Harley-Davidson mechanic, who builds custom bikes and supervised his son. “I cherish the opportunity to be able to have a close relationship with my son — and for us to share the same interests and be extremely enthusiastic about bikes.”

    The bike is a beaut, said the proud dad.

    “It’s 100% his design,” said Mark Weidmayer.

    Jack Weidmayer has been building choppers out of the small shared shop in his dad’s basement for about five years. Using scrap parts — picked up at local swap meets and shows — and mostly basic hand tools found in the average enthusiast’s garage, he has built eight bikes, including a pinstripe S & S-powered Panhead featured in Choppers Magazine in 2024. In February, an initial round of online voting winnowed 16 contestants down to the finalists.

    Weidmayer has worked on the current bike every day for nearly a year, he said.

    “I can’t think of one thing that fit correctly or went according to plan,” he said. “This is probably my most modified bike to date.”

    An aspiring journalist in college, Weidmayer said he discovered his love of building custom bikes during the pandemic, when he first asked his father to show him the ropes.

    It’s the challenge of envisioning a design — and then making it ride from bare-bones parts that he loves most, he said, before loading his chopper onto a trailer for the 2,700-mile journey to the competition.

    “I know so many people who’ve done lots of cross-country trips, I’m scared to call myself a real-deal biker,” he said. “It’s more just having an idea and making it tangible that is the more appealing aspect for me.”

    And he, too, cherishes the time with his dad, he said.

    “He has been an invaluable resource in any build I have done, especially this one,” said Weidmayer. “I would not have finished this project on time or nearly as nice quality without his advice, and pro tips.”

    In true Philly fashion, he considers himself an underdog in the People’s Champ, noting that most of the other builders have bigger social media presences than his own — an unenviable lot in an online voting competition.

    Regardless, he’s truly proud of the purple acrylic-glass fins, which he said give the bike a much more aggressive silhouette.

    “I’ve had that idea in my head for three years now, and it is incredible to see it completed,” he said.

  • Tears for Fears, rotary phones, flares: Philly’s Bicentennial babies are turning 50 as America turns 250

    Tears for Fears, rotary phones, flares: Philly’s Bicentennial babies are turning 50 as America turns 250

    Gen Xers watched dial-up phones shrink to pocket size, typewriters turn into touch screens, and appointment TV give way to streaming binges.

    But Bicentennial babies are a special group of Xers. Born in 1976, they are celebrating a milestone birthday this year right along with the country. As America turns 250, they are turning 50. And on the cusp of the Semiquincentennial, Philadelphia’s Bicentennial babies are feeling reflective.

    1976 was just three years after Roe v. Wade, the landmark Supreme Court ruling giving a woman the constitutional right to end a pregnancy. It came 11 years after the Voting Rights Act of 1965 made it illegal to try to stop Black Americans from voting, and 12 years after the Civil Rights Act of 1964 ended legal segregation.

    Yolanda Wisher, producer of the “Bicentennial Baby” podcast, photographed in the Philadelphia Inquirer studio on May 28.

    These changes to the American landscape gave Bicentennial babies a level of personal freedom and agency when they were coming of age during the turn of the 21st century that their parents and grandparents did not have. But in the last decade, they’ve seen the Supreme Court reverse Roe and weaken civil rights laws to the point that Bicentennial babies’ babies now don’t have the same privileges their parents did.

    “I had been thinking about 2026 and being a Bicentennial baby,” said Yolanda Wisher, Philadelphia’s third poet laureate and host of the Bicentennial Baby podcast, a part of Art Philly’s “What Now: 2026″ festival.

    “I felt like this opportunity was the best way to study this major moment in American history from a personal angle and revisit what it means to be a Bicentennial baby from a Philadelphia perspective,” Wisher said.

    Each of the 10- to 15-minute Bicentennial Baby episodes bubbles with late ’80s and early ’90s nostalgia from the cassette tape centered in the podcast’s logo, to the funky theme music lending to its WDAS Quiet Storm vibe, to references to banana clips and acid-washed jeans.

    At its core, however, Bicentennial Baby is unapologetically Philly.

    Today’s 50-year-olds were in the first grade when Thriller was released, but they also remember 1982 as the year Constance Clayton became the first Black person to serve as the superintendent of Philadelphia public schools. They watched the Flyers on PRISM and music videos on MTV.

    Some of them were born in the Booth Maternity Center.

    Earlier this year, Wisher put a call out on social media asking Philadelphians turning 50 in 2026 to join her in conversation about their unique perspective as they enter middle age.

    “I was interested in finding the diversity of the Bicentennial babies’ experience,” Wisher said. “What does it mean to be a 50-year-old born and raised here? Or to be that person, who wasn’t born here, fell in love with the city, and decided to make it home?”

    A dozen applied. Wisher chose six.

    They are Laurie Allen, a librarian who lives in South Philly; Maleka Fruean, a community journalist who lives in Germantown and is a mom of four; Kenny Guy, who lives in Mount Airy and is a father of six; Michiko Hunt, a development associate at Greene Street Friends School, who lives in Germantown, and is a mom of two; and Stewart Varner, a manager of the University of Pennsylvania’s Digital Humanities Lab who lives in West Philly.

    Naila Mattison was selected to participate in the “Bicentennial Baby” podcast. Mattison died in late February, shortly after the podcast was taped.

    Naila Mattison, a poet, artist, and mom from West Philly, was the guest on the podcast’s first episode, which aired in late May. She died in February of cancer.

    “She came to us with such a sense of urgency,” Wisher said. “She wanted to share her story. I’m so glad we made space for her.”

    The Inquirer invited the Bicentennial babies to our studios earlier this month for a photo shoot. Allen, Fruean, Hunt, and Wisher — in her blazing blue 1976 T-shirt — came in and shared how being born during the Bicentennial impacted their outlook, is shaping their present, and is setting them up to be cool elders.

    The interviews have been edited for clarity.

    On Gen X culture

    Michiko: In Philly, I was always conscious of being a part of this microgeneration because there were literally less of us. In the 1980s, all the entertainment we watched was focused on our parents, L.A. Law, Hill Street Blues, even The Cosby Show. My parents bought Thriller and Bruce Springsteen. But then when I was in my 20s, everything was teen-focused. I mean, Britney Spears? I was too old for that. There were all these kids who were born in 1982 who loved her. And I just missed it.

    Michiko Hunt photographed in the Philadelphia Inquirer studio on May 28. Hunt is featured in the “Bicentennial Baby” podcast, produced by Yolanda Wisher.

    On technology

    Michiko: I went to my father’s office at 19th and Cherry Streets and typed my college applications on his electric typewriter. It was fancy. You could delete mistakes with correction tape.

    Yolanda: My grandmother had a rotary phone. We had a push button phone. I had a pager.

    Maleka: And right around our senior year in high school, that’s when cell phones started to come in.

