That Music Magazine

Wayne Coyne

Written and Photographed by Dan Scott :

Few bands are able to really blow me away with their live performances, but having seen hundreds of concerts over the years, both Modest Mouse and The Flaming Lips are up there in my personal “Top 10 concerts of all time” list. So, when I heard that the two of them were coming to Philadelphia together, I immediately knew I had to attend… and I was sure it would be a night to remember. Boy, was I right…

Indie rock duo Friko (of Chicago) opened the show. I was not familiar with their music prior to the event, but I must say that I was delightfully impressed. Their songs were very unique, with lots of unexpected twists and turns that kept me on my toes. I honestly don’t often expect very much from opening bands, but once in a while I’ll catch an opener that sticks, and Friko certainly did not disappoint!

After a rather speedy and carefully executed changeup of the stage gear, Modest Mouse began their set with the global mega-hit “Float On,” which encompassed a palpable attitude of “let’s get this one out of the way” from front man Isaac Brock. Although they performed it wonderfully, I got the vibe that Isaac doesn’t love doing that song, but is somewhat “required” to, due to its popularity. From there, the band veered into the rest of their set, which included numbers from all decades of their extensive catalogue. A few late-’90s era personal favorites (“Paper Thin Walls” and “Cowboy Dan”) appeared early in the set, immediately thrusting me back to middle school days of hearing their music for the first time. Continuing onward, they would ebb and flow artfully from new material to old classics, gradually sprinkling in some other fan favorites, including “Lampshades on Fire” and “Dashboard.”

Modest Mouse

Eventually reaching the end of their performance, Modest Mouse took us back to the ’90s again with “Teeth Like God’s Shoeshine,” before finishing out the night with a fantastic, emotional delivery of “The World at Large.” As Brock sang the lyrics, the crowd was noticeably moved by the poeticism, with each word feeling more relatable than the last.

Now it was time for The Flaming Lips! The lights in the amphitheater dimmed as band members took the stage to the growing buzz of crickets and cicadas, though these were not actual bug noises drifting through the warm summer evening breeze. Any real Lips fan knew exactly what was happening, as a lone synthesizer began to play and the band began their set with the nature SFX-laden “Sleeping on the Roof” from their 1999 record The Soft Bulletin. This fully instrumental song set the tone for the beginning of the night, and as they reached the end, singer Wayne Coyne meandered onto the stage with his uplifting, energetic aura that is contagious even from great distances. His arrival was met with loud cries of enthusiasm from the depths of the venue.

The front man did not appear on stage by himself, though. Instead, he was accompanied by a team of production assistants, locked and loaded with gigantic inflatable stage props that began to rise upwards until there were suddenly four gigantic pink dancing robots towering nearly 20 feet above the pit. With this exciting addition to the stage, the band appropriately jumped right into “Yoshimi Battles the Pink Robots, Pt. 1 and 2.” With no shortage of performative accessories, Wayne floated around the stage, weaving in and out of the legs of the inflatable robots as reflective streamers rained down from the rafters and confetti cannons created a snowstorm of falling paper. Coyne even rushed around the stage with handheld confetti guns, firing them excitedly into the audience. The psychedelic immersion created by the confetti, the lights and lasers, and of course—their music—let me know we were off to a great start for what would surely be an incredible set from perhaps the most theatrically over-the-top band that’s ever existed.

The middle of the set moved through various eras of the Lips’ catalogue, including a truly epic version of “Pompeii Am Götterdämmerung” with a light show that lit up the entire venue. The impressive visuals continued on as the band performed a 35-year-old song, “Five Stop Mother Superior Rain,” which, according to Coyne, was only their fourth time ever playing it live. Giant lyrics flashed across the backdrop screen as Coyne sang out “you’re fucked if you do, and you’re fucked if you don’t!”

