#XPoNential Festival
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XPoNential Festival – Wiggins Park – Camden, NJ – September 22-24, 2023
They say that the 10th anniversary is the tin anniversary, and the 50th anniversary is the gold anniversary. Unfortunately, for the 30th anniversary of the annual XPoNential Music Festival, it seems that it was the rain anniversary.
Mother Nature did not cooperate with the weekend of diverse musical acts jamming out at Wiggins Park in Camden, NJ. Tropical storm Ophelia was battering the East Coast that weekend, and while no major damage was inflicted on the Philadelphia tri-state area, the area was slammed with rain. This caused regular reshuffling of schedules for the Fest on Saturday and Sunday, and the cancellation of some of the acts – including Saturday night headliners Tegan and Sara.
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This was particularly a shame because this was the first time in years (if not ever) that there were not at least the last few bands on a couple of the nights playing down the street at the Freedom Mortgage Pavilion, which is an amphitheater and at least partially enclosed and would have provided shelter from the storms.
However, the bands and the die-hard crowds for the most part were hearty sorts – sadly far heartier than this writer – and they often played on throughout the storms. I have to acknowledge up front that while I was looking forward to an entire weekend of good music, I ended up missing the entirety of Saturday’s sets and only was able to see one of the Sunday acts.
I actually sat in my car in the parking lot for about an hour Sunday afternoon in the hope that the rain would clear up enough to catch the Bruce Hornsby and the Noisemakers and Low Cut Connie sets, but the rain just never went away. Which is a shame, I have heard that Hornsby did a fascinating complete reinvention of his 1986 number one single “The Way It Is.”  
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Friday, on the other hand, was pretty exceptional. I walked into the park at the very tail end of the performance by Nik Greeley and the Operators. I heard the last couple of songs from their set from across the park, where I went to the Marina Stage to await the start of the next act. They sounded good, I’m sorry I didn’t catch the whole thing.
Next up was Philly-based Don McCloskey. (McCloskey was born in nearby Bristol.) He played to the hometown, rocking a Phillies cap (the old-school one with the fat P!) to share that he was a homeboy. In the lazily milling crowd before he came up onstage, a guy next to me promised he was pretty terrific and put on a great show. The guy wasn’t wrong.
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He certainly had a big, rather tight eight-piece band, featuring himself on lead vocals and guitar, another guitarist, a bassist, a keyboardist, two percussionists and two female background singers. They were celebrating their latest album The Chaos and the Beauty, and his music was a mix of Americana, folk, rock and soul. He started out with a romp through the track “I IV V,” which opened with the evocative lyrics “There's gunshots outside my apartment / There's protests inside my head / Bullet holes in these worn-out clothes / Thank God you're in my bed.”
The drama was dialed down a bit with the more relaxed “Dre” and the somber confessional “Unbecoming.” Other standout tunes included “Kill the Lights,” “Son of it All” and “Welcome to the Fitness.”
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We next headed over to the River Stage, where Margo Price was about to come on. Price came onstage looking smart rocking a lacy white and gold jumpsuit and scarf. (I only mention her outfit because in the middle of her set she changed into a different one, a frilly red-and-silver cocktail dress.) Like McCloskey – and pretty much everyone else who plays on WXPN – Price offered a gumbo of spicy tunes and musical moods, crossing genres and styles with panache.
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Price brought the heat from the jump with her most recent album Strays’ atmospheric opening track “Been to the Mountain.” (She did announce that a Strays II was coming soon.) Then there was the frisky and poppy “Letting Me Down,” the bluesy “Change of Heart” (one of two songs Price played a scorching drum solo) and the sweetly devastated breakup song “That’s How Rumors Get Started.”
The guitar-based psychedelia of “Twinkle Twinkle” was another song in which Price’s playful connection with her crack band was noticeable. Then she rocked out to “Paper Cowboy” (the other song where Price shared drumming duties) and finally closed out on the alcohol-based medley of “Hurtin’ (On the Bottle)” matched with “I Think I'll Just Stay Here and Drink” and “Whiskey River.”
