On July 31, the Philadelphia Chapter of the Recording Academy hosted its inaugural Block Party at Punchline Philly to celebrate its members and 30 years of supporting the city’s rich music scene.

Summer block parties have been integral to Philadelphia’s social culture for generations. With a vibrant mix of dancing, music, good people, and food, nobody throws a block party like Philadelphians. Given this tradition, it made perfect sense for the Philadelphia Chapter to host their Block Party at one of the city's best comedy clubs.

Celebrating the Philly Chapter’s 30th anniversary, the Block Party gathered some of the brightest lights in Philadelphia’s music scene, including rapper and singer Tierra Whack, her official DJ, DJ KillSing, and more. With the festivities opening at 4 PM, attendees were treated to a four-hour event complete with live performances, DJ sets, industry talks, and opportunities to network with fellow Chapter members.

"30 years is an incredible milestone!" said Philadelphia Chapter Executive Director Ramón Jones. "The Philadelphia Chapter has grown tremendously since 1994 and we’re so grateful to all our amazing members throughout Pennsylvania, Delaware, and South Jersey. This first-ever Block Party was the perfect opportunity to celebrate Philly-style with everyone in our creative community who has contributed to the greatness of our Chapter, and the Recording Academy as a whole!"

After opening remarks attendees enjoyed an intimate fireside chat with Chapter Member and GRAMMY-nominated rapper and singer Tierra Whack, sponsored by the Recording Academy's Songwriters & Composers Wing. Whack, who rose to fame as a prodigious talent in Philly’s underground hip-hop scene, discussed her musical journey and her latest album, World Wide Whack, which addresses her mental health struggles. Moderated by Philly journalist, Kerrivah "Kerri" Heard, the chat was warm, funny, and delightfully insightful. 

“Music is my form of expression,” Whack said. “It’s the way I escape. For a while I was only making depressing music because I was going through a lot.”

The chemistry between Whack and Heard was evident as their conversation touched on the specifics of Whack’s early career and the process behind her latest project. Whack revealed that the journey of writing the album dovetailed with her own painful personal struggles with fame and depression. 

Read more: 5 Women Essential To Rap: Cardi B, Lil' Kim, MC Lyte, Sylvia Robinson & Tierra Whack

Working her issues out through the music, Whack emphasized the importance of truthfulness and vulnerability in an artist’s creative process. When asked for advice on navigating an industry that can limit an artist's creativity, Whack offered a simple yet profound response.

“Always tell the truth no matter the circumstance.” Whack said. “There’s been times when I wanted to compromise, but I sleep better at night just being myself.”

On the outdoor patio, academy members and guests enjoyed a smooth and soulful set from DJ KillSing, who played R&B classics like Aaliyah’s “Rock The Boat” and Bobby Valentino’s “Slow Down.” Following KillSing’s set, Trumpet Chics opened procession-style, performing a horn-heavy medley of Beyoncé hits while marching to the outdoor stage. The Camden-based youth ensemble electrified the crowd with renditions of “Crazy In Love,” “Deja Vu,” and other beloved classics.

Philly Chapter member Matthew Whitaker performed to highlight Disability Pride Month, RAMPD (Recording Artists and Music Professionals with Disabilities) and the launch of RAA+D (Disability + Accessibility), the Recording Academy's new member resource group aimed at supporting artists, creators and professionals with disabilities and advancing their needs and initiatives, which was unveiled during the Block Party. 

Read more: How The Recording Academy's RAA+D Network Is Supporting Artists & Creators With Disabilities And Building Accessibility For All

Philadelphia Chapter President Marcus "Rated Art" Bryant introduced more live performances, including Kenya Vaun’s fiery and soulful set, followed by jazz pianist Mathew Whitaker. The Philadelphia Chapter of the Recording Academy's inaugural block party was a vibrant celebration of the power and vitality of Philadelphia's music scene.

Chief Keef fans have been awaiting a sequel to his influential mixtape Almighty So since he released it in 2013. The project came out in the midst of a magnificent and experimental run for Keef, when he was changing his style seemingly at will from Almighty's almost avant-garde soundscapes to woozy, autotuned melodies (Bang Pt. 2) to stoic street tales (Back From the Dead).

