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Philly Music Fest: “This is a Call to the Philadelphia Music Scene to Rally Around This.”

September 18, 2017

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This weekend, Greg Seltzer, an attorney at Ballard Spahr, is launching Philly Music Fest, a two-day celebration of Philly music, beer, food and art at World Cafe Live.

Among the acts will be Strand of Oaks, Cayetana, Steve Gunn, Work Drugs, Eric Slick, Deadfellow, Pine Barons, Cheerleader, Shannen Moser, New Sound Brass Band and many others.

Our G.W. Miller III spoke with Seltzer about the festival, which he hopes will become an annual event, a smaller version of SXSW but with only Philly acts.

What’s the origin of the fest?

Over the last decade and a half, I’ve just been entrenched in the Philly music scene. Since it was not exploding nationally. Over the last five years, I started thinking about the fact that our scene is worthy of national attention but may be not getting as much as it ought to.

The War on Drugs, Kurt Vile, Dr. Dog – bands like that have broken out but our scene is so much deeper. Hundreds of bands deeper. If we could shine a little light on them, give them a platform, we could let them show themselves to our city. I don’t know if our city has embraced our scene as much as I’d like it to. For our scene to grow nationally, we all need to get together as a community. Once we do that, and we do that year after year, these artists will sell more records, get more tour dates, etc.

That’s the genesis of it. I want to call attention to these 24 bands over two nights, on two stages. Bring the Philly breweries together. Bring Philly food leaders together.

Two stages? Upstairs and downstairs?

Yes.

I went to Hal Real (founder and CEO of World Cafe Live), who I know through business stuff. I pitched him the idea. He said, “You’re not leaving this office until we’ve worked out a deal.” He was immediately on board. World Café Live could not have been more supportive of the concept. They said they’d give me both stages. I can program them simultaneously, which, normally, they program between them. This will be like a festival, where you have overlapping sets. You’ll have to decide where you’re going to, whether you want to see some indie punk or alt country or rap.

When you say you’ve been entrenched in the music scene for the last 15 years, what have you been doing?

Listening. Doing everything everyone else has been doing.

Have you been promoting shows or anything?

No. I’m a rookie promoter.

A rookie promoter could not put this festival on without World Café Live. They have the production expertise. They have the marketing expertise. I have the vision and I have the ear to curate the lineup. And I have the ability to work within a budget and make it work. But they had the ability to put the festival together.

How do you finance this?

It’s not as massive as you might think. But it’s a collaboration between me and World Café.

I’m well aware from my dealings with the Newport Folk Festival and some other things that bands, particularly some of the bigger bands, they need to have faith in the concert promoter. They might know I work at Ballard but they don’t know me as a concert promoter. Having World Café there means all these people are comfortable.

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When did you start planning all this?

Conceptually, almost two years ago.

And in reality?

Probably 12 months ago. It’s been in the works for a long time. I modeled it with spreadsheets and business plans.

Who was the first band you booked?

The first yes we got was absolutely the Pine Barons.

We went out to a list of 20 bands, with Strand of Oaks at the top of the list. Waxahatchee was on tour. Hop Along was on tour. Sheer Mag was on the West Coast. Alex G is playing Made in America. Marian Hill, same thing.

We got an immediate yes from everyone we talked to. But then they had to check with their availability.

I have some friends who say now that I’ve done this, who will play next year? They have no idea how deep this music scene is. We have a lit of 200 bands who aren’t on this lineup who we will go back to.

This is a spotlight on our local scene. This is a call to the Philadelphia music scene to rally around this.

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Hardwork Movement: Doing It For The People

September 15, 2017

The hardworking guys and gals of Hardwork Movement continue to shine and grind.

It’s been a busy summer for this hip-hop super-band. They rocked the stages at festivals like Firefly and the XPoNential Music Fest, opened for a few guys in a rap group called “Wu-Tang” and was a part of the Spruce Street Harbor Waterfront Series.

 

 

They even managed to film a studio version of “Cribs.”

 

 

But the summer isn’t quite finished yet.

Not only do they have a show tonight with Ill Fated Natives and Aleana at Underground Arts, they just dropped their first EP with the full live band.

 

Recorded in Germantown’s Retro City Studios, the EP has updated versions of older tracks fans may recognize, as well as some newer tracks. Those who have been following this talented group of artists and musicians will appreciate the classics, and it serves as a great point of entry for the uninitiated. Well worth the listen.