After a very cool cover of The Chemical Brothers’ “The Golden Path,” Coyne informed the audience that they were going to do a sad song, but emphasized how that doesn’t mean it should make everybody feel sadness—but rather, feel the love and optimism that can grow out of life’s difficulties. As the band began “Waitin’ for a Superman,” I could feel the tears of joy and despair creeping up simultaneously. The Lips have an uncanny knack for being able to make me (and many others) experience feelings of sadness and happiness at the exact same time—which is no easy feat! Having lost a very close friend just days before the show, Coyne’s vocals really hit home on a deeper level, right to the core of my being, as he sang “Tell everybody waitin’ for Superman that they should try to hold on the best they can… he hasn’t dropped them, forgot them, or anything… it’s just too heavy for Superman to lift.”

Taking things back to a more celebratory note, the Lips brought out more and more various inflatable items and other stage props as they partied their way through two old fan favorites, “The Yeah Yeah Yeah Song” (which was ripe with lasers, streamers, and other theatrics) and “She Don’t Use Jelly,” both of which birthed a thunderous roar of the audience singing along in excitement.

Finally, the Lips closed out their set with an incredibly emotionally charged version of their iconic tune “Do You Realize?” that took us all on a deep journey with its uplifting key modulations and deeply personal lyrics. As the confetti cannons and smoke machines revved up to complete the song, the band left the stage… but we all knew they’d be back. Just a few minutes later, they returned to their positions, this time with Modest Mouse front man Isaac Brock. After making a lovely tribute to the recently departed Ozzy Osbourne, the group (including guest vocals from Brock) launched into a rip-roaring cover of Black Sabbath’s “War Pigs” that would have surely made the Prince of Darkness himself very proud. The entire audience lost their minds as every single person in the venue jumped to their feet in ecstatic screams and applause. Aside from the through-the-roof energy and the obvious tribute to a rock legend, I was delightfully impressed with how well they nailed Tony Iommi’s iconic guitar tone—one that any music gear nerd knows is quite difficult to accomplish.

Wayne Coyne

After completing their Sabbath cover, the band treated us all to one last triumphant encore—“Race for the Prize.” The stage theatrics all made a return, with dazzling light design, inflatable objects, and even more smoke and confetti to add the cherry on top of the performance that was dripping in psychedelia from start to finish.

Going into this show, I knew it would be incredible… and I left that evening thoroughly satisfied, even beyond my high expectations. All I can say is that anyone who has yet to catch a Lips show… well, you absolutely need to see it to believe it.

Issac Brock, Frontman for Modest Mouse

Written by: Justin Kerecz, Photographed by: Nicole Martini

I clocked out of work at 6 p.m. Thursday night. Slid into my ride with my fiancée behind the wheel. We are heading to see DAWES (with PHOSPHORESCENT) in KING OF PRUSSIA for one of RISING SUN PRESENTS’ “CONCERTS UNDER THE STARS” shows.

We have been seeing shows here for the past few years. Bands here perform in a gazebo as the crowd sits in a field. It has a delightful small-town festival feel. This year RISING SUN PRESENTS upped the ante with a full-blown stage. Now the festival vibe is in full effect.

PHOSPHORESCENT was playing when we got in. I never listened to them before but I was impressed. His voice had a bit of a FLORIDA man drawl, reminding me of TOM PETTY. The music had that heartland edge that’s a favorite of mine.

NICKI and I got some tacos from one of the food trucks. We grabbed some beer from the bar and found a bench in the back of the field and ate, taking in the view of families with their little kids running around the field.

PHOSPHORESCENT finished their set as we finished our food. We decided to make our way down to the VIP section, stopping at the bar before we found a spot to spread a blanket and get cozy.

DAWES started their set with “Someone Else’s Cafe” off of Misadventures of Doomscroller. An album that dips into jam band territory and it’s a perfect start to a hot summer night.

The song melts into “If I Wanted Someone” off of their classic album Nothing Is Wrong. Next was one of my favorites, “Mister Los Angeles” off their newest album Oh Brother (which was my gateway album into the band). “Mister Los Angeles” is witty social commentary on the people that live there. TAYLOR’s lyrics are clever, pointing out the absurd nature of L.A. residents, opening with the line:

“My trainer tells his clients he’s a shaman
We smoke some DMT before we bench”

Later, as the band tunes their instruments, TAYLOR points out a sign in the crowd that says “We have the GOOD LUCK WITH WHATEVER BAND.” TAYLOR gives the kid a shoutout and asks when their next gig is, announcing it to the crowd.

