Lights That Flash in the Evening: Portlandia Tour @ 930 Club (2-22-2012)

I covered the Portlandia Tour stop here at the 930 Club last night for the 930 Club and the Washington City Paper. (WCP piece going up here later today.) Full of kooky humor, music, and special guests, like DC's own Ian Svenonius and Mary Timony, among others, it was just as entertaining live as it is on the show. Now if they'd only make the bit on the DC music scene an accessible video!

Additional photos from the show can be seen here.

Portlandia: Shooting Star Preschool
- Watch more Videos at Vodpod.

Lights That Flash in the Evening: George Clinton & Parliment Funkadelic @ 930 Club

Glory be, the funk was on me. My piece on George Clinton and Parliment Funkadelic goes live tomorrow over at the WC Paper that is.... Update: Read all about it here.

Lights That Flash in the Evening: Jens Lekman @ Sixth & I Synagogue, Washington, DC (10-5-2011)

Singer/songwriter Jens Lekman may, at first listen, seem like a strange Swede. His songs, like "I Broke Up a Fight" and "Waiting for Kirsten," a song about waiting to see Kirsten Dunst at her hotel in his hometown, seem, well, odd. Lekman's songs initially appear as silly musical stories about nothing. But then he brings out a line that just nails how it feels when go through one of the deep situations we all endure at some point while on this mortal coil, and your perception is immediately changed. Lekman covers them all, heartache/hope/love/longing, and in the end, be it from his silly stories or his perfectly capturing the human emotion in verse, you don't feel serious or melancholy, you feel uplifted .

My Washington City Paper piece will be up here later today. See more photos from the set here.

Lights That Flash in the Evening: Rogers Waters Plays The Wall @ Verizon Center, Washington, DC (10-10-2010)

My review of Roger Waters performing The Wall live is up over at The City Paper today. Photogs were allowed to shoot up to "Another Brick in the Wall" so I did manage to get the plane and the scary teacher props. Waters also brought on a bunch of kids (a local children's choir?) to sing the aforementioned. The photo pit was right in front of the stage so it was tough to get more of the full-stage shots like I wanted, but I did manage a few.

Additional photos can be seen here.

The video below is of the opening song, "In the Flesh," from Madison Square Garden a few days back.

Lights That Flash in the Evening: Superchunk/Tommy Keene/Let's Wrestle @ 930 Club, Washington, DC (9-17-2010)

Superchunk came to town on Friday with the great Tommy Keene and Let's Wrestle, an English band on the Merge label. My Washington City Paper review is live (rest of the photos are here) but a few things I didn't mention in my City Paper review are...

-I have not been able to stop listening to "Brand New Love," a Sebadoh song which Superchunk covered Friday night and recorded on the Tossing Seeds: Singles 89-91 record. I then sought out the Sebadoh version and HOW. ON. EARTH. have I lived this long and not known the beauty of Lou Barlow's writing? His voice delicately plays these gorgeous words and then you're hit with the massive wall of feedback, which gets louder on the last go-round of the chorus. It's such an incredibly stunning dichotomy that I'm now on a mission to educate myself in all things Sebadoh.

-Whomever it is that is doing the lighting at the 930 Club as of late, I BEG you, enough with the red/yellow lighting already. You usually do such a great job and I never have an issue but the last two weeks, you're just killing me man. Thanks for your attention to this matter.

-Superchunk drummer Jon Wurster does a riotously funny tour blog (here). Apparently, if Superchunk vs. Bob Mould were head-to-head in a loudness battle, Superchunk would win. I knew it would be close but wowza (and Wurster should know being the guy who's making a fair share of said noise). Says he:

I’d forgotten this feeling. I’m lying in bed in my friend Phil’s apartment the morning after a New York City Superchunk show– a scene that’s taken place a hundred times since I joined the band in October of 1991. And true to form, I’m in pain.