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Next up on the Marina Stage was Say She She – made up of singers Nya Gazelle Brown, Piya Malik, and Sabrina Mileo and a large backing band. They refer to their sound as “discodelic,” a musical tribute to ‘70s girl groups like The Pointer Sisters, High Inergy, The Three Degrees, LaBelle, Sister Sledge and Chic. (The band name is a fun nod to that last group, “C’est chi-chi!: It’s Chic!”)
They do rock the soul and dance vibes, adding their own subtle swing vibe to the mix. Their mostly matching outfits add to the disco vibes, shiny silver minidresses and boots which look tres ‘70s, and at the same time oddly timeless. That description not only refers to their fashion sense, but their music and their whole vibe, a fun, dance-based palette of throbbing beats and sweet harmonies.
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They did a terrific take on their recent single “C’est Si Bon” – a fun and frisky swinging dance track, which is NOT a cover of the Eartha Kitt jazz standard of the same name. The “delic” version of the “discodelic” descriptor shows up in “Astral Plane,” a sweet song riding on wah-wah guitars and cosmic vibes. Then there were the gorgeous Love Unlimited vibes of “Prism.”
The show also had a bit of extra, unexpected spectacle in the middle of Say She She’s set, when a random fireworks display suddenly appeared over the river, seeming to be coming from across the water in Philadelphia somewhere. I don’t believe it was specifically done for the music festival, although I’m not sure what it actually was for. (Was there a holiday that day which I forgot?) Still, it added a fun bit of pizazz to the show, although since the fireworks were behind Say She She’s audience at the Marina Stage, lots of people turned away from the performance to watch the fire in the sky. Then again, it added to the enjoyment to hear the stomping music backgrounding the fireworks.
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After they ended, back at the River Stage, Old Crow Medicine Show did a fun mix of originals and classic covers. These tributes included takes on The Band’s “The Weight” (for which they brought Margo Price back onstage to harmonize with them), a fun romp through Creedence Clearwater Revival’s “Proud Mary,” a combustible version of Jerry Lee Lewis’ “Great Balls of Fire,” and an inspirational take on Hank Williams “I Saw the Light.” They also did a sweet version of “Margaritaville” in honor of Jimmy Buffett, who had just died a few weeks earlier. The performance of “The Weight” earlier was also a tribute to The Band’s recently deceased guitarist/songwriter Robbie Robertson, and “Proud Mary” was a nod to Tina Turner, who famously covered the song.
Old Crow has always been an intriguing mix of influences, an Americana string band that loves bluegrass, country, folk, and even a bit of rock. Or, as Wikipedia describes them: “With an old-time string sound fueled by punk rock energy, it has influenced acts like Mumford & Sons and contributed to a revival of banjo-picking string bands playing Americana music – leading to variations on it.”
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With decades of songs in their own catalogue, not to mention the aforementioned covers, the group did a deep dive into its songbook. They did a couple of songs from their current album Jubilee (the gospel tinged “One Drop” and the zydeco “Wolfman of the Ozarks). Older favorites include the frontier music of “Wagon Wheel,” the alt-country throwdown “Alabama High Test,” and the crazily entitled jug-band prison song “Brushy Mountain Conjugal Trailer.”
Sunday’s gigs (and undoubtedly Saturday’s, too) were all at the River Stage, because the Marina Stage was undoubtedly a soggy, muddy mess from all of the storms. This worked in some ways – no running around the park from stage to stage. Of course, it also had the disadvantage that it removed the constant flow of performances, because the stages couldn’t be reset for the new acts while someone else was playing. Still, this was necessary and a small price to pay. Well, it would have been a small price if not for the rain.
