Andrew McMahon's 12th Annual Dear Jack Benefit Concert shines bright in Philadelphia

November 19, 2021

The special annual benefit concert hosted by Andrew McMahon & Friends finally made appearance on the East Coast in the city of Philadelphia, which has long been a "second home" to McMahon through out the years of his many projects.

From the early years with Something Corporate to the current era of Andrew McMahon in the Wilderness the city of Philadelphia has always supported Andrew McMahon. And, while McMahon may not properly live here he has played nearly every stage in the city during his impressive career. The local alternative station, ALT 104.5, has also featured McMahon numerous times at their annual events as well (both free and ticketed). When the 'Three Pianos Tour' was announced earlier this year and Philadelphia was left off the initial announcement fans were left confused why McMahon would skip their city after all the years of countless touring there. However, their patience paid off as Andrew McMahon was quick to tease on social media that an announcement would come soon for Philadelphia - and it did, in the form of the 12th Annual Dear Jack Benefit at the Fillmore on November 13.

Andrew McMahon founded the Dear Jack Foundation after his own battle and recovery from young adolescence cancer during his Jack's Mannequin days. The Dear Jack Foundation's primary goal is to provide quality of life programming that directly benefits young adult cancer patients, survivors and their families. The Annual Benefit Concert is just one of the many ways fans and interested parties can contribute to the organization. This year the organization set out with the 250K Challenge to raise funding for their next year of operation. Thanks in part to the combined efforts leading into the after and proceeds from it - The Dear Jack Foundation ended up raising a grand total of a total of $305,533. The organization explained on their social media pages that this sum would help the fund 100 LifeList patients and 5 Breathe Now retreats, in addition to a partnership with Cancer for College which would provide Matt Cwiertny Dear Jack Music Education scholarships to two AYA survivors.


The venue was transformed for the event with large Dear Jack banners, information tables and a massive merchandise set up that featured limited edition items exclusive to the event - and a line that wrapped into the concert hall of fans waiting to purchase their posters and shirts. Throughout the evening Andrew McMahon greeted the in person crowd and those watching the livestream from onstage while he provided an update on the incoming donations. He also spoke in length about how important Dear Jack is to him and took some time to showcase some video content about the organization as well. Closer to his set Executive Director Andrea Schwartz took to the stage to spotlight some videos from individuals who have benefited from their incredible program.

Joining Andrew McMahon for this special benefit show as support were his former bandmate Zac Clark and singer-songwriter Annika Bennett. Clark kicked the night off after a warm welcome from McMahon and he gave the crowd a wonderful 30 minute set of his new solo material. As a long time member of McMahon's band during the 'In The Wilderness' era, Clark was a welcome face to the Philadelphia crowd - many of whom sang along to his material as they knew it very well already.


Clark's setlist featured a lot of material from his recently released full length album "Holy Shit" in addition to some other songs he has written as a solo musician. While his set may have been short he brought a perfect amount of energy to kick the show off that left the packed house of the Fillmore with smiles on their faces as they waited for the night to continue.


Zac Clark's set was quickly followed up by another appearance from Andrew McMahon with an update for the crowd about progress towards the $250K Challenge before he introduced the next special guest on the evening, Annika Bennett. Bennett put on an impressive performance and along the way explained that this was her first time performing in the city of Philadelphia. She went on to tell the audience later in the set that she usually is in a studio environment writing songs for other people so she was rather new to touring - however, this lack of on stage experience didn't prevent her from delivering a great set from start to finish.

Following Bennett's set the stage underwent a brief change over in anticipation for the arrival of the star of the evening, Andrew McMahon. He'd appear on the stage briefly once more to thank the Philadelphia crowd as he explained how much it meant to him to host the 12th Annual Dear Jack Benefit in the city that had truly been like a second home to him. The stage lights then went dark and when McMahon returned to stage a few minutes later he was seated at his piano as beaming light cascaded down on top him as he began the show with a re-imagined version of "Synesthesia."