While some acts sound good in the studio, this nine-piece really shines and comes alive on stage.

Catch Hardwork Movement tonight at Underground Arts, if any tickets are left.

Del the Funky Homosapien: “People Gotta Believe in You for You to Sell Anything. That’s Pimpology 101.”

September 13, 2017

 

Del the Funky Homosapien hits Philly on Thursday, performing at CODA with Richie Cunning.

Del has been on the scene since the early 90s. His cousin, Ice Cube, helped release his debut solo album. He blew up in the early 2000s after collaborating with Gorillaz. And Del has been making thought-provoking music ever since.

We caught up with the California native and talked to him about the changing musical landscape that he has observed for more than 25 years.

You’ve been around a minute and the industry has clearly evolved. How has that changed your approach to making music?

I just evolve with it, same as I always have. New techniques or styles that I think are cool influence me, and then it makes its way into my music and overall philosophy behind it.

One thing I do try to focus on is being tasteful, at least tasteful within my sliding scale of what that is anyway.

Honestly, the industry is pretty lame overall, and tardy. I pay more attention to the Internet and hip-hop. For instance, battle rap is probably the most influential as far as what I’m doing because it’s really the only place I can get just straight up hip-hop without too much meddling. Even music-wise because they do have new music in between battles. May not be on the radar yet, but nothing I was ever into was until years later. And now they are all standards.

But it takes years because the industry in general is tardy and concentrates on sales over anything innovative. Now, if can be both, they’ll accept it. That’s why they’re tardy. Because by that time we all are aware of it, they’ll be the last to know.

I think of everything when it comes to my music. It’s part of my brand, so I have to. And for those out there who don’t know what a brand is, it’s just you. It’s like a reputation, people begin to associate a certain level or quality with your name, or brand, for instance Sony. I’m sure you could gather a picture in your mind about Sony right now. They’re fairly cutting edge and decent.

I’ll leave it at that.

Aside from the business end, how did music change? What changed it?

I believe it’s the type of business ran rather than just business period that changes things, not just music. It’s because the focus is more on getting more money over getting innovative or novel product, which is what brings the money in the first place. Well, it fills a void. It’s either useful or it’s interesting enough. It’s cool, I’ll say that.

I think a lot of companies just look at the bottom line. And someone has to do that for sure, or they would lose more money than they made.

But really, as far as hip-hop, I think we as artists dropped the ball, either by going too commercial with the thuggery or the flossing, or underground artists like me becoming incomprehensible to the general public.

And lack of wordplay or humor.

But that was helped by industry, because they only are interested in what sells. Doesn’t matter the after effects from it. The Internet helped change dynamics between the artist and the industry though. No longer can the industry monopolize how music is received. But I think a lot of fans just gave up on at least “urban” music because they just seen years of the same game being played. Decades. So I don’t think it’s respected. But that’s beginning to change too, change is inevitable.

So, just be ahead of the curve and do you, I feel, is the best bet. That’s what a lot of these kids do.

 

Do you feel the real writers, the lyricists, are less appreciated today than when you began?

Depends on who you ask or where you look. In battle rap, we have the best rappers in the world. I think the fans of that do appreciate the level displayed there. I know I do.

As far as commercial music, what lyricists? A lot of artists are admittedly not interested in that, and I get it. The music is first, lyrics hopefully second. If the lyrics are too much, where it takes away from the music, it can be annoying. But that don’t mean just go the complete opposite and just blab anything that you throw out. And this is all relative too. That’s just my perspective.

But I feel if you want to be appreciated you have to think about who is listening to you, too. To me, it’s like comedy. You gotta know your audience. You don’t pander to them but you don’t go too far outside of their experience or interests either. It’s not easy to do. A lot of my time is spent figuring ways to walk that fine line.

But like comedy, you don’t tell me what is funny. I’ll tell you after I hear it. So, some artists got it the other way- you’re obligated to listen to them in their mind. Ok.

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You have your full catalogue available online. Most albums are wicked cheap or free. Are you sending some sort of message by doing this?

I’m not in control of that! Hahahaha! Sorry, that’s out of my hands.

I’m not actively chasing down people who offer my music for download either, not when I don’t see a problem with it in the first place. At least they think my music is worth downloading. But since I’m kinda part of that, I feel I can say that if someone comes with something really good, people will buy it.