Keef, now 28, has been well aware of the anticipation for a follow-up to Almighty So, teasing the project since 2019. Five years later, it's finally here — but it might not quite be what fans were expecting.

In keeping with Keef's mercurial and exploratory artistic nature, Almighty So 2 has very little to do with its predecessor, save that comedian Michael Blackson does skits on both. In fact, Keef tells GRAMMY.com that the title of the project does not mean that he views it as a sequel to Almighty So.

"There's no connection at all," he asserts. Almighty So is his nickname, and one of his many alter egos; it stems from "Sosa," the Scarface-inspired nickname he's been using since the beginning of his career. The title, he says, "is not just a project that I dropped years ago. It's me. I'm still almighty."

Almighty So 2, released May 10, is indeed very different. It boasts a Keef who is nearly free of vocal doublings and ad libs, ready to let his voice clearly be heard on a wide range of subjects, including some introspective and emotional looks at himself, going all the way back to his childhood.

Several days before the project's release, GRAMMY.com caught up with Keef while he was at home in Los Angeles. Below, the Chicago-born rapper breaks down the album's lyrics and music, its most surprising guest appearance, how he views his own legacy, and his return to his hometown for the first time in over a decade.

This conversation has been lightly edited for length and clarity.

You've been talking about this record since 2019, and originally you were saying it's going to have a lot of melody. The album I heard is very different from that. Can you tell me how and why the vision changed?

I just wanted to do something I never did. A couple of songs is stuff that you probably would never hear me do.

What's different about those songs?

Just more rapping about real things instead of flexing or talking about cars and weed. I'm rapping about real stuff in my life — in life, period.

"Believe" is like that. 

Oh yeah, "Believe," I forgot about that. You really know these songs. Okay, that's dope.

I heard that song as being about wanting and trying to change. Can you tell me about writing that and deciding to open up a little bit?

When I was making that beat, it gave me that feeling of, let some stuff out. That's all.

There's a line on there that really grabbed me. You're talking about growing up and you say you had to be an "evil kid." The word "evil" really struck me. What do you mean by
"evil"?

Because I was always smart — brilliant, intelligent. My circumstances had to be different, though. There wasn't a way for me to really show…I had to do the streets thing. I had to be a gangbanger. I had to grow up doing all that stuff instead of my potential that I know that I have, that I'm using doing all this stuff like designing. I can do everything. Really, literally. I probably could fly a plane, too.

Before I get into my ideas about it, what's different about your rapping on this album?

I feel like I'm just old. I'm 28, I'm finna be 29 now, man. I'm not the same young boy that grew up in Chicago on 54th and 61st. I guess you can call it growth.

I still got some stuff on there like the regular Sosa — the turn up, the fight-in-the-club or whatever you want to call it. Jump around, mosh pit music. I still got that. 

I was thinking more about just the sound of your rapping. There was almost no doubling, almost no ad libs. Your voice is very clear. Can you tell me about that creative decision?

I haven't been doubling like that. I don't know why I stopped it. You're right, I wanted to be more clear. 

Once I do a song, if I didn't do the ad libs, it must have not needed ad libs. When I do ad libs, it's like, I gotta do these ad libs. And if a song doesn't have ad libs on it, probably I can't really say the stuff that I want to say on the ad libs, or I didn't know how to put it. So I just said, scratch the ad libs and it's good like that. It's perfect. You don't need it, or the doubles. 

You have two songs on this record, "Runner" and "1,2,3," where you do that Dipset thing of talking back to the vocal sample. Why'd you do that?

I grew up on Juelz [Santana] and Cam'ron and Jim Jones. On 61st, we was a clique called Dipset, which comes from them. That's where I come from, so that's what I know. I guess I'm still living that right there.

Tell me about making beats for this album. There was some sampling in there, which is something you haven't done too much of.

I started sampling in probably 2019, 2020, or something like that. A lot of my producer friends, even my rapper friends, be like, "I love the way you sample. Damn, how do you sample like that?" Even though sometimes, I'll just let a sample play — it won't even be a chopped-up sample. 

