#Meet Me @ The Altar Philadelphia | Explore Tumblr Posts and Blogs

Visit Blog

Explore Tumblr blogs with no restrictions, modern design and the best experience.

Fun Fact

When “GIF” was named word of the year in 2012, Oxford Dictionaries U.S.A. credited Tumblr for pushing the word.

#Meet Me @ The Altar Philadelphia

larodgersphoto · 1 year

Text

Meet Me @ The Altar and Pinkshift (+ me)

all of my friends in one place - Philadelphia 2022

#musicphotography #pop punk #fueled by ramen #meet me at the altar #mmata #pinkshift #meetmeatthealtar #hopeless records #bands #concert photography #philadelphia

38 notes · View notes

popentertainment-concertphotos · 2 years

Photo

Meet Me at the Altar – The Fillmore – Philadelphia, PA – September 28, 2022

#Meet Me at the Altar #2022 #Concert Photos #The Fillmore #Philadelphia #Kayla Marra

53 notes · View notes

popentertainmentconcertreviews · 2 years

Photo

Muna & Meet Me at the Altar – The Fillmore – Philadelphia, PA – September 28, 2022

Indie pop band Muna consists of Naomi McPherson, Katie Gavin, and Josette Maskin. They released their debut EP in 2014 titled More Perfect and fans have stuck with them since then. The group released two studio albums on RCA Records, About U and Saves The World, before signing with Phoebe Bridger's label Saddest Factory records and releasing their third studio album Muna in 2022. Prior to headlining their own tour, Muna opened for Harry Styles in 2017 and for Kacey Musgraves in 2022, alongside King Princess.

The group embarked on their largest headlining tour back in June 2022 and was kind enough to stop for an incredible show in Philly last night!

Fans were ecstatic to see their favorite band in person again, or for the first time ever. The line to get into the venue stretched up the street until the doors opened and people rushed in to secure their spots. At around 8:00, Meet Me at the Altar took the stage. Comprised of Edith, Ada, and Téa, the pop-punk girl group set the stage on fire. Not only was their performance electric, but they had every person in that room dancing along (which is rare for an opening act!) The girls' stage presence was absolutely unbeatable. At one point during the set, Edith was admiring the venue and while talking about the huge crystal chandeliers hanging from the ceiling said, "The chandelier moment is cute!" The band also shared that most of their set would be unreleased songs but teased that they will be released soon. How exciting!

After a show-stopping performance by Meet Me at The Altar, it was time for Muna to make their appearance. Before fans knew it, their favorite band was right in front of them. Kicking off their set with "What I Want," "Number One Fan," and "Solid," Muna kicked off what would be an unforgettable performance. After a couple of songs, lead singer Katie shared that the Fillmore was the biggest room they've sold out yet – this made the show much more special to be a part of. Katie then thanked the fans for looking out for each other that night and always.

After performing a mix of a couple of newer and older songs, Katie gave a heartfelt speech before the group performed "Loose Garment," expressing immense gratitude to everyone that has been there along the way. She also went on to explain the meaning behind the song "Kind of Girl," saying that is about knowing that "there's nothing wrong with me, I can be deserving of love." Other than the rhythm of the oft drum beat and strumming of guitar strings, you could feel the emotion that filled the room at that moment.

Muna finished their set with the hit song "Silk Chiffon" bringing the beat up and forcing everyone onto their feet. This was one of the most inclusive and accepting atmospheres I have felt a part of in a long time, and I owe that to Muna. They create such a safe and positive environment; you'd be missing out by not seeing them once in your life!

You can purchase tickets to catch Muna on tour here: https://www.whereismuna.com/

#Muna #Meet Me At the Altar #2022 #Concert Reviews #The Fillmore #Philadelphia #Kayla Marra

1 note · View note

mylifeinsound · 1 year

Text

Don't miss Meet Me @ The Altar tomorrow night (3/3) in Philly at The Foundry At The Fillmore!!

Don't miss Meet Me @ The Altar (@MMATAband) in #Philly tomorrow night at The Foundry at @FillmorePhilly! For tickets, tour dates, music and more visit mylifeinsound.com:

The Foundry at The Fillmore is serving us great shows this week with RIZ LA VIE tonight and Meet Me @ The Altar tomorrow night!! The all-ages show starts at 7:30 PM, get your tickets now here! Meet Me @ The Altar‘s new album ‘Past // Present // Future’ is out March 10th, you can pre-save and pre-order the new album now. You can get your Meet Me @ The Altar music and merch here!Listen to “Kool”…

View On WordPress

1 note · View note

wiiildflowerrr · 8 months

Text

Ash with Meet Me @ The Altar

At the 5SOS Show Philadelphia

#5sos #5 seconds of summer #ashton irwin #meet me at the altar #mmata #meet me @ the altar

67 notes · View notes

plutoccult · 7 months

Text

ABOUT ME!

GENERAL INFO:

call me maria (more comfortable with my close friends calling me this) or pluto (okay for everyone). twenty-one. virgo sun. gemini moon. virgo rising. she / her. istj. currently studying digital marketing.

MY MESSY MUSIC TASTE:

5 seconds of summer. taylor swift. stray kids. xdinary heroes. le sserafim. mitski. olivia rodrigo. laufey. cigarettes after sex. clairo. paramore. boygenius. sza. melanie martinez. my chemical romance. ateez. blackpink. tomorrow x together. newjeans. twice. itzy. dreamcatcher. zerobaseone. one direction (indefinite hiatus my ass). renee rapp. sabrina carpenter. pierce the veil. fall out boy. sleeping with sirens. arctic monkeys. lorde. hozier. abba. fleetwood mac. meet me @ the altar.

