Welcome to this week’s Street Sweeper! I’m your host, Fiona Herzog.
After the whirlwind of midterm stress, I’m finally giving my mind the space it needs to wander and explore all the ideas that have been bubbling up. From attending the opera for the first time to walking through the pouring rain with friends after the 76ers game and even planning a pop–up café in my dorm—this weekend has been a revelation. I’ve been continuously awestruck by the simple concept of the limitless power of creativity and art.
It’s with this newfound appreciation that I’m thrilled to share with you this week’s showcase, highlighting extraordinary expressions of music and dance—true feats of artistry that resonate deeply.
The Buzz on Locust
Jazz and Grooves @ St. Mary’s Church
Mullets, bows, baby bangs, dyed hair, and boys laying on each other—the scene was clear. Sitting in the pews of St. Mary’s Church, my anticipation grew and I was preparing to cry. Jazz and Grooves’ last show of the season was Searows, an artist I grew attached to years ago at a dark time in my life. That seemed to be a shared feeling among the crowd—no one came expecting to leave happy. It was cathartic, though, when Searows, or Alec, stepped out on the small church stage, asked for the chandelier lights to be turned on to see his guitar, and began to sing songs I’ve spent hours sobbing to on my bathroom floor. The church acoustics gave his sound a reverb it didn’t have online, and his little awkward fillers between songs got giggles out of the otherwise heartbroken crowd.
Sniffling, sobbing, squealing, and shuffling noises filled the silence between verses—the queer indie kids of Penn had gotten together in a setting many likely shy away from. It was spiritual, whether God sat there with us or not, as line by line, lyrics tore at the strings of people’s darkest memories. The backlighting showed different colors around Alec’s hair, giving him a light glow while he sang as if a spirit had come down to share his feelings with us.
Sure, this may be a bit dramatic, some may have come to the show just to find a new artist. But, the girl sitting next to me on the verge of clawing her eyes out from the pain that shook her, friends and couples holding each other tight, and light whispers over how beautiful the sound was only proved what I felt. Intentional or not, this was a religious event, no matter the beliefs of the crowd.
–Sadie Daniels, Focus Beat
Swing for the Fences by Penn Jazz @ Gutmann MPR
From the ring of the first note, I was enveloped by the warmth of brass and the rich, varied tones of each vocalist and musician—each note played carrying its own color, its own story. Two–time Grammy–nominated Ian Kaufman led the night with an unforgettable energy, his fingers gliding smoothly along the trombone. However, it was the collaborative spirit of the group that truly struck me. Lila Dubois’ voice wrapped around “I’m Old Fashioned” like velvet, perfectly capturing the song’s nostalgic charm. The bassist smoothly guided the ensemble rhythm along the satin elegance of “Lil’ Darlin’.” “Red Clay” was where Penn Jazz truly flexed their synergy, proudly layering blazing horns and tight rhythms. It was chaotic. It was exciting and it shattered all notions of jazz all sounding the same.
For two hours, I glimpsed into the world of jazz musicians and the dedication they pour into their craft. Watching Penn Jazz come together—balancing tight schedules, sharing strengths, and building something wholly unique—reminded me of the value in pushing past excuses to do the hard work, especially when it means creating something beautiful with others for others.
–Fiona Herzog, Assignments Editor
Penn West African Vibe Spring Show @ Annenberg's Zellerbach Theatre
The energy in the room was as electric as WAVe, Penn’s vibrant student dance group, took the stage for their latest show—a dynamic celebration of African and Caribbean culture, cleverly themed around the upcoming Africa Cup of Nations and competing teams, such as Ivory Coast, South Africa, Ghana, Nigeria, and Jamaica. The performances paid homage to the spirit of competition, unity, and joy that defines the tournament.
Prospective students, families, and friends flooded the venue, waving posters and cheering like it was a stadium showdown. WAVe’s choreographers brilliantly balanced high–energy numbers with comedic interludes, leaving the crowd in stitches between each dance sequence. The Nigerian set, in particular, had the crowd roaring in recognition, singing along to every beat. No surprise on the outcome—the audience’s bias was loud and proud. WAVe’s greatest triumph was in its message of dance as a universal language through which trans–African pride can be weaved. A senior member of the WAVe group and presenter of the show noted, “One Africa." As the lights dimmed, one thought resonated in my head: Morocco may not have been on stage, but we’ll dominate the 2025 AFCON. Mark my words.
–Anissa T. Ly, Street Ego Editor
Popping the Bubble
Italian Opera organized by the Nicola Sala Conservatory of Music @ Kimmel Cultural Arts Center
It was clear from the moment I stepped into the theater—I didn’t exactly blend in. After walking past drunk college students stumbling out of bars, among a sea of seasoned opera–goers, I stood out. They knew the unspoken rhythm of the evening: when and how long to clap when a standing ovation was warranted, even how to join in clapping along to the beat of a piece. I, on the other hand, had no such script. But for two hours, I was given the chance to simply be stunned—not just by the technical prowess of the musicians, but by the unwaveringly supportive community that surrounds opera itself.
Onstage, the soprano vocalist was magnetic. After each breathtaking passage, while the audience claps boomed, she proudly gestured toward the conductor, her fellow singers, and the orchestra—gracious and aware that the performance was a collective effort. This was after her incredible feat in commanding her voice to soar effortlessly from silvery highs to resonant, full–bodied lows. Despite the language barrier, I felt every swell of heartbreak her character endured. Everyone’s efforts on stage became the emotional bridge between the character and me.
As the evening progressed, I found myself perched at the edge of my seat, eagerly anticipating the climax of each piece. The harmony began to shift—picking up pace as the melody lines intertwined, the strings navigated sharper, more urgent notes. The beat quickened with the bass, and the conductor’s intensity grew, sharpening his focus. Every note seemed to build toward the inevitable moment, culminating in the crashing ring of the cymbals, leaving the room vibrating with emotion and energy.
The concert featured some of opera’s most iconic stories—melodies many of us recognize from soundtracks, symphonies, and cultural echoes—composed by legends like Mozart, Puccini, and Bizet. And in that grand space, through the centuries–old tradition of opera and the rigorous cultivation of technical skill, the emotions of love, loss, and longing found their way to me on an ordinary Saturday night.
–Fiona Herzog, Assignments Editor