I bought Earl Sweatshirt’s first album twice, digitally and a physical copy. Was waiting ‘tll the day his second dropped and bought that. If you have money you can spend it, that’s what it’s for. So, you like an artist or a product? You buy it. Money well spent.

I’ve gotten letters from kids admitting to me they used to download all my stuff and they wanted to somehow make up for it. I told them I’m not tripping off that, but just support how you can at the time. Even a good word is good enough for me.

That’s me though

As a label owner, isn’t it counter-intuitive to essentially give away music?

Like I said, money is to be spent. People who got it are going to spend it. If you ain’t got it, there are ways now you can get music. Believe me, I know.

What can you do? Music is not a thing you can just grab up with your hands and own it. That’s why it’s tricky when it comes to laws.

What you’re really paying for is that artist’s expertise, because you can’t do it and no one else can either. That’s why artists get more popular when they die. You ain’t getting no more!

Some things that seem counter-intuitive actually may work if you look closer. Just the respect factor that comes from me not chasing every supposed penny I supposedly lost may bring more support and, with that, sales. Because people gotta believe in you for you to sell anything. That’s Pimpology 101

The label has only a few artists right now. Is that a sign of the times, a commentary about the music being produced today and what you want to put forward?

Oh, our label I guess you’re asking about? It’s just a real chore to release music. And it costs, frankly. We are just coasting far as that. We ain’t millionaires. Which is why I don’t mind throwing stuff out there o line sometimes.

As an artist, you wanna share what you got. And business-wise, I like to see how people respond to things. Should I go forward with it or knock it off?

A lot of my time has been taken up quelling drama situations and studying things to help me create better, more entertaining product. Also, trying to reprogram my mind and be more innovative, since the Internet allows you to truly just do what you want with no middleman telling you it won’t work. You can see for yourself if it’ll work.

So yeah, I guess it’s a sign of the times

What can people expect from a Del show?

I get into it. Pretty much. I’m there to give y’all a good performance no matter what.

You paid for it. I respect that. I bring the funk, the hip-hop too. I’m a talk to y’all. I’m touchable. If you see me around, you may be able to strike a conversation with me. Some think that I’m humorous. I try to make it a good time pretty much.

You tell me. I dunno?

Tim Arnold: “It’s an Incredible Feeling to be on the Same Wave Length as so Many Other People.”

August 2, 2017

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It’s been a minute since the original trio of Good Old War played a show together in Philadelphia.

On Thursday at World Cafe Live, Tim Arnold will perform with Keith Goodwin and Dan Schwartz for the first time in Philly since Tim left the band in 2014 to start a family in Georgia and deal with health issues.

Now that he’s back, the band is in massive creation mode. They have three EPs ready to drop, with the first due out on September 1.

We caught up with Tim and learned about the new music the band is making and how he has worked through his personal issues.

You’re back with the band?

Yes sir, it’s official.

You never really left, right? You were still touring with them, even while being in Georgia for a while.

It was pretty bad before I went down to Georgia and then I tried to clean up my shit. I had a child and I was really trying to figure things out. So, it was on and off. It was never like I was seriously back in the band. It was like a trial run. I’d go on tour and then come back home and act a fool again.

Eventually, it was time. I went into drug treatment. They did a couple of tours without me while I learned how to be a human being.

Now, we’re back in it. It’s been a while now. I’ve proven to them that I can be a sober person.

I feel like a new man. I think we’re all feeling that kind of surge of energy.

Is that represented in the new music you guys are creating?

I definitely think so, yeah.

 

How is the new music different from when you guys started nearly a decade ago?

It’s the same structure to begin with. We have acoustic guitar and three vocalists. That’s the same.

But I think there’s definitely a lot more to write about now. Our chops are really up. And I think we’re just really having a lot of fun.

That’s not to say we weren’t having fun before but it’s different. Our sound is still Good Old War but there’s been sort of an awakening almost.

The difficulties you went through, are they a part of the music you guys are creating now?

Definitely. I think it’s been a part of the last couple records. It’s veiled in different ways. Now, it’s a clear scenario. Everything is more transparent. I’m not lying about doing dope anymore.

How long were you going through these difficulties?

Dude. The whole time. It’s been a while. It got really bad towards the end though. That’s why I had to drop it.

How long have you been clean now?

Almost two years.

What does life for Tim Arnold look like now?

I have a three-year old. That’s what it looks like. I’m just a single dad living in the burbs, playing in a band. It’s simple and that’s kind of how I need it to be right now.