My ears are howling from last night’s sonic assault. And I’m not talking about the dressing down I received from that cop before the show (when did this “no throwing garbage cans through store windows” law go into effect?). Though I’ve spent our nine years off the road touring with other musicians (The Mountain Goats/Robert Pollard/Ben Gibbard & Jay Farrar, etc) the Superchunk wall of sound is like none other. I’ve had the great pleasure of drumming with Bob Mould since ’08 and while those shows are LOUD I don’t recall waking up later with the sound of the world’s largest ocean (the Sea of Crete, if I’m not mistaken –someone please Wiki this) between my ears.(Source)

-I've always had a thing for drummers but awesome drummer + funny + cute as a button=I think I'm in love with Jon Wurster.

-Mac McCaughan, I just want to say that god bless you for showing that we older folks can still do a mean pogo. The man did not stay still the entire 90 minutes it was a great thing to watch. Oh, and Mac, "Learned to Surf" is probably one of the greatest power punk pop songs of all time.

-Tommy Keene's young nephew sat behind the drum kit for one song during Keene's set (as did Wurster). The best part? His nephew was sporting a Replacements t shirt from the cover of Let It Be. (If you don't know, Keene played guitar on one of Paul Westerberg's tours.I wish I had an uncle like Tommy Keene for reals...

-Let's Wrestle are super nice guys. I didn't get to see them at SXSW like I wanted, so it was great to see them here. And their stuff is on par with the catchy-as-hell "We Are the Men You'll Grow to Love Soon."

Give a Listen:
-Brand New Love-Sebadoh/Buy Smash Your Head on the Punk Rock

-Brand New Love-Superchunk/Buy Tossing Seeds (Singles 89-91)

-Save This Harmony-Tommy Keene/Buy You Hear Me: A Retrospective

-We Are the Men You'll Grow to Love Soon-Let's Wrestle/Buy In The Court of the Wrestling Let's

Lights That Flash in the Evening: Of Montreal/Janelle Monae @ 930 Club, Washington, DC (9-13-2010)

My review of the first of two sold out shows for Janelle Monae and Of Montreal at the 930 Club is over at the Washington City Paper but additional photos are below. I went in not knowing one song from either band but simply put? One should not see a Janelle Monae show if you wish to remain calm, your body will be unable to stop itself from moving about to her space-age rock/funk/soul combo. This woman is the complete package in terms of a performer and is an absolute must-see live. She proves you don't have to have a ton of "stuff" onstage to be impressive, you just have to have talent.







On the other hand, Of Montreal seemed to believe that a massive stage show and props for every song will fake you out and take your attention away from the fact that the songs just aren't that good. And it worked for a little while...but close to two hours of this and it started to burn my retinas. While I applaud an artistic visual to go with the aural experience when you see a band live, I think it's a problem if the what you see if more interesting than what you're hearing...even if the lead singer is sporting a pair of tights and a June Cleaver apron.

(See the rest of the photos here

Give a Listen:
Tightrope-Janelle Monae/Buy The Android

Coquet Coquette-Of Montreal/Buy False Priest

NPR archived the stream the second show of their two-night stay in DC and it's available here.

Lights That Flash in the Evening: Hole @ 930 Club, Washington, DC (6-26-2010)

By now, I'm sure you've heard, or read, or thought, "Oh no he didn't," then giggled over the honesty about the cuckoo bananas explosion that was the Hole show here at the 930 Club on Sunday. David Malitz for the Washington Post hit all the bases of crazy that were run that night; it was a rather spectacular meltdown. Hitting the stage almost a full hour past the scheduled start time, something that rarely happens at the 930, Love apologized to the crowd saying, "Sorry, I was hanging with a friend who is a senator and he can't be photographed with me in public..." Then she said something about how if folks were hoping for her Boston set list, they would be disappointed; "You're getting the Bruce Springsteen set, sorry."

Now, Springsteen does rehearsal shows that folks pay a lot to see, and they're fun and different. Springsteen does marathon shows that run 3-hours. In Europe recently, a Hole "Springsteen set" occurred and was a solid and amazing show according to a friend who attended; but Sunday, "Springsteen set" meant "a 3-hour slow-motion rehearsal show for a car crash."

There are various guesses flying around as to why Love was acting so out of it: drink, drugs, brain damage, insanity... And I've also heard a ton of people saying, "Well, how could you go expecting to see anything else, it's Courtney Love." And they might be right. Love is like a walking Murphy's Law in her personal life it seems, a continual reporting of "Hello deep end my old friend."



