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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.

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.

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.

Bishop Briggs brought an electrifying storm to Philadelphia’s Union Transfer on the second-to-last stop of her “Tell My Therapist I’m Fine” tour—and if the title wasn’t already dripping in irony, her explosive set made it perfectly clear. Kicking off with “My Serotonin,” she transformed the venue into a cathartic dance party-meets-emotional bootcamp. It felt less like a concert and more like cracking open someone’s diary set to a thunderous bassline. From the jump, Briggs’ stage presence was nothing short of kinetic. She didn’t just command the stage—she treated it like an Olympic track, sprinting, leaping, and tearing across every corner without missing a note. During “Dark Side,” her energy swelled with the song’s intensity, delivering a performance that was equal parts spiritual purge and high-voltage rock ritual. “Woman Is King” arrived like a crown drop. Her voice soared, the crowd erupted, and in that moment, the track became less of a song and more of a statement—powerful, fearless, and unapologetically loud. It was the kind of performance that made you want to run through a wall or at least buy a leather jacket. The new single generated one of the best reactions from the crowd all night long and Briggs flashed more than one of her signature smiles from on stage during the emotional performance of the new track. Briggs didn’t just play a show—she led an emotional endurance test across 20 songs, and Philadelphia was more than willing to sweat it out with her from start to finish in this historic venue. If this was her version of therapy, then the rest of us were gladly booked in as co-patients.

Spencer Sutherland lit up The Foundry in Philadelphia on March 20 with a headlining set that blended pop, soul, and showmanship in all the right ways. From the moment he hit the stage, his charisma was undeniable—commanding the crowd with powerful vocals and effortless swagger. Fans sang every word back to him, creating a room-wide chorus that felt more like a celebration than a concert. With emotional ballads, high-energy bangers, and a few unexpected twists, Sutherland proved he's not just riding momentum—he’s building a movement.

On March 20, an eager crowd packed into The Foundry in Philadelphia, buzzing with anticipation—not just for Spencer Sutherland’s headlining set, but for rising star Cloe Wilder, who opened the night with a performance that felt like she could have been the main event of the evening. With her new EP Life’s A Bitch set to drop just hours later, the energy in the room was unmistakably electric. Fans, some of whom had been waiting by the barricade since doors opened, knew they were witnessing something special—an artist on the cusp of a major breakthrough. The small stage made an intimate set even more so as there was little room for Wilder to make use of but she made sure to give the crowd as much love as she could (and toss them some shirts). Wilder’s live vocals were nothing short of stunning: airy yet controlled, soft-spoken yet cutting through the venue like a well-thrown dagger. Her tone carried the emotional weight of every lyric, wrapping the room in an intimate haze that felt more like a confessional than a concert. One of the night’s standout moments came early, when she sat at the piano and made the stage her own, performing with the kind of poise that silenced even the loudest bar chatter—a rare feat at a packed club show in the Foundry. Her delivery was raw but polished, vulnerable without ever losing its edge and her confidence as a performer is well beyond her years. She closed her set with "Cigarette," her newest single, lighting up the room not with actual smoke, but with a moody, sultry energy that lingered well after she stepped offstage. It was the perfect final note—smoldering, slow-burning, and cool in all the right ways. If Life’s A Bitch captures even a fraction of what she brought to The Foundry, Wilder won’t be opening for long—she’ll be headlining in no time.

Tito Double P lit up the stage with an electrifying, sold-out performance at the Santander Arena in Reading, PA. Fans packed the venue wall to wall, singing along to every word and dancing late into the night. The high-energy show marked a milestone moment for the rising star, solidifying his place as a powerhouse in the regional music scene.

Skillet turned up the heat—literally—when they returned to Santander Arena as headliners on the Winter Jam Tour, armed with explosive pyro, a brand-new set, and a production upgrade that could’ve made a dragon blush. Fans were rocked by fresh fire with new tracks like "Unpopular", "Ash In The Wind", and the aptly named "Showtime." If their last visit was intense, this one cranked it to eleven—louder, brighter, and fully geared to melt faces.

Judah and the Lion braved the cold for an electrifying outdoor set at Alt 104.5’s Winter Jawn, turning a frigid January day into a full-blown celebration. Despite the chill, the crowd warmed up fast as the band tore through a mix of fan favorites and fresh tracks from their latest release. With their signature energy and heartfelt lyrics, they proved that even winter couldn’t freeze out a good time.

Low Cut Connie tore up West Art in Lancaster on New Year’s Eve, proving once again that piano-driven rock ‘n’ roll was the perfect way to kiss 2024 goodbye. The night was packed with sweat, swagger, and a party so wild that resolutions didn’t stand a chance past midnight.

Harrisburg became a musical confessional as Say Anything rolled into town on their current tour celebrating the 20th Anniversary of their iconic album, ' Is a Real Boy .' From the moment Max Bemis sauntered onto the stage—equal parts ringleader and raconteur—the Harrisburg Midtown Art Center was brimming with a raw, unfiltered energy that threatened to crack the building’s foundations. This wasn’t just a concert; it was a communal exorcism wrapped in clever, sardonic lyrics and the bombast of a band that knows how to leave it all on the stage. The show opened not with a bang but with a tease. Dim lights swirled over the crowd as the haunting opening chords of “Belt” crept into the room. Bemis strutted onto the stage like a grungy Shakespearean antihero, clutching his mic stand as if it were a scepter. His voice—still jagged and impassioned—tore through the iconic first line: "And, the show begins with a song of rebelion." Max Bemis commanded the stage with an energy that felt almost paradoxical—half self-aware rock star, half self-deprecating poet. Between songs, he riffed on the absurdity of revisiting Is a Real Boy in 2024, joking about its youthful angst but simultaneously embracing it like an old friend. His voice, raw and imperfect, added an authenticity that perfectly suited the evening’s themes of insecurity, longing, and rebellion. Highlights included a searing rendition of "Alive with the Glory of Love," which had couples clinging to each other and strangers bonding over the sheer force of nostalgia. The performance was equal parts theatrical and heartfelt—a reminder that Say Anything’s music lives in the messy spaces between irony and earnestness. Despite his scattershot banter, Bemis’ vulnerability anchored the evening. Songs like “The Futile” and “I Want to Know Your Plans” felt like pages torn from a diary, raw and confessional. Bemis has always walked the line between poet and provocateur, and here he danced on that edge, charming the audience with his uncanny ability to make dysfunction feel universal. Say Anything shows have always been as much about the crowd as the band. Last night’s audience was no exception, embodying the album’s themes of existential frustration and defiant joy. From the front-row diehards to the casual fans in the back, the energy was infectious. One highlight came during “Woe,” where Bemis handed the mic to a fan who belted the bridge with so much conviction you’d think they wrote it. The show closed with "Admit It!!!," arguably the most blistering takedown of hipster culture ever written. Bemis delivered the song’s venomous tirade with a grin, and the crowd ate up every word. As the band exited the stage, Bemis lingered for a moment, looking out at the audience as if soaking in the last bits of shared energy. No frills—just a perfect, abrupt ending to a night that didn’t need embellishment. Say Anything’s performance of Is a Real Boy in Harrisburg was a reminder of why this album remains a touchstone for so many. It’s not just the music, though that alone is impressive—it’s the way Bemis and company capture the messiness of being human. For a few hours, we weren’t just an audience; we were co-conspirators in an emotional heist. So if this tour is coming to your city, don’t miss it. You’ll leave hoarse, sweaty, and maybe a little more in touch with the awkward, angry teenager you used to be—or still are. And really, isn’t that what rock and roll is all about?