In the immediate perspective, it’s not so simple. But if I step back, I see that I’m just taking care of my daughter and making music. That’s it.

What about life with the band? How often are you together?

Every day. We practice every day, at least Monday through Friday at the very least. It’s like a real job.

Do you have any fear about going on the road and running into temptation again?

No. They were actually big proponents of me getting clean. They don’t really mess around on the road. I’m pretty lucky to have that kind of support in a situation like that. I’m being held accountable and they’re not really in my face.

Has the music scene here changed since you guys got started?

A lot of the bands that were coming up just as we were getting started are still around. They’re still playing. But there are a lot of new bands, going through a lot of the stuff we went through. It’s hard for me to say. I’m not too involved. I’m living in the burbs and kind of focusing on myself right now, as selfish as that sounds.

But there are a lot of people making really good music now and it doesn’t seem to be slowing down. It’s a pretty diverse city and music is a big part of it.

That Americana, folky sound seems to be in favor now and you guys have been doing it for almost 10 years.

Yeah. We started it.

I’m kidding!

It’s cool. I know Satellite Hearts, Levee Drivers and The Lawsuits. They’re awesome.

That Americana sound is in favor now but it was on the rise when we were coming up, which was good inspiration and motivation.

 

What do you look forward to about being on the road again?

You know, chicks and stuff.

Ha, JK!

I look forward to just playing all the time, that vibe from playing in front of people. It’s totally being in the moment. It’s very present. It’s almost like meditating. You’re just doing what you’re doing at exactly that moment and so is everybody else. It’s an incredible feeling to be on the same wave length as so many other people, especially the people you are creating the sound with.

It’s live. You’re taking risks. You could suck and you could play the most amazing show of your life. Either way, it’s fun and every night is different.

It’s what I’ve loved to do for such a long time. I think now it’s going to be less about getting fucked up and more about just being awesome. It’s going to be really cool.

The World Café show is one of the last on the summer tour. Is it special to come back and play in Philly?

It is. And I love the World Café. That place sounds glorious. Everyone there is super chill. I’m glad we’re playing there. It’s going to be really sweet. I haven’t played a real Philly show in a while.

Shirley Manson: “The Role of the Artist is More Important Than Ever.”

August 2, 2017

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Garbage, the 90s hit-making group, will take the stage tonight at The Mann Center with Blondie, the legendary rock/punk/new wave band.

So, we caught up with Garbage’s lead singer, Shirley Manson, and talked about the role of the artist in the bizarre world we live in today, and why Garbage won’t make shiny, happy music. (image via Shirley’s facebook page)

What’s it like to make music and perform in this day and age? What’s it like to be on stage in this climate?

The actual experience of being on stage has not changed much, thank god. That has not been tampered with. That’s still as gorgeous of an experience as it’s always been. There’s a relationship that exists that remains unhampered with by anything outside the magic that exists when audience and band are together. That still remains the same, unlike every other aspect in the music industry.

Over the tenure of your career, what has changed?

What hasn’t changed? When we started Garbage, guitar music was very much in vogue. There were hundreds and hundreds of bands that were able to rise up and enter the mainstream. And now it’s very, very difficult for guitar bands to get that kind of exposure.

Of course, there are still hundreds of thousands of amazing guitar bands but they haven’t necessarily infiltrated the mainstream. They don’t enjoy the same cultural attention as, perhaps, a pop artist would. So, that has changed.

Is that because of the audience or the industry?

The industry has control over what people hear, what they’re exposed to.

The problem with bands and guitars is that they are not as economically viable as a young, 16-year-old kid straight out of school. They can make more money on a solo pop artist than they can with a band. A band costs a lot more money to put on the road and everything.

Record companies gravitate toward what makes them the most money and what makes them the most money are the artists who sell the most, obviously, and those artists tend to be mainstream, pop-oriented.

That’s one of the reasons we’re seeing less and less bands now. Record companies don’t want to be bothered dealing with them. I’m not sure I entirely blame them. Bands are pains in the ass, you know?

If we’re only getting that shiny, pop music that is going to sell, is there a larger impact on society?

I would argue yes but it’s also a little more complicated than that. Everything effects everything else, the domino effect. We currently have a culture that is obsessed with money, and obsessed with profit, and obsessed with whatever is most popular, and with what is the most dominating presence on social media, and so on and so on.