If you get a beat from someone else, do you go in and add stuff to it?

Yeah. I can't take a beat and not put my stuff on it. Because it might be a dope beat, but if I feel like it need a couple more snares or a snare roll or some extra high hats or a bridge, I'll add my stuff in.

The album has some introspective lyrics, but it's also very funny.

I want to have some fun with it. A lot of people just drop projects and be regular degular. I wanted to do different. 

Like one song on the album, it takes four minutes to come on. It's just a beat and there's a skit playing of a dude in heaven talking. It's for car rides or trips. I don't know, I just wanted to do something different than what's regularly done all the time.

What's the connection between this album and the first Almighty So? Why call it Almighty So 2?

There's no connection at all. It's just, Almighty So, that's me. It's not just a project that I dropped years ago — it's me. I'm still Almighty So. I might not call myself that all the time, but it's forever me because when I did come out, it's something that I made and I stuck with it. 

It's just a name that everybody know. It's going to go down in the books. Forever, I'm Almighty So. I just had to do a number two, as in growth. It's the growth version of me.

I'm trying to display that I'm not the same 16, 17, 18-year-old that was running around Chicago with a gun on his hip. I'm far away in Los Angeles, California in a big, stupid-ass house with nine bathrooms and eight bedrooms. I got 12 cars outside my house, and they all mine. I don't have to have that gun on my hip. I ain't gotta watch my back all the time. 

I'm not the same. I'm a different guy. I feel like I'm better now than I ever was. I'm a better individual: the way I think, the way I talk. I'm more talkative now. At first, I wasn't even f—ing talking, bro. At first, you couldn't get me to say s— but a couple words.

When was the last time you listened to the first Almighty So?

I don't listen to that thing. Everybody else around me do. From friends to fans, everybody still listen to it, but I don't listen to it, barely ever. Every blue moon, I might end up playing it somehow. Because don't forget, I was listening to that s— nonstop when I made it. And I had to perform a lot of it too. So I know it by heart. I don't need to listen to it.

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You have your first performance in Chicago in many years coming up at the Lyrical Lemonade Summer Smash in June. How are you feeling about it?

It's been a while, man. I ain't gonna lie, it's gonna be like I'm a tourist when I go there. 

It's been a long, long time. It's been like 11, 12 years since I touched the pavement in Chicago, or Illinois, period. I'm ready. I know it's going to be a big thing. A lot of new people probably think I'm a ghost. There probably be teachers like, "Yeah, he went to this school," [and the students will be like,] "No, no, he ain't real." 

So a lot of people are going to be excited, just knowing I'm from there and I ain't been there in so long. People that's not in even Chicago — all them surrounding cities gonna show up [too], because Sosa has not been home. And they know it's gonna be big.

Given what happened back in 2015, when the cops shut down your hologram's concert, are you worried that the authorities will be looking for an excuse to shut it down?

Hopefully they won't shut it down. I ain't been there in 11 years. I ain't done nothing to no-motherf—ing-body, man. I ain't in no cases, no RICOs, no murders, none of that s—. Leave me the f— alone, man. 

I've been chilling, making clothes and making music. Don't shut me down. And even if they did, I don't care. I'm going home. Back to L.A. I go. At least y'all know that I tried.

From the beginning of your career, you've had this association with the word "turbulence." You use Turbo as an alter ego.

[Laughs] How do you know all this? This is some Nardwuar s— right now, man.

When did that start? Do you remember the first time you were like, "Oh, that word, that's me?"

You said, when did it start? It's my alter egos I just make in my damn head. That's all. I'm versatile, so I never make the same sounding s—. Every song you listen to of mine, it's not going to be like, "That sounds like the last one I just played."  

I just got my alter egos, and I just make names. And then Turbulence, Turbo, that just came with one of my alter egos from 2017. Every other year I got a new name and a new ego.

Lately I haven't done it, though. I've been chilling, on some grown man ish. I feel like [making alter egos is] more the young Sosa. Like I said, this was in 2017 when I made that name. I haven't really been doing it lately. No new aliases.

You talked earlier about designing clothes and doing other creative stuff. When you're making art or graphics, or designing clothes, what feels the same as making music to you, and what feels different?