MY FAVE TV SHOWS / ANIME:

how i met your mother. new girl. cobra kai. bridgerton. abbott elementary. euphoria. the bear. bob’s burgers. the office. friends. scrubs. it’s always sunny in philadelphia. daisy jones & the six. julie and the phantoms. the summer i turned pretty. freaks and geeks. family matters. seinfeld. parks and recreation. south park. attack on titan. haikyuu. ouran high school host club. soul eater. death note. free iwatobi swim club. kuroko’s basketball. horimiya. spy x family. yuri on ice. ghost stories. sk8 the infinity. fruits basket. kamisama kiss. the devil is a part timer. tokyo ghoul. sword art online. noragami. black butler.

MY FAVE MOVIES:

spider-man. 13 going on 30. she’s all that. 10 things i hate about you. clueless. mean girls. sixteen candles. the breakfast club. pretty in pink. west side story. high school musical. the little mermaid. tangled. enchanted. mamma mia. hairspray. grease. rent. the phantom of the opera. little shop of horrors. pitch perfect. the karate kid. the hunger games. the holiday. pride and prejudice. la la land. scott pilgrim vs. the world. barbie.

MY FAVE VIDEO GAMES:

the sims 4. just dance. phoenix wright: ace attorney. professor layton. insomniac’s spider-man. until dawn. the quarry. detroit become human. chilla’s art. resident evil. mortal kombat. minecraft. borderlands.

#bio #about me #navigation

2 notes · View notes

equalvision · 1 year

Photo

Young Culture before their show during the “Past // Present // Future” tour with Meet Me @ The Altar, in Philadelphia, PA 3/03/23. Credit: Danny DeRusso

#young culture #young culture ny #pop punk #meet me at the altar #dany derusso #equal vision records #equal vision

2 notes · View notes

v1rgology · 2 months

Text

ABOUT ME!

GENERAL INFO:

MY MESSY MUSIC TASTE:

MY FAVE TV SHOWS / ANIME:

MY FAVE MOVIES:

MY FAVE VIDEO GAMES:

#navigation #about me #v1rgology #animated divider by cafekitsune

1 note · View note

plutotown · 5 months

Text

ABOUT ME!

GENERAL INFO:

MY MESSY MUSIC TASTE:

MY FAVE TV SHOWS / ANIME:

MY FAVE MOVIES:

MY FAVE VIDEO GAMES:

#about me #navigation #plutotown #animated divider by cafekitsune

2 notes · View notes

chorusfm · 7 months

Text

Meet Me @ the Altar Announces Tour Dates

Meet Me @ the Altar has announced some new tour dates. January 19, 2024 – Orlando, FL – The Abbey January 20, 2024 – Atlanta, GA – Hell @ The Masquerade January 21, 2024 – Greensboro, NC – Hangar 1819 January 23, 2024 – Philadelphia, PA – Theatre of Living Arts January 24, 2024 – Washington, D.C. – 9:30 Club January 25, 2024 – New York, NY – Irving Plaza January 26, 2024 – New Haven, CT – Toad’s Place January 28, 2024 – Boston, MA – Paradise Rock January 30, 2024 – Toronto, ON – The Axis Club February 01, 2024 – Cleveland, OH – Mahall’s February 02, 2023 – Detroit, MI – The Shelter February 03, 2024 – Chicago, IL – House of Blues Chicago February 05, 2024 – Denver, CO – Marquis Theater February 07, 2024 – Salt Lake City, UT – Soundwell February 09, 2024 – Portland, OR – Hawthorne Theater February 10, 2024 – Vancouver, BC – Rio Theatre February 11, 2024 – Seattle, WA – Neumos February 13, 2024 – Sacramento, CA – Goldfield Roseville February 15, 2024 – Los Angeles, CA – The Regent February 16, 2024 – Phoenix, AZ – Rebel Lounge February 18, 2024 – Austin, TX – Antone’s February 19, 2024 – Dallas, TX – Gilley’s February 21, 2024 – Nashville, TN – Basement East --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/news/meet-me-the-altar-announces-tour-dates/

0 notes

medusa-was-innocent · 3 years

Text

Female alt/punk music recs that nobody asked for (not a complete list just the ones I listen to):

Potty mouth

- all girl three piece band (I saw them open for PUP they were amazing live and I have a crush on the guitarist)

Nova twins

- British WOC rock duo, their sound is a mix of punk, grunge, and alternative rap

G.L.O.S.S.

- Stands for Girls Living Outside Society’s Shit, intersectional feminist hardcore punk band made up of trans and queer women; their lyrics center around gender dysphoria, sexism, racism, and transmisogyny

The coathangers

- all-female punk/garage rock band, riot grrrl

Pity party

- female-fronted alt/punk band from east oakland

Daddy issues

- all-girl grunge pop/alt rock group from Nashville; several of their songs have sapphic themes but I don’t think any of the members are publicly queer (their album deep dream is one of my favorites records of all time and I’m in love with all of them)

Rina Sawayama

- Japanese-born British musician, her style ranges from pop to R&B to nu metal

Brittany Howard

- black lesbian rock and R&B singer/songwriter, lead singer of Alabama Shakes; her music has contemporary and southern elements, mixture of soul, rock, blues and funk

Kitten forever

- all-girl feminist punk trio

Camp cope

- self-described “power emo” alternative girl group from Australia; their song The Opener is about being treated as outsiders the music scene because they’re women

