Peter Andreadis’ work as All City Affairs begs a distinction between contemporary and modern music. Modern music explores what it means to be alive Here and Now, whenever that Now might be, and wherever the hell Here is. Contemporary music just happens to exist in the moment, content to rely on whatever’s popular at the time: melisma, cynicism, bling, without asking too many questions or prompting them either (basically, everything described in ACA’s "Fake Soul Singer"). All City Affairs is as fun, catchy, and urban as anything contemporary, while remaining thoroughly modern in scope. Andreadis’ extensive knowledge of samples and programming, as well as a wide variety of popular music, makes for a vibrant mash of rock, funk, reggae, post-rock, jazz, and hip-hop influences. The live recorded instrumentation of drums, horns, strings, guitars, also keeps the sound rooted, as tangible and honest as dance-floor sweat. And you will dance. All City Affairs reclaims the word "entertainment", washing it clean of the dirty connotations it has accrued from years of soulless abuse. Onstage, Andreadis performs solo, accompanied by his pre-recorded works. He spins, dances, leaps, bows, kneels, and commands a swinging microphone like a brown-locked Roger Daltrey. Best of all, the gimmick/kitsch level is nil. Though the songs are full of tongue-in-cheekiness, they are also possessed of an earnestness and humanity that are irrefutable, especially when witnessed in the flesh. Contemplating consumerism, media saturation, self-identity, and the accidental death of a high school football player has never been this much fun.