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The sun actually poked through in the early afternoon and the rain stopped long enough for Josh Ritter to get in his set. Of course, due to the weather uncertainty, his show was completely revamped, going from a full band set into a one-man acoustic gig. According to one of the festival workers near the stage, Ritter also threw away his old setlist and decided to make up a new setlist on the fly while performing. This gave the performance a sense of spontaneity that you don’t often see, so that was a really cool bonus.
Probably not coincidentally, Ritter started out his performance with a galloping strut through “Feels Like Lightning,” which seemed a bit fitting for the weather. Other standouts were an atmospheric run through “Henrietta, Indiana” and a fun cover of The Sweetback Sisters’ “Deputy Blues No. 2.” He also impressed with the sweet, devotional love song “Kathleen,” with its hopeful couplet, “I’ll be the one to drive you home, Kathleen.” He then closed his set out with the gorgeous “Someday” and the tongue-twisting “Getting Ready to Get Down.”
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After Ritter finished, while the roadies were setting up the stage for Allison Russell to start, the rain started again. At first it was just a little sprinkle, a bit annoying but definitely bearable. But soon enough it picked up speed and intensity, until everyone and everything was getting soaked. Sadly, this was pretty much the end of the festival for me, although as noted above I did shelter in place for a while in hopes that the rain would clear up again.
It never did, but while the weather shortened my weekend, it could not ruin the great vibe of music and fun that ruled the XPoNential Festival. And perhaps if I weren’t a bit of a diva (or if I were a little younger) I’d have braved the rains – like many other hardcore fans did – rather than going all Wicked Witch of the West (picturing myself shrieking “I’m melting! I’m melting!”) I would have gotten to experience more great music.
Still, even as a truncated experience, the 30th XPoNential Music Festival was a whole lot of great music and fun, I’m looking forward to year 31, hopefully with clearer skies.
Jay S. Jacobs
Copyright ©2023 PopEntertainment.com. All rights reserved. Posted: September 27, 2023.
Photos by Jay S. Jacobs © 2023. All rights reserved.
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natethreepoint0 · 1 year ago
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Yo! That's My Jawn: The Podcast - Ep. 4.21 - Julia Pratt
What’s up? Nate is back with another episode and kicks things off recapping the 2023 Xponential Music Festival presented by Subaru. Then, Nate sits down to chat with singer/songwriter Julia Pratt. They talk about growing up in Philadelphia, learning to play piano, cello and saxophone, adding guitar, combining her love of peoptry and music, playing original songs out, the jazz influence in her…
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Josh Ritter – XPoNential Festival (Day 3) – Wiggins Park – Camden, NJ – September 24, 2023
Photos by Jay S. Jacobs © 2023
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fairweathermyth · 2 years ago
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JENNY LEWIS performs new song “Joy’all” Live at the 2022 Xponential Music Festival in Philadelphia
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don-lichterman · 10 days ago
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Tonight: All Things Considered Live on JamFest – Jenny Lewis at the 2022 XPoNential Music Festival
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southjerseyweb · 1 year ago
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XPoNential Music Festival 2023: Rain doesn't stop music - Delaware Online
Fans gather at the Harbor Stage on Day 1 of the XPoNEntial Music Festival on the Camden Waterfront in New Jersey on Friday, Sept. 22, 2023.
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bktandem · 2 years ago
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The initial lineup for the 2023 WXPN XPoNential Music Festival, taking place at Wiggins Park in Camden, NJ, September 22-24. Featured acts include Old Crow Medicine Show, Margo Price, Tegan & Sara, The Hold Steady, Bailen, Bruce Hornsby & The Noisemakers, Allison Russell and Low Cut Connie!
