After years spent touring other zip codes and scoring movies (in both the acting and musical sense), these not-so-prodigal sons of Philadelphia are back. You can catch their mix of folk, rock, soul, and country on Friday at the Zellerbach at 7 p.m. and 9:30 p.m ($25 to $60 tickets are available). We caught up with Michael and the other guy to see what they have brewing in the studio. — Cheryl McEvoy

What’s your favorite part about playing in Philly?
Michael: Well, it’s been a long time. I’m not sure how many years. We played out in Phoenixville last summer, but right in Philly it’s been six or seven years.
Kevin: It’s always that hometown feeling … We don’t have as much family here, but we still have pretty strong ties. We still have a real fondness for the city and the people, so it’s fun to keep on playing.
Michael: Kevin wrote a song [for the new album] called “New Year’s Day,” and it’s about the Mummers.

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In from Nashville, Johnny Cash and June Carter will play a benefit concert in Philadelphia this week. Well, kinda. When local Johnny Cash tribute artist David Stone (pictured) performs on Friday, you probably won’t know the difference. On the phone last night, in his smoky, calculated drawl, Stone explained the difference between a tribute band and an impersonator, and probably wanted to break my legs when I brought up Walk Hard: The Dewey Cox Story.

What’s up on Friday?
It’ll be me and June Carter playing. We’re going to be doing all the duets between 1965 and 1975. You can count on “Jackson,” and “It Ain’t Me Babe.” Soroptimist International of Indian Rock is a club that helps young women get back on their feet and provides scholarships for their education. They approached us and we felt it was a good cause.

You call yourself a “representation” of Johnny Cash. What does that mean?
We provide an authentic note-for-note reproduction, complete with costume changes and authentic instruments. We keep it in character and do it with dignity. For those who haven’t seen him, we’re the next closest thing.

You’re not an impersonator?
If you look at Elvis impersonators, they give great indignity to the person their impersonating. The moves that they do are grossly exaggerated and overused. We stand for who these people were as people and what they stood for: a way of life, of hard times and hope. You’ll never see us marrying people at the Johnny Cash Chapel in Vegas.

So, no worries about a the stigma that comes with being an impersonator?
I defy anyone to look at our show and call me an impersonator. That type of person wouldn’t come to see us anyway. Screw ‘em.

How accurate is the stage show?
If something didn’t sound right, we’ll go back to the record and listen to it again. Sometimes, that even means practicing the mistakes. We found out that Johnny Cash didn’t put his guitar over his back as much as we thought he did. And there’s one suit that we got rid of because it wasn’t the right shade of black.

What did you think of Walk the Line?
I think Joaquin Phoenix did a good job at representing a very complicated character. But I don’t think he sounds much like Johnny Cash. They did a passable job on the music.

And what about Walk Hard: The Dewey Cox Story?
I’ve seen the trailer and I think it was … I’m not going to say. I don’t know … I’m just not going to say.

Why did you become Johnny Cash?
The rule in our family growing up was that you had to take a year of piano lessons. A minister came and played a guitar, and I asked my parents, “If the minister can play guitar, why can’t I?” The Johnny Cash Show was on television at that time and I was taken with him. Here was this great, big, tall badass. He flashed that big spiritual smile and said “I’m Johnny Cash.”

Have you ever had an audience like the one Cash played to at Folsom or San Quentin Prison?
We’re actually in talks with San Quentin to play the 40th anniversary show for the prisoners there in February 2009. I just talked to the assistant warden this morning. There’s a lot of I’s to dot and T’s to cross.

David Stone: The Johnny Cash Experience, March 28th at Spring Mill Manor, 171 Jacksonville Road, Ivyland. $45; for tickets, call 215-357-8670. Benefits the Soroptimist International of Indian Rock.

Eleven-year-old Amanda Bronte-Balon, who’s playing Annie in the touring Broadway production of, uh, Annie, called from a stop in North Carolina to talk typical tween stuff — recent birthday presents, cute dogs and the collapsing American economy. See her (and her itchy red wig) at the Academy of Music this weekend. — Amy Strauss

Happy birthday! What’d you get?
A lot of stuff. A Coach purse and a Tiffany’s bracelet.

Ooh, high roller! Which Tiffany bracelet was it?
I have no idea.

Didn’t you ask for these things?
No.

I see. So, does showbiz run in the family?
A little bit — my mom has always wanted to do it.

Yeah, that seems to be the norm. So, what do you like most? Singing, acting, dancing — you do it all. Or is performing like a box of chocolates?
Yeah, that’s basically it.

[Long pause]

OK … Moving on, how does it feel to be a part of such a great show like Annie? You’ve been doing it for a couple of years now, right?
Correct.

[Long pause]

OK …

[Long pause]

It’s a great show. It’s educational because it’s about the Great Depression. And it makes you feel really good. I love it.

You mentioned the Great Depression — are you worried about how today’s economy is going to affect the show?
Yeah.

You are? OK! Tell me, who are your role models? Are you on Team Lohan or Team Britney? Maybe more of a Miley girl?
I like Carrie Underwood.

Have you met her?
No, but I really want to.

Back to Miley — have you heard her new single?
The rock-star one?

No, the techno one, “See You Again.” It’s pretty hot.

[Long pause]

Um, any rituals or things you do before the curtains rise? A little jujitsu session? Sudoku?
I pray.

What do you pray for?
A good show and to make people happy.

