Bands/Artists

I knew Abby Sage because of “Backwards Directions.” It’s a highly-impactful song for me, I love the lyrics. And after discovering that song, I attempted to go deeper into her discography and just wasn’t drawn in. But sometimes that happens, and you are much more likely to be compelled by someone’s music after seeing them live. So when I saw she was opening for Jose Gonzalez, I thought that was perfect. However, my original taste on her remained true, unfortunately.

I didn’t like her voice live very much. It was objectively beautiful, but a little creepy and it seemed condensed. Like maybe she had more in there if she opened up, but it seemed like her voice wasn’t super versatile? I can’t quite put my finger on it, but my best comparison is that she’s like a more exaggerated Hope Sandoval from Mazzy Starr. And I think Hope Sandoval’s great! So something about Sage is just enough off for me to not be a fan of her voice. Again, objectively she’s a wonderful singer. And she’s a great talent, I’m not here to shit on any artist. It’s just not in my taste and I won’t lie about that.

It was just her and one guitarist on stage. They both were seated. Sage switched between playing guitar and bass. There was one interesting story she told about going up to Canada, – where she’s from – to a cabin with a goal of writing an album, but “instead I came back with this instrumental!” And then she played that instrumental with her guitarist, and it was my favorite song of her set (although I missed a couple). She said, “I put that song in the set for myself,” with a smile. Almost as if she thinks people don’t find it to be very good, but she personally likes it. But I thought it was really cool! She should play it with more pride, I guess.

Anyways, she also seemed to be comfortable in her own skin, but a little awkward with the crowd at the same time. For example at the end, she said something like, “This is our final song… it’s called ‘Backwards Directions’ … I’ve played it here before, but I don’t remember where… but I like playing here!” Then paused and quickly said with a smile, something like, “But yeah this is backwards directions thank you so much whatever.” Shaking her head as if she didn’t really know what to say. She wasn’t rude or offputting, not at all, but just a little awkward with her presence on stage.

I also thought the guitar sound in a lot of her songs was really deep and faded. It’s a really cool effect, but was too loud at times I thought. Especially in the beginning of Backwards Directions. The sound in some songs was similar to a low-fi sound, I thought.

To cut her some slack, it’s gotta be hard being an opener for a big name like Jose Gonzalez. She talked about how she’s such a fan of his and that it’s surreal getting to tour with him. It was only the third stop on this tour, so I’m sure she’ll come into her own a bit more as it goes on. And maybe this is just her being herself, and it’s not in my taste. And that’s okay too. If you were there or have seen/are going to see her, let me know what you thought of her.

She got off stage at 8:40.

I saw Bad Bad Hats at Union Stage in Washington, D.C. last Tuesday, and it was a really good show. They were really strong in their performance, solid, confident, and quality overall. It depends on what you’re looking for, because they’re not some awe-inspiring musical performance (but they absolutely have instrumental talent), they’re not very loud, they’re not gonna pump energy into you in most of their songs, and they’re not gonna leave you saying, “Man, they were hard to look away from…” but they’re really pleasant, easy on the eyes (and ears), and their songs speak for themselves. There were few songs that I did not enjoy from start to finish, few that made me feel like I was just waiting for the end, and to me, that’s a sign of really strong songwriting and quality sound. 

Fan Context

Believe it or not the first song I ever heard by Bad Bad Hats was “Super America,” years ago, in a Starbucks. God, I don’t know why I remember where I was when I heard my first Bad Bad Hats song. I hope the band for some reason reads this and gets a kick out of that. Anyways, I really liked the song and saved it, but didn’t listen to them more after that. Years later, a friend sent me “Midway,” which of course I loved, and then this year, the same friend sent me “Nothing Gets Me High,” which I really liked also. Outside of those three songs though, I knew very little of the band. Three songs. That’s it. I will say, for some reason though, that I did feel like I knew the band better going into the show. Maybe that’s because I just felt like their sound feels so consistent, and perhaps I felt that I knew what to expect without knowing many of their songs? They just seemed like a band that’s easy to know. Maybe it’s because I had listened to Nothing Gets Me High so much this year that I felt like they were in my regular rotation, but really I was just listening to one song and the band itself was not in my rotation. So, I had an interesting relationship with the band going into the show, but the most accurate way to say it is that I knew very little of Bad Bad Hats before seeing them live. 

The Show

BBH came on at 9:00 after the opener, Smut, came off at 8:38 (more on them later). A short 20-minute wait between sets, which you can sign me up for, especially on a week night. I love a reasonable wait time, as does everyone. And it seems like 20 minutes is the fastest you’re gonna get at any given show, so that’s pretty damn good. Also, I saw the band members of BBH come out to set up on stage. They were getting all their instruments out there, hooking up wires, testing sound, etc. I thought it was funny that the band was up there doing this and seemingly no one noticed. You know, usually when a band first reveals itself at a show, it’s met with much cheer and applause. When they come out on stage to set up before they play, you’re thought is more so “Is that the band? I think that’s the band.” Maybe people did notice it was them, but just didn’t feel the need to cheer, or maybe I missed some applause. But it’s a telling thing to notice about a band, because I would think that it means they can’t afford a stage hand or a tech. Or maybe it means they just prefer doing it themselves. I’m not sure, but in my experience, the only other time I’ve seen this happen is with Real Estate, and they even made a mention of not being able to afford a tech during their show, so that’s what I’m basing this thought on. 