The music starts again with “None of My Business” off of Good Luck With Whatever. Was it a coincidence that TAYLOR mentioned the band and then they played this song? Maybe! It is a banger, so I would have been surprised if they didn’t play it.

We move from our “Front Row Seat” to “From a Window Seat” as twilight falls over the crowd and the stage lights brighten. Green and pink lights move like brush strokes across a sea of dancing silhouettes. GRIFFIN’s pulsing drums are the heart of the crowd as their knees wobble to the beat.

TAYLOR knows how to work a crowd as well as he writes songs. He treats this suburban backyard like GLASTONBURY as he gets the crowd to sing along with “Fire Away.” All this jamming has the band losing track of time, but these are vibes you don’t want to cut short. They’re doing their best to get in as many tunes as possible before curfew.

At the end of the night they play “When My Time Comes,” TAYLOR brings up the kid from the DAWES cover band to play guitar with them on stage. A dream come true for any fan, and the kid crushes it.

Closing out the evening is “All Your Favorite Bands.” The crowd goes wild. Everyone singing along is a powerful moment. I can only imagine the awe and amazement DAWES must be in every night seeing an ocean of people singing their song with them. The band stops playing as the crowd chants:

“And may all your favorite bands stay together.”

The end. No big ending finale moment. No encore fake-out. Only the crowd. Singing together with one voice.

What a selfless way to end the evening. DAWES has been through a lot this past year. Earlier this year, fires in L.A. destroyed the homes of TAYLOR and GRIFFIN, and yet they give so much back to the people who come to see them. They are a true class act, forever grateful and better than ever.

I am a recent convert to DAWES after being a snob and lumping them with the stomp-clap AMERICANA revival of the aughts. I did myself a disservice, but I’m glad to be on the DAWES train. TAYLOR’s lyrics provide great social commentary on the world we live in. Profound without being overwrought. People have told me his lyrics remind them of a contemporary WARREN ZEVON, and I’d have to agree to an extent.

If you’re a person that cries about music not being as good as it used to be, do yourself a favor and check out DAWES. You’ll find the heart of rock ’n’ roll is alive and well.

May All Your Favorite Bands Stay Together.

Website丨Facebook 丨Instagram 丨YouTube 丨Spotify丨Apple Music

To see other Concerts Under the Stars shows this summer, here is the schedule.

Written and photographed by: Jasmine Bowens

Beard Fest?
A festival celebrating the unique beard culture of our great city, Philadelphia? Yes, please. Sign me up! That’s exactly what ran through my mind when That Mag’s editor, Killian O’Neil, asked if I wanted to cover it. A quick Google search of “Beard Fest Philadelphia” only confirmed my excitement.

It wasn’t until Thursday, June 26, when all the details were finalized and media passes secured, that I finally dug deeper. BeardFest, a weekend-long music festival created by Beardspace, an eco-friendly progressive rock band from South Jersey and Philly, has been hosting BeardFest at a campground in NJ since 2014. That’s 11 years of creative vision, logistics, and stamina. Homegrown festivals, whether they’ve matured over the years or not, are often the best, so I was excited to see what this one had in store.

After connecting with the organizers, I quickly learned my original plan to attend from Saturday through Monday was a no-go. Why? Because a “Special Guest” was scheduled to arrive around 9:30 PM Friday night, and I definitely didn’t want to miss that.
Cue the scramble.
I had to drive down to Baltimore to grab my camping gear, find someone with a free weekend starting Friday night, and convince them to take a 45-minute road trip over the Benjamin Franklin Bridge into southern New Jersey. Our destination? A little town called Hammonton, home to Paradise Lakes Campground, tucked away just off of a little body of water called the Albertson Brook.