    Yolanda: And they were huge, like the New Jack City phone … They were crazy expensive like video recorders. Like, if you had one of those …

    Michiko: You were rich!

    On fashion

    Michiko: It’s true: What’s old is new again. What we called flare, my mother calls bell-bottom, and my daughter calls wide-legged. We had a distinct style though. Fashion bubbled up from specific subcultures like goth or hip-hop. Now everything comes from the internet. It’s really flattened style.

    Maleka: And analog is a style now. Analog, as in not digital. It’s a fashion category. Like what people carry in their analog basket is a thing: a pencil and a notebook? That’s just what I put in my backpack.

    Maleka Fruean photographed in the Philadelphia Inquirer studio on May 28. Fruean is featured in the “Bicentennial Baby” podcast, produced by Yolanda Wisher.

    On music

    Michiko: Our music was the best. I still have ticket stubs when I went to see the Roots. We all listened to hip-hop but we also listened to other kinds of music, too.

    Yolanda: Tears for Fears!

    Maleka: The Eurythmics!

    Michiko: MTV!

    Laurie: I remember when the radio was the only thing that mattered. Then we went to tapes, then to CDS, MP3s streaming. Each time I was like, I’m not going to do it. Yet every time I made the switch. Every. Single. Time. But I think it’s going full-circle. I miss playing guilty pleasure music without a digital trail of what I listened to.

    On working

    Yolanda: I watched my mom work hard everyday. When she retired from her job at Merck, all she got was a watch. That said something to me. I watched my mom struggle as a single mom, work her way up, put my siblings and I through college. That job was in the background of our lives our whole life.

    Maleka: My children understand [better than I do]. They are not going to break their backs for a pittance. I’ve worked so hard my whole life. Still, I have no idea what my retirement is going to look like.

    On learning from elders and turning 50

    Yolanda: Womenfolk in my grandmother’s generation were more matronly. My grandmother had a whole closet full of church hats. She kept her house a certain kind of way. She had a routine. She was very straitlaced, at least in public. She had a secret life we didn’t ordinarily see.

    Michiko: We have a blessing of choices. My dad’s mom was Japanese American. She was born in California, a first generation immigrant. She was a teenager during the Depression. Her family worked in a packaged frozen food factory. Today she would have been an artist. She made all of our Cabbage Patch Dolls and all of those beautiful doilies. She had the soul of an artist.

    Maleka: We have access to so much more information. And because of that we have wonder.

    Laurie Allen photographed in the Philadelphia Inquirer studio on May 28. Allen is featured in the “Bicentennial Baby” podcast, produced by Yolanda Wisher.

    On becoming an elder

    Laurie: My body does not look like it does when I was 20, 30, or even 40. And I assumed when I got this age I would want to go back in time. But I don’t. Instead, I’m grateful for the wisdom for knowing who I am. I don’t want to go back to those uncertain times. I may have looked better, but I felt worse.

    On being American

    Maleka: When I was growing up, I had mixed feelings because I saw so many vulnerable people who needed to be protected. I didn’t have the language to define institutionalized or systemic racism. Now that I do, I want America to do better. But I’m still proud to be an American.

    Yolanda: The Semiquincentennial isn’t a one-sided story, but one that celebrates the complicated history of America. The racial, cultural, and social point of view of the people who are running isn’t the only perspective. We should be able to hold all of these voices at the same time and move forward.

    Bicentennial Baby“ is available on Apple, Spotify, and Amazon Music.

  • ‘I learned early on to leave while on top’: Bucks County Playhouse’s beloved producing director is stepping down after leading the theater through remarkable growth

    ‘I learned early on to leave while on top’: Bucks County Playhouse’s beloved producing director is stepping down after leading the theater through remarkable growth

    Before the opening of every new production at Bucks County Playhouse, producing director Alexander Fraser scans the audience and walks to the front of the stage to deliver a speech.

    In his 12 years with the Playhouse, he has talked about preparation, execution, and the magic of seeing all these things coalesce. He’s thanked all the people involved in the production and the rows of theatergoers who’ve made it worth the grind.

    When he arrived in New Hope over a decade ago, Fraser was “terrified” of these speeches. Now he relishes the spotlight.

    “I hated doing them in the beginning, but now I’ve turned into Joan Rivers,” he joked.

    Saturday’s opening of the 1949 musical South Pacific, however, won’t have him do his usual spiel. The opening of the Rodgers and Hammerstein classic is his last as the Playhouse’s producing director.

    Alexander Fraser finds a pair of shoes from the 1975 musical A Chorus Line as he clears out his office Tuesday, April 7, 2026. His dog is Milo.

    “It’s just surreal,” Fraser, who announced his departure last year, said. “It’s been a whirlwind couple of months …It’s been sweet and I feel really complete. I don’t have any regrets about it. I think it’s the right thing to do.”

    Fraser is retiring from full-time production, and instead lending his services to develop new musicals and nightclub experiences. His production partners, Robyn Goodman and Josh Fiedler, will also be departing to work on current and future productions under their company, Aged in Wood.

    Fraser said he already has a few irons in the fire, but he plans on spending the majority of his days sun-soaked on a beach in Puerto Vallarta, Mexico, and tanning like the “raisins” that walk the beaches of Palm Springs.

    The departure, Fraser said, is easier knowing there’s an incoming leader with experience and ideas that mirror his own.

    On June 22, theater veteran BT McNicholl will step in as the Bucks County Playhouse’s producing artistic director.

    “I’m at home here,” said McNicholl, who grew up in Connecticut and led Los Angeles’ La Mirada Theatre for a decade.

    Like Fraser, McNicholl has worked on several Broadway plays and musicals , including Billy Elliot, Cabaret, and A Funny Thing Happened on the Way to the Forum. As director, his work spans productions across Europe, Asia, and Australia, and his regional directing credits include productions at Goodspeed Musicals, the Walnut Street Theatre, and other places.

    He said he’s excited to be at the helm of the nonprofit theater and embrace its audience, one that’s seen tremendous growth under Fraser’s leadership.

    Alexander Fraser, producing director of Bucks County Playhouse, looks at memorabilia as he clears out his office on April 7, 2026. At right is a photo from the July 1952 issue of National Geographic, by photographer Robert F. Sisson for an article about the Delaware River. The caption reads, in part,: “June Lockhart Rehearses Her Lines on the Steps of Bucks County Playhouse. At left is list of plays produced by Theron Bamberger in 1949.

    Fraser came to the Playhouse in 2014 from New York, where he produced on and off-Broadway productions for decades. It had only been three years since the historic theater’s $3 million facelift, thanks to Doylestown couple Kevin and Sherri Daugherty.

    The theater, founded in 1939, was in dire straits after longtime owner Ralph Miller fell into debt in 2010. The theater lost its status with the Actors’ Equity union and Miller’s mortgage holder seized the venue.