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https://xpnfest.org/
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bluesrockjazz · 2 years ago
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Samantha Fish - Full Set (2022 XPoNential Music Festival)
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worldcafe · 6 years ago
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World Cafe Playlist: 9/3/18
Stream the complete show here (coming soon)
Live performances from the XPoNential Music Festival
*Coldplay - "Yellow" - World Cafe 10th Anniversary Mt. Joy - "Silver Lining" - Recorded Live at XPN Fest 2018 Phoebe Bridgers - "Motion Sickness" - Recorded Live at XPN Fest 2018 Devon Gilfillian - "Troublemaker" - Recorded Live at XPN Fest 2018 JD McPherson - "Let The Good Times Roll" - Recorded Live at XPN Fest 2018 Margo Price - "Casey Jones" - Recorded Live at XPN Fest 2018 Margo Price - "Mary Jane’s Last Dance" - Recorded Live at XPN Fest 2018 Margo Price - "Proud Mary" - Recorded Live at XPN Fest 2018 Josh Ritter - "Getting Ready To Get Down" - Recorded Live at XPN Fest 2018 Josh Ritter - "Showboat" - Recorded Live at XPN Fest 2018 Courtney Marie Andrews - "Kindness Of Strangers" - Recorded Live at XPN Fest 2018 Darlingside - "Eschaton" - Recorded Live at XPN Fest 2018
Hour Two *U2 - "Walk On" - All That You Can’t Leave Behind The White Stripes - "We’re Going To Be Friends" - White Blood Cells Waxahatchee - "Summer Of Love" - Ivy Tripp Chuck Berry - "School Days" - After School Session Earth Wind & Fire - "September" - The Best Of Earth, Wind & Fire Eva Cassidy - "Autumn Leaves" - Songbird Neil Young - "Harvest Moon" - Harvest Moon Yo La Tengo - "Autumn Sweater" - I Can Hear The Heart Beating As One Joni Mitchell - "Hissing Of Summer Lawns" - The Hissing Of Summer Lawns Carole King - "Sweet Seasons" - Music Sting - "All Four Seasons" - Mercury Falling Future Islands - "Seasons (Waiting On You)" - Singles Elvis Costello - "The Other Side Of Summer" - Mighty Like A Rose Pete Yorn - "Last Summer" - Back And Fourth ��
*Optional Song
Photo: Margo Price at the 2018 XPoNential Music Festival | photo by Natalie Piserchio | nataliepiserchio.com
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thesuffers · 2 years ago
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We are excited to announce even more dates for our September run of shows. It has been a while since we played some of these cities, and we need help getting the word out. Brooklyn! Boston! DC! Philly! It’s been YEARS! Let’s make our return back to your town a night to remember. 🎊 Tickets are on sale for all of our upcoming shows at www.TheSuffers.com or at the link in our bio. ✨ Sep 9 Bowling Green, OH Black Swamp Arts Festival @blackswampfest Sep 11 Pittsburgh, PA Club Cafe @clubcafelive Sep 13 Allston,MA Brighton Music Hall @brighton_music Sep 14 Brooklyn, NY Brooklyn Bowl @brooklynbowl Sep 16 Washington, DC The Hamilton @thehamiltondc Sep 17 Huddleston, VA Smith Mountain Lake Wine Festival Sep 18 Camden, NJ XPonential Festival @wxpnfm Sep 20 Reading, PA Miller Center Sep 21 Woodstock, NY Levon Helm Studios @LevonHelmStudios Sep 22 Burlington,VT Backside 405 @highergroundmusic Sep 21 Portsmouth, NH Jimmy’s Jazz and Blues Club @jimmysjazzblues Nov 5 Anchorage, AK Alaska Center For The Performing Arts @pacAlaska Photo by @jackieleeyoung
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XPoNential Music Festival – BB&T Pavilion & Wiggins Waterfront Park & Marina – Camden, NJ – July 28-30, 2017
Mother nature kept threatening to spoil the party – there were flash flood warnings both Friday night and Saturday – but even mother nature could not stand to stop the music. There were a few drizzles periodically on those days, but the deluges promised in local weather reports never materialized. These weather concerns slightly changed the lineup of the annual WXPN XPoNential Fest at Wiggins Park and the BB&T Pavilion in Camden, NJ – just across the Delaware River from the sprawling skyline of Philadelphia – but for the most part, everything went off without a hitch.
