Get Better Fest 5
Mannequin Pussy, Big Nothing, Soul Glo, Kilamanzego, Control Top, Bad Sleep, Whelmed, Blank Spell, Choked Up, Yarrow, Dump Him, Empath
2125 Chestnut Street
Philadelphia, PA, 19103
Doors 4:30 PM / Show 5:00 PM
This event is all ages
Get Better Fest 5
GET BETTER FEST 5
Saturday May 5th @ First Unitarian Church
with MANNEQUIN PUSSY, BIG NOTHING, SOUL GLO, KILAMANZEGO, CONTROL TOP, BAD SLEEP, WHELMED, BLANK SPELL, CHOKED UP, YARROW, DUMP HIM & EMPATH
Get Better Fest has always been, and will continue to be, a fest organized to raise money for important organizations both locally and nationally.
GBF5 will be a benefit for:
BLACK & PINK
Black & Pink is an open family of LGBTQ prisoners and “free world” allies who support each other. Our work toward the abolition of the prison industrial complex is rooted in the experience of currently and formerly incarcerated people. We are outraged by the specific violence of the prison industrial complex against LGBTQ people, and respond through advocacy, education, direct service, and organizing.
Morris Home supports trans and gender variant individuals as they develop the knowledge, skills and supports necessary to promote sobriety, manage emotional and behavioral difficulties, choose and maintain safe and healthy lifestyles, and develop healthy relationships with peers, family and the community. Morris Home provides a safe, recovery-oriented environment for individuals in transition from one gender to another, or those with other gender variants who may be coming from “the streets” and/or from shelter programs.
Established in Philadelphia in 2004, Project SAFE is an all-volunteer grassroots organization providing advocacy and support for women working in street economies. SAFE’s mission is to promote human rights-based public health among women working in the sex and drug trades on the street in Philadelphia*. SAFE is an organization dedicated to ensuring the health, safety and survival of women on the street by providing advocacy, education and support using a harm reduction model. SAFE seeks to reduce the spread of HIV, hepatitis C and sexually transmitted infections (STIs) among working women, promote health and safety by empowering women with relevant information and resources, and connect women to programs and services which are appropriate to their needs and interests.
There are certain ineffable qualities to being a punk band that exists meaningfully. In the most simplistic terms, within the music there must be some sort of art practice, something communicative. Even in its most barebones brashness, precise construction goes a long way. This has never been a problem for Philadelphia’s Mannequin Pussy. With two full-length albums, 2014’s G.P. and 2016’s Romantic, inspiring critical acclaim from places like Pitchfork, NPR, Stereogum, the A.V. Club and more, it’s something impossible to describe and impossibly easy to notice. “Being in a punk band where you don’t want to take yourself too seriously while trying to aggressively make art through your music,” frontwoman Marisa Dabice explains of the band’s objective, “I think people sometimes expect kitschy-ness and I don’t want to do that.” There’s no danger of it.
Mannequin Pussy began as a duo between childhood best friends Dabice and guitarist Thanasi Paul. The pair wrote together, eventually feeling pressure to record a collection of songs. They did, and the bulk of Dabice’s first ever original material became their debut release, G.P. The demos showed immediate promise: Dabice’s idiosyncratic guitar playing of someone rediscovering their musical edge and Paul’s instrumental mobility. G.P. is a hopeful sort of scrappy experiment—but one that wouldn’t fully realize Mannequin Pussy until the duo met their creative collaborators in bassist Colins “Bear” Regisford and drummer Kaleen Reading.
Now a quartet, the band’s sophomore LP, Romantic, embodies Mannequin Pussy’s greatness: 20-minutes of hungry, genre-defying eclecticism that no longer feels like a collection of tracks but a record of real, discernible cohesion. Romantic kicks off with its title track, Dabice whisper-singing intimate vignettes of loneliness before exploding into trash-punk realizations—it’s hard to miss the mark when she offers the eyebrow-furrowing scream “I’m in hell.” It proceeds “Emotional High,” the most loving track on the record—a punk-pop anthem that removes itself from the transparent toxicity of some of the album’s other themes, or the progressive politicism of a song like “Pledge,” which offers the listener a new pledge of allegiance, one to themselves and no one else.