    Alexander Fraser (left), outgoing producing director of Bucks County Playhouse, clears out his office on April 7, 2026, joined by newly-appointed producing director BT McNicholl (right) going over old Playbills.

    The Daughertys purchased the Playhouse in 2011, and reopened the theater after a year of renovations and repairs. Jed Bernstein, then producing director, set the revamp in motion and went on to become the president of New York’s Lincoln Center. That’s when Fraser stepped in to expand the theater’s revitalization. He recruited Goodman and Fiedler to the Playhouse.

    The goal was to reinvigorate the Playhouse and New Hope’s theater community within two years. “It was naive on my part,” Fraser said.

    He said people talked about the theater’s heyday, but the majority of people who came to New Hope were “bikers” and not interested in local theater.

    “I didn’t realize how depressed [New Hope] was, and frankly, it was a challenge for me and my two producing partners to motivate this community and make this work,” he said.

    Around 2019, Fraser said he finally felt things had turned around.

    The trio went on to bring in productions like Steel Magnolias, Anastasia, Bridges of Madison County, Other Desert Cities, and Candace Bushnell’s one-woman show, True Tales of Sex, Success, and Sex and the City.

    The productions drew theatergoers, both from in and outside of the borough.

    During Fraser, Goodman, and Fiedler’s tenure, the organization’s annual attendance doubled, growing from just under 40,000 in 2014 to more than 85,000 in 2025, according to Playhouse officials. Subscriptions also increased, from 1,479 in 2015 to 3,303 in 2026.

    The Playhouse then transitioned from a seasonal producing theater to a year-round producing organization.

    The Bucks County Playhouse on April 7, 2026.

    Nicole Hackmann, executive director at the Playhouse, said Fraser was on the front lines, ensuring there was enough funding to bring in top-end productions, and Goodman and Fiedler used their resources and connections to fill in the gaps.

    The Playhouse’s revival didn’t just enliven the region’s theater community. It sparked an economic boom in the borough. As new restaurants, shops, and other businesses populated the town, New Hope Mayor Frank DeLuca said the Playhouse’s resurrection helped drive up support.

    “The Playhouse is far more than a theater. It’s one of the cornerstones of New Hope, and a vital part of our community’s identity,” DeLuca said in a written statement to The Inquirer. “It enriches the lives of residents, attracts visitors from throughout the region, and helps support our local businesses by bringing people into town year-round.”

    While leadership changes are difficult to navigate, Hackmann said, McNicholl is coming into a theater and arts community with “strong bones.”

    “The brick work has been done so well, and [McNicholl] can come in and take off like a shot,” she said. “He’s inheriting an organization with an incredible staff that’s dedicated, determined, and has built something, which means he can fly.”

    Alexander Fraser (left), outgoing producing director of the Bucks County Playhouse, clears out his office Tuesday, April 7, 2026, giving his old Broadway musical CDs to newly-appointed producing director BT McNicholl (right).

    With the “magic set in place,” McNicholl said he’s ready to accept the baton Fraser, Fiedler, and Goodman are handing off to him.

    “We’re part of the relay race,” he said. “I’m taking the next step on the trajectory that they’ve set in motion.”

    McNicholl intends to strengthen the “symbiotic relationship” between the New Hope theater and Broadway, not only by bringing New York artists to Bucks County, but also by nurturing in-house productions that end up on Broadway.

    At the top of his priority list, however, is to listen to the community that Fraser helped rebuild and the longtime theatergoers who grew up attending the regional gem.

    “My job as a steward is to continue that growth and expand upon it,” he said.

    Fraser is confident McNicholl will make those strides.

    “I learned early on to leave while on top,” Fraser said. “I’m really happy this all worked out. The theater is doing great and there’s a great person coming in after me.”

    As for his last speech on Saturday, Fraser doesn’t have notes prepared. He’s usually an “easy crier,” he said, so a friend convinced him to place a rubber band on his wrist, and then snap it whenever he felt the tears coming.There’s no telling how many times he will flick the rubber band against his wrist.

    He looks forward to the journey that lies ahead but doesn’t think about his legacy.

    “It sounds pompous to me.”

  • See it, hear it, feel it: All the Philly art we loved this week

    See it, hear it, feel it: All the Philly art we loved this week

    Searching for meaning with the 94-year-old John Williams in “Disclosure Day”

    There’s plenty of wonder and foreboding in John Williams’ score to Disclosure Day. Anyone hoping for Williams the bellicose, or Williams the painter of twinkling stars that make us look to the Beyond, will find him here.

    But what’s fascinating about the orchestral-vocal soundscape of Williams’ and Steven Spielberg’s 30th collaboration is its subtlety. The composer always was more nuanced than he’s generally given credit for being, and here is something unusually introspective.

    Williams, 94, has been praised for his understatement in the score (released June 12). The soundtrack titles are listed in lowercase letters with ellipses and names like so many perfumes: “unseen …”, “believe …”, “empathy …”

    John Williams conducting the Philadelphia Orchestra at the Kimmel Center, Feb. 20, 2024.

    But as Spielberg has said:

    Disclosure Day is probably the most restrained score he has ever written for one of our collaborations — at least until it is not.”

    As always, Williams — whose film and concert hall music have become a staple at the Philadelphia Orchestra — makes you feel things you can’t put into words. What is a memory if not ineffable, as the music in a so-titled track shows? The narrative progression of “caught…” from poignant oboe and bassoon, to mysterious celesta, to chilling strings and a heart-pounding race, make the track a piece in itself. It’s as good as any concert overture.

    There’s no big signature melody or sweeping gesture à la E.T. anywhere in this music. What it does offer is something perhaps better suited to the times: a score that gives listeners the space to search for meaning in a world of ambiguity.

    “Disclosure Day” is playing in theaters across the country. John Williams’ soundtrack is available on all streaming services.

    — Peter Dobrin

    The mural “One Philly, a United City, With Love” overlooks I-76, using bright colors to reflect the highlights of the city.

    A burst of color on I-76

    I think most everyone can agree that our highways could use a touch more color. A new mural overlooking the Schuylkill Expressway now provides 16,000 square feet of it.

    One Philly, a United City, With Love stands over part of I-76, paying homage to the city ahead of the country’s 250th anniversary. It was commissioned by the City of Philadelphia as part of “Gateways to Philadelphia,” an anti-graffiti and highway beautification initiative headed by Mayor Cherelle L. Parker’s Office of Clean and Green Initiatives, the Pennsylvania Horticultural Society, and Mural Arts Philadelphia.

    The mural took by artist Carlos Lopez Rosa, a Philly resident, two months to paint. There are depictions of the Benjamin Franklin Bridge, an eagle’s talons holding a football (Go Birds!), the Liberty Bell, an I-76 road sign, and the William Penn City Hall statue. There are arts-focused elements, too, like a blaring saxophone that reflects the city’s vibrant music scene.