Two bands were moved inside on Friday. A few acts were cancelled (sorry, Hurry and Swift Technique!) or postponed and moved to other times – leaving the listeners with the Sophie’s choice of whether to check out classic soul man Charles Bradley & His Extraordinaires or the terrific newfangled soul group The Suffers, whose sets coincided on Saturday evening. At least the Suffers had another earlier set, so the cut wasn’t that deep.
The music continued to shine, despite the bleakly overcast skies. (Actually, this turned out to be a pleasant change, keeping the temperature much more manageable than previous years’ surface-of-the-sun midday heat until Sunday, when the heat started getting more oppressive.) The show went on, and on, and on, with a little something for everyone. XPoNential Fest, like the radio station which presents it, is a smorgasbord of styles, ages, genres, instruments, pulses and even languages. Rock, pop, soul, jazz, blues, worldbeat, hip hop, country, folk; all were present and accounted for.
How many festivals can you go to and see both the Drive-By Truckers and David Bromberg’s Quintet? Wilco and Preservation Hall Jazz Band? Rhiannon Givens and Conor Oberst? Spoon and Foxygen? Joseph and Hooray for the Riff-Raff? Well, okay, lots of fests these days have insanely eclectic line-ups, but it still makes this a wonderfully fun and diverse musical experience.
As said before, the threatening forecasts led to most of Friday’s sets being moved from Wiggins Park – three acts played at the Marina Stage – Pinegrove, the Arkells and Brownout – but all the sets on the larger River Stage were cancelled or moved to the smaller Marina Stage, or in the case of Angel Olsen and Offa Rex moved next door to the (mostly) indoor shed BB&T Pavilion, making for only eight acts on the first day.
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Offa Rex was one of the Friday highlights. It is a side project of popular band The Decemberists with the addition of gorgeous-voiced folk vocalist Olivia Charney, which specializes in doing covers of old British folk songs with an indie-rock chaser. In another festival, this might feel like a weird sidetrack, but here it was just another sweet and intriguing musical avenue to explore. Charney handled lead vocals on most of these long-forgotten classics like the ethereal “Dark-Eyed Sailor” and even accompanied herself on solo harmonium on the traditional favorite “Bonnie May.” The tempo was raised periodically with songs like Richard Thompson’s “To Make You Stay” and a crunching take on another public domain trad classic, “Sheepcock and Black Dog.”
Charney also soared with a plaintive, contemplative version of Ewan MacColl’s classic “The First Time Ever I Saw Your Face,” which years later became a soul classic when covered by Roberta Flack. The awestruck, sweet vocals (her voice is a potent meld of Kate Bush and Natalie Merchant) and the Decemberists’ subtle instrumentation reinvented a song that we have all heard many, many times. And speaking of reinvention, the band also pulled out a delicately massaged version of The Decemberists’ “Rox in the Box,” to the glee of fans. That band’s leader Colin Meloy also took lead on a stunning cover of the 1844 pro-union protest ballad “Blackleg Miner.”
The tempo was turned up significantly for the next act, local faves Hop Along, which stormed in on the raspy, caterwauling rock vocals of lead vocalist Francis Quinlan.
Conor Oberst, the artist formerly known as Bright Eyes, was the next-to-last act on Friday, and frankly he scorched the place. Of course, anyone who remembers Bright Eyes’ anti-Bush political anthem “When the President Talks to God” would not be surprised that the singer would take on the short-fingered vulgarian currently living in the White House. Oberst gave a heated rant about Trump, calling him an “admitted sexually assaulting Russian oligarchy charlatan” and a “fucking piece of shit” before tearing into a passionate version of his 2009 protest song “Roosevelt Room.”
Wilco, great as they are, had a hard time following that up, but they put together a solid, workmanlike traipse through their back catalogue. Bolting out of the gates with a powerful “Random Name Generator,” Jeff Tweedy and the boys did a solid “greatest almost-hits” set – because only in a much better alternate universe has Wilco ever really had any hits, per se. But what they have had was a strong bunch of tunes derived from decades of touring and jamming, and the band rocked the festival with such crowd favorites as “If I Ever Was a Child,” “War on War” and “I’m Always in Love.”