I initially thought my take on this show would be along the same lines of the many other negative reviews, given the number of times the phrase "train wreck" showed up in my notes. And then I got thinking about what I saw during Hole's set at the SXSW Spin Day Party set this year. At that show, Love was solid. Funny. "There" if you will, mentally. You could see the potential in terms of her band, which is pretty amazing by the way, and between her with her band, because they played so well together; it wasn't them acting as just her backup band, as it seemed on Sunday. She didn't have to have her handler come onstage in Austin to turn up her guitar knobs because she didn't seem capable, nor did her guitar hang as decoration around her neck while her keyboardist tore up the rhythm-guitar parts that I'm pretty sure she was supposed to be playing. When comparing the Austin show to the DC one, the difference was night and day. "Tonight is just...weird," someone with the band told me before I left on Sunday, "They've been really solid up to now, but tonight...I'm not sure what's going on." Had I not seen the set in Austin with my own eyes, I'd probably be questioning his definition of the word "solid" and writing a much harsher review now.



But who knows what Sunday was all about. Say what you will, but the new record, Nobody's Daughter is a good record, and Live Through This is truly a kick ass record. And maybe she didn't write the songs necessarily for LTT, as some proclaim, but words of a song are just words until someone sings them and makes them come alive.



"Violet" is one rage-fueled effing song that wouldn't blow the doors off if it were in the hands of someone else (though this was not so much the case Sunday night as the crowd sang most of the song. By the way, a fun fact she told us about that song: "I was in Chicago; Billy Pumpkin gave me a Vicodin, and I wrote this song." Maybe that explains the sky being made of amethyst?). Love still has a great raspy rock yell that can still make your nervous system go bonkers.


Love's got something that people gravitate towards though...how else could she pull off some of the stuff she's done over the past bunch of years? Sure she's scrappy, but you can't get by on that all of your career necessarily. Nobody's Daughter is the first Hole record in 12 years-for as many times as she turned the mic around for the crowd to sing because she didn't know lyrics (or whatever) Sunday night, there were just as many shouts of "Courtney, I love you!" from the crowd. And just as many people are defending her in the comments of the negative reviews of the show.


Would I want to be friends with her? Hell no (she kinda scares me to be honest). Would I want her as my neighbor? No, nor would I want her to ever sit for my dog, let alone my kids. Was it obnoxious that she put some woman "filming" her with an iPhone onstage-not a proper camcorder or anything but an effing iPhone- which she played to instead of her fans, not to mention making the woman block the view of said fans who paid $45 a ticket? Hell yeah it was...

But that aside, I know what I saw in Austin, which wasn't what I saw on Sunday at the 930. There was one song that that band did, start to finish, on Sunday called "Letter to God" off the new record that was really beautiful. One of the lines goes, "I lie awake conducting this symphony/That You have gifted to me but I can't ever sleep/Don't be mad but I get weak inside/And I start to fall apart 'cause I feel nothing." What was displayed Sunday on the 930's stage was many things, one of which may just have been a very public view into the demons with which Love still struggles. But she's still swinging, she's still trying...Maybe the way she goes about it sometimes isn't the greatest, but I, for one, have to give her props for that.

(See the rest of the photos here)

Lights That Flash in the Evening: Fitz & the Tantrums @ Black Cat, Washington, DC (5-29-2010)

It was great to see the turnout for Fitz & the Tantrums last Saturday at the Cat. Memorial Day Weekend can be tough for any band to play in town, but for a band from out-of-town, you never know. So big ups to DC because they welcomed these out-of-towners with a good showing. Music, as well as a live show this good, is something that should not go unrecognized.

(Go here to see the rest of the show photos)

Washington's 930 Club to Host Mammoth Show for 30th Anniversary Celebration This Monday...for Free!

DC has become my adopted city since I moved here after grad school for my first "real" job. It's a city that has its problems, but it also contains some amazing aspects as well. For a music dork like myself, at the top of this list of amazing DC elements definitely includes the 930 Club.