That makes sense. But while you’re also backstage, do you have any demanding requests, like only green M&Ms? What do you ask for?
Nothing, really. When I go back to my dressing room, I don’t really ask for anything.

No sprinkled Pop-Tarts?
[Laughs] No.

Yeah, sprinkled Pop-Tarts are da bomb. I like the cherry ones the best.

[Long pause]

So, you must be so busy touring — how do you find time for a boyfriend?
I never dated on tour. I don’t know. Nobody really does, not even the adults.

So you’re saying there aren’t any cute boys in Annie? C’mon, who’s your Daddy Warbucks?
No one.

What about the dog? He’s cute, right?
Yeah, he’s pretty cute.

How is it wearing that red wig?
Really itchy.

I bet. Is it flame-retardant?
Ha-ha. Probably not.

Last night, poet and activist Sonia Sanchez joined composer and University of the Arts professor Evan Solot for the First Person Salon at the Gershman Y. They showcased their work-in-progress: a musical translation of Sanchez’s memoir, Does Your House Have Lions? The epic poem tells stories of Sanchez’s family, including her brother’s death from AIDS. We talked with Solot to find out how he hopes to hit a few high notes by underscoring some heavy verse.

Composing a score for a lengthy poetic memoir sounds like pretty tricky business. Have you ever done it before?
No. I’ve become increasingly interested, though, in interdisciplinary material. The intermixing and flowing of creative juices is an incredible thing. In looking over Sonia’s material, I fell in love with Does Your House Have Lions? I said to Sonia, wouldn’t it be great to do this with an orchestra and not have the singers be opera singers but R&B singers to represent you and your brother?

How is this different from composing a completely original piece?
When there’s a soul singer singing it, it’s just different — any kid on the street can get it, and they’d rather do that than read it. What I’m going for is the emotional underpinning of what’s being said. And I’ve talked to Sonia about her brother, so it’s different than reading about someone who died a century ago.

Has it been difficult channeling Sonia’s voice?
No, the difficult thing is to take something where the end of a line isn’t the end of a sentence. It breaks it up in unusual ways on the page, but that doesn’t sing right.

Do you share the same passion for activism as Sonia?
I don’t always get physically involved even though my heart’s in it. She told me to come down to City Hall to support her with Grandmothers for Peace. It’s one of those things where you watch and feel bad you’re not doing it. She’s really a feisty lady. But she’s also very kind.

Do you relate to the stories and messages in Sonia’s memoir?
It’s about the black experience and being in a less than conducive experience. I guess everyone relates to getting over hardship, but the stuff that was there was not my experience. But it’s also the idea that you come from your ancestors and return to your ancestors.

Do you worry that you’ll get it “wrong”?
I want her to appreciate what I did. But, again, it’s not an exact translation. I’m adding to it. But yeah, I worry about every note I write. But fear is the great motivator for getting things done.

These days, you don’t see people pick up a book of poems, but everyone walks around with iPods that are pumping out lyrics. Is music keeping poetry alive?
I don’t know that that’s occurring. I think that’s a possibility. I can see people coming to hear Jill Scott as Sonia’s voice. Different people who are contemporary people come to draw people in to hear the orchestra and then go back and get the book … I don’t know about saving poetry. I don’t think it needs to be saved. I think all the arts need more attention. I wish it were different and people were totally into all the arts like I am … I once said that I think of myself as a musical travel agent, and it’s up to me to send people on a trip. — Cheryl McEvoy

Veteran New York Times foreign correspondent and bestselling author Stephen Kinzer makes two appearances in town today as part of his “The Folly of Attacking Iran” tour. He hopes to clear the air about Iran and explain that — like in any rocky relationship — we don’t have to be friends, we just have to tolerate each other.

Why did you get involved with this tour?
As a staff reporter, I was not able to beat my spoon on the highchair. That’s one of the reasons I left the New York Times. … I wanted to be sure if the United States got involved in a military confrontation with a country I knew something about, I would be free to speak about it. I do not want to wake up and hear that missiles are falling on Iran and think that “You didn’t do anything to prevent this.”

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If you were one of the 18.2 million people watching the Grammys on Sunday night, you probably caught a glimpse of Coatesville’s messy-haired Brian Fitzgerald and his violin in the front row of the Foo Fighters’s orchestra — conducted by none other than Led Zeppelin bassist John Paul Jones — during their performance of “The Pretender.” The 23-year-old Fitzgerald won the honor (along with 14 other musicians, though he lost out on first chair to a lovely young Asian violinist) thanks to a video he submitted to YouTube’s “My Grammy Moment” contest. I reached him this afternoon at his home.

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Tonight, former spy and onetime Montco resident Valerie Plame surfaces at the Constitution Center in support of her new book, Fair Game (limited space is available, $6 to $15). Our own Richard Rys recently sat down (well, on the phone, anyway) with the lovely Ms. Plame for a little Q&A …

Philadelphia magazine: Are you calling on a secure line?

Valerie Plame: Uh, no, I left my phone at the CIA. I’ll let you know if I can’t answer something. [laughs] I haven’t been asked if I’m on a secure phone since January 2006.

PM: Are you sick of hearing CIA jokes?

Plame: No, frankly, I’m sick of hearing myself talk. [laughs] I am so bored with myself! But it’s much better being on this side than being called a liar or a traitor.

Read the rest of the interview here.

Photograph by Julie Dennis