Friday arrived. The camping gear had been gathered across state lines, a begrudging friend was secured, and it was time to head out and make it just in time for the special guest’s performance. I took a moment to glance at the schedule before hitting the road, but was confused. If the guest was “special,” why was their name listed on the schedule? The artist was Zion Marley, slated for 9:30 PM on the Beach Stage.

I didn’t think much of it. I just knew I had to make it before the performance started. We arrived in no time. After driving through a dark forest clearing and reaching the campground, we rechecked the schedule and made it just in time to check in, park, and head to Zion Marley’s set. Campsite setup could wait.

Walking to the stage, I wasn’t sure what to expect. Sure, I’ve been to plenty of music festivals before, but never to one this late and surprisingly never one in New Jersey. So I was open to the adventure.
When we arrived, Beardspace was finishing their set before the next changeover. (BTW, check out their latest album Like Moths to a Flame.) While the crowd waited, I explored the art installations, fire spinners, and the brook. Vendors were set up and the whole space was beautifully lit. I noticed a large number of families in attendance too, which is very much the norm in today’s festival scene. After circling the grounds, Zion took the stage and began his set.

Naturally, I figured Zion was the special guest. There are so many Marleys that having any one of them perform is a big deal! So we swayed and rocked as he played some of his classics. Toward the end of the set, hunger and exhaustion set in, so we headed out to Wawa. We had rushed to the site so fast I didn’t even pack a cooler like I’d originally planned, so Wawa was our best bet.

Once back at the campsite, we made our way to the Rustic Car Camping area to finally set up. As we pitched our tent, an angelic voice floated over from the Beach Stage. It definitely wasn’t Zion. We couldn’t place it, but setup had to take priority.

After the tent was up, I checked the schedule again. Was it Couch or Consider the Source on the Forest Stage? I couldn’t identify the voice or songs, but sleep took over, and we were out within minutes.

Saturday Morning
I woke up ready to meet people, find some food, and check out a workshop or two after a much-needed shower. On Saturday alone, each of the four classroom spaces had seven classes scheduled between 8:30 AM and 5:30 PM. After some coffee, I made my way to the Fermentation Creation Station with the enthusiastic Michael Green. He provided a variety of vegetables to chop, jar, and ferment while teaching us the many ways to prepare and use fermented foods. Take a look at my creation:

After the insightful class, it was time to explore the grounds, check out vendors, and find some shade on that scorching day. While browsing one vendor’s wares, we started chatting about the “special guest.”

“Do you know who Zion Marley is related to?” someone asked.

I didn’t.

The beautiful, amazing voice I heard the night before? It was none other than Lauryn Hill. Yes, Lauryn Hill! The semi-reclusive musical genius people rarely get to see live! Yet I had the opportunity to see her for free—and I slept instead?! I nearly fainted. Disappointed would be an understatement.

As I moped back to my tent, fermented veggies in hand, I couldn’t shake the shock. But I knew I wouldn’t let that ruin the rest of the festival. I still had a full Saturday, plus Sunday and Monday ahead.

Camp Loop Magic
After a short break, I crossed the brook to explore more musical guests and art installations. That’s when I discovered the Theme Camp Loop. These camps are organized by people who pre-apply to camp together and provide enriching experiences for others.

We came upon the Free Wears Camp, which we’d unknowingly visited earlier. My friend, in all the rush the night before, forgot to pack shorts. Thankfully, he found a pair there. We snapped photos of their donation info to send money later (mental note: remind him to do that now).

As we continued through the loop, we met a theme camp participant who invited us into their shaded oasis. I wish I’d gotten her name, but we talked about the performances from yesterday and how my friend and I missed Lauryn Hill. After I mentioned that I was writing an article, she excitedly told me her friend, Gimar Herrand, who had an amazing view of the stage, actually recorded Lauryn’s set. What?! Ms. Herrand appeared like a fairy and provided me her contact info so she could share the footage with me. I was so thankful. A piece of history—secured!