Through out the night McMahon left his perch up at his piano talk to with the crowd as he shared many intimate stories about some of the stories behind the songs and his journey as a young adult when he faced his cancer diagnosis as well. Many of the songs in the set were stripped down or completely new versions as McMahon had new, smaller band with him that just featured Morgan Paros on violin and a few other instruments and Mikey Wagner on keyboards as well as some various instruments throughout the show.


Andrew McMahon took the crowd on a musical journey after he explained the story behind the three pianos that shaped his life as well as the three mirrors that surrounded him on the stage. The night was a true story book performance as McMahon dug deep into his catalog digging out some rare Something Corporate gems with "She Paints Me Blue" and "The Astronaut" shining bright early in the night - fans of his Something Corporate era of songwriting had to wait until the encore of the night for the rare appearance of "Konstantine" that sent the crowd into a frenzy. McMahon didn't shy away from any of his current materials as a stunning performance of "Halls" and "Fire Escape" were among the many 'In the Wilderness' songs that made the setlist but a stand out moment was the performance of "Something Wild" that he originally recorded with Lindsey Stirling. Up until now McMahon didn't have a touring violinist in the band but the addition of Morgan Paros allowed him to perform this song at last.

Last, but certainly not least, were the many Jack's Mannequin moments that McMahon treated his fans to for this special night at the 12th Annual Dear Jack Benefit concert. No night with Andrew McMahon is complete with out a full crowd sing-a-long during the chorus of "Dark Blue" or the crashing piano notes of "The Mixed Tape." This special night would also conclude with a fan favorite Jack's Mannequin song, again re-imagined for this new tour that Andrew McMahon & Friends are on. After being joined on stage by both Annika Bennett and Zac Clark, the entirety of the Dear Jack staff in attendance came out onto the stage for a massive performance of "La La Lie" that served as a proper ending to a once in a lifetime show for so many fans in Philadelphia.


There is no doubt that Andrew McMahon will be back to Philadelphia in the next year, or two at most - however it goes without saying that it will be hard to top the feelings that the 12th Annual Dear Jack Benefit show left the fans with. A special night, after over a year of not being able to gather for any sort of meaningful events transformed Andrew McMahon's first Philadelphia appearance since before the pandemic into the most important show he's performed in the city to date. Philadelphia will always support McMahon and hopefully the city won't have to wait another 12 years to host another Dear Jack Benefit - but if they, they'll be here waiting and ready to support, pack another room and break another fundraising goal.

Article Written By:

Matt Christine

Summer of Loud Turns the Historic York Fair Into a Full-Throttle Metal Mayhem

By Matt Christine • July 22, 2025
There are few tours as dynamic on the road this summer as The Summer of Loud tour and somehow this pyro heavy mega tour made it's way to the most unlikely stop in Pennsylvania as it touched down at the 260th Historic York Fair - a country fair mainstay that is more likely to have some country twang than a dozen mosh pits and crowd surfers. As America’s oldest fair, dating back to 1765, the York Fair has hosted everything from tractor pulls to livestock shows to fried Oreos. But this year? It became a coliseum of breakdowns, blast beats, and crowd roars thanks to the Summer of Loud Festival. The historic fairgrounds were transformed into a headbanger’s haven, echoing the legendary chaos of past Mayhem Fests. The rotating lineup of the tour was at full force, and for this stop, we were treated to Dark Divine, Alpha Wolf, The Devil Wears Prada, The Amity Affliction, I Prevail, Beartooth, Parkway Drive, and the mighty Killswitch Engage. Eight hours. No breaks. Just pure, relentless metalcore magic. However, for a festival of this magnitude, the York Fair security was absolutely not up to par. Fans were frequently dropped while crowd surfing, mosh pit safety was neglected, and response times to injured attendees were embarrassingly slow. Multiple crowd members complained about being shoved back into the pit after being pulled from it, visibly disoriented. It wasn’t just disappointing—it was dangerous. And some bands noticed… loudly. Kicking off the mayhem was Dark Divine, a fast-rising force in the world of theatrical metalcore. With a sound that blends haunting melodies, crushing breakdowns, and a visual aesthetic straight from a horror flick, these guys turned heads early on. Frontman Anthony Martinez prowled the stage with purpose, backed by a tight, atmospheric set that included fan favorites like “Deadly Fun” and “Halloweentown.” For a band still on the rise, they played like seasoned vets—and set the tone for a day of pure chaos. Then came the Aussies in Alpha Wolf, and with them came an avalanche of sound. “Akudama” was a war cry that blew the roof off the barn—figuratively, of course. “Creep” was a brutal wall of noise that had the pit convulsing. Lochie Keogh looked like a man possessed, pacing the stage like he was ready to pounce. Their set was raw, hostile, and unforgettable. The Devil Wears Prada hit the York stage with a blend of metalcore muscle and emotional weight. Mike Hranica’s intensity was unmatched—every scream felt like a release. Their tribute to the late Dave Shapiro was heartfelt and beautiful, a rare moment of quiet in an otherwise relentless set as Shapiro's legacy loomed large over this tour as the Summer of Loud was one of his final tours booked/announced currently. Next up The Amity Affliction brought their signature blend of melody and brutality to the crowd, and the audience was here for it. Joel Birch wasn't slowed down at all by his broken ankle and had a sea of fans belting out the lyrics during “Like Love,” and his screams during “Pittsburgh” could be heard all the way across the fairgrounds near the deep-fried candy stand. I Prevail hit the stage with a non stop burst of pyro with “Bow Down” and kept the firestorm rolling through “Hurricane.” Their tribute to Dave Shapiro and their now-iconic cover of Taylor Swift’s “Blank Space” brought big crowd reactions as did their comical country fair face paint that they all had done before hitting the stage. Their set was bombastic, emotional, and perfectly executed. And then there was Beartooth. From the first scream, Caleb Shomo was a man on fire—but not just from the music. Throughout the entire set, he repeatedly called out security for dropping fans, ignoring crowd injuries, and failing to control the barricade area. “Do your job and catch people!” he shouted mid-song, his voice frustrated with anger and at a guard who clearly snarked back at him in the barricade. The security's short comings didn't prevent Shomo and Beartooth from delivering the best set of the day but it was certainly a frustrating undertone during their performance. Things got so tense that by the end of their set, crew members had to hold Caleb back as he stormed the edge of the stage, visibly furious about how fans were being handled. It was clear: this was more than just a show for him—it was a mission to protect his people. And while his performance was, as always, tight and passionate, it was the rage that left the biggest mark. What better way to follow that intensity than with the godfathers of modern metalcore? Killswitch Engage were absolute professionals, blasting through “The End of Heartache” and “Holy Diver” with surgical precision. Jesse Leach remains a powerhouse of presence, spending as much time connecting with fans as he does belting out anthems. Finally, Parkway Drive lit up the York Fair like the 4th of July with the most theatrical, explosive set of the day. Winston McCall stalked the stage like a general in war, commanding the masses through “Glitch,” “Prey,” and “Crushed.” But the highlight? The spinning drum cage with pyrotechnics erupting like a volcanic finale. It wasn’t just a show—it was a spectacle. Parkway Drive are the kings of controlled chaos, and they reminded everyone why. The 260th York Fair just got a new page in its long history—one written in sweat, distortion, and cathartic screams. While security needs a major overhaul before next year, the music, the passion, and the unity of the fans made this a day for the history books. Let’s do it again next year—but maybe hire security that knows a mosh pit from a hay bale.

