VENUE AND EVENT INFO
SiriusXM Jam On Presents: Galactic Winter Tour (100% CO-HEADLINE)
and Robert Randolph and the Family Band (100% CO-HEADLINE)
with special guests Con Brio
The Fillmore Philadelphia opened in October 2015 to much fanfare and critical acclaim. Since then, our doors have opened to countless world-class artists and sold out crowds.
Before you leave for the show, be sure to check out our Fan Info page for comprehensive information regarding public transportation, driving directions, parking and much more.
Once inside, enjoy our spacious lobby, Ajax Hall, for a pre-show drink or bite to eat from our menu—provided by the legendary Wolfgang Puck. From there, you can head through the Concert Hall doors where you’ll be greeted by a state-of-the-art Clair Brothers sound system and plenty of interesting places to watch the show from with incredible sight lines, all housed underneath our signature chandeliers. You’ll also find easy access to our many bars— each one offering our fantastic menu with the same great food and drink.
This is an all ages, general admission event. All attendees require a ticket.
It’s been more than 20 years since Ben Ellman, Robert Mercurio, Stanton Moore, Jeff Raines and Rich Vogel began exploring the seemingly limitless musical possibilities born out of their work together as Galactic. Since then, the seminal New Orleans band has consistently pushed artistic boundaries on the road and in the studio, approaching their music with open ears and drawing inspiration as much from the sounds bubbling up from their city’s streets as they do from each other.
A key part of that creative spark comes from the teamwork of Mercurio and Ellman, whose ever-evolving production and arranging skills helped usher the band into a new phase of studio work beginning with the loop-centric “Ruckus” in 2007. A series of albums focused around specific concepts like Carnival followed, as did collaborations with guests hailing from worlds outside the one Galactic calls its own.
On “Into the Deep,” the band members look within themselves instead, drawing inspiration from people and ideas that have long been close to their hearts – and, in turn, close to the development of their unique sound. Shot through with soul, funk, blues and rock, the result is an organic riff on elements of Galactic’s past, filtered through the lens of where they’re headed in 2015.
“I see this album as a kind of culmination of all of our collaborations or experiences, from [trombonist] Corey Henry to the people we met on the road, touring,” says Mercurio, referencing Ellman’s first full-time gig in New Orleans, which kicked off when Henry hired him into the Little Rascals Brass Band in 1989.
“The previous albums took us in the opposite direction,” Mercurio says. “We collaborated with rappers that we had never dealt with and even on the New Orleans tracks, we didn’t have working experience with most of those artists before the recordings.”
In contrast, “Into the Deep” contributors like JJ Grey, David Shaw and Maggie Koerner spent significant time touring with Galactic. A few years ago, Mavis Staples sat in with the band, all of whom are longtime fans of the legendary singer’s R&B-meets-gospel soul style. They caught up with Macy Gray when she performed a memorable concert at Tipitina’s where Ellman says he could see from the outset “how much she cares about the music.” And each of the players had also developed a deep appreciation for the Honorable South’s Charm Taylor, whose contribution, “Right On” was written specifically to suit her vibe.
“Quint Davis [the producer of] Jazz Fest always has a couple people he books at the festival that aren’t big names but that Quint knows are going to be super cool,” says Ellman. “That’s how we met Brushy One-String. We originally wanted to bring him in to do anything, just to see what would happen. But when we heard his song ‘Chicken in the Corn,’ we really wanted to do our version of it.”
In the end, he joined them on the road for over a month, collaborating with the band onstage at each show.
For the instrumental tracks, Galactic mined the interests and tastes they’ve cultivated together for years in New Orleans. “Buck 77” was written via improvisation, a long-standing cornerstone of their live shows. The funky bass line and tumbling guitar part on “Long Live the Borgne,” meanwhile, represents an updated, more composed take on some of the concepts that made early albums like “Coolin’ Off” so strong.
As for the opener “Soogar Doosie,” Ellman points out Galactic tends to record at least one track on each album that speaks to the band’s collective love of brass band music.