My first experience to the 930 was at its old location, on 930 F St.,to see Paul Westerberg on his first solo tour after the Replacements in 1993. By the time I'd moved back in 2002, the club had relocated six years prior to a bigger and better (and definitely cleaner) location at 815 V St. The place routinely gets the bigger name acts in terms of indie rock and there's really not a bad sight-line in the place. Definitely one of the better places to see a show.

2010 marks the 930 Club's 30th anniversary (for a great oral history of the place, go here), and May 31st is the exact day in 1982 that the first concert was held. To celebrate, they're putting on an amazing anniversary show this Monday, 5/31...for free even! “We wanted to do something really different, we want to be surrounded by people who have made this place special, and we found out from the Virgin Mobile FreeFest how much fun it is to give tickets away, so we combined it altogether for our 30th Anniversary concert,” said I.M.P. Chairman and co-owner of the 9:30 Club Seth Hurwitz.

The lineup inclues surprise guests ("stars with D.C. roots") and "acts that hold special meaning to the 9:30 Club and its role in the independent music scene, that have been instrumental to the 9:30 Club’s history," they said.

No kidding...To start, the evening’s host will be D.C native Henry Rollins, which is worth it alone. And then there are the bands which will include:

Tiny Desk Unit – the first band to play at the original 9:30 Club. Its keyboard player is no stranger to the new club. It’s Bob Boilen, of NPR – the guy that broadcasts All Songs Considered shows from the 9:30 Club for the entire world to hear.

The Fleshtones – these CBGB grads were the very first band then-independent promoter Seth Hurwitz booked at the 9:30 Club, back when Carter was in office. Since then, Seth and partner Rich Heinecke bought the Club, Jimmy went on to start Habitat for Humanity and the Fleshtones have been doing what they do: recording and touring.

Tommy Keene – Bethesda native, played the original 9:30 Club with his band Razz, known for being one of the most critically acclaimed authentic power pop acts.

The Slickee Boys – the punk-psychedelic punk rock band may very well hold the all-time record of most times playing the 9:30 Club with 79 appearances. Monday will be 80!

The Psychedelic Furs – the very first “Big Act” booked at the 9:30 Club, the English rock band was one of the most successful acts spawned from the punk, new wave scene.

Marti Jones & Don Dixon - back when radio “broke” artists – D.C.’s alternative station WHFS catapulted this duo to fame, and they packed the Club with fans eager to hear hits like “Praying Mantis”

Clutch - Germantown, Md., based internationally-traveling metal funk band cut its teeth at the 9:30 Club, and returns every year to sold out houses. The band just released a two-disc DVD “Clutch Live at the 9:30 Club” with material going back as far as 1991.

Trouble Funk - one of the best live bands ever gave the 9:30 Club patrons their first taste of Go-Go. Like they say, once you go Go-Go, you never go back.

The Evens – is headed by the seminal figure in alternative music Ian MacKaye. While known around the world as the front man of Minor Threat and Fugazi, and a bastion of rock integrity in the music industry, he’s always been “just Ian” to the 9:30 Club.

Justin Jones – represents the future of the 9:30 Club, with his soul-filled Americana sound, Justin has opened the club a dozen times for acts like ZZ Top, Loretta Lynn and Cheryl Crow. His next CD will be the 1st release on the 9:30 Club record label later this summer.

The Pietasters - they met at Virginia Tech, horns in hand 20 years ago – and the soul ska band comes back home to D.C. playing to full 9:30 Club houses every time.

Ted Leo – though he was born in Indiana and grew up in Jersey, Washington D.C. and the 9:30 Club are running through the veins of this Indie rock doc, most notably known for his association with pharmacists.

Bob Mould - in all his incarnations, starting with alternative rock band Hüsker Dü, Bob has always considered the 9:30 Club his home. In other worlds, getting the blowoff is a bad thing. But thanks to Bob Mould, it’s a D.C. favorite. Bob, who lived in D.C. for years, takes his Blowoff dance party to the 9:30 Club every month, and now he takes that show on the road. (from press release)

In terms of tickets...

-Members of the 9:30 Club Forum, and subscribers to Volume, the 9:30 Club’s print newsletter, and the 9:30 Club's email list will receive the first opportunity to secure tickets by lottery. Instructions will be sent out via these forums today about lottery inclusion. If you're in, you'll be notified no later than Sunday.

