Soul On Tha Rocks with Blaak Tha 9th Man
The International Bar
1624 N Front St.
Philadelphia
May 15, 2026
Like a mighty tree radiating out from its hidden roots, Philadelphia’s present DJ scene is the product of an old and rich cultural history. In the ‘70s, DJs and soundmen like Captain Boogie, Disco Rat and Grandmaster Nell dominated neighborhood block parties, park jams and church basements with their massive mobile sound systems. By the ‘80s, turntable virtuosos like DJ Cash Money, DJ Spinbad, Jazzy Jeff, Too Tuff, DJ Miz and countless others pushed the form even further, creating new techniques and sweeping DJ competitions where the best in the world battled. As a result of this legacy of innovative, skillful DJing, Philadelphia now enjoys a reputation as a musical killing floor of sorts. The competitiveness and high standards held for DJs in Philly continues to produce some of the world’s best selectors. Whether current generations know it or not, anyone who spins records in the city today owes a debt to the greats that came before them.
On Friday night, The International Bar hosted one of the finest stewards of Philly’s DJing legacy. Veteran wax-spinner Blaak Tha 9th Man’s event Soul On Tha Rocks features a wide variety of funk and soul gems all night. With about two dozen people drinking, chatting and grooving in the downstairs era, the energy inside the International was high and the vibe was right. As I walked in, Blaak was playing Steely Dan’s quirky jazz-funk jam “Black Cow." From there, he got into straight up block party-rocking mode, cutting up and extending two copies of the bouncy, flute-peppered instrumental of Rick James’ “Mary Jane.” Hearing classic R&B jams like Dennis Edwards’ “Don’t Look Any Further" and Yarbrough and Peoples’ “Don’t Stop The Music” instantly transported me back to the North Philly block parties that defined my childhood. Most of the tunes that Blaak played that night were not produced in Philadelphia, but they are adopted classics that DJs have encoded into the city’s musical lexicon for decades. From the hard-driving funk of The JBs to British R&B and Brazilian funk records, Blaak’s crates are heavy. Like any good DJ, the way he played the music is as important as the selections.
There was a moment that night where Blaak played Bill Withers’ “Lovely Day” and completely deconstructed it on both turntables. The skill and precision with which he manipulated two copies of “Lovely Day” revealed the magic of hip hop DJing. Scratching and juggling the beat are not just “tricks” to entertain; they elevate the turntable to the level of instrument. To take a familiar ’70s radio hit and transform it into something viscerally funky and heady is no small feat. It’s part of what make Philly DJs so good. The spectre of the city’s musical history can appear anywhere here. On Friday night it could be found in a small bar in Fishtown where one of the city’s best did right by one of our most sacred traditions.