It's the exact same thing. S—, just like I make a beat, making a shirt takes the same creativity. It's just in a different form. Instead of melodies, you're using pictures and s—. You're drawing stuff. Instead of drawing that melody in FL Studio, you're drawing an angel for a shirt.

It's the exact same thing. Even the colors. The colors are like the EQ on the beat or on the song — it brings out the light in the stuff. 

So yeah, it's actually the same thing to me. And I've been doing this same s—. All the clothing, the beats, I've been doing the exact same thing that I'm doing now since 2008. How many years is that? That's a long time.

Like the Glory Boys logo: I made that logo in late 2009. I was what, 13, 14? I was doing this s— since I was 10, 11. It started when my momma bought me a computer. She bought me a computer when I was like 6. And then I was doing unbelievable things, unimaginable things. 

When I was doing that, I knew that this is my calling. Like, you real good with computers, if you're not good with nothing else. Anything with a screen, I could do it my sleep. If I show you the s— I can do, you'd be like, what in the f—? I'm talking coding — I can code some s— up. Your mind would be blown.

One of the things that does connect this album to the first Almighty So is you have Michael Blackson come back. Why?

Because he was on the first one. I'm just like, I got a skit or two for him. I got a couple of different skits from a couple different people. I got Fabo from D4L on there. He's on "Almighty" the song, talking. I got Donterio from my city, a funny dude I mess with. He be like, "On baby, on baby" — he famous for saying that. 

I got Michael Blackson. I wanted to make it fun and funny, so it ain't just like you're riding around listening to regular music. I wanted to make it a type of movie, but just in the music form. 

One of the guest appearances that really got my attention was Tierra Whack. I thought she was great.

Yeah, me and Tierra, we're real friends and we talk. And I love the way she do everything, so I had to put her on my s—, man. Just on some random s— — like, they won't expect no damn Tierra Whack, you know? So I had to do that. And I got my little weird ways, I'll tell you that.

I wouldn't have guessed she would be on this album.

Yeah, I know you wouldn't. Nobody would. Chief Keef and Tierra Whack? How and where and when? I wanted her to do something different than what she do. I was like, "I got this song I want you to do, but it ain't nothing like you always do. It's different." And she's like, "Hell yeah, come on, let's do it." That's my dog, for real for real.

A lot of critics talk about how influential you are. Are you aware of people saying that stuff about you?

Everywhere! If I had 500 M's every time [I heard that], I'd be Jeff Bezos. The f—? I think I'd probably be bigger. I would be more rich!

I be hearing that a lot, though, man. I be tired of hearing that s—. I be like, we know. Me, you, and God know that. It's okay. Let people do what they do, man. I was a big fan of Gucci [Mane] and Lil Wayne. Still am. So if I got people who love me like that, s—, man. 

I used to get mad about it, but I don't give a f—. I'm a big fan of those two boys I just said. Even to this day, we still ride around listening to the old Gucci. If you get in our car and we on tour, all you going to hear is Gucci Mane from 2006, 7, 8, and 9, 2010, 2011. And we still even sometimes take our raps [from that]. The old Lil Wayne, I still even rap like that. If you listen to "Jesus," I got his flow — some Lil Wayne, the old Wayne, inspiration. So I guess I inspire, the way they inspire me.

Are you still determined to change your style frequently? That used to be a thing about you: every year you'd have a whole new approach to music.

You hip, bro. You smart as hell, I ain't gonna lie. That's why I'm talking to you like I am. But anyway, you're right, I don't necessarily. 

How I am, though, I never do the same s—, like I told you. You'll never say, "This sounds exactly the same as the other one." I probably got, like, two songs [that sound alike], and that's just if I'm messing with the same producer. 

So I can't say that every year I take that approach. But I guess every day I take that approach, or any time I pick up the damn microphone. I'm just trying to think, I want to do something different, or at least try.

Do you think of yourself primarily as a rapper? A producer? A person who's good with computers?

What I say is I got angles like Kurt. You know Kurt Angle? Jack of all trades. 

Call me Jack, don't call me Sosa. I guess I got a new alias today — we made one.