Jack's Mannequin return to Philadelphia for another SOLD OUT show

By Matt Christine • June 13, 2025
On June 8, Jack’s Mannequin swept into the Fillmore Philadelphia for the hometown stop of their Made For Each Other 20th-anniversary tour, turning the storied ballroom into a reunion between new Andrew McMahon fans from his solo era and the fans who grew up with his songs in Jack's Mannequin. A burst of lights and the band made their way to their places on set as the massive LED screens behind them flicked to life with the roar of the crowd—almost before the crowd could catch its breath—the band dove head-first into “Bruised,” instantly launching a full-room sing-along for the first time of the night. The family style sing-alongs would continue all night long because a Jack's Mannequin show is more than just a concert, it's a gathering of fans of all walks of life. Rather than lean solely on radio favorites, McMahon built a career-spanning arc that kept veterans and newcomers guessing. Early standouts “The Mixed Tape” and “Amy, I” landed with arena-sized fervor, while deeper cuts like “Spinning,” “Television,” and the introspective “Cell Phone” offered welcome detours for die-hard listeners. Mid-show, the tempo dropped for a surprise, lights-down, almost-whispered rendition of “Hammers and Strings (A Lullaby)”—performed nearly a cappella, save for a few plaintive piano chords. It was McMahon’s first time revisiting the lullaby in years, and the silence that followed its last note spoke louder than any applause. The final stretch was a one-two-three knockout: “I’m Ready,” “The Resolution,” and the soaring “Dark Blue,” each chorus louder than the last. After a brief exit, the band returned beneath a single spotlight for the encore. McMahon tipped his cap to the tour’s namesake, easing into the gentle “Restless Dream” before the full ensemble erupted into the sprawling suite “MFEO: Pt. 1 — Made For Each Other / Pt. 2 — You Can Breathe,” turning the title track into a communal vow to keep moving forward together. Twenty years on, Andrew McMahon and company showed how to honor a past without getting trapped in it: by laughing at the room you’re in, risking a fragile ballad in the middle of the party, and playing every song like it still belongs to today.

Shakira brings the 'Las Mujeres Ya No Lloran World Tour' to Atlanta

By Matt Christine • June 4, 2025
After a rocky start to her U.S. leg, with technical issues forcing the postponement of both the Washington, D.C. and Boston dates, Shakira delivered an electrifying, glitch-free performance in Atlanta that more than made up for the delays. The sold-out show at State Farm Arena proved why the Colombian superstar remains a force in global pop music: it was a spectacle of raw emotion, razor-sharp choreography, and dazzling stagecraft. Every moment felt polished and purposeful, yet deeply personal, a balance only a veteran performer like Shakira can pull off. The night opened with La Fuerte, a powerful declaration of intent that set the tone: this tour is about resilience, evolution, and feminine power. With minimal delay, she launched into a fierce rendition of GIRL LIKE ME, originally with the Black Eyed Peas, injecting it with her signature moves and vocal style. The audience, many of whom were adorned with glittering wolf ears and flashing LED bracelets, responded instantly, roaring as she transitioned into a nostalgic medley of Las de la intuición and Estoy aquí. It was a clever juxtaposition—early-career Shakira meeting her modern self, both artists occupying the stage in harmony. One of the most emotionally potent sequences came with Empire blending into Inevitable, where her vocals took on an operatic, almost volcanic intensity. The screen behind her exploded with elemental visuals—lava flows, crashing waves—mirroring the emotional crescendo on stage. This wasn’t just a concert; it was a catharsis. Later, Acróstico offered a softer moment, featuring a touching video of her children Sasha and Milan singing along, which visibly moved many in the crowd. You could hear a pin drop as Shakira sat on a stool, wiping away tears mid-performance. In terms of showmanship, the middle of the setlist was where Shakira proved her mettle. Copa Vacía, La Bicicleta, and La Tortura formed a seamless trinity of reggaeton and cumbia-infused pop, each song melting into the next with smooth transitions and high-energy dance breaks. She momentarily disappeared backstage during Chantaje, only to reemerge in a vibrant new costume and launch into a salsa version of the hit that transformed the entire arena into a nightclub. By the time she reached Whenever, Wherever, complete with a dramatic belly dance introduction using knives, Shakira had the entire arena in the palm of her hand. Her hips truly didn’t lie, and neither did the crowd, erupting into a thunderous sing-along. That energy spilled right into Waka Waka (This Time for Africa), which featured a thrilling Champeta breakdown and pulsating rhythms that was the infectious anthem of the 2010 World Cup. Shakira left the stage like a mythic figure—part woman, part legend—having proven once again that she isn’t just a performer. She’s a storyteller, a mother, a rebel, and above all, a she-wolf with a story still very much in motion.