Anyways, they opened with “My Heart Your Heart,” and it was fine. I remember feeling like this show might not be that great during this song, which of course was wrong, I think I just had a little worry because I immediately was reminded of how little I knew of the band and thought that maybe I wouldn’t like what I hadn’t heard yet. But that was an overreaction. It just didn’t grab me much, and, important to note, the lead singer’s vocals were a little light in this song. Especially in the beginning of it, I’m almost certain they turned her up toward the end of the song. But I did write that it was a “catchy tune”, and listening back, it is. I remember latching onto the way the lead singer, Kerry Alexander, played guitar in the song, quickly dragging her fingers up and down the few same frets during the chorus for that riff that really pulls the sound. 

They played “Let me In” next, and I thought it was a fun one. I enjoyed it, and felt more confidence out of Kerry in it. Not that she lacked confidence in the first song, but I think this song just allowed for it to show more and there was no vocal sound issue. I also noted that they have some good chemistry with backing vocals from the lead guitarist and bassist. Very light, but they added a nice tone to Kerry’s voice. 

“Nothing Gets me High” was next, which was great to hear live. I will say, it was softer live. Lighter. The guitar is sharper and more jagged in the studio version. It was a more mellow version of the song in my opinion. I still liked it, but I think it would be cool if they tried making it a little more harsh. 

Kerry addressed the crowd after this, saying “It us! Bad Bad Hats.” And she mentioned that they were from Minneapolis, which made me realize that they aren’t from Australia. Yes, for some reason, I thought they were from Australia. I could have sworn I read somewhere that they were Australian, but I must have gotten them mixed up with another band, and then I just stuck with it without checking because sometimes I choose to be a fool, I guess. Also, Kerry’s voice does sound like she could be Australian in a lot of songs, in my defense. Anyways, it was a funny realization because I had said in a group chat of friends the night before that BBH were an “Australian band,” with great confidence when inviting them to come to the show with me, and one of the friends in the chat was there and we both laughed at my misunderstanding for a moment. 

Anyways, she also mentioned that they were thinking of their “immigrant friends” in Minneapolis, of course referring to the ICE situation there. And then she talked about how this was their 10-year anniversary tour of “Psychic Reader” and joked, “…which is crazy, cause we’re only 17.” Then she explained that they were going to play the whole album, which my friend and I were wondering about before the show. I’ve been to a couple shows now that are “album anniversaries,” and it always seems that bands elect to play a handful of other songs first, then get into the full album run. Kerry talked about this, saying something like, “When you have a full album to play, it’s hard to know where to start. Do you start in the middle? In the end? Somewhere between… the end and the start?” Of course, she was playing into the lyrics of Midway, which the crowd got a rouse out of, and they then broke into that very song. Take a bow for that intro, haha. 

Midway, in comparison to Nothing Gets Me High, was played to a T. It sounded almost exactly the same as the studio version. Really well done. 

Kerry put sunglasses on before the start of the next song, then they bursted into “Shame,” which brought a much harder sound, led by a bangy guitar riff that got the crowd going a little bit. Fun song! The “I don’t want to be afraid of you” lead into the chorus with a low, danger-evoking bass sound really stood out, showed a bit more of their rock side, which was great. They all flexed at the end, which was funny. And then Kerry took her sunglasses off and joked, “Hey guys, it’s me.” Also, listening back, does this song sound a little bit like the Silversun Pickups? Anybody? Anybody? 

After Shame, Kerry said something like, “That’s one-fifth of the album… one out of five – women in STEM,” which was a funny joke. She was like this all night, cracking jokes. She had a really loose attitude, and not in an annoyingly over the top sarcastic way either, she was just dry in her humor but in a way that wasn’t’ contempt of the audience, it seemed that she was just being funny to be funny. That’s how I received it atleast, if you were or have seen BBH before, let me know what you think of Kerry’s humor. I don’t think it feels like a schtick, I think it just feels like her riffing. I assume she’s like this at most shows of theirs.

Anyways, Kerry then mentioned that there’s a lot of pressure on track one and two, and that a friend of the band actually thinks track three of Psychic Reader is the best on the album. And she said something like “This one goes out to all the Josephs,” and they played the song, “Joseph.” 

And it was really good. I agreed that it might be the best song on the album. I remember thinking it was the best/my favorite of the set so far. It went over very well. 

“Psychic Reader” was next, and I thought it was very catchy in the “I was in the room” lyric, with a nice build into the chorus. I noted here that that is clearly one of their strengths: structuring a chorus so that it catches the listener’s ear really easily. They make really strong, simple melodies and build a song up really well. 

“Fight Song” was next. There was a great guitar solo in it, the lead guitarist was great throughout the set, very smooth and pure. Not too flashy, but very sharp. He clearly has a quiet style about him in his presence and playing, but plays a lick beautifully. The vocals from the guitarist and bassist in the “fight, fight” part were a bit louder live than the studio version after listening to it. I enjoyed that, and it was cool to hear some intertwinning vocals singing different lyrics, you don’t always get that. It’s cool to see and hear live. 

Kerry went on perhaps her longest monologue of the night next, leading into “Things we Never Say.” She talked about how this song was written when