At their heart, Mannequin Pussy is a band that mosaics, taking unlike parts and making something new and whole from it’s unique pieces. It’s the direct result an artistic marriage between it’s four members, helmed by Dabice’s no non-sense, vulnerable and strong worldview. “What we hope for when people experience our music is a cathartic release, to not feel so alone in the emotions that most of us have, to maybe see the way other people experience theirs,” she says of the band’s aspirations. “Above all, the hope is that someone can listen to this album, feel connected to it on a personal level and have it set them free from all the toxic feelings that we hold on to.” It’s evident that they will, and do.
Born from a spit pact at Queen of Sheba in West Philadelphia, Big Nothing is four idiots completely out of touch with reality. They are hell bent on having a good time and bending the G string up to the note that the B string is playing. They worship Tom Petty and do a terrible job at representing that. Sometimes they want to tour a lot... other times they skip band practice to go to the mall... but no matter what, they will distract you from your meaningless life for twenty minutes - so give em a chance.
Soul Glo are a self described “aggressive” band from Philadelphia. “Aggressive” typifies their presence in multiple senses: their first release is an untitled 13track LP of sonically diverse exploration of all of the best themes of extreme music. Covering ground that journeys from hardcore punk to black metal with welcome experiences of powerviolence, screamo, and grindcore, the band applies aggression in a much more direct and urgent sense lyrically, describing “the experience of the Black american,” as their priority. “Aggressive” doesn’t just apply to their open politics but also the ease with which the message spreads to the ears of anyone who daily walks with the burden of “social other” on their back. It’s a replenishment of the body’s water in a drought, both revealing and satisfying a need for truth that one doesn’t know they possess. In the same places they find inspiration, the members of Soul Glo see desperate need for change. They have little interest in simply providing the world with more color-by-numbers hardcore songs, and instead focus on the politics of identity and experience in an increasingly dystopian america.
Wild and weird afro qt making beats. Turn up & create.
Appearing in various forms in the Philly DIY music scene since 2015, the post-punk trio Control Top is a tribute to persistence and evolving through doing. Amid periods of dormancy, stylistic forays and lineup changes, singer/bassist and founding member Ali Carter was determined to keep the project going after the release of the band's demo tape. In 2017, she recruited drummer Alex Licktenhour (HIRS, Get Better Records) and guitarist Al Creedon (Bleeding Rainbow, I IM EYE MY). Licktenhour was searching for a new project to get involved in, while Creedon was rediscovering electric guitar after years of playing noise and electronic music. Together, they forged a clear identity, blending diverse tastes to create music for a time beyond despair and naïveté. Their debut full-length--recorded, produced and mixed by Creedon--is underway and will be out later this year.
That’s the thing with post-punk. There’s so much a band can do under its umbrella. The Slits and Devo, Glenn Branca and Siouxsie and the Banshees--these artists are all wildly different yet found a home in a genre that resists definition. Control Top gets inspiration from these wide-ranging pioneers yet remains true to the post-punk ethos of anti-imitation and the drive to create a new remedy to modern ills. The urge to resist conformity is stronger than ever, and the need for urgent, relevant music is just as strong.
Three piece power-pop trio from Olympia, WA.
Equal parts spastic and ghostly, BLANK SPELL exists somewhere between what people like to call dark punk, post punk and everyone’s favorite misnomer, death rock. This is, plain and simple, punk music. Accentuated by concise guitar movements, I can’t help but stand in awe of the musicianship of the guitar player/singer Cassidy. This is not to downplay the pinpoint drumming, which refuses to sit still even for a moment, and the ever-driving bass that stands, perhaps, most prominently as the backbone of the entire record. Upon each listen, I am drawn ever further into what is already one of my favorite records of the year by what is easily one of Philadelphia’s finest bands (no easy feat in a city of 100 truly great bands).
Warm earth noise pop from West Philly.
$20.00 - $25.00