    Highways can often feel lifeless, simply a means of getting from point A to B. But if you’re ever traveling along the I-76, be sure to glance up and be reminded of the vividness of Philly.

    “One Philly, a United City, With Love” mural can be seen on I-76 at Spring Garden Street.

    — Morgan Ritter

    America’s Reconstruction story with a little dose of Philly history, narrated by Malcolm Gladwell and Barack Obama

    As I listened to the History Channel’s eight-part podcast Reconstruction: The Unfinished Promise hosted by Malcolm Gladwell and featuring special commentary by former President Barack Obama, I was amazed to learn of the political progress African Americans made in the 12 years after the Civil War.

    The founding of Alabama State University by nine formally enslaved men, the rise of the Black politicians like Florida Sen. Emanuel Fortune, the oratorical genius of Frederick Douglass, even the unfortunate demise of the Freedman’s Savings and Trust Company are fascinating pieces of American history rarely taught in school.

    Former President Barack Obama and Malcolm Gladwell recording “Reconstruction: The Unfinished Promise.”

    I found myself most interested in the firsthand accounts of Addie Brown, a Black woman born free in Philadelphia in the 1840s, who found herself in Connecticut during Reconstruction working as a domestic. There, she formed a friendship and romantic relationship with Rebecca Primus, the daughter of the Black family for whom she worked.

    The podcast draws from archives, letters, diaries, court records, eyewitness testimonies, and the work of some of America’s most accomplished scholars and storytellers, including Jelani Cobb, Kellie Carter Jackson, and Ashley C. Ford

    Archival letters, according to historians, provide details about how women’s careers were limited by their sex, how they were forced into marriages, and followed social mores that simply did not serve them.

    Salamishah Tillet, Pulitzer Prize-winning critic for the New York Times, distinguished professor of Africana Studies and Creative Writing at Rutgers University-Newark, and University of Pennsylvania graduate and former professor, also makes a brief appearance.

    Tillet explains how the 1915 film Birth of a Nation was used to defend Jim Crow, the laws based on racial segregation put in place to undo the progress formerly enslaved people made during Reconstruction.

    Cover art for “Reconstruction: The Unfinished Promise,” an eight-episode history lesson about how the 12-year period just after the Civil War impacted the America. It’s narrated by Malcolm Gladwell with guest narration by former President Barack Obama.

    Both Gladwell and Obama repeatedly make the same point: The end of Reconstruction is proof that North won the war, but the South won the peace. Meaning, in order to appease Southern Dixiecrats, America was forced to abandon its attempts of creating a truly multiracial society.

    “The Reconstruction Era was a brief but pivotal and turbulent chapter in our nation’s history,” Obama said in a news release. “One that is often overlooked even though its consequences are still felt today.”

    In light of today’s political climate in which politicians are again trying to undo progress made by our country’s most marginalized, Reconstruction: The Unfinished Promise must be listened to, studied, and shared.

    “Reconstruction: The Unfinished Promise” is available on Audible. It was produced in collaboration with Barack and Michelle Obama’s Higher Ground, Malcolm Gladwell’s Pushkin Industries, and Audible.

    Elizabeth Wellington

    The memorial to Dinah by Philadelphia sculptor Karyn Olivier at the Stenton Museum at 4601 N. 18th St.

    Remembering Dinah at Stenton Museum

    On a humid day, just hours before a downpour, five Black women in brightly colored colonial-era gowns took the stage on the grounds of Stenton Museum in Germantown. That afternoon, they were all called Dinah as each actor represented the historical figure at different ages throughout her lifetime.

    In the winter of 1777, an enslaved woman named Dinah saved the Stenton mansion from British soldiers who planned to burn it down. History has only remembered her with one name. In recent years, Black artists have continued to examine her story.

    In this play by Philadelphia poet Trapeta B. Mayson (who codirected alongside fellow poet Yolanda Wisher), Dinah was revived in a lyrical portrayal that presented a fuller picture of the brave woman who rescued her enslavers’ home during wartime, demanded freedom, and received emancipation.

    On the night of the show, with a neighboring home blasting dance music that occasionally distracted the audience, the ensemble delivered an ambitious and compelling performance full of profound emotion.

    The exterior of Stenton Museum, 4601 N. 18th St., in Germantown.

    It was powerful to see their interpretation of Dinah as the actors walked on the same ground she did some 250 years ago. Mayson has said it’s just the first chapter of this project — part of ArtPhilly’s ongoing What Now festival — and I look forward to seeing future iterations as she continues to develop it.

    Though it was just a one-day performance, Stenton Museum and its surrounding gardens are open to the public.

    Permanently on view is the memorial to Dinah, from Philadelphia sculptor Karyn Olivier, with a stone tablet listing questions she wished she could ask: What was your wildest dream? How did freedom feel? Did you ever wish you had let it burn?

    The Stenton Museum is at 4601 N. 18th St., stenton.org

    — Rosa Cartagena

  • A Rocky curse, a no-hitter jinx, and a big night for Philly food | Weekly Report Card

    A Rocky curse, a no-hitter jinx, and a big night for Philly food | Weekly Report Card

    The Rocky statue curse claims another victim: A

    An Ecuadorian influencer wrapped his country’s flag around the Rocky statue before Sunday’s World Cup match and immediately learned a lesson generations of visiting fans have learned before him.

    Don’t mess with Rocky.

    After Ecuador lost 1-0, social media quickly concluded the curse had struck again. The poor guy spent the next 24 hours apologizing to an entire nation and explaining that he simply didn’t know the rules. (Another fan also put a custom jersey on the statue.)

    But Philadelphians weren’t content with one curse. Almost immediately, attention shifted to Ecuador fans gathering at the Hard Rock Cafe, prompting comparisons to Commanders fans who famously “took over” the same restaurant before getting flattened by the Eagles in the NFC championship game.

    The Rocky curse has decades of lore behind it. The Hard Rock curse appears to have been invented sometime this week.

    Which is exactly how sports superstitions are supposed to work, right?

    Hawker John Culin sells Surfside canned cocktails during a Phillies game at Citizens Bank Park in 2024. Surfside canned cocktails led the Phillies’ stadium drink sales last year.

    Surfside has become the official drink of saying, “Fine, I’ll get one”: A-

    There was a time when a Philadelphia summer meant a soft pretzel, a hot dog, and a beer.

    Now, it apparently means spending $16 on a Surfside at Citizens Bank Park, and somehow doing it again the next inning.

    Stateside says it sold more than 11 million cases of Surfside last year, has moved into a massive new Center City headquarters, and is turning down offers from major beverage companies that want a piece of the business.

    Not bad for something many people first encountered while standing in line at a Phillies game.

    The annoying thing is that it’s also very good, which makes it much harder to complain about the price (not impossible, just harder).