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When you come to Philadelphia, it’s not hard to see its rich history everywhere you look. From the cobblestone streets under your feet to the brick facade of Independence Hall, its history is embedded within every crack and crevice.

Similarly, Philadelphia’s history can also be heard through its music, from the sound of Philadelphia Soul in the '60s and '70s developed by Kenny Gamble, Leon Huff, and Thom Bell, to the indie rock explosion of the aughts led by Kurt Vile and The War on Drugs. Philadelphia is a town well-versed in all genres and backgrounds — even its athletes are musicians. And at the Jan. 23 Recording Academy Philadelphia Chapter Member & Nominee Celebration leading up to the 2024 GRAMMYs, the music was alive and kickin’.

The party took place at VINYL, Philly’s latest addition to a long list of its music venues, located just steps away from the Academy of Music in the center of town. The night was a testament to the brotherly love and familial spirit within Philly’s music community. The night outside may have been chilly and damp, but inside was warm and embracing. 

As guests arrived, they were greeted by music being spun on the ones and twos by Philly DJ Aktive, the talented spin master who has worked with the likes of Nas, Common, Queen Latifah, and Janet Jackson. There were delicious hors d'oeuvres, a flavorful array of comfort foods, and unique GRAMMY-themed cocktails to add some sparkle to the night.

All around the room, Recording Academy members greeted and hugged each other like family arriving for a holiday dinner. There was lots of love between a diverse group of people from different musical and cultural backgrounds, who all came together thanks to the communal power of music. As the night continued, it became clear that "family" was a key element at the heart of the Philadelphia Chapter of the Recording Academy.

"Philly is family," said Philadelphia Chapter Executive Director Ramon Jones during his opening remarks. A transplant from the Midwest, Jones moved to Philadelphia to immerse himself in the city's "organic and intoxicating" music scene. "There’s a rich legacy here," Jones explained to GRAMMY.com, "and Philadelphia has shown its ability to adapt musically. It is one of the most culturally saturated cities in the world. There is just something very familial, organic, and neighborhood-esque about Philly. I’m so proud to celebrate and represent this incredible creative community."

Chapter President Marcus Bryant made similar remarks as he took the stage to speak to the members in attendance. "This Chapter is a community and a family. Tonight is about you," he said. And really, the entire night was a joyous celebration of camaraderie and music. After the initial remarks by Jones and Bryant, DJ Aktive invited various members and musicians onto the stage for an extended jam session. Singers, rappers, soul and funk artists from all corners of the city came together on VINYL’s starlit stage to create a seamless flow of music and song, much like the Black Lily jam sessions of the early 1990s and 2000s at The Five Spot in Philly.

The boundless talent up on that stage was something to behold, as impromptu bandleader Chinah Blac harmonized with and encouraged her fellow Recording Academy members in performing soulful renditions of Gnarls Barkley’s "Crazy," Chaka Khan’s "Tell Me Something Good," and a Fugees "Killing Me Softly" sing-a-long. Each musician played together like a tight knit group, including DJ Aktive who scratched and brought the backbeat to the performances while seamlessly transitioning from song to song, artist to artist. The fun and the joy emanating from the stage was infectious, and the celebratory vibe lasted throughout the whole night.

And there was a lot to celebrate for the Philadelphia Chapter of the Recording Academy. Philadelphia is well-represented in the list of nominees at the 66th Annual GRAMMY Awards ceremony, including Philly rappers Black Thought of The Roots and Lil Uzi Vert, former Philly resident Lucy Dacus and her supergroup boygenius, South Jersey gospel songwriter Tye Tribbett, seven-time nominees The Baylor Project, and jazz multi-instrumentalist Adam Blackstone.

Then there’s the Philadelphia Orchestra led by conductor Yannick Nézet-Séguin, who have been recognized by the The Recording Academy for performances of Florence Price’s "Symphony No. 4" and William Dawson’s "Negro Folk Symphony." "Yannick and the Philadelphia Orchestra, they are top bar," Jones tells GRAMMY.com. "I'm grateful to know them and to be able to experience the art they do."

Also notable is New Jersey native and honorary Philadelphian Jon Bon Jovi is the 2024 MusiCares Person of the Year honoree.