-A very limited number of tickets will be available at the door on Monday, 5/31, first come, first served. We'll provide an update as soon as we hear an exact time.

Update (5/28): Looks like doors are opening at 5 pm. However, if you're hoping to score a ticket at the door, it's highly recommended you get there well before that.

Record Store Day This Saturday (4/17)

This Saturday (4/17) is the third Saturday in April so that means... Record Store Day!! Conceived in 2007, it is a "celebration of the unique culture surrounding over 700 independently owned record stores in the USA, and hundreds of similar stores internationally." Not only is RSD great because it helps showcase and support independent record stores, but it also lets artists put out some unique and interesting items (keep reading if you're a Hold Steady fan...) Today's NY Post had an interesting article giving some of the details.

Feeling groovy isn't what it usedto be. CDs, iPods and flash drives have pretty much replaced vinyl platters and diamond needles.

Yet even in these digital times, some discerning listeners have kept vinyl from extinction. Saturday, on what's known to some as Record Store Day, such collectors -- who still have turntables -- will get their due.

The format is the star of the third annual event, at which highly collectible vinyl records -- made exclusively for the celebration -- will be for sale at $5 and up.

Among the highlights is the "John Lennon Singles Bag," a $25 package that features three 45s: "Mother," "Imagine" and "Watching the Wheels" -- backed, respectively, by Yoko Ono's "Why," "It's So Hard" and "Yes I'm Your Angel." (A "45" is a 7-inch record popular as late as three decades ago, which features two singles and is played at 45 rpm rather than the standard 33 rpm.)

What makes the Capitol record particularly collectible are the details -- assorted postcards and a 2-by-3-foot poster of the couple's bed-in for peace; here, they're wearing pajamas and holding flowers to protest the Vietnam War. There's even a plastic adapter hub, in case your turntable doesn't play 45s.

The Flaming Lips make a strong showing with a $25 cover album of Pink Floyd's "Dark Side of the Moon." After opening with the familiar heartbeat drums of the original, the psychedelic rockers take the music on a more propulsive and experimental tack.

Familiar songs such as "Breathe," "Time" and "Brain Damage" are updated with twisting ragged guitar work and fragile vocals.

The Rolling Stones get in on the act with a 7-inch single titled "Plunder My Soul," a previously unreleased track from 1972's "Exile on Main Street" album. Suggested price: $12.

This is as funky as the Stones get. With terrific guitar work by Keith Richards and Mick Jagger's vocals easily reaching the upper register he's lost over time, this single ranks among the best Stones music to emerge in years. A remastered track of "All Down the Line," another cut from "Exile on Main Street," is on the flip side. It's a preview from the CD and vinyl re-release of "Exile," due May 18, which will have 10 never-before-heard tracks.

Other vinyl rarities include music by Bruce Springsteen (a 10-inch vinyl with "Wrecking Ball" live at Giants Stadium), Modest Mouse, Elvis Presley, the Sex Pistols, Gorillaz and the Velvet Underground.

They forgot to mention a bunch of cool label samplers coming out as well. You can see the full list of all of the special items being released here.

And if you like The Hold Steady and have an itch for their new record, Heaven is Whenever, they're releasing a super limited hand screen printed vinyl edition, two weeks in advance of its official drop date (5/4)!!

Participating Record Store Day stores in the DC area include....

Washington, DC -CD Warehouse -Crooked Beat Records -DJ HUT -Melody Record Shop -Politics & Prose Bookstore -Red Onion Records & Books -Smash! -Som Records

Maryland -Baltimore: !El Suprimo! Records, Dimensions In Music, morphius.com, Sound Garden -Catonsville: Trax on Wax -College Park: cd.gamexchange -District Heights: Memory Lane CDS and Records Inc. -Frederick: blinding sun records,Platters That Matter Records -Hillcrest Heights: Kemp Mill Music -Silver Spring: cd.gamexchange, Joe's Record Paradise -Temple Hills: Kemp Mill Music -Towson: celebrated summer records

Northern Virginia -Fairfax: Record & Tape Exchange -Falls Church: CD Cellar -Vienna: Vienna Music Exchange

Lights That Flash in the Evening: U2, with Muse @ FedEx Field, Upper Marlboro, MD (9-29-09)

U2 is not now nor were they ever my favorite band; in fact, I think the last record of theirs I own might be Zooropa. However, U2 is the reason I am a music dork today.