TsuShiMaMiRae

- Japanese female punk rock trio formed in Chiba, Japan in 1999 and still active

Bratmobile

- a first generation riot grrrl band formed in the 90s, their music has influences of pop, surf, and garage rock; their music has feminist and political themes

Sleater-Kinney

- another one of the original riot grrrl bands, punk/indie girl group formed in 1994

Japanese breakfast

- Korean Jewish indie pop female artist

Meet me @ the altar

- WOC pop punk group, signed by Fueled By Ramen, their sound has been compared to paramore

Rotten reputation

- Queer femme punk band

Angelica Garcia

- Latina American singer/songwriter whose music references her Mexican and Salvadoran roots; she became well-known when Barrack Obama put one of her songs on his year end list

Cherry Glazerr

- female-fronted American rock band from LA, previously featured Sasami Ashworth as a member but she left in 2018 to pursue a solo career

Chastity Belt

- alternative rock all-girl group from Washington

Bleached

- punk/indie girl group made up of sisters Jennifer and Jessica Clavin

Retirement party

- female-fronted emo/alt band

The regrettes

- American punk rock band formed in LA

Big Joanie

- British punk rock group made up of three black women, stephanie Phillips wanted to “start a black feminist punk band after becoming frustrated with the lack of intersectionality in the punk scene”

Voodoo queens

- London-based riot grrrl band formed in 1993, Indian-American lead singer Anjali Ranadivé now works as an ocean conservationist

Honeyblood

- indie rock 2 piece band from scotland

Dream wife

- punk/indie girl group from england

Emily’s Sassy Lime

- Asian-American teenage riot grrrl trio formed in California, 1993

Soccer mommy

- indie rock singer/songwriter from Nashville, TN

Jay Som

- Filipino-American bedroom indie pop

Pleasure venom

- garage punk rock group from Texas, fronted by a black woman, describes themselves as “femme-punk”

Tacocat

- indie punk rock quartet from Seattle

Hands Off Gretel

- female-fronted punk/grunge group from the UK

VOIID

- feminist activist alt rock group whose music focuses on issues women face like abuse and sexual assault, they strive to “reinvent the role of women”

Skating Polly

- female-fronted riot grrrl group formed by step siblings from Oklahoma

Sheer Mag

- female fronted punk rock band from Philadelphia

Cayetana

- all-female pop punk band from Philadelphia

Middle kids

- female-fronted alternative indie rock band from Sydney, Australia

SASAMI

- Asian-American indie/alternative musician, former member of Cherry Glazerr

Jetty bones

- alternative pop singer/songwriter

Indigo De Souza

Indie singer/songwriter from Asheville, NC; openly speaks about depression and anxiety in interviews

Feel free to add any that I missed!

2K notes · View notes

larodgersphoto · 8 months

Text

Meet Me @ The Altar opening for 5 Seconds of Summer 08-19-2023 Philadelphia, PA

#musicphotography #concert photography #pop punk #fueled by ramen #meet me at the altar #mmata #edith #edith victoria #meet me @ the altar #mm@ta #5sos #5 seconds of summer

17 notes · View notes

popentertainment-concertphotos · 2 years

Photo

Muna & Meet Me at the Altar – The Fillmore – Philadelphia, PA – September 28, 2022

#Muna #Meet Me at the Altar #2022 #The Fillmore #Philadelphia #Concert Photos #Kayla Marra

0 notes

southernconstellctions · 2 years

Photo

⌠ hayley law. 29, lesbian, cisfemale, she/her. ⌡ wait a minute, is kennedy hart still in town? i thought i saw a flash of (too many keychains, a different hair style each week, tiny glass figurines gathered on windowsills)! last i heard they were working as a barista nearby. when it’s the (scorpio)’s birthday on 11/18 i forget that they’re weird and celebrate that they’re quick-witted. i hear a work in progress by meet me at the altar every time i think of them. ⌿ @liminalintro

cult, kidnapping tw

* Having a normal life just wasn’t in the cards for Kennedy Hart. Kidnapped shortly after birth, she was brought into a commune where she would live most of her life, it was the only thing she’d ever known.

* Commune is a nice way of putting it - Kennedy was raised in a cult. The man she grew up calling ‘dad’ was the leader, a loving but stern man, who was the only person allowed to marry in the group.

* They weren’t that far from Centralia, and Kennedy grew up hearing stories about the town that was on fire, cursed by God, and if she didn’t behave, that’s where she’d end up.

* It wasn’t a locked society by any means - people came and went, left to do their shopping or jobs. But all schooling was done in the commune, and no one under the age of eighteen was allowed to leave the ground unaccompanied. As she grew, Kennedy realized that half the time they got new members, it was the result of child kidnapping - it was easier to brainwash the kids than it was adults, apparently.

* Kennedy adored her dad, and everyone was sort of seen as a mother figure, and all the other kids were like her siblings. Take away the whole religious cult part of it, and Kennedy actually really loved how she was raised - while biologically she was an only child, she had so many siblings that she never needed to be lonely.

* Once she turned eighteen, it was expected for her to go out and get a job, and while she wasn’t necessarily qualified for anything, finding her a job where other cult members worked was easy. She enjoyed the time away from the commune however - maybe more than she should have.

* Eventually she felt restless, a burning desire to go out and explore the world and herself - but such things were deeply discouraged. So as much as it pained her, she stayed - until she could figure out a plan.

* Leaving wasn’t hard, but it wasn’t easy either. There was nothing really keeping anyone there - you were free to leave whenever you wanted. The family and community bond is what kept most people there, and it was the biggest hurdle for Kennedy to leap over. But when she was twenty three, she finally made her exit.