Ramón Jones was clearly proud of all the nominees and musicians from the area. "Philly is representing," he told the crowd, before joking-but-not-joking, "I wanna come home with some trophies!" Bryant later elaborated to GRAMMY.com about the wealth of talent in this town: "I’m just so proud of the innovation and how Philly continues to rise to the top. It’s a phenomenal community," he explained. "There’s a camaraderie here among the musicians that’s just amazing. I’m proud, man. Philly is a historical city, and I’m always surprised at how eclectic it is as a city, whether it’s the orchestra, R&B, or hip-hop. It’s strong."

It's nights like this that remind us why music is worth celebrating. Music can and should be a force for good and building community. It has the power to bring people together who don’t always agree, and that makes a difference that changes the world. Wednesday’s celebration for the Philadelphia Chapter of the Recording Academy was a testament to that very power. The music is alive and well in Philadelphia, and it continues to create history.

 2024 GRAMMY Nominations: See The Full Nominees List

Today, Sep. 18, 15-time GRAMMY winner and two-time GRAMMYs host Alicia Keys released her highly anticipated seventh studio album, ALICIA. It comes four years since her last, Here, and 19 years since her now-classic debut, Songs in A Minor.

The powerful 15-track LP shows her many artistic sides and includes powerhouse features from GRAMMY winners Jill Scott and Miguel, GRAMMY nominees Tierra Whack and Khalid, as well as Tanzanian artist Diamond Platnumz, British singer/pianist Sampha, and Iranian-Swedish singer Snoh Aalegra.

Keys will be celebrating the release of ALICIA with a special livestream performance today, Sept. 18, at 3:00 p.m. PT / 6:00 ET—RSVP here. Not long after, at 6:00 p.m. PT / 9:00 p.m. ET, she'll serve up more musical gifts through the internet, as she kicks off the iHeart Music Festival.

Read: Alicia Keys Pens Touching Poem To Her Son

Next week, she will keep the celebration going with a week-long residency on "The Late Late Show with James Corden," along with some very special guests, from Sept. 21-24.

"This album has such a special energy! It embodies everything I love about music and art at this time in my life," Keys said in a press release. "I'm so excited to connect with people from all over the world with these sounds, lyrics and melodies. I called this album ALICIA because it's the most me I've ever felt while in the studio. I got comfortable with all my different sides while creating it. I hope everyone who listens can vibe along as the truest version of themselves."

The album features previously released singles "Show Me Love" featuring Miguel, "Underdog," "Time Machine," "Good Job" (dedicated to frontline and essential workers), "Perfect Way To Die" (a heartbreaking tribute to Black lives ended by police violence) and "So Done" featuring Khalid.

ALICIA is a "counterpart piece" to her New York Times Best-selling book, More Myself: A Journey, released this March as the debut title on Orpah Winfrey's new Flatiron Books. The "Empire State of Mind" singer is set to tour the album around the world next summer—visit her website for the latest dates.

#SayHerName: Alicia Keys, Lizzo, Janet Jackson, Janelle Monáe And More Honor Breonna Taylor On Her Birthday, Demand Justice

Philadelphians are a proud people. New Yorkers like to say it's a little brother complex that makes them squirm when it's called the Sixth Borough. Really, Philadelphians are just fine differentiating themselves from other cities. I mean, the sports teams have been using "No one likes us, we don't care," as a battle cry for a few years now.

But, for as much as the city loves to paint itself as the underdog in so many ways, it's a place that's on level ground with any supposed artistic mecca that costs double for an apartment or a cup of coffee. It's also a city that fiercely looks out for its own. So, that may be why so many artists and musicians have called Philadelphia home over the years, whether they were born and raised here or made it their adopted home to grow as artists and music creators of all types.

For the past 25 years now, the city's music community has had a support system, a place where music people look out for one another. The Recording Academy Philadelphia Chapter is celebrating a quarter-century of playing this crucial role, creating a feeling more like a family than anything by providing resources and programming to grow and strengthen the its music community from within. The Philadelphia Chapter has galvanized its members, rallying them behind legislation to support creators and showing up to support one another not just in the crucial times of making music, but also in life. Over the years, this unique, close-knit community built on hard work is what sets the city apart.