    At this point, Surfside has joined the ranks of Wawa coffee, Tastykakes, and water ice: a local product that quietly became part of Philadelphia culture.

    The team from Kalaya on stage at the 2026 James Beard Awards with chef Chutatip “Nok” Suntaranon (from left): Al Lucas, Nick Kennedy, Greg Root, Jerome Skaggs, and Benjamin Duignan.

    Philly’s James Beard haul: A

    For years, Philadelphia food stories came with a chip on their shoulder. The city was seen as underrated and overlooked when compared to New York and D.C. But now, that argument gets harder to make every year.

    This week, Kalaya won outstanding restaurant at the James Beard Awards and Jesse Ito finally captured best chef: Mid-Atlantic after what felt like an annual pilgrimage to the finalist list — he had been nominated for the award NINE times!

    Kalaya has spent years introducing diners to southern Thai cooking at a level that made national critics pay attention. Ito’s Royal Sushi & Izakaya is so sought-after that getting a reservation is almost impossible.

    So these really aren’t underdog stories anymore, they’re expectations. Philadelphia sent seven finalists to Chicago for the awards and came home with two major wins.

    A decade ago, that would’ve been a breakthrough, but now it feels like a normal year.

    Fans reach for a ball that entered the stands during a FIFA World Cup Group E match between Ecuador and Ivory Coast on June 14, 2026, at Lincoln Financial Field. The match marked the first FIFA World Cup game played in Philadelphia.

    Philadelphia’s World Cup debut: A

    For months, the conversation centered on everything that might go wrong.

    Traffic, transit, crowds, security, weather — if anyone would actually show up.

    Instead, the first week of the World Cup has mostly served as a reminder that Philadelphia can throw a pretty good party. The city is filled with visiting fans, flags, jerseys, and the sort of international energy that rarely comes through town at this scale. SEPTA has had a few hiccups. The weather has done what Philadelphia weather does. But the city itself has looked good.

    More important, Philadelphians seem to have embraced the whole thing.

    There was always going to be some skepticism, but somewhere between the FIFA Fan Festival, the packed stadium, and thousands of visitors wandering around Center City, the World Cup stopped feeling like something Philadelphia was hosting and started feeling like something Philadelphia was enjoying.

    And we’re only getting started.

    PPA towing residents with permits: F

    Like we just said, the World Cup has gone better than many people expected, which is why this one stands out.

    Fairmount residents were told to register for special parking permits during the FIFA Fan Festival. They registered, but then some got ticketed anyway and a handful even got towed. The PPA says the tickets will be canceled and fees refunded, which is good.

    But “we’ll fix it later” tends to land differently when you’re standing in an empty parking spot wondering where your car went.

    The encouraging part is that the number of mistakes was relatively small compared with the thousands of tickets issued around the festival. But, if you’re one of the people who had to Uber to a tow lot in South Philly to retrieve your vehicle, that statistic probably isn’t very comforting.

    Mike Gansey’s first Philadelphia sports lesson: Never say it out loud: D+

    Every city has its rules, and Philadelphia’s are simple.

    Don’t mess with Rocky. Don’t wear Cowboys gear. And under absolutely no circumstances should you mention a no-hitter while it’s happening.

    The newly hired Sixers president learned that lesson the hard way this week when he casually noted on a TV broadcast that Jesús Luzardo’s no-hitter was still intact.

    Seconds later, it wasn’t. To Gansey’s credit, he immediately did what any reasonable Philadelphian would do: apologize.

    The good news is that Luzardo still pitched well, the Phillies still won, and Gansey appears genuinely remorseful. The bad news is that his first viral moment in Philadelphia involved accidentally becoming the physical embodiment of every fan yelling “shut up!” at their television.

    Welcome to town, Mike!

    The Highmark Mann Center, in Philadelphia, June 15, 2026.

    The new Mann: A

    For a city that never really got a big Semiquincentennial gift, the renovated Highmark Mann will do nicely.

    Fifty years after opening in 1976, the Mann has emerged from a yearslong renovation looking like the sort of project Philadelphia hoped more places would undertake ahead of 2026. There’s a dramatic new entrance, upgraded sound, expanded public spaces, and a massive digital wall that feels more Times Square than Fairmount Park.

    The Mann opened in 1976, the last time America threw itself a big birthday party.

    It’s fitting that one of the best things to come out of the 250th conversation is a 50-year-old Philadelphia institution getting ready for its next 50 years.

  • At its Juneteenth celebration, Philly’s African American Museum unveiled exhibit on the woman who escaped slavery at the President’s House

    At its Juneteenth celebration, Philly’s African American Museum unveiled exhibit on the woman who escaped slavery at the President’s House

    The line to enter Philadelphia’s African American Museum stretched a full block up Arch Street on Juneteenth Friday morning and never let up all day — not through performances by the West Powelton Steppers and not even when Doug E. Fresh and Slick Rick took the stage.

    History, whether from these hip-hop legends or the Black ancestors summoned by the crowd during the ritual pouring of libations, was all around.

    Tahirah Barnett, of Southwest Philadelphia, with Order of Eastern Stars Prince Hall Adopted Commonwealth of Pennsylvania, (Center right) raises her finger in the air with fellow crowd members as Mayor Cherelle L. Parker speaks at the Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.

    “It’s important for me to be out and show my kids how we connect to our ancestors, how we connect to the present as well, and to be with community,” said Velena Flores, 47, an administrator at Jefferson Hospital. “My grandmothers, they all passed away. My father passed away, my uncles. So all the ancestors are gone.”

    Walene White of Northeast Philadelphia came with her aunt, Tiffany White, and her 13-year-old daughter and niece. As she waited to enter the museum, she reveled in the energy of the day.

    “We’re just breaking down Black history, breaking down the day of Juneteenth — the significance— and letting them come and see and enjoy the environment,” White said.

    The Marian Anderson Scholar Artists and Choral Ensemble performing at the Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.

    Inside the museum, Ronald Holmes, 66, of Oxford Circle wore his Josh Gibson No. 20 jersey and Homestead Grays cap, honoring the great Negro Leagues catcher.

    On the first floor, Holmes encountered a new exhibit on Ona Judge, the young woman enslaved by George and Martha Washington who escaped the presidential mansion in Philadelphia on May 21, 1796. She later settled in Portsmouth, N.H.

    Shirley Taylor, 65, and Ronald Holmes, 66, of Oxford Circle, inside the African American Museum of Philadelphia on Juneteenth, 2026.

    A few blocks away, at the site of the President’s House, controversy over how that history is presented continued. A federal appeals court ruling issued Thursday said the Trump administration can install its own slavery exhibits over the objections of the city of Philadelphia.

    Inside the AAMP, though, Judge’s story was on full display. Created in collaboration with the Ona Judge Coalition, the exhibit includes video featuring some of the panels that the Trump administration fought to remove.

