Philly Music Fest Details Return, “Our Genre Is Philly”

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Philly Music Fest has announced that it will return for its sixth annual event over six nights at six venues across the City of Brotherly Love from October 10-15. The event, hosted by PMF, a nonprofit founded by husband-and-wife team Greg and Jenn Seltzer, is uniquely known for showcasing artists who exclusively call Philadelphia home.

Venues participating in the 2022 event include World Café Live, Johnny Brenda’s, Ardmore Music Hall, Milkboy, REC Philly and Underground Arts. Philly Music Fest will feature artists from all genres and will feature rock, jazz, hip-hop, punk, bluegrass, folk, spoken word, Americana and more, they shared in a statement “Our kind is Philly”.

“Each year, Philly Music Fest features a diverse lineup of artists from across the Philadelphia area, deliberately exploring and blending genres such as rock, punk, hip hop, jazz, folk and pop,” said said festival founder, curator and producer Greg Selzer.

Philly Music Festival to host Low Cut Connie, Mannequin Pussy, Surprise National Headliner “To Be Announced”, Ron Gallo, Screaming Females, Shamir, Empath, Saleka, Electric Candlelight, Lady HD, Kayleigh Goldsworthy, Ghosh, Echo Kid, Max Swan, Stereo League, Marielle Kraft, Riverby, The Ire, Justmadnice and Perpetual Motion. In keeping with Seltzer’s sentiment, bands and musical styles will be mixed during the event. World Cafe Live will see Americana from Low Cut Connie, indie rock and punk from Ron Gallo, jazz with Perpetual Motion, singer-songwriter Kayleigh Goldsworthy and dance-rock from Lady HD. Similarly, Milkboy’s lineup will pair Shamir with the indie rock of Echo Kid and the mix of jazz and R&B of Max Swan.

“It’s really cool to see how Philly Music Fest has grown,” said Adam Weiner of Low Cut Connie, who returns to PMF as a headliner after playing a much smaller Philly Music Fest in 2018. “They’re doing a great job and I hope it continues. Music education gives children a lifeline they can hold on to throughout their lives, and I’m very happy to be a part of this. festival and echo its mission.

As is tradition, festival organizers have focused not only on hosting national headliners, but also on Philadelphia’s up-and-coming bands. Jill Ryan of Great Time elaborated on the positive impact of this intention: “Philly Music Fest was the first music festival that Great Time had ever played and it felt good to be part of something whose purpose was to uplift people. other up-and-coming artists as well as more established artists.

“Inspiring new generations of artists is what helps keep music and music scenes alive – the work PMF does is so important to our community and to the people who have not been able to work and perform over the years. for the past two years,” Model Pussy added. Missy Dabice. “Philly is so lucky to have a festival that supports local talent so much.”

Philly Music Fest has grown steadily since its inception: in 2017, the nonprofit donated $15,000 to music education programs; in 2018 the total increased to $25,000, then to $40,000 in 2019, $50,000 in 2020 and $75,000 in 2021. PMF has now donated $275,000 to local music education programs and artists in need, after paying all venues and artists to perform at the festival. Recipients include Rock to the Future, Girls Rock Philly, Settlement Music School, Musicopia, Beyond the Bars, Philadelphia Youth Orchestra, Live Connections and Play on Philly. In addition to music-directed donations, the nonprofit has awarded more than 330 micro-grants in 2020 and 2021 to help musicians and venue staff during the COVID-19 pandemic.

In addition to donations for children’s music programs, PMF has deployed more than 330 micro-grants in 2020 and 2021 to local musicians and venue staff struggling due to COVID-19. “I love that PMF donates the proceeds to support local organizations that provide music lessons and opportunities for area kids,” Ryan added. “And the fact that these shows are held at independent venues in the city is awesome.”

Learn more about Philly Music Fest Online here.


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