* She stayed in PA, living in West Chester for a time before trying Philadelphia, which overwhelmed her very quickly. It didn’t take her too long to think about Centralia, the perpetually on fire city that was, supposedly, cursed.

* At twenty eight, she’d gotten herself a little apartment, though is looking for a roommate, and is maybe a little too friendly when meeting new people. She’s fairly well adjusted for someone who grew up in a cult. It’s not that she was cut off from the world, but a lot of media was discouraged - think Harry Potter, Lord of the Rings, mythology. Doesn’t have a great concept of personal space, why is why she hasn’t managed to keep a roommate for more than a few months.

#liminal:intro #kennedy hart ( biography )

3 notes · View notes

sinceileftyoublog · 3 years

Text

Riot Fest 2021: 9/16-9/19, Douglass Park

BY JORDAN MAINZER

Much like Pitchfork Music Festival earlier this month, this past weekend’s Riot Fest felt relatively normal. Arriving at Douglas Park every day, you were greeted by the usual deluge of attendees in Misfits t-shirts and dyed hair, the sound of faint screams and breakneck guitars and drums emanating from nearby stages. The abnormal aspects of the fest, at least as compared to previous incarnations, we’re already used to by now from 2021 shows: To get in, you had to show proof of vaccination and/or a negative test no older than 48 hours, which means that unvaxxed 4-day attendees had to get multiple tests. Props to the always awesome staff at Riot Fest for actually checking the cards against the names on government-issued IDs.

For a festival that dealt with a plethora of last-minute changes due to bands dropping out because of COVID-19 caution (Nine Inch Nails, Pixies, Dinosaur Jr.) or other reasons (Faith No More/Mr. Bungle because of concerns around Mike Patton’s well-being), there were very few bumps in the road. Whether Riot Fest had bands like Slipknot, Anthrax, or Rise Against in their back pocket as replacements or not, it very much felt like who we saw Thursday-Sunday was always supposed to be the lineup, even when laying your eyes on countless “Death to the Pixies” shirts. Sure, one of the fest’s main gimmicks--peeling back the label on Goose Island’s Riot Fest Sucks Pale Ale to reveal the schedule--was out of date with inaccurate set times and bands, and it still would have been so had Faith No More and Mr. Bungle stayed, since Fucked Up had to drop out last minute due to border issues. But the festival, as always, rolled with the punches.

The sets themselves offered the circle pit and crowdsurfing-inducing punk and metal you’re used to, with a few genre outliers. For so many bands of all styles, Riot Fest represented their first live show in years, and a few acts knew the exact number of days since their last show. For every single set, the catharsis in the crowd and on stage was palpable, not exactly anger, or elation, but pure release.

Here were our favorite sets of the festival, in chronological order.

WDRL

Last October, WDRL (which, amazingly, stands for We Don’t Ride Llamas) announced themselves with a Tweet: “y’all been looking for an alt black band,, well here you go”. A band of Gen Z siblings, Chase (lead guitar), Max (lead vocals), Blake (drums), and Kit Mitchell (bass guitar), WDRL is aware, much like Meet Me @ The Altar (who, despite my hyping, I couldn’t make it in time to see) that they’re one of too few bands of POCs in the Riot Fest-adjacent scene. Their set, one of the very first of the weekend during Thursday’s pre-party, showed them leading by example, the type of band to inspire potentially discouraged Black and brown folks to start punk bands. Max is a terrific vocalist, able to scream over post-punk, scat over funk, and coo over slow, soulful R&B swayers with the same ease. The rest of the band was equally versatile, able to pivot on a dime from scuzzy rock to hip hop to twinkling dream pop. Bonus points for covering Splendora’s “You’re Standing On My Neck”, aka the Daria theme song.

Joyce Manor

Joyce Manor’s self-titled debut is classic. The best part of it as an album play-through at a festival? It’s so short that you can hear it and you’ll still have half a set for other favorites. So while the bouncy “Orange Julius”", “Ashtray Petting Zoo”, and ultimate singalong “Constant Headache” were set highlights, the Torrance, CA band was able to burn through lots from Never Hungover Again, Cody, Million Dollars to Kill Me, and their rarities collection Songs From Northern Torrance. Apart from not playing anything from Of All Things I Will Soon Grow Tired (seriously, am I the only one who loves that record?), Joyce Manor were stellar, from the undeniable hooks of “Heart Tattoo” to the churning power chords of “Catalina Fight Song”. After playing “Christmas Card”, Johnson and company gave one final nod to the original fest cancellation, My Chemical Romance, who were slated to headline 2020, then 2021, and now 2022. If you ever wondered what it would sound like hearing a concise punk band like Joyce Manor take on the bombast of “Helena”, you found out. Hey, it was actually pretty good!

Patti Smith

Behold: a full Patti Smith set! After being shafted by the weather last time around, a sunglasses-laden Smith decided not to fuck around, leading with the inspiring “People Have The Power”, her voice as powerful as I’ve ever heard it. Maybe it was the influence of Riot Fest, but she dropped as many f-bombs as Corey Taylor did during Slipknot’s Sunday night headlining set. After reluctantly signing an adoring crowd member’s copy of Horses, she quipped, “I feel bad for you have to cart that fucking thing around.” It wasn’t just the filthy banter: This was Smith at her most enraptured and incendiary, belting during “Because The Night” and spitting during a “Land/Gloria” medley, reciting stream-of-consciousness hallucinogenic lyrics about the power of escape in the greatest display of stamina the festival had to offer.