    “Why would they fight so hard for that?” Holmes said. “And it’s our money they use to fight to take these things down, think about that, too. It’s mind boggling. But that tells you, the struggle is not over. We celebrate where we got to right now, but you know it’s not that final celebration.”

    Mayor Cherelle L. Parker attending the Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.

    Founded in 1976 during the nation’s Bicentennial, the African American Museum in Philadelphia was the first institution funded and built by a major municipality to preserve, interpret, and exhibit the heritage of African American history and culture.

    The Juneteenth Jubilee kicks off the 16-day Wawa Welcome America festival, which culminates in the city’s celebration of the 250th anniversary of the signing of the Declaration of Independence.

    The Juneteenth holiday, which former President Biden made a federal holiday in 2021, celebrates the day in 1865 when a Union general arrived in Galveston, Texas, and informed enslaved African Americans that the Civil War had ended and they were free — more than two years after President Abraham Lincoln issued the Emancipation Proclamation.

    Aquil Dantzler, 26, of West Philadelphia, Pa., Singer and Song writer, poses for a portrait at the Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.

    Philadelphia Mayor Cherelle L. Parker, attending the block party, said the museum played a “super huge role” in preserving the city’s history and that she remains committed to raising enough money to move the museum to the Benjamin Franklin Parkway. There’s currently $50 million set aside for that move, she said.

    Slick Rick performing at the Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.

    After posing for photos with 6-year-old Salani Williams, the Little Miss Black America Ambassador, Parker she said the city would continue the legal fight to determine what is displayed at the President’s House site.

    “We do need to think about what it looks like telling the true story of the birthplace of our nation,” she said.

    Pennsylvania Gov. Josh Shapiro stopped by the museum in the afternoon and, after touring its exhibits, told reporters he would coordinate with Parker on the city’s response to the President’s House ruling.

    “Look, it is unfortunate the president continues to try and whitewash our history,” Shapiro said. “I am not going to back down in the face of these attacks coming from the federal government against understanding our freedom, even the painful parts of it.”

    The museum is also hosting “Ruth E. Carter: Afrofuturism in Costume Design,” a touring exhibition featuring more than 80 original designs from the two-time Academy Award-winning costume designer from films including Black Panther, Sinners, Do the Right Thing, Coming 2 America, and Malcolm X.

    Costumes from the movie Sinners from the exhibit “Ruth E. Carter: Afrofuturism in Costume Design” exhibition at the African American Museum of Phiadelphia.

    By afternoon, an exuberant, old-school block party had taken over the space behind the museum as thousands danced to performances by Doug E. Fresh, Slick Rick, Leah Jenea, and DJ Jazzy Jeff.

    “There’s only one Philly baby,” Doug E. Fresh told the crowd before recounting the history behind Juneteenth. “A long time ago, when slavery existed, it was supposed to be ended and they extended it 2 1/2 years more. It was a crime. It was disrespectful. But as usual, Black people survived. And thrived.” .”

    Aaron McCord, of Morrisville, Pa., is with his daughter Charli, 5, and son Bryson, 9, at the Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.

    There were local performers, artists, food trucks, children’s activities, and a vendor village of jewelry and crafts.

    Tyshia and Joseph Ingram displayed their “ABC Affirmations” flash cards from their business, Liberated Young, they started for their daughter.

    “The day historically, but also what we’re going through in our country right now, is really important,“ Tyshia said. ”One of our favorite affirmations is F is for free.”

    Ashley Jordan, the museum’s president and CEO, said she was excited about the museum’s role in the 250th celebration and its future.

    The Ona Judge exhibit and the President’s House dispute, she said, “show why Black museums matter.”

    Crowd Pleaserz Donnie “Nyce” Thompson, of North Philadelphia, his daughter Aniyah, 8, and son Jaden, 16, performing on the street for folks attending the Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.

    “There was a time when the complete story wasn’t being told,” she said. “Entities like us matter so stories can be told unimpaired. It lives here as its own story, its own entity, complete with its own panels.”

    Marquez Efferson, of Northeast Philadelphia, Mlanjeni Magical Touring Theater, making balloons for folks attending the Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.

    The museum’s exhibit “Audacious Freedom” has been expanded to include modern Philadelphia heroes, she said. “You don’t have to look far for history,” she said. “There’s Leon Sullivan, Cecil B. Moore, and Patti LaBelle.”

    Tiffany White and her niece, Walene White, in line outside the African American Museum of Philadelphia on Juneteenth 2026.

    Waiting in line, Tiffany White, 37, reflected on the holiday’s significance. “I can’t believe that it took so long to become a holiday,” she said. “And then people didn’t know, and two years later, they were still slaves? It’s crazy.”

    Alaina Gibbs, an innovation strategist at Main Line Health, attended with about 50 colleagues through the health system’s Belonging and Inclusion employee resource group.

    Many gather for this years Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.

    Gibbs and colleague Michelle Johnson, 47, said the visit was part of an effort to engage more with the community.

    “Today was the perfect place to do that,” Johnson said.

    Juneteenth is “really about how you look back at your roots, find your cultural connection, and it’s about observing the freedom that we all enjoy and celebrate,” Gibbs said. “It’s progress.”

    Noting the communication breakdown at the heart of the Juneteenth story, Gibbs added: “It brings the community back together to celebrate the freedom and the communication that’s needed to keep community connections.”

    Monty-G, of South Philadelphia, Pa., seen out in the crowd as Mayor Cherelle L. Parker speaks at the Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.

    “I like seeing the positivity and the togetherness right now in the city, this is the first time we’re coming together as a group from our organization,” Johnson said.

    Flores, meanwhile, said she was mindful of the news surrounding the President’s House and other national debates but focused on the day’s celebration.

    “I tell my kids we can get inundated with negative stuff every day,” she said. “The happiness and the love — that’s what I look for.”

    Kids playing a basketball game at the Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.
    Alexis Nixon, of Salt Lake City, Utah, is checking out GG Afrikan Elganz clothes during her visit to see her brother Daeshawn Nixon, of Brynmawr, Pa., at the Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.
    Kingkilliam Kato, 5, of Camden, N.J., is with his mom Annagjid Kato, for this years Juneteenth Block Party at the African American Museum in Philadelphia, Pa., on Friday, June 19, 2026.
  • 30 (and more) must-watch concerts coming to the Philly area this summer

    30 (and more) must-watch concerts coming to the Philly area this summer

    Summer music is here in earnest, and the majority of the concerts on this curated list of highlights in a jam-packed season are happening outdoors.

    Besides those featured below, there are still more: like Coltrane 100: Legacy featuring Ravi Coltrane with the Philadelphia Orchestra at the Highmark Mann on July 22, or Ed Sheeran on Sept. 19 and AC/DC on Sept. 29, both at Lincoln Financial Field.