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The next day was full of pleasant surprises and old favorites. Saturday’s lineup was a long and rewarding journey for fans, starting with the space-age jazz of Xenia Rubinos and stretching through a series of genres and tempos. Foxygen went wild with their good-natured bombast, and Dave Hause and the Mermaid blew the place away with their good-time rock.
However, the party really started when legendary Nola collective The Preservation Hall Jazz Band brought their brass and their swing to the waterfront. The group had been on last year’s schedule, but their performance was scuttled when the skies opened up a few minutes into their set. The band more than made up for it this year, with a gumbo of bracing jazz instrumentals that brought the crowds to a boil. A good-time music City times was had by all. And, they also came back later in the day to back up Saturday night headliner Amos Lee.
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Rhiannon Giddens and her family collective brought the roof down (okay, there wasn’t really a roof) on the river stage soon after. Doing an adventurous mini-set which combined jazz-infused originals with quirky covers of Odetta, Patsy Cline and The Staples Singers, Giddens and her well-chosen eclectic backing band (including her husband) traversed the world-beat of “Following the North Star” and the bluesy, jazzy gorgeousness of “The Love We Almost Had.” She wound everything down (and up) with an impassioned cover of The Staple Singers’ protest song “Freedom Highway” – a slightly subtler protest of the Trump era than Oberst’s passionate speech the night before – but make no mistake, it was still a political call to arms.
This was followed up by local musician turned international success Strand of Oaks, who was enjoying his homecoming. Lead singer Timothy Showalter beseeched his kinda-hometown crowd, “Don’t worry about people who are more beautiful than you. Don’t worry about people having more fun than you. This is the most fun you can have,” singing the praises of rock and roll.
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Then the Screaming Eagle of Soul himself, Charles Bradley and his high-flying Extraordinaires, showed the kids how to do it, doing a screeching, soothing, searing, evangelical set of old-school soul. Moving indoors to the BB&T Pavilion, XPoNential Fest fave Chicano Batman (who also played two slots in last year’s proceedings) brought the barrio to Camden, doing a terrific set of soulful party rock.
Acclaimed Austin rockers Spoon also rocked the joint, opening with the hip-hop inflected “Do I Have to Talk You into It” and then traipsing through their eclectic back catalogue. Front man Britt Daniels grooved to “I Turn on My Camera,” the jamming “Don’t Make Me a Target” and the lovably odd “The Beast and the Dragon, Adored.”
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Headliner Amos Lee cleaned things up, with help of the Preservation Hall Jazz Band. He started up with his own band, though, playing such faves as “Bottom of the Barrel,” “Jesus” and “Keep it Loose, Keep it Tight.” He then invited up his first guest star, old friend and Philly soul man Mutlu, and the two of them tore through a slinky covers medley of Lee’s “Won’t Let Me Go,” Hall and Oates’ “Sara Smile” and Ginuine’s “Pony.” Then the Preservation Hall guys joined in, giving their own special stamp to Lee’s “Cup of Sorrow” and “Sweet Pea.” Everything wound down with a monstrously funky cover of Allen Toussaint’s “Yes We Can Can.”
The heat made a return engagement for Sunday’s festivities, but the bands were just as hot as the weather. Early faves included the sweet and stunning jazzy stylings of Adia Victoria and a fun and frisky set from sister-group Joseph.
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In fact, for a large portion of Sunday’s proceedings, the women took over. A whole block of talented female-led bands spread through the afternoon, sharing their good vibes and their smart lyrics. The politics of the day also raised its head again too. As Hurray for the Riff Raff singer Alynda Segarra explained to the excited crowd, “This is resistance music.” Of Hurray for the Riff Raff’s resistance music, highlights were “Living in the City,” “Rican Beach,” “Hungry Ghost” and a surprisingly cool cover of Bruce Springsteen’s “Dancing in the Dark.”