As another camp came by to deliver a fun message, we let them be and continued wandering. Soon after, we settled down to enjoy Law Abiding Citizens, and even chatted with the guitarist Shane’s dad, who was helping manage their recording gear. You really can’t beat live music under the sun.

An Unexpected Goodbye
Unfortunately, around 5 PM, I received a call from my mom: my great-aunt, Darlene Coleman, had passed away. After a brief cry, I packed up my gear and drove back to Philly to be with family.

Although I wasn’t even at the festival for a full 24 hours, the experiences I had were unforgettable—and I’ll definitely be back next year.

So take it from me: mark your calendars now for BeardFest 2026. Don’t be like me—pack ahead, stay for all the sets, choose some fun friends to enjoy the vibes with, and dive headfirst into the art, music, food, and joy that is BeardFest.

BeardFest

Website

To John Kerecz, my Father
May 16, 2025

Written by: Justin Kereez

I was sitting in a cold, dark movie theater with my neighbor, watching Thunderbolts. It’s 11:30 p.m., and my sister was calling me. I silenced the phone, but she called again and again. Then a text: “911.” I crept out of the theater and called her back. That’s when she broke the news.

I always knew he would be a tough act to follow.

John Kerecz, my dad, was a modern-day Renaissance man. His entire life was spent wanting to make an impact and be remembered by the world. Every idea he had, he did his best to achieve it. Each time he achieved something, he made sure to tell as many people as possible. We heard about his trip to space in a Russian MiG-18 for a long time.
(You can even watch it on YouTube.)

His lust for life was something special. As a child, he trained in martial arts and became an instructor. When I was little, I remember his friends and students gathering in our cinder block-walled basement as their underground dojo. After getting more students, he started to teach kids and adults at the YMCA in Lancaster. Not long ago, he was inducted into the Pennsylvania Martial Arts Hall of Fame.

Later in life, he explored his passion for music. Music was always a big part of my life with him. My fondest memories with him always involve music. The earliest ones are of him howling along with the Beatles, the Beach Boys, and Elvis as we cruised around town in his beat-up teal Camaro.

He loved to be involved in local music scenes; he did whatever he could to be involved. There was a time when piles of CDs would show up at our house for him to review, back when he started with OSH Radio (Old School House Radio). We would drive out to Ardmore from Harrisburg so my dad could meet with Brian to deliver issues of Origivation Magazine before he started to write articles for it. He went so far as to join the rap-metal band 7th Layer as their bassist. In that band, he got to play the Gathering of the Juggalos.

Whoop whoop.

There’s no one on this planet that lived quite like my father. He poured everything he had into his adventures. To him, failure only happens when you give up. We would butt heads over how he pushed me to do more and be better because he knew I could do it. My father could see the limitless potential in others and wanted to inspire them to do their best.

Now more than ever, I understand why he pushed me.
He believed in me.

As I replay memories and go through his things, it helps me realize how blessed I am to get to call him my dad.

I wish I had one more chance to tell him how much he inspired me and to hear him tell me how he went to the edge of space in a Russian fighter jet.

While his life was cut short, he lived more than anyone else I know. I am so proud of all of the wild things he did, and how he wasn’t afraid to do what he did.

We don’t know how much time we have left, and we shouldn’t waste it.
If my dad taught me anything, it was to have courage, follow your heart, and above all:

Live long and prosper.

— Justin Kerecz

OSH Radio YouTube

From the Publisher, Brian Cronin –

John wasn’t just a part of the That Mag (formerly Origivation) family — he was family. From his monthly column to managing our Central PA distribution, he always showed up — not just for us, but for everyone who needed a hand, a voice, or a platform. He will be missed.

Written by: Max Bennett

Philly’s own Mo Lowda & the Humble have been at it for more than a decade. Since 2013, they’ve been dropping indie rock tunes and touring extensively.

Now, they are on what should be considered a victory lap following the release of their fifth studio album, Tailing the Ghost, out June 20.