Circa Survive

“It feels good to dance,” declared Circa Survive lead singer Anthony Green. The heart and soul of the Philadelphia rock band, who cover ground from prog rock to post-hardcore and emo, Green was in full form during the band’s early Friday set, his falsetto carrying the rolling “The Difference Between Medicine and Poising Is in the Dose” and the chugging “Rites of Investiture”. While the band, too, can throw down, they’re equally interesting when softer and more melodic, Brendan Ekstrom‘s twinkling guitars lifting “Child of the Desert” and “Suitcase”. Ending with the one-two punch of debut Juturna’s introspective “Act Appalled” and Blue Sky Noise’s skyward “Get Out”, Green announced the band would have a new record coming soon, one you hope will cover the sonic and thematic ground of even just those two tracks.

Thrice

Thrice played their first show since February 2020 the same day they’d release their 11th studio album, Horizons/East (Epitaph). To a crowd of fans that came to hear their favorite songs, though, the Irvine, California band knew better than to play a lot of the new record, instead favoring tracks like The Artist in the Ambulance’s spritely title cut and Vheissu standout “The Earth Will Shake”. Yeah, they led with a Horizons/East song making its live debut, the dreamy, almost Deftones-esque “Scavengers”, and later in the set they’d reveal the impassioned “Summer Set Fire to the Rain”. But the set more prominently served to emphasize lead vocalist Dustin Kensrue’s gruff delivery, on “All the World Is Mad” and “in Exile”, the rhythm section’s propulsive playing buoying his fervency. And how about Teppei Teranishi’s finger tapping on “Black Honey”?!? Thrice often favor the slow build-up, but they offered plenty of individually awesome moments.

Smashing Pumpkins

William Patrick Corgan entered the stage to dramatic strings, dressed in a robe, with white face paint except for red hearts under his eyes. He looked like a ghost. That’s pretty much where the semi-serious theatricality ended. The Smashing Pumpkins’ first Chicago festival headlining set in recent memory was the rawest they’ve sounded in a while, counting when they played an original lineup-only set at the United Center a few years back. It was also the most fun I’ve ever seen Corgan have on stage. Though they certainly selected and debuted from their latest electropop turn Cyr, Corgan, guitarist James Iha, drummer Jimmy Chamberlin, guitarist Jeff Schroeder, and company more notably dug deep into the vault, playing Gish’s “Crush” for the first time since 2008, Adore’s “Shame” for the first time since 2010, and Siamese Dream barnburner “Quiet” for the first time since 1994 (!). Best, every leftfield disco jam like set opener “The Colour Of Love”, “Cyr”, and “Ramona” was quickly followed by something heavy and/or recognizable, Chamberlin’s limber drum solos elevating even latter-day material like “Solara”. At one point, Corgan, a self-described “arty fuck,” admitted that years ago he would have opted for more experimental material, but he knew the crowd wanted to hear classics, the band then delving into a gorgeous acoustic version of “Tonight, Tonight”. And while Kate Bush coverer Meg Myers came out to sing Lost Highway soundtrack industrial ditty “Eye”, it was none other than legendary local shredder Michael Angelo Batio who stole the show, joining for the set closer, a pummeling version of Zeitgeist highlight “United States”. Leaning into the cheese looks good on you, Billy.

The Bronx

Credit to L.A. punk rock band The Bronx, playing early on a decidedly cooler Saturday early afternoon, for making me put in my earplugs outside of the photo pit. Dedicating “Shitty Future” to Fucked Up (who, as we mentioned, had to drop out), the entire band channeled Damian Abraham’s energy on piercing versions of “Heart Attack American” as well as “Superbloom” and “Curb Feelers” from their latest album Bronx VI (Cooking Vinyl). Joby J. Ford and Ken Horne’s guitars stood out, providing choppy rhythms on “Knifeman” and swirling solos on “Six Days A Week”.

Big Freedia

The New Orleans bounce artist has Big Diva Energy, for the most part. After her DJ pumped up the crowd to contemporary Southern rap staple “Ayy Ladies” by Travis Porter, Big Freedia walked out and showed that “BDE”, firing through singles like “Platinum” and “N.O. Bounce” as her on-stage dancers’ moves ranged from delicate to earth-shaking. At this point, Freedia can pretty much do whatever she wants, effortlessly segueing between a cover of Drake’s “Nice For What” to “Strut”, her single with electropop DJ Elohim, to a cover of Beyone’s “Formation”. Of course, the set highlight was when she had volunteers from the crowd come up and shake and twerk--two at a time to keep it COVID-safe--all while egging them on to go harder. Towards the end of the set, after performing the milquetoast “Goin’ Looney” from the even-worse-than-expected Space Jam: A New Legacy soundtrack, she pulled out the beloved “Gin in my System”. “I got that gin in my system,” she sang, the crowd singing back, “Somebody gonna be my victim,” a refrain that compositionally not only leaves plenty of room for the thundering bass but is thematically a statement of total power--over sexism, racism, the patriarchy--even in the face of control-altering substances.

