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UID:dc6eef82-0929-475d-81e7-26575be204e7@findlocal.community
DTSTAMP:20261026T233525Z
DTSTART;TZID=America/Chicago:20261118T200000
DTEND;TZID=America/Chicago:20261118T220000
SUMMARY:Kurt Vile & the Violators
DESCRIPTION:Lincoln Drive is a four-mile stretch of highway in Philadelph
 ia that seems to exist out of time\, its winding turns taking you by cin
 ematic river bends\, dense woods\, and inns and roadhouses that date bac
 k to the 1800s. Once used as a pleasure roadway for early motorists\, it
 ’s now the route Kurt Vile takes from his home in the city’s leafy Mt. A
 iry neighborhood to cruise into Philly proper. “Jump in my whip My engin
 e whines Zigzag my way Down Lincoln Drive Puck on my lip\, feel I can fl
 y For a while\,” he sings on “Zoom 97\,” the opening track on his tenth 
 full-length record\, Philadelphia’s been good to me (Verve Records). As 
 Gold Tone mandolins swirl and dubby effects bubble around his vocals\, a
 n image of Vile driving with the window down\, his signature shaggy mane
  rippling in the wind\, begins to cohere. “My Philly is deceptively simp
 le in a lot of ways\,” says Vile\, ever a zenned-out philosopher of the 
 quotidian. “It's about driving back and forth from Mt. Airy to North Lib
 erties\, where my career started. There’s so many ghosts I can visit the
 re—all friendly ghosts\, really.” Released in God’s year of 2026\, the 2
 50th anniversary of the founding of America in Kurt Vile’s fine city\, P
 hiladelphia’s been good to me enjoys a similar time-collapsing quality\,
  merging meandering balladry and horizon-chasing road songs with lines a
 bout “too many screens” and how “it was 2012 but it felt like 2014.” Phi
 ladelphia isn’t exactly Neil Young’s Malibu\, California or Terry Allen’
 s Lubbock\, Texas. But every great American songwriter needs to stake a 
 claim for the town that feels most like home\, and with this album\, the
  man who came out of the gate calling himself “Philly’s constant hitmake
 r” has crafted a love letter to the city he never left\, even as his car
 eer took him around the world. “This is my ‘bringing it all back home to
  Philly’ album\,” Vile says. “I’m treating it like my last. I put everyt
 hing into it. It’s my best vocal record. It’s my best electric guitar re
 cord. It’s my most organic record\, made in the comfort of my own zone.”
  He created the album from late 2023 to early 2026\, in what he describe
 s as “an inspired state of flux\,” capturing the odd melody on a Zoom re
 corder or loop machine between stints on the road. Though Vile’s travels
  led him to sessions in Memphis\, Los Angeles\, and Athens (Georgia\, th
 at is)\, he laid down the majority of the album in a basement studio in 
 his Mt. Airy home\, surrounded by humming analog organs\, old tape conso
 les\, records\, and books about heroes like Young\, Allen\, John Prine\,
  and Sun Ra—some of whom he now counts as collaborators. Built out with 
 Violators bassist Adam Langellotti at the start of the pandemic\, the sp
 ace\, dubbed “OKV Central” (for “Overnite KV”)\, has become Vile’s sanct
 uary\, a place he can retreat to after a show in the city and receive a 
 visit from the late-night muse. “I’ll come back\, high on music and life
 \, inspired by friendships and all the laughter and jokes I had that nig
 ht\,” he says. “And I look around and see my studio in a new light. I ju
 st turn on a synth and a looper\, strap on a guitar\, and I put that bea
 utiful night into some kind of song. This album captures all that\, ya k
 now?” Largely self-produced\, with assists from Langellotti\, keys wiz M
 atthew Jugenheimer\, drummer Kyle Spence\, guitarist Jesse Trbovrich\, a
 nd longtime Violators boardsman Rob Schnapf\, the record sees Vile retur
 ning to his home-recording roots while also coming into his own as a pro
 ducer\, using time-tested and world-worn tools to fill the album with mo
 re warmth and bonhomie than you can fit into the back of a touring band’
 s van. “I’ve been waiting for that kinda natural element to show up agai
 n in my recordings\, like the old home recording days\,” he says. “I thi
 nk I finally caught that again\, but in a higher fidelity\; it’s never o
 verly polished\, but it’s still pretty damn shimmery.” He’s especially p
 roud of the sparkly lead guitar melodies he pulls from an old\, hollow-b
 ody Gretsch Tennessean once owned by longtime friend and “one of my true
  heroes\,” Travis Good of the Sadies. “It was shredded on for so long by
  one of the greatest guitar players in the world\,” Vile says. “That gui
 tar pretty much plays itself every time I pick it up because of where it
  came from.” Though it’s a snapshot of his life at a particular moment i
 n time\, Philadelphia’s been good to me embodies Vile’s understanding of
  music as a conversation between people across time. Hometown ode that i
 t might be\, the title track—featuring a tribute to his city’s notorious
 ly hard to spell (for outsiders\, at least) Schuylkill River—is a riff o
 n Tom Petty’s “California.” It might be “polluted as hell\,” Vile sings.