    Air-conditioned music is also a good thing. Indoor shows of note include Hurry on July 10 and Downtown Boys July 21 at Johnny Brenda’s, Tame Impala July 15 and J. Cole July 20-21 at Xfinity Mobile Arena, Greg Mendez July 10 at the First Unitarian Church, Joe Jackson on July 17 at Lansdowne Theater, Trombone Shorty on July 17 at the Fillmore Philly, and Liz Phair and Sleater-Kinney at Franklin Music Hall on Sept. 20.

    Singer-songwriter Noah Kahan throws a ceremonial first pitch before a baseball game between the Boston Red Sox and the Chicago Cubs in 2024 in Boston. Kahan plays Citizens Bank Park in Philadelphia on June 26. (AP Photo/Michael Dwyer)

    Noah Kahan

    June 26, Citizens Bank Park

    Noah Kahan broke through big-time with his 2022 album Stick Season, which the Vermont songwriter, who grew up on a tree farm, described as “a love letter to New England.” His new The Great Divide, produced with Gabe Simon and the National’s Aaron Dessner, is even huger. New Jersey’s Gigi Perez and Wayne’s Annabelle Dinda open. mlb.com/phillies/noah-kahan

    River Roads Music Festival

    June 27, Heuser Park

    Dar Williams’ River Roads Music Festival has found a home in Heuser Park, the King of Prussia space that accommodates crowds larger than the nearby Concerts Under the Stars series (which has choice shows with Nasir Dickerson’s Coltrane tribute July 11, Preservation Hall Jazz Band on July 23, and Joan Osborne on Aug. 7). Williams co-headlines River Roads with 10,000 Maniacs, and the bill includes English punk-folk firebrand Billy Bragg and superb songwriter Amythyst Kiah. risingsunpresents.com

    Freedom Mortgage Pavilion

    All summer

    The lineup at the Camden amphitheater with a lawn’s eye view of Center City spans genres. Hardy’s “The Country! Country! Tour!” is June 27, Dave Matthews Band’s two-night stand is July 10-11, and Tim McGraw plays July 23. Fresh from the Roots Picnic, Kehlani is Aug. 26, Chris Stapleton’s “All-American Road Show” arrives Aug. 28-29, and TLC, Salt-N-Pepa, and En Vogue team up Sept. 13. FreedomMortgagePavilion.com

    DJ Jazzy Jeff during the second day of the Roots Picnic on May 31 in Philadelphia.

    One Philly: Unity Concert For America

    July 4, Ben Franklin Parkway

    Pittsburgh-raised Christina Aguilera tops the bill of the free 250th birthday party concert, and British pop star Seal and New York family band Infinity Song are toward the bottom. Otherwise, it’s an all-Philly affair with Jill Scott, plus the Roots performing and serving as a backup band for Will Smith. Then there’s DJ Jazzy Jeff, State Property, Kathy Sledge, and more. phila.gov

    Paul Simon

    July 5, TD Pavilion at the Highmark Mann

    Paul Simon was supposed to play three shows on his “A Quiet Celebration” tour at the Academy of Music last year, but the final two were canceled due to his bad back. Now he’s back, in a larger space, and, as always, with a stellar band. highmarkmann.org

    Patti LaBelle performs during the “Victory at Sea” concert at the Temple Performing Arts Center in 2025.

    Patti LaBelle

    July 9, Dell Music Center

    The highlight of the Dell season is this America 250 concert with hometown hero LaBelle, who will be joined by Chester, Pa., Grammy-winning R&B singer Avery Sunshine. The Isley Brothers on Aug. 6 are also standouts on the old school R&B and hip-hop calendar. DellMusicCenter.com

    Camden County Concerts

    All summer, Cooper River Park, Haddon Lake Park, and Wiggins Park

    Across the river on the Jersey side, multiple concert series feature national and local acts. The Haddon Lake Park Sundown Music Series has Delco native Devon Gilfillian on June 24 and Young Gun Silver Fox on Aug. 12. Cooper River Park presents Color Me Badd July 9, and Al Jardine and the Pet Sounds Band on July 16. And Wiggins Park has Will Calhoun celebrating Miles Davis on Aug. 24. They’re all free. camdencounty.com

    Megan Moroney performing in Nashville in 2025. The country singer will headline Xfinity Mobile Arena in South Philly in July.

    Megan Moroney

    July 11, Xfinity Mobile Arena

    The country songwriter, with sharp words for foolhardy dudes, is on her first arena tour behind her album Cloud 9. The presence of Musgraves and Ed Sheeran on the album shows how big a star Moroney has become. XfinityMobileArena.com

    Todd Rundgren

    July 11-12, Keswick Theatre

    Upper Darby’s own reluctant Rock & Roll Hall of Famer is playing the hits. The “Damned If I Do” tour is subtitled “The Fan-Favorite Classics Return.” So get ready to “bang on the drum all day.” KeswickTheatre.com

    Bryn Mawr Twilight Concerts

    All summer

    Acts hitting the under-the-gazebo stage on the Main Line include Shovels & Rope on July 12, John Gorka on July 24, Larry Campbell & Teresa Williams with Mutlu on July 31, and Mdou Moctar on Sept. 11. brynmawrtwlightconcerts.com

    Bob Dylan

    July 14, TD Pavilion at the Highmark Mann

    The world’s greatest living songwriter, who turned 85 this year, has been pulling surprises out of his hat of late, playing long-neglected songs like “You Ain’t Going Nowhere.” Jimmie Vaughan & the Tilt-A-Whirl Band and Brittney Spencer are also on the bill. highmarkmann.org

    Lionel Richie at Union Transfer on March 29, 2025.

    Lionel Richie and Earth, Wind & Fire

    July 16, Xfinity Mobile Arena

    The “Sing A Song All Night Long” tour marks a return for this partnership. Richie was last seen in Philly playing an intimate show at Union Transfer last year. He’s back with the incomparable pop-R&B band who are the subjects of Questlove’s new documentary Earth, Wind & Fire (To Be Celestial vs. That’s the Weight of the World). XfinityMobileArena.com

    Death Cab For Cutie & Japanese Breakfast

    July 17, TD Pavilion at the Highmark Mann

    Ben Gibbard and Death Cab For Cutie sparkled at the NonCommvention this spring. The band is touring behind their excellent new I Built You a Tower, with Philly proud Michelle Zauner and Japanese Breakfast opening. HighmarkMann.org

    Pavement will headline Connor Barwin’s Make The World Better Concert Weekend on Friday July 24 at the Dell Music Center.

    Make The World Better Concert Weekend

    July 24-25, Dell Music Center

    After a year at FDR Park, former Eagle Connor Barwin’s fundraising event for his MTWB Foundation is back at the Dell. The Strawberry Mansion weekend’s bang-bang lineup features Pavement and Ratboys followed by Kurt Vile and the Violators with They Are Gutting A Body of Water and Twisted Teens. r5productions.com

    Jill Scott is playing on the Ben Franklin Parkway on July Fourth and has four shows at the Met Philly later that month.