Les Savy Fav

During Les Savy Fav’s set, lead singer Tim Harrington at various points--*big breath*--went into the crowd, deepthroated an audience member’s mohawk spike, found a discarded manikin head with a wig on it, revealed the words “deep” and “dish” painted on his thighs and a drawing of a Red Hot on his back, rode a crowd member like a horse, made a headband out of pink tape, donned ski goggles, surfed on top of a door carried by the crowd, squeezed his belly while the camera was on it to make it look like his belly button was singing, and referred to himself as a “slippery eel.” Indeed, the legend of Les Savy Fav’s live show starts and ends with Harrington’s ridiculous antics, as he’s all but out of breath when actually singing dance-punk classics like “Hold On To Your Genre”, “The Sweat Descends”, and “Rome (Written Upside Down)”. We haven’t heard much in terms of new music from Les Savy Fav in over 10 years--their most recent album was 2010′s Root For Ruin--but I could see them and the extremely Aughts genre in general become staples of Riot Fest as albums like Inches, The Rapture’s Echoes, and !!!’s Louden Up Now reach the 20-year mark. Dynamic vocalists, tight bands, and killer grooves: What’s not to love?

State Champs

This set likely wins the award for “most immediate crowd surfers,” which I guess is to be expected when you begin your set with a classic track 1--album 1 combination. “Elevated” is the State Champs number that will cause passers-by to stop and watch a couple songs, the type of song that can pretty much only open or close a set. And because they opened with it, the crowd immediately ramped up the energy. It’s been three years since the last State Champs full-length, Living Proof, so they were in prime position to play some new songs. As such, they performed their bubblegummy “Outta My Head” and “Just Sound” and faithfully covered Fall Out Boy’s “Chicago Is So Two Years Ago” (releasing a studio version earlier this week). But the tracks from The Finer Things and Around the World and Back were, as usual, the highlights, like “All You Are Is History”, “Remedy”, “Slow Burn”, and set closer “Secrets”. At the end of the day, it didn’t entirely matter: The crowd knew every word of every song.

Bayside

Putting State Champs and Bayside back-to-back on the same stage made an easy decision for the many pop-punk bands at Riot Fest. Bayside’s been at it for twice as long, so the breadth of their setlist across their discography is more variable. Moreover, they’ve thrice revisited their discography with acoustic albums of old songs, so even their staples are subject to change. They provided solid versions of Killing Time standouts “Already Gone” and “Sick, Sick, Sick”, Cult’s “Pigsty”, and older songs like their self-titled’s “Montauk” and Sirens and Condolences’ “Masterpiece”. For “Don’t Call Me Peanut”, though, they brought out--*gasp*--an acoustic guitar! It was a rare moment not just for one of the most popular pop punk sets but the festival in general, a breather before Vacancy shout-along “Mary”.

Rancid

“Rancid has always been anti-fascist and anti-racist,” said Tim Armstrong before the band played “Hooligans”. It was nice to hear an explicit declaration of solidarity from the street punks, reminding the crowd what really matters and why we come together to scream and mosh. The band expectedly favored ...And Out Come The Wolves, playing almost half of it, and they perfectly balanced their harder edges with more celebratory ska songs like “Where I’m Going” from their most recent album Trouble Maker (Hellcat/Epitaph). My two favorite moments? The breezy, keyboard-laden “Fall Back Down” from their supremely underrated 2001 album Indestructable, and when they asked the crowd whether they wanted the set to end with “Time Bomb” or “Ruby Soho”. “We have 4 minutes left, and it’s disrespectful to play over your set time,” said Armstrong. It’s easy to see why Rancid continues to make an impression--instrumental and moral--on touring bands new and old.

Run the Jewels

The brilliant hip hop duo are masters of balancing social consciousness with the desire to fuck shit up for fun. Live, the former tends to come in between-song banter, the latter with their actual charismatic, tit-for-tat performances of the songs. However, Run the Jewels also are probably the clearest live performers in hip hop today, Killer Mike and El-P’s words, hypersexual and woke alike, ringing in the ears of audience members who don’t even know the songs. (Looking around, I could see people smiling and laughing at every dick joke, nodding at each righteous proclamation.) Some of the best songs on their most recent album RTJ4 (Jewel Runners/BMG) are perfect for these multitudes. Hearing both RTJ MCs and the backing track of Pharrell Williams and Zack de la Rocha chanting “Look at all these slave masters posin’ on yo’ dollar” on “JU$T” as the rowdy crowd bounced up and down was the ultimate festival moment. For those who had never seen RTJ, it was clear from the get-go, as Killer Mike and EL-P traded bars on “yankee and the brave (ep. 4)” that they’re a unique hip hop act. For the rest of us, it was clear that Run the Jewels keep getting better.

The Gories

It felt a little weird that legendary Detroit trio The Gories were given the first set of the final day--I’d have thought they’d have more draw than that. No matter what, they provided one of the more satisfying and stylistically varied sets of the festival, showcasing their trademark balance of garage punk and blues. Mick Collins and Dan Kroha’s guitar and vocal harmonies were the perfect jangly balance to Peggy O’Neill’s meat and potatoes drumming on “Sister Ann” and “Charm Bag”, while folks less familiar with The Gories were treated to their fantastic covers of Suicide’s “Ghost Rider” and The Keggs’ “To Find Out”. Smells like time for the first Gories album in 20 years!

FACS

I thought it would be ill-fitting to watch a band like FACS in the hot sun, early in the day. Their monochrome brand of post-punk seems better suited for a dimly lit club. But the hypnotic nature of Brian Case’s swirling guitar and Alianna Kalaba’s slinky bass was oddly perfect in a sweltering, faint-inducing heat. Just when you thought you might fade, squalls of feedback and Noah Leger’s odd time signatures picked you back up. Songs from their new album Present Tense (Trouble In Mind) such as “Strawberry Cough” and “XOUT” were emblematic of this push-pull. And everything from the band’s red, white, and black color palate to their lack of stage banter suggested a cool minimalism that was rare at a festival that tends to book more outwardly emotional bands.