With 11 tracks, Tailing clocks in at a reasonable 41 minutes. In that time, the band shows off with introspective and hopeful lyricism from frontman Jordan Caiola, effect-drenched guitars by axemen Kirby Sybert, Jeff Lucci and Caiola himself, and drums so tight you’d think they’re programmed courtesy of drummer Shane Woods.

The LP kicks off with “Fitzroy,” which is arguably the most “rock and roll” of the track list. “25 Years” and “Northside Violet” also bring out the band’s more traditional rock sound, with “Northside” featuring some truly chest-thumping heaviness toward the end. The effects applied to the bass and guitar bring out such deep tones, you might think a damn tuba player was brought in for tracking. That same feeling comes out again in “Postman.”

Mo Lowda, in general throughout Tailing, employs a lighter touch, embodied not by big chords and crunchy distortion, but by thoughtful guitar licks that slap with echo and create a sense of mystery with theremin-like effects.

What listeners to Tailing should know is that most of the songs were tracked live in studio, according to Woods. When a band can pull that off to the effect Mo Lowda does, they deserve all the flowers.

When it comes to what the album says, literally, Mo Lowda offers up poignant lyrics that, while clearly personal to Caiola, include themes most people can appreciate.

In “Take the Bait,” Caiola croons, “thank god for my brother” for giving their mom a grandson. He continues on about his nephew:

“And I see that kid light up like it’s Christmas Day at least half the year
I hope I still find that kind of light when it’s all darkness here”

The light and dark motif returns in “To Keep Sane in the Dark.”

That lyric brought me to tears as I ran along the Delaware River in the early morning sun Friday.

Another line from “The Painter” should be considered a maxim:

“Patience, it’s a hell of a drug, but nobody has enough.”

The title track, “Tailing the Ghost,” brings the 2025 LP to a close. The verse features deft bass work from either Sybert, Lucci or Caiola (all of whom take turns on guitar and bass), and a snare-filled groove by Woods.

The roughly last two minutes of the song, and ultimately the album, are without lyrics. The guitars, drums and bass carry you into the closing, and almost tease a crescendo. But that crescendo never materializes, and instead we’re left with a sort of cliffhanger that leaves the listener wondering: What will Mo Lowda & the Humble do next?

We can’t wait to find out.

And check out Mo Lowda & the Humble live at Union Transfer Saturday, Nov. 22.

Mo Lowda & the Humble

Website, Facebook, Instagram, Spotify, YouTube, X

Written By: Liv Foltiny and Photographed by: Nettwerk Music Group

Last month, Virginia-native duo Vacation Manor (Nathan Towles and Cole Young) released their latest EP, Back to Town. Comprised of six tracks, the EP falls just shy of 21 minutes, and in that time, it manages to convey some of the various emotions that accompany growth and change.

Reminding me slightly of Semisonic’s “Closing Time,” “January (Over & Over),” the first track, establishes the nostalgic tone that permeates the EP. In the song’s opening lyrics, Towles connotes the all-too-relatable feeling of wanting to stay in bed while longing for something else. The contradictory natures of these desires then lead to an ongoing carousel of thoughts, ranging from social comparisons via New Year’s resolutions to the anxiety surrounding life’s uncertainty. These concepts, which are reflected “over and over, over and over again” in the chorus, couple with the song’s soft vocals and dreamlike melody to create a melancholy reminiscent of that which affects many people during the winter.

Following “January (Over & Over),” the rest of the EP blends together almost seamlessly; the nostalgic and daydreamy tones flow from track to track, discussing topics such as trying to live in the present moment, the bittersweetness of change in the once familiar, habitual ruts, and the wandering that sometimes coincides with self-discovery. In other words, the songs effectively give form to an introspective stream of consciousness that concludes in the final track, “When It’s All Over.”

Honestly, Back to Town didn’t appeal to me as a listener; however — and I want to stress this — that does not mean it’s a bad EP. Its songs are relatable, especially if you have ever struggled with depression, and it clearly demonstrates that Towles and Young are skilled musicians and lyricists. If you are a fan of indie rock, indie pop and/or lo-fi music, you should definitely give Back to Town a listen!

Back to Town is available on Spotify!