The life of a musician was even at the best of times likely to be an itinerant one, but now given the parlous state of the arts having the luxury of going home every night takes on the mantle of a near fantasy. Kurt Vile then is one of the very few, still calling Philadelphia his home after a fifteen year odyssey that has taken in pretty much everywhere indie music is celebrated around the globe. Working from a home studio he’s playfully dubbed OKV Central, the dream of writing and recording whilst never having to leave the house is one he’s turned into a grinning reality.
Being one of the city’s more famous modern sons however comes with no little pressure. “Because I am Philadelphia.” he admits “I gotta own it. I gotta rise to the occasion.” The opportunity to do just that is both the title and the point of Philadelphia’s Been Good To Me, a record which glories amiably in a life so far which from his perspective has been aided and abetted by staying true to his roots.
As this would suggest this is an amiable ride which is easy to enjoy – and although this may read as being flippant, it’s a relief to find a record in 2026 that isn’t full of gloom and paranoia. Opener 97 Zoom goes heavy on mandolins and nostalgia, whilst the title track does the same for the City of Brotherly Love which California did for Tom Petty. Amongst the paeans Rock O’ Stone, You Don’t Know Cuz It’s My Life and 99th Song all stand out, but it’s Chance To Bleed – this time framing early career nights in far away Memphis – that lights the candles best. Dorothy knew it, and Kurt Vile’s made a fine record which proves she was right all along.
You can read a full review here.
The Voice Of Unreason 