Falling in Reverse bring 'Live From the Unknown' to the Fillmore

February 10, 2022

Ronnie Radke and Falling in Reverse are no strangers to the Philadelphia market and their return to the are marked the final night of their tour after the date was re-scheduled from a few weeks prior.

Over the past decade Falling in Reverse have carved out one of the largest fanbases in the scene of metal music largely due to their constant reinvention of themselves. A Google search on the band or frontman Ronnie Radke will bring up thousands of results of opinionated articles that stray from the path of what the band has accomplished since their debut. Radke is one of the most innovative and colorful frontmen in music and with that draws a lot of discourse that distracts from the art. There is a true void with this scene of music of artists willing to ask tough questions with their art and in doing so Radke has often been the subject of unjust criticism. The band's music doesn't deserve to be over shadowed by so many rounds of trivial content over the years and thankfully Radke's truthful songwriting/online personality has resonated with a large crowd that has continued to support them. In the end real fans of the band's music aren't going to get distracted by online comments criticizing truly meaningless things such as attire, past antics, tweets, etc.


As a result of their loyal fanbase Falling in Reverse have found new levels of success with each version of themselves from the controversial introduction of rapping elements into their songs and eventual departure from traditional full length releases to continuous chart topping singles. The band's most recent release "Zombified" has dominated Spotify playlists, SiriusXM and as of recently WMMR in Philadelphia. This non-typical model of copies similar success Falling in Reverse found with "Popular Monster" in 2020 and even the "Drugs" EP before it as Radke & company continue to change how they deliver content to their fans. During the pandemic continued to Radke to grow his (and the band's) following as he quickly rose the ranks on Twitch as a popular streamer. The band even streamed a few live performances as "pay per view" events during the pandemic.


It doesn't take long listening to the band's now extensive catalog of music and impressive streaming/radio play numbers to become aware that Radke and Falling in Reverse have always been two steps ahead of the rest of the genre. Their current tour, 'Live from the Unknown' was the band's first major nationwide tour on the road since before the pandemic and sold out numerous dates in the process. The Philadelphia date at the Fillmore became "an evening with" as just Falling in Reverse returned for the re-scheduled date, but this didn't keep the band (and fans) from going absolutely insane from show start to finish.

Falling in Reverse took the stage just after 8PM to the roar of a crowd solely there to see them and chants of "Ronnie, Ronnie" as the numerous lights burst to life all around the stage set up. Instantly crowd surfers began to flow over the barricade before Radke even stepped up onto the massive array of risers lining the stage to belt the first lyrics of "I'm Not a Vampire." It was clear early on that this final night of the tour was going to be a special event for both band and fans as many entered the mosh pit for the first time in 2 years. Radke & company took the crowd through a setlist that spanned their entire discography (including two songs from Radke's era with Escape the Fate before Falling in Reverse.)


While Radke remains a center point and is a masterful frontman on the stage he has done well with this version of Falling in Reverse as he has surrounded himself with truly remarkable musicians. Many of the songs performed during the band's 15 song setlist were transformed with minor alternations that both blended them together as a cohesive show and in many ways improved them. The fan reactions were intense for both Escape the Fate throwback songs as expected but some of the heaviest moments in the set came at unexpected times. The mosh pit during "Rolling Stone" was the stuff of metal show legend and the circle pit during the poppier "Drug in Me is You" looked like something you would set at a festival and not in a club setting.

The 3 song encore included the highly anticipated live performance of "Zombified" that easily received the most extreme reaction from the crowd that sent numerous articles of clothing, a few pairs of shoes and at least two rounds of drinks flying in the mayhem. The set closed with a back to back hit of "Just Like You" and "Popular Monster" but before he departed Radke thanked the Philadelphia crowd (once again) for both coming out to see just them that night and for holding on to their tickets to do so.


While the "Live from the Unknown" tour may be completed now it is safe to say that we haven't seen the last of Falling in Reverse for 2022. The band is set to release the 'Neon Zombie' EP shortly and will be on the road again for the upcoming festival season across the country. Other than that is hard to guess what Ronnie Radke is preparing for fans musically and that is the way it should be for any great artist. If we sat around expecting what the next chapter was going to be the surprise and reaction wouldn't be as genuine as it is. For the last 10 years Radke and Falling in Reverse have kept everyone on their toes while trying to catch up and there is little chance of them stopping now.

Article Written By:

Matt Christine

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.

The All-American Rejects kick off a new era at Parx Casino in Bensalem

By Matt Christine • April 1, 2025
On March 29, The All-American Rejects brought a whirlwind of nostalgia, energy, and surprise to the Xcite Center at Parx Casino in Bensalem, Pennsylvania. With the crowd already buzzing, the band made their entrance to the iconic "Gonna Fly Now" from Rocky, setting the tone for a night that would blend theatrical flair with heartfelt musicianship. Tyson Ritter and crew wasted no time launching into “Dirty Little Secret,” immediately turning the venue into a singalong haven for fans of all ages. The evening’s setlist was a well-balanced mix of crowd favorites and deep cuts, keeping both longtime fans and newer listeners on their toes. From upbeat anthems like “Fallin’ Apart” and “Beekeeper’s Daughter” to early classics like “My Paper Heart,” the band showcased their full range. But one of the night’s most emotional moments came from an unexpected fan request: an acoustic, acapella performance of “Heartbeat Slowing Down.” Tyson delivered the first verse and chorus with just his voice and a dim spotlight—his first time performing the song live since 2013. The crowd, stunned into silence, erupted with cheers at the final note. Throughout the show, Tyson Ritter kept the mood light with his signature irreverent humor. He poked fun at the convention center-style room, joking, about what other events were hosted in the room including a furry convention before launching into a riff about Parx Casino’s not-so-subtle encouragement to gamble. “They want you to leave this show... and immediately hit the slots. Don’t let them down!” he quipped, drawing laughs from every corner of the venue. That excitement rolled perfectly into a performance of their brand-new single “Sandbox,” which blended the band’s classic melodic hooks with a fresh, heavier indie-pop edge that had fans filming the moment for social media. One particularly fun surprise came when Tyson improvised a short, comedic song inspired by fans in the front row called “Chrysanthemum.” The details of this moment will be left behind lock and key for anyone not at the concert but just know it was one of the most obscene moments of the set and was a perfect way for the band to launch into "Sweat" after the moment wrapped up. The band also took time to acknowledge their recent appearance at Jonas Con, where they teased their upcoming role as special guests on the Jonas Brothers’ 20th Anniversary Summer Tour. The crowd cheered at the announcement, and Tyson grinned, saying, “We’ve officially joined the Jonas extended universe.” As the show neared its finale, The All-American Rejects rolled out a trifecta of hits—“Swing, Swing,” “It Ends Tonight,” and “Move Along”—each met with raucous applause and heartfelt singalongs. The encore, naturally, closed with “Gives You Hell,” sending the audience out into the casino with their voices hoarse and spirits high. Fans could be heard raving as they exited, calling it “everything I could have hoped for” and praising both the band and the intimate, high-energy setting. In the end, The All-American Rejects proved that they’re far from just a nostalgia act. With clever banter, emotional surprises, a killer setlist, and a brand-new single to boot, their performance at Parx Casino was a reminder that great bands don’t just survive the decades—they evolve, engage, and keep giving fans reasons to fall in love all over again.