Alex G

On one hand, Alex G’s unique combination of twangy alt country and earnest indie rock makes him an outlier at Riot Fest, or at the very least a mostly Pitchfork/occasional Riot Fest type of booking. On the other hand, like a lot of bands at the festival, he has a rabid fanbase, one that knows his back catalog hits, like “Kute”, “Kicker”, and “Bug”, as much as if not more than hyped Rocket and House of Sugar singles, like “Bobby” and “Gretel”. Backed by a band that knows when to be loose and when to tighten up--and the instrumental chops to do so--Alex G was better than he was a Pitchfork three years ago. He still sings through his teeth, making it especially hard to hear him on louder tunes such as “Brick”. But when the honesty of his vocals combines with the dreamy guitars of “Southern Sky” and circular melodies of “Near”, it’s pure bliss.

HEALTH

The formula for the LA industrial noise band has pretty much always been Jake Duzsik’s soft vocals contrasting John Famiglietti’s screeching bass and pedals and BJ Miller’s mammoth drums. Both in 2018 and Sunday at Riot Fest, the heat affected Famiglietti’s pedals, which were nonetheless obscured by tarp. Or so HEALTH claimed: You wouldn’t know the difference given how much their sound envelops your whole body during one of their live sets. Since their previous appearance at the festival, the prolific band has released two new records on Loma Vista, Vol. 4: Slaves of Fear and collaboration record Disco4: Part 1. Songs from those records occupied half of their excellent set, including battering opener “GOD BOTHERER”, “BODY/PRISON”, and “THE MESSAGE”. It was so wonderfully loud it drowned out K.Flay’s sound check drummer, thank the lord.

Thursday

Last time Thursday played Riot Fest, Geoff Rickly was battling heroin addiction, something he talked about during the band’s triumphant late afternoon set on Sunday. He mentioned the kindness of the late, great Riley Gale of Power Trip in extending a helping hand when he was down and extended his love to anybody in the crowd or even the world at large going through something similar. To say that this set was life-affirming would be an understatement; after 636 days of no shows, Rickly was at his most passionate. He introduced “Signals Over The Air” as a song the band “wrote about men beating up on women in the pit,” that a record exec at the time told them that it wouldn’t age well because he thought--no kidding--sexism would eventually end. Rickly’s voice, suffering from sound issues last time around, simply soared during Full Collapse’s “Cross Out The Eyes”, No Devolucion’s “Fast to the End”, and two inspired covers: Bruce Springsteen’s “Dancing in the Dark” and Texas Is The Reason’s “If It's Here When We Get Back It's Ours”. The latter the band played because TITR guitarist Norman Brannon’s actually on tour with them, though Rickly emphasized the influence the NYC post-hardcore greats had on Thursday when they first started. Never forgetting where they’ve come from, with self-deprecating humor and radical empathy, Thursday are once again a force.

Devo

Much like the B-52′s in 2019, Devo was the set this year of a 70′s/80′s absurd punk band with some radio hits that everybody knows but with a swath of die-hard fans, too. It’s safe to say both groups were satisfied. You walked around the fest all day wondering whether the folks wearing Devo hats were actual fans or doing it for the novelty. By the time the band actually took the stage after a career-spanning video of their many phases, it didn’t really matter, because it was clear the band still had it, Mark and Bob Mothersbaugh and Gerald Casale’s vocals booming throughout a massive crowd. They ripped through “Peek-a-Boo”, “Going Under”, “That’s Good”, “Girl U Want”, and “Whip It”, which caused the fans waiting for Slipknot (and presumably some Devo heads) to form a circle pit. And that was all before the first costume change. Mark passed out hats to the crowd, fully embracing converts who might have only known “Whip It”. The feverish chants of “Uncontrollable Urge” and synth freakouts of “Jocko Homo” whipped everyone into a frenzy. And the band performed the “Freedom Of Choice” theme song for the first time since the early 80′s! I had seen Devo before, opening for Arcade Fire and Dan Deacon at the United Center, but the atmosphere at Riot Fest was more appropriately ludicrous.

Flaming Lips

“The Flaming Lips are the most COVID-safe band in the world,” went the ongoing joke, as throughout the pandemic they’d give audience members bubbles for their bubbles to be able to play shows. The normally goofy and interactive band scaled back for Riot Fest. Before launching into their traditional opener “Race For The Prize”, Wayne Coyne explained that while the band is normally proud of where they come from--Oklahoma City--they’re saddened by the local government’s ignorant pandemic response and wouldn’t risk launching balloons or walking into the crowd because they might be virus spreaders coming from such an under-vaccinated area. To his and the band’s credit, they wore masks during the performance, even when singing; Coyne removed his only when outside of his bubble that had to be deflated and inflated many times and that sometimes muffled his singing voice even more than a mask. Ever the innovative band, they still put on a stellar show. Coyne autotuned his voice on “Yoshimi Battles the Pink Robots, Pt. 1″, making it another instrument filling the song’s glorious pop melodies. Less heavy on props, the band favored a glitchy, psychedelic setlist that alternated between beauty (”Flowers Of Neptune 6″, “Feeling Yourself Disintegrate”, “All We Have Is Now”) and two-drummed cacophony (“Silver Trembling Hands”, “The W.A.N.D.”). They’ll give a proper Lips show soon enough, but in the meantime, it was nice to see them not run through the motions.