"Philly has always been really, really rich in talent and hard-working bands," says Bruce Warren, general manager for programming at WXPN. "All these artists, whether you start in the '60s, '70s, '80s, all these artists worked really hard to get to where they were at. And I think on a certain level it's easy to work hard in Philadelphia. You don't have the same challenges that you have in New York or Los Angeles or Chicago. Philly's just a boot-strapping, hard-working city. The ethic is there. And I think a lot of bands really adhere to that ethic."

Read More: Philly Producer/Engineer Will Yip Works Harder Than You

Warren grew up here, and as a kid fell in love with the Sound of Philadelphia, and soul and R&B acts like the Delfonics, and Harold Melvin and the Blue Notes. Over the years, he got into rock bands like Cinderella, Tommy Conwell and the Hooters. The '80s and '90s saw the boom in hip-hop acts like D.J. Jazzy Jeff and the Fresh Prince. Lately he's been into the indie rock acts like Dr. Dog, the War On Drugs and Kurt Vile.

"It's not just one genre of music," he says. "I just referenced a dozen bands across genres. Patti f*ckin' LaBelle! Schooly D! Jill Scott! Come on!"

A lot of the lore of Philadelphia is a little exaggerated. You're probably not going to get pelted with batteries at Lincoln Financial Field just for showing up in another team's jersey. But, it's an honest city. The people will tell you what they think, whether it's praise or criticism. But there's no guessing intentions or keeping up appearances. If they show you love and support you, it's genuine.

"Philly is real," said Carol Riddick, a singer/songwriter and former President of the Philadelphia Chapter of the Recording Academy. "Everything we say and do comes from a place of love, whether we're in agreement or not."

"People here are honest, and demand honesty in their music-making," says songwriter/producer and Recording Academy Philadelphia Chapter Trustee Ivan Barias. "[There is a] "No B.S." factor in our sports, our food or in our music. Realness—you have to come in with that to collaborate here."

Part of that could be that the city really does breed talent on levels beyond what some might expect. There's so much talent across so many genres, the city doesn't need to phone anything in or accept anything less than what it knows it can do. The same way those rowdy fans will boo their beloved sports teams because they know they can and should be winning, Philadelphians know their musical history and the greats that come from every corner of the city, so they expect a certain level of output. For young artists growing up, that's all they know, so they set themselves a higher bar and hold themselves to a higher standard.

And the thing about Philly is that it's not a hip-hop city, although it's been the home for renowned acts like The Roots, Meek Mill and Tierra Whack.

It's not a rock city, even though it's indie rock and punk scene has become a destination for bands all across the world, with bands from The Dead Milkmen and Hop Along carrying the Philly banner.

And, despite its history of R&B and soul, it's not just a soul city. It's an everything city.

"It's a very diverse city," Warren says. "Creatively, you could draw from a lot of different colors."

You can find everything you need in Philadelphia – world class recording studios, venues of all sizes, a media that loves to sing the praises of local artists, and, most importantly, fans. There are a million and a half people in the city.

"There's always been a built-in music industry in Philadelphia that takes itself very seriously, but doesn't clap itself on the back as hard as New York or Los Angeles or even Nashville," Warren adds. "There's always been a fair amount of humility in what we do here I think."

Singer/songwriter/producer and Recording Academy Philadelphia Chapter Trustee Terry Jones is a bit less humble about things.

"We have the best musical talent," Jones says. "Everyone comes from other towns to our town to take advantage of our musicians, songwriters and producers. Our music creative community [is] serious about honing their craft. Everyone says there is something in the Schuylkill water system—they call it Schuylkill Punch. This could be the secret to our razzmatazz."

It might be something in the water. Or it might be the fact that the city has bred a mentality of hard work, honesty, perseverance, and support for your own that has boosted the careers of bands starting from the Philly streets as children, or people from all across the world looking for a place to play, create, write, make friends and grow.

If you're a part of Philly—and you'll know if you are—it looks out for you. It might tell you some brutal truths in the moment, but if anyone tries to undermine that talent, Philly will fight like hell for you.

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