“We write [those songs] with the idea of how awesome it would be to hear the Rebirth going down doing the street in a second line playing one of our songs. We try to think of a real second line song that would get people slapping stop signs and dancing on cars,” he says.
The album, Ellman says “is all about people. It’s these connections we’ve made over 20 years. They’re people in our orbit that have come into our little world and affected us in some way.”
It’s also about how the individual musicians within Galactic have grown over time. When it comes to trying new approaches as players, producers, songwriters and arrangers, Ellman muses, “it’s an evolution.”
Many musicians claim that they “grew up in the church,” but for Robert Randolph that is literally the case. The renowned pedal steel guitarist, vocalist and songwriter led such a cloistered childhood and adolescence that he heard no secular music while growing up. If it wasn’t being played inside of the House of God Church in Orange, New Jersey—quite often by Robert and members of his own family, who upheld a long but little known gospel music tradition called sacred steel—Randolph simply didn’t know it existed.
Which makes it all the more remarkable that the leader of Robert Randolph and the Family Band—whose label debut for Sony Masterworks, Got Soul, will be released on Feb. 17, 2017—is today an inspiration to the likes of Eric Clapton, Carlos Santana and Derek Trucks, all of whom have played with him and studied his technique. It wasn’t until he was out of his teens that Randolph broke away from the confines of his social and musical conditioning and discovered rock, funk, soul, jazz and the jam band scene, soon forging his own sound by fusing elements of those genres.
“It was all church music. It was a movement within our church and that’s all we used to do,” says Randolph of the sacred steel music he played at the time, music whose association with his church stretches back to the 1920s. Once Randolph began to discover other forms of music, he saw how they were all connected, and was eager to find his own place. “All music is related. Gospel is the same as blues,” he says. “The only thing that changes is in hardcore gospel people are singing about God and Jesus and in the blues people are singing about ‘my baby left me’ and whiskey. When we first started out, guys really weren’t allowed to leave the church. I was the one that stepped out and started this thing. My dad would say, ‘Why do you come home smelling like beer and cigarettes?’ ‘Well, we just got done playing some smoky club till 2 a.m.!’ It was all foreign and different.”
By the early 2000s, Randolph had begun applying his dazzling steel guitar technique to secular music, and from that grew the Family Band. The group’s sound was so different than anything else around that they were soon packing New York City clubs. Their first album, 2002’s Live at the Wetlands, was recorded at the now defunct jam band haven, and was followed by four studio albums and another live set, each widening the band’s audience—they’ve long been regulars on the festival circuit—and broadening their stylistic range as well.
“Things happened really fast,” Randolph says now. “When I look back on that time, to be honest, I had no idea what the hell we were doing. We’d get told, ‘You guys are going on tour with Eric Clapton.’ ‘Oh, OK.’ I thought, this guy must not have a clue who I am but the first time I met him we talked for about an hour and played music backstage.”
The Family Band’s improvisational skills quickly made them mega-popular among the jam-band crowd, but for Randolph and his band mates, what they were doing was just an extension of what they’d always done. “The jam band scene has that name but it’s really a true music art form scene where you can just be who you are,” Randolph says. “We fit in that category in some sense but the jam band scene itself has changed a lot since that time. I’ve grown to like songs and I like to jam within the song.”
On Got Soul, Robert Randolph and the Family Band walk that line deftly, displaying their virtuosity within the context of a dozen smartly crafted tunes. “I like both playing live and recording,” says Randolph. “The thing about a record is you get a chance to rehearse parts and fine-tune things. But if you look at most great music artists—people like Stevie Wonder—the song is totally different from the show. When you’re in the studio, it’s hard to improvise without an audience. But for us, well, we’ve been playing in front of audiences our whole lives.”
The Fillmore Philadelphia is a spectacular, multi-faceted 25,000 square foot venue conveniently located 2.5 miles from the Convention Center in the lively Fishtown district. Completely renovated and home to a beautiful and state-of the-art 2,500 capacity live music club, this versatile space is the perfect blend of rock and elegance, both classic and cutting edge. The venue also features our club within a club, the 450 capacity Foundry complete with its own bar, stage and top-of-the-line production is located on the second floor of The Fillmore.