Slipknot

Apart from maybe moments of Slayer, I’ve never witnessed a headliner at Riot Fest as heavy as Slipknot was. Even the minor ethereal elements present on their most recent and very good album We Are Not Your Kind, like the chorus of voices during “Unsainted”, were all but abandoned live in favor of straight up brutality. Sure, there were moments of theatricality--Corey Taylor’s menacing laugh on “Disasterpiece” and pyrotechnics in sequence with the instrumentation on “Before I Forget” and “All Out Life”--but for the most part, Slipknot was the ultimate exorcism. Taylor’s new mask, with unnaturally circular eyes, seemed like it came from a particularly uncomfortable skit from I Think You Should Leave. They bashed a baseball bat to a barrel during the pre-encore performance of “Duality”. And the songs played from tape, like the gasping-for-breath “(515)”, were designed to contrast Slipknot’s alien appearance with qualities that were uncannily human. For a band whose performances and instrumental dexterity are otherworldly--who else can pull off tempo changes over a hissing, Aphex Twin-like shuffling electronic beat on “Eyeless”--the pure seething emotion on songs like “Psychosocial” and “Wait and Bleed” shone through. Like Smashing Pumpkins, and like so many other successful Riot Fest headliners, Slipknot abandoned drama for pure, unadulterated dirt.

4 notes · View notes

brownandtrans · 5 years

Link

After hearing about a young man named Maurice in the US, who killed himself after being viciously abused for openly loving a trans woman, I was reminded of how many people don’t think people like me are worthy of love, and how our lovers are shamed for simply loving us.

Maurice Willoughby, 20, took his own life after splitting from his girlfriend Faith Palmer after a long battle with drug addiction. Maurice – known online as ‘Reese Him Daddie’ – was harassed on social media and bullied in the street after he openly spoke about his relationship with Faith.

A video posted to Twitter shows the aspiring rapper being verbally attacked by a group of men who hurl abuse, saying: ‘You f*** what?’ and telling him ‘that’s not thorough’ – street slang for masculine or manly.

The way men who date trans women are automatically regarded as gay or bisexual can easily be seen in any public discussion on the topic, and the men dating them face a barrage of homophobic abuse, with their sexuality constantly called into question. This once happened when a guy introduced me to his family, who had googled me and found out I was trans prior to meeting me. Instead of asking me the standard questions about where I’m from and where I work, they started asking whether I’d had ‘the op’ and whether he was now gay or bisexual.

Reese, of Philadelphia, US, celebrated his relationship with Faith, a trans woman, and announced he was dating her in a Facebook Live video that quickly gained over 15,000 views. But friends say that Reese was attacked by trolls online and bullied in person after his live video.

Before his death, Reece wrote on Facebook: ‘Y’all can say whatever about Faith I really don’t care if she not passable I don’t care if she wasn’t born a woman she is a woman to me & I love her flaws that’s what makes her Faith if you heard her story it’s motivating. I’m happy, you should be happy for me.’

In a statement, black trans rights group the Marsha P. Johnson Institute confirmed Reese took his own life on Monday shortly after splitting with his girlfriend and said he had previously been a heavy drug user. The Institute added: ‘Our deepest condolences to Faith and also to Reese’s family.’

A friend, who has not been named, said Reece suffered mental health problems before his death, including depression. They told Aazios: ‘He was getting picked on and joked on all the time. Where we are from, if you like trans women and you black, the streets will talk about you, fight you, even try to kill you. He was dealing with a lot.”

All this shame has created an underground culture where men will only date trans women in secret, making trans women even more unsafe than before. Trans women and trans people in general face heightened levels of domestic and sexual violence in the UK, with 28 per cent of trans people having experienced abuse from a partner at home in 2017.

Reece’s girlfriend Faith yesterday posted about her boyfriend on Facebook, saying: ‘I’m goin’ make sure your story is told and the right way.’ She added: ‘All he wanted was for us to win as we battled all his mental demons. He wasn’t scared of anyone so he fought back for us.’

Janet Mock, producer of Pose, a US TV series which focuses on New York’s African-American and Latino LGBTQ underground ballroom scene, shared a clip of the homophobic attack, saying: ‘My heart breaks for Reese, for his girlfriend, and their loved ones. These men screaming at him are beyond fragile, standing on a shaky altar of masculinity, too insecure to do what Reese did: Unapologetically love a woman who everyone says is unworthy of love.’

Trans US entertainment presenter Ashlee Marie Preston tweeted: ‘When a man is confident & secure enough to openly love a trans woman; this is the bullying and harassment he gets. When trans attracted men kill us; it’s out of fear that this will happen to them if they are outed. Reese didn’t kill his girlfriend; he killed himself instead.’

Men like Maurice are constantly punished for passionately loving trans women in a world that largely thinks trans women are not worthy of love. But they shouldn’t be seen any differently than any other man who loves a woman. Because trans women are women. They shouldn’t be punished, nor should they be automatically celebrated. They should be respected all the same, as well as their desires and sexual orientation.

The leading cause of death for young men across the world is suicide. I’m not surprised. Men are mocked for openly displaying emotion and belittled and abused if their sexual desire isn’t according to some glorified sexual fantasy they saw in straight mainstream porn.

Maurice may have died by suicide, but what really killed him was one of the worst forms of toxic masculinity. And if we don’t eradicate it, everyone will continue to suffer the consequences, regardless of gender or sexual orientation.

#death m #murder m #twoc #trans #tpoc #violence m

167 notes · View notes

Last Seen Blogs

michaelwittig

michael wittig photography

tj77habetco

Sans titre

coopdzzl-blog

tj77habetco

Sans titre

tj77habetco

Sans titre