I just think we’re living in a strange time that none of us has fully gotten a grasp on yet. It’s the whole fallout from the technological revolution. This is the first time that human beings have dealt with so much at such speeds. We are all absorbing so much information in ways – and better ways – than we ever have as the human race. The human brain is really struggling to keep up with that.

It has yet to settle. We’ll see a shift again. I think we’re already seeing a mild shift right now. The shine of our smartphones is beginning to wear off. We’re not as enamored as we were, perhaps, five years ago. Things are changing, I think.

Is there still a role for the artist? Not just as an entertainer, but as an actual artist who is pushing boundaries and making a statement?

I think there is always a role for the artist. How big that role will be, I don’t know. But the role is always there.

It’s very important in our culture that we allow people to be in dissent, to argue with us, to debate with us, to challenge us. We all need to learn to engage in conversation without losing our temper, without getting upset, or resorting to insults. Like, you know, our current president.

We really have to elevate ourselves to the point when we are all challenging ourselves so that we can get to a point when everyone seems more happy. Clearly, all the sides of the equation are not happy right now.

We’re seeing a lot of unhappiness from all sides. The role of the artist is more important than ever.

Does that inspire you? To see what’s happening in society or in our political world?

We feel that we just want to create full-stop. What inspires us changes on a day-to-day level. Sometimes it will be our relationships. Sometimes it will be the kids. Sometimes it will be the environment. It changes from day-to-day.

That said, we’re just about release a new song that was inspired by the current climate and the imaginings of where, if we continue in this vein, where we could end up. It’s a bit of a rumination of where we feel our culture is currently headed. We hope that it will turn around again.

The song is an imagining of a future where everything that doesn’t make money is considered useless and destroyed. In this case, I was focusing on the idea of a horse. The horse used to be our beast of burden. We utilized the horse in a lot of different ways in industry and so forth. But the horse has become obsolete in terms of industry now. We ruminated on a future when government decides that horses have to go because they don’t serve a purpose any more. What a tragedy that would be.

That’s really depressing.

It is depressing! But I believe that history is long and we have not seen the end of the arc. We never will. We’re just these little creatures that scurry around for a small amount of time on Earth and sometimes, we mess things up.

Sometimes we make glorious art and sometimes we do beautiful things. I do believe that mankind will ultimately balance everything out. We all do evolve. We make mistakes but we ultimately tumble forward. So, I don’t feel too depressed.

Sometimes when there is difficulty, a light comes at the end of it, you know?

Could Garbage craft a song that is a feel-good radio hit?

I do but I feel like the world is populated with pop songs. And I want to do something that people aren’t talking about.

Sure, we could make a throwaway pop song but so what? It could be a cynical move to try to get plays on the radio and sell more records but ultimately, as an artist, it sort of wrong.

I feel like that’s for young kids! It’s what the young artists can do. They’re just discovering their joy. They’re just discovering love and sex and adventure. I feel like I want to do what nobody else I doing. I want to be different from everybody else. I want to serve a purpose. I want to look behind the curtain and lift up the carpet and figure out who left the big turd in the middle of the carpet.

Are you excited to hit the road and tour with Blondie?

It feels to me like a magical summer camp. We get to go out with people who have influenced and inspired us, and who we love and respect. We get to share the stage with them every night and it feels like an extraordinary adventure and wonderful privilege. We don’t take it lightly. It’s not often you get to share the stage with your idols.

I imagine Screaming Females had a similar feeling when they toured with you.

The beauty of being a musician and getting to travel, you get to play with other bands. Seeing bands like Screaming Females, who were just emerging, is exciting to see.

And it’s a privilege to share the stage with a young band. You continue to learn from new artists. They may learn from you but you really learn from them. It’s great to be reminded of that headspace when you’re just starting out. I gets you back in touch with what should be your priorities.

 

WIN FREE TICKETS! See Beach Slang @ The TLA on December 2!

July 28, 2017
by

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If you miss Beach Slang at Made in America in September, you can catch them upon their return from their fall tour, when they headline the TLA on December 2.

If you want a pair of tickets, email us at freeJUMPstuff@gmail.com (put “Beach Slang” in the subject line and your full name in the content box).

If you don’t want to take a chance, you can purchase tickets online here.

Wax Future: “All We Really Want is a Connection.”

July 20, 2017

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Text and images by Chip Frenette.

