Philadelphia, PA – 21 Aug 2021
An odd yet excellent return to live music
Note- Given, when this concert was announced we were in a trough with this whole COVID-19 thing and everyone was hoping that we were seeing the light at the end of the tunnel. The Delta variant was just starting to ramp up, though, and few expected or understood just how quickly and badly it would tear through communities, mostly among the unvaccinated but, as we’ve seen, also among those who have been immunized. I myself am thrice-vaccinated now, having had my booster as I am immune-compromised. Although some concert-goers eschewed their masks, mine remained on except for moments when I was well away from other persons, or in the instance of the three photos in the photo gallery that will be available soon. Mask up. Don’t mock those who do (no one at this show did). Get your vaccine.
Walking into Four Seasons Total Landscaping in Philadelphia (FSTL for short), the site of Rudy Giuliani’s hilarious mis-fire of a press conference and, arguably, the birthplace of Trump’s Big Lie (although one could argue the seeds for that had been planted over a year previous) was kind of a surreal experience. FSTL seems to have gotten a fresh coat of paint, which made it look a bit different, a bit cleaner and nicer. I’m sure they didn’t just repaint for the show, but that would funny if they did!
I mean, when you think about it, the grounds of a landscaping company would make a great outdoor venue– it’s got barbed-wire fencing all around, a large and open area where pickups hauling huge trailers need to maneuver, port-a-potties. It’s just that FSTL has a history and a bit of infamy. Nothing wrong on their part, but just being THAT PLACE made it all so… unusual.
Despite the available space, the concert was limited to something just above 200 guests and sold out, I hear, in something like 17 minutes (knowing people has it perks and, full disclaimer, I got in on the guest list). The stage, as it was, was set in the same spot as Giuliani’s lectern was located, although some nice potted plants flanked the actual stage here. Gig posters printed on alternating colored paper were placed in mockery of the Trump signs of Giuliani’s press conference. Despite being slightly overcast, it was warm and it was muggy.
At 1pm Brendan Kelly took the stage first. As expected his crowd banter was in full gear but I think that even he was a bit nonplussed at the start, likely just shocked that this was actually happening. That he was standing where “America’s Mayor” stood. It didn’t take him long to get over that and to say that his acoustic performances are a blast is probably underselling it. When he plays acoustically he allows his voice to drop more into a torn, gravelly tone, but I’m still surprised about how quickly he can alternate between a country-drawl whisper, to clean pop-punk, and then back into something that I assume my vocal cords would not last long with. Although I am sure many members of the crowd were here for Laura Jane Grace, there were enough BK fans to keep it lively.
Through it all, Kelly played a myriad of songs from his repertoire including The Lawrence Arms, The Falcon, and Brendan Kelly and the Wandering Birds, all interspersed with his aforementioned banter–80’s skateboarder/murderer Mark “Gator” Rogowski got a mention at which few caught onto and laughed at (I did because I’m old) and, of course, someone in the crowd yelled out a question asking if Kelly is actually the mind behind Nihilist Arby’s (he is) and that provoked a joke about him not actually expecting to be doing a press conference. Lotsa laughs. Lotsa a good music. At some point during the performance someone outside of the lot put a Trump 2020 flag on the fence, but it was quickly taken down.
By the time Laura Jane Grace took the stage, the wind had picked up a bit at times which brought some blessed relief. I’ve only seen Grace play in larger venues with Against Me!, but knew that her acoustic performances could be more, for lack of a better word, electric. I’m not sure if that is always the case, or if the vibe and this particular venue had anything to do with it, but her performance here was one of the most powerful I’ve seen any musician do in any venue. For all of its ferocity and emotion during the songs, Grace is very gentle and subdued in between, but was comfortable enough chatting with the audience (sunglasses are cool until they get to be too much), musing on the combination of a simple drum machine and an acoustic guitar, or getting pulled over on her way into Philly and, jokingly, suspecting that the whole gig was a trap. Everyone was at their ease and enjoying the occasion.
As with Kelly before, LJG plumbed songs from her many acts up to and including her recent, pandemic/lockdown-inspired solo release the Stay Alive LP, to “True Trans Soul Rebel” which had the whole crowd singing along.
At one point, when I stood in the back right corner (the best place to catch the breeze) I just watched the performance and the crowd, some gathered tightly up front, others spread out further back, and I felt a swoon of emotion. This was my first live show since the pandemic started and I thought to myself “…I miss this.” I may not be ready for indoor venues just yet, but Brendan Kelly and Laura Jane Grace, with a pair of acoustic guitars, a bit of a drum machine at times for the latter, and one of the most oddball venues you could think of put on a hell of a show for the lucky few. Each and everyone of us will remember this gig until the end.
the white drew carey (aka – Jeff Sorley) is the founder and head editor of TGEFM. He’s lived (outside of) Chicago, Madison WI, (ugh) Penn State, Lyon FR, Oxford UK, central New Jersey, and now within earshot of SFO in the Bay Area. When not scouring the web for more great bands and labels to post about, he also spends time drawing (mostly) silly sci-fi and anime stuff under the name Asplenia Studios.