Up until the 8th grade, I was pretty much listening to "whatever was on the radio.” It wasn’t like fading mill towns in upstate NY were lush with record stores or indie radio stations then (or now for that matter). Up there, you got classic rock (Dylan, Hendrix) and Top 40 (Poison, Tiffany). One day, I was trying to tune in the big Top 40 station in the area and I unknowingly turned the knob a tad too far to the left.

Instead of the Top 40 station, I tuned in a college radio station (91.5, WRPI) and heard a heavy and intense guitar riff, and one hell of an impassioned 'YAHHHHHHHH’...and I felt every single neuron in my body fire all at once.

What I had heard were the opening chords to U2’s "New Year’s Day." It was so raw...so bare...so strong...so...real. I always liked to listen to music but never had a song hit my entire nervous system quite so completely before. It was through that banshee yell that I discovered a whole new world.

The Joshua Tree and U2's explosion into the mainstream was still three years away, so U2 was only being played on college-radio at this point. "New Year's Day" started my music nerd conversion, but it was discovering The Unforgettable Fire shortly thereafter that sealed the deal-what an amazing record. I realized that there was great music being made out there that was an alternative from the mainstream of hair metal, overproduced and plastic sounds, and formulaic lyrics. Music could be smart as well as catchy, and it wasn't all from 1967, it was happening right then. And I wanted to hear it all.

That's why I was so excited at the chance to combine my latest new world, photography, with, ostensibly, the reason that this site even exists today. So I give you photos from Tuesday's U2 show here in Washington, DC at FedEx Field.






(Bono is shorter than a drum cymbal, who knew?)



(Go here for the rest of the photos from this show, and for those of the opening band Muse.)

News: DC Venue Black Cat Kicking Ticketmaster to Curb, Using Ticket Alternative

The Black Cat is a rad middle-size venue here in Washington, DC (roughly 500-800 people I'd guess-timate), and consistently books great acts. Owner Dante Ferrando has long held the respect of many because while he's a music club owner, it's obvious he's also a music fan (Ferrando had been a drummer in many of the DC HardCore bands), and acts accordingly. Be it because TicketMaster is so pricey, or to avoid giving money to the competition, I know an entire community of music fans is singing Ferrando's praises right now.

Venerable D.C. music venue the Black Cat announced today that it will stop selling advance tickets through Ticketmaster, instead switching to competitor Ticket Alternative. The change will become effective September 25, so all shows that are taking place after that date are already on sale via Ticket Alternative.

In a strongly worded release, the venue made plain the reasons for the switch: Ticket Alternative's service charges are lower, typically $2.50 or less for the vast majority of Black Cat shows; and Ticketmaster's impending merger with Live Nation.

In a conversation with DCist, owner Dante Ferrando explained that while the local version of Ticketmaster has been relatively easy to deal with versus the oft-maligned national corporation, the company's merger with Live Nation made continuing to work with them impossible. Live Nation operates several venues in the Washington, D.C. market, including the Warner Theatre and Nissan Pavilion. "It just doesn't make any sense to be handing a portion of your shows to your competition," Ferrando said.
According to Ferrando, tickets for Black Cat shows that are $10 and under will be charged a flat $2 fee by Ticket Alternative, while for tickets that are $11-$20, it will be $2.50. The Black Cat's box office will remain free of all service charges. (Source)

Lights that Flash in the Evening: The Avett Brothers @ Lisner Auditorium, Washington, DC (6-11-09)

Here are some photos from The Avett Brothers recent show here in DC at George Washington University's Lisner Auditorium....







There's one beautiful consistent about the Avetts that's been proven every time I've seen them...







...and that's how it doesn't matter where they play-it could be someplace big and cavernous like Red Rocks, smaller and outside like Stubbs, or really small and scholarly like the Lisner- they always make it feel as close and snug as if everyone just gathered on your front porch late one warm summer's night.

(See the rest of the photos from the show here)