Heavy metal guitar, samples, hip hop beats and bubble machines are just the beginning of the experience that is Wax Future live, on stage.

Working the way through their summer tour with three dates left, the Manayunk-based act, Wax Future, recently opened up day two on the office stage at Camp Bisco. Wax Future did so with their rapidly developed and dedicated following in tow. It’s a following that is likely to grow as they play upcoming events Farm Fest, Big Dub and the Luna Light, Music and Arts Festival.

On day one of Camp Bisco, heavy rains moved through Montage Mountain and Resort in Scranton, Pennsylvania. Rain continued on through the early afternoon on day two when Wax Future took the stage. The rain fell steadily and the ground became muddy. But the crowd that had gathered was sizeable for this opening act on a dismal day. This was no random gathering of people. Wax Future bring a following – The Wax Mob.

Wax Future is Keith Wadsworth on guitar and vocals, Connor Hansell on synth and bass, and Aaron Harel on drums.

Wadsworth and Hansell have been developing Wax Future and producing for three years. Harel just recently joined the group. The band’s performance at Camp Bisco was the first with Harel officially as a member of the band. They had played together before, when Harel was with the act Mr. Sampson.

“We used to play shows together all the way back when they were called Rat’s Music,” said Harel of his new bandmates. “We got hooked up that way.”

Wadsworth was previously in the punk band The Beta Phase before working with Hansell on this electro-funk project.

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The use of samples coming from Hansell’s workstation of mixers, computers, synthesizers and a bass cover a wide range of genres. Rock, punk, hip hop and jazz are all present to create an eclectic sound. They are mixed with deep, low frequency bass grooves that sink into the bones of the listener.

When this project hatched three years ago, they had no idea how to produce the sound that they are producing live, let alone what their sound would be. The two had worked together in the studio on other projects, but never their own.

Working together and seeing Hansell’s competence in the studio drove Wadsworth’s desire to get know and work more with him. A trip to Basslights festival is when they decided that they would be working together on a project of their own.

“Let’s make something compelling, and then let’s figure out how we’re going to play it,” Hansell recalled saying.

That is when they started Googling how to use digital audio workstations live and what applications to use. It was a learning experience from the first minute for Hansell and Wadsworth.

“We didn’t even know like what application we were going to use to perform live,” said Hansell. “We didn’t really know how to bring our computer and computer music to the stage.”

After hours and hours of tutorials and a few months, the duo had produced a few tracks and some confidence. It was time to road test their sound at an open mic night at the Grape Room in Manayunk.

While the band was on the office stage at Camp Bisco, The Wax Mob was properly entertained.

Wadsworth engaged their fans frequently during sets, encouraging them to jump up and down or scream, and they followed his commands. He head banged and whipped his long orange locks during his hard-driven guitar solos.

This band brings a lot of energy to the stage and their fans return it in kind. There is more than just a band playing here. They are developing a following that carries a culture. One part of that culture is bubbles.

“There are bubbles at every show,” said Marissa Lugo of Brooklyn,  who danced as she toted a rather large, battery-powered bubble machine on her shoulder.

After their set, the bandmates joined their crowd and hung out with their fans. Two hours after their set ended, the trio could not walk more than 20 or 30 feet without fans stopping them. Some simply wanted to say hello. Others offered feedback about their set. The bandmates happily obliged all of them.

“It is a goal of mine to meet everyone in the world,” said Wadsworth. “Everyone has a story to tell.”

But there is more to it than just meeting people. Hansell explained that the interactions with The Wax Mob lets the band know more about how to better entertain them. Better entertained fans keep coming to shows. Fans coming to shows keeps Wax Future doing what they enjoy most – playing music.

“We just want to be out here and make music and meet people,” said Hansell. “All we really want is a connection.”

The Wax Mob got their name from their ability to mob social media with announcements or comments that are unsolicited by the band and drive attention to event promoters. Wax Future credit much of their quick and early success to the dedication and assertiveness of their fans.

“We have a group of completely dedicated and die-hard fans,” said Wadsworth. “If there is an opportunity for us to play somewhere, they make it known that they want us there.’”

It’s easy to become a member of the Wax Mob. Go to some shows and enjoy some music. Wax Future will perform at Farm Fest in Hammonton, New Jersey this weekend, at Big Dub in Artemas, Pennsylvania on July 26, and at the Luna Light, Music and Arts Festival in Darlington, Maryland September 28 and 29.

 

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