  “But it runs through my town and I ain’t puttin’ it down.” Similarly\, 
 the photo on the album’s cover\, an image of a ramshackle bar sign taken
  by the legendary photographer William Eggleston\, actually depicts a sc
 ene in Memphis. Yet the never-before-seen original photo\, which Egglest
 on’s son Winston sent to Kurt a few years ago\, is as much a part of his
  history in the city as his old gig driving a forklift at the Philadelph
 ia Brewing Company or his old haunts in Northern Liberties. Its origin i
 s both immaterial and the key that unlocks its meaning. Elsewhere\, on “
 Chance to Bleed\,” Vile looks back on his early days in the underground 
 music scene. Featuring guest vocals from two OG Memphis scene greats—Nat
 alie Hoffman of NOTS and Optic Sink and Greg Cartwright of Reining Sound
  and the Oblivians\, who also contributes co-lead guitar (Kurt’s guitar 
 is panned to the left\, Greg’s to the right) —it’s an ode to “old-time\,
  lo-fi\, DIY rock ‘n’ roll nights.” It’s a catchy-as-hell barnburner he 
 calls “hillbilly techno\,” and appropriately\, its music video was filme
 d at Fishtown institution Kung Fu Necktie\, packed out with friends and 
 collaborators. It even boasts a cameo from a fellow hometown hero: the o
 ne and only Schoolly D\, popping up in his signature fur coat. “Rock O’ 
 Stone” lyrically references the music of legendary Texas hip-hop produce
 r DJ Screw\, and there’s a distinct country influence on “Every Time I L
 ook at You\,” which features sly spoken-word verses reminiscent of Allen
  and fingerpicking in the vein of the dearly departed John Prine. “It’s 
 got the ’isms of the country greats\,” Vile says. Meanwhile\, “You Don’t
  Know Cuz It’s My Life” is his take on a stadium anthem. It builds up to
  a laid-back yet triumphant chant of “I’m from Phil-a-del-phiaaaaaah!” t
 hat you could imagine a crowd of Eagles fans singing at halftime\, with 
 the occasional affectionate kiss-off to the transplants who’ve left the 
 city behind. Finally\, “Avalanches of Snow”—featuring Vile on a trumpet 
 he’s had since middle school and a particular guitar outro moment from T
 rbovrich that Vile calls “his most beauteous contribution as a Violator”
 —transforms a mundane experience of shoveling snow on Christmas eve into
  a deep\, mysterious journey to the end of the night. Make no mistake: P
 hiladelphia’s been good to me is the sound of Philly’s constant hitmaker
  coming back to kick ass\, son the haters\, and put on for the City of B
 rotherly Love. In true Kurt Vile fashion\, he does so while sounding mor
 e relaxed than ever. Between the 250th anniversary of America and its ho
 sting of select World Cup games\, 2026 is shaping up to be a big deal fo
 r Philadelphia. “And then there’s one other thing\,” Vile says. “I gotta
  be that third thing. Because I am Philadelphia. I gotta own it. I gotta
  rise to the occasion.” JOY THEATER IS 100% CASHLESS\n\nTickets: https:/
 /www.ticketmaster.com/kurt-vile-the-violators-new-orleans-louisiana-11-1
 8-2026/event/1B006482C9058A32?brand=joy&came_from=joy\n\nhttps://findloc
 al.community/event/dc6eef82-0929-475d-81e7-26575be204e7
LOCATION:The Joy Theater\, 1200 Canal Street\, New Orleans\, LA 70112
URL:https://findlocal.community/event/dc6eef82-0929-475d-81e7-26575be204e
 7
STATUS:CONFIRMED
SEQUENCE:0
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