Even blues-rock man David Bromberg joined in on the Trump-baiting (which tended to be a running theme for the weekend). “There must be 1.5 million people here,” he said puckishly, “In fact, this is the biggest festival crowd in history,” teasing a famous Sean Spicer press conference. He didn’t punctuate it with the “Period!” but everyone knew what he was talking about. Then he suggested that the tweets were a secret code, which when solved led to his song. And the dude just smoked the place with a version of his fave “Sharon.”
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The Record Company graduated from last year’s early afternoon river stage slot to the top three of the night, doing a fun and friendly rocking set. Davy Knowles also showed himself to be an up and comer, mixing in original favorites with an adventurous cover of David Crosby’s Vietnam-era protest song “Almost Cut My Hair.”
Reunited 80s faves The Dream Syndicate had a self-described “freak out in broad daylight” with a career spanning set, which included leader Steve Wynn doing exemplary versions of “Halloween,” “Out of My Head” and a cover of Blind Lemon Jefferson’s “Make Sure That My Grave is Kept Clean.”
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The weekend closed out with perhaps the most overtly political band on the lineup, a drive-by enlightening by the Drive-By Truckers. Complete with a Black Lives Matter sign on the stage, leader Patterson Hood said it was not about left or right, or black or white, it was all about human dignity. When they weren’t preaching to the happily converted, the guys did a smoking set which covered such faves as “Gravity’s Gone,” “What It Means,” “Putting People on the Moon” and a cover of John Lennon’s “Gimme Some Truth.”
It was a weekend of fun, music, politics and no rain. What’s not to like?
Jay S. Jacobs
Copyright ©2017 PopEntertainment.com. All rights reserved. Posted: June 20, 2017.
photos by Chris Sikich and Jay S. Jacobs © 2017
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natethreepoint0 · 1 year ago
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Yo! That's My Jawn: The Podcast - Ep. 4.28 - Gina Zo (Velvet Rouge)
Nate is back with some post-Thanksgiving revelations about what he wants to be and then chats with singer/songwriter, Gina Zo of Velvet Rouge. They talk about the XPoNential Music Festival, growing up in West Chester, learning piano & guitar, her life long desire to perform, dance, her earliest songwriting, playing out at for the very first time at The Note, musical theater, auditioning for The…
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Old Crow Medicine Show – XPoNential Festival (Day 1) – Wiggins Park – Camden, NJ – September 22, 2023
Photos by Jay S. Jacobs © 2023
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don-lichterman · 3 months ago
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XPoNential Music Festival 2024: A Stellar Lineup of Talent for a Memorable Weekend
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salutemag · 8 years ago
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New Post has been published on https://goo.gl/shrieM
Father John Misty Solidifies His Place As A Folk Music Hero
Count your blessings. Father John Misty is back with his third full-length studio album in five years, Pure Comedy, featuring 13 brand new songs from the expatriated Fleet Foxes drummer, J. Tillman. While it can be quite difficult to determine whether the contemporary folk singer/songwriter is
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oberstcult · 6 years ago
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What could be better than a new project built on the mutual fandom and friendship of two of our World Cafe favorites? Phoebe Bridgers grew up as a fan of Conor Oberst's band Bright Eyes, while Oberst became an instant fan of Bridgers when they played a show together a few years ago in LA. Now, the two musicians have made an album as Better Oblivion Community Center.
Bridgers and Oberst drop by to talk about writing songs, touring together and the cryptic (and kinda culty) campaign they used to tease this collaboration. They also share the story behind their appearance at XPoNential Music Festival a few years ago, which is put on by World Cafe's home station, WXPN. That performance marked the first time we saw Bridgers and Oberst on stage together and involved a very rock and roll arrival by emergency helicopter. Hear the conversation and live performances by Better Oblivion Community Center in the player.
So Conor lives in LA 
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