    Jill Scott

    July 24-25, and July 27 and July 29, The Met Philly

    It’s a Jilly from Philly summer. Along with the July Fourth blowout on the Parkway, she’ll be back for four nights at the Met Philly in support of her new album To Whom This May Concern. themetphilly.com

    Spruce Street Harbor Park

    All summer

    Multiple concerts will bring music to the Delaware River waterfront. Wild Pink plays July 23, Spirit of the Beehive is July 24, Snacktime plays Aug. 14. The 502s are Aug. 1, Ripe is Aug. 29, and Folk Bitch Trio is Sept. 26. delawareriverwaterfront.com

    Morgan Wallen

    July 31-Aug. 1, Lincoln Financial Field

    The Sneedville, Tenn., country superstar’s South Philly weekend on his “Still The Problem” tour teams him with Brooks & Dunn on his first night at the Linc. Night two looks more enticing, with Ella Langley, whose Dandelion is the biggest country album of 2026. LincolnFinancialField.com

    Dinner Party

    Aug. 2, Heuser Park

    Dinner Party, the supergroup that features adventurous jazz-funk-soul-hip-hop hyphenate Kamasi Washington, Robert Glasper, and Terrace Martin, have all of one date listed on their 2026 calendar. It’s in King of Prussia, with Digable Planets opening. RisingSunPresents.com/heuser-park

    Lyle Lovett performs at the Lansdowne Theater on March 12.

    Lyle Lovett & Esperanza Spalding

    Aug. 4-6 and Aug. 25-26, City Winery

    Two of the coolest, coziest indoor gigs of the summer. Lyle Lovett plays solo and tells tales in a three-night “Songs & Stories” stand. Then Esperanza Spalding, the jazz bassist and composer, plays two nights with her full band. citywinery.com/philadlelphia

    Silvana Estrada plays Longwood Gardens on Aug. 13.

    Arooj Aftab & Silvana Estrada

    July 29 & Aug. 13, Longwood Gardens

    World class global music-making women coming to Chester County. Arooj Aftab is a Pakistani American composer whose transporting 2024 album Night Reign features Chocolate Genius, Kaki King, and Philadelphians Moor Mother and Cautious Clay. Silvana Estrada, who grew up in rural Mexico, shines on Vendrán Suaves Lluvias, a luminous mixture of folk, jazz, and traditional Mexican musical forms. longwoodgardens.org

    Jon Batiste performs at the Met in Philadelphia on Oct. 30, 2025.

    Jon Batiste

    Aug. 14, Highmark Mann

    Jon Batiste’s joyous show at the Met Philly last fall ended with New Orleans’ second line parade out of the theater and onto Poplar Street. The bandleader will bring the life-affirming spirit of his 2025 album Big Money to Fairmount Park. HighmarkMann.org

    Philadelphia Folk Festival

    Aug. 14-16, Old Pool Farm

    The storied Philly Folk Fest returns for its 63rd year with a lineup that includes progressive bluegrass innovator Sam Bush, tough-minded songwriter Mary Gauthier, brilliantly witty tunesmith Robbie Fulks, blue guitar wiz Eddie 9V, folk troubadour Tom Rush, and Philly’s the Tisburys. John Flynn will perform and emcee. FolkFest.org.

    Mannequin Pussy’s Marisa Dabice performs at Union Transfer in 2024. The Philly band is scheduled to open for the Foo Fighters this summer.

    Foo Fighters

    Aug. 13, Lincoln Financial Field

    The “Take Cover” tour brings Dave Grohl’s stadium rock band to the Linc behind the new Your Favorite Toy. It’s the band’s first time here with new drummer Ilan Rubin, who replaced Josh Freese, who briefly replaced Taylor Hawkins after his death in 2022. Openers are Queens of the Stone Age and Philly punks Mannequin Pussy, getting a deserved spot on the big stage. LincolnFinancialField.com

    Rush

    Aug. 21 & 23, Xfinity Mobile Arena

    Rush fans are over the moon about the reunion of the Canadian prog-rock group. Core members Geddy Lee and Alex Lifeson are back, with Loren Gold on keyboards and more importantly, new drummer Anika Nilles, who has won universal praise for taking on the daunting task of stepping in for Neil Peart, who died in 2020. XfinityMobileArena.com

    Bruno Mars in Las Vegas on “Bruno Mars Day.” (Steve Marcus/Las Vegas Sun via AP)

    Bruno Mars

    Sept. 1-2, Lincoln Financial Field

    The hits never stop coming for Bruno Mars, from “Just The Way You Are” in 2010 to his “Die With A Smile” with Lady Gaga and “APT” with Rosé in 2024. Fabulous British vocalist Raye opens, as does DJ Pee .Wee, who is Mars’ Silk Sonic partner Anderson .Paak in disguise. LincolnFinancialField.com

    Kacey Musgraves

    Sept. 4, Xfinity Mobile Arena

    The Texas singer has circled back to her country roots on her self-reflecting new album Middle of Nowhere, which features collabs with Willie Nelson, Miranda Lambert, Billy Strings, and Philadelphia-raised singer Gregory Alan Isakov. XfinityMobileArena.com

    Charli xcx performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Saturday, June 28, 2025. She opens her ‘Music, Fashion, Film’ tour in Philadelphia on Sept. 11. (Scott A Garfitt/Invision/AP)

    Charli XCX

    Sept. 11, Xfinity Mobile Arena

    Charli XCX is covering all the bases with her new album Music, Fashion, Film, which represents those realms with contributions from John Cale, Marc Jacobs, and Martin Scorsese. (Yes, really.) She opens her tour for the album, which drops July 24, in Philly. XfinityMobileArena.com

    Angine de Poitrine plays Underground Arts on Sept. 16.

    Angine de Poitrine

    Sept. 16, Underground Arts

    The masked Canadian math-rockers who hide their identities but not their musical prowess, are doing a UA basement show before returning to play Franklin Music Hall on Nov. 20. UndergroundArts.org

    Making Time ∞

    Sept. 18-20, Fort Mifflin

    Dave. P.’s boutique electronic music festival — this year featuring Bicep, Kim Gordon, John Talabot, and scores more — returns to the Revolutionary War-era fort near the Philly airport. MakingTimeIsRad.com

    XpoNential Music Festival

    Sept. 18-20, Wiggins Park

    The WXPN-FM (88.5) weekend at Wiggins Park in Camden features headliners Dawes, Little Feat, Portugal. The Man, plus S.G. Goodman, Te Vista, Cyril Neville playing the Grateful Dead, Madison Cunningham, Sierra Hull, Rebirth Brass Band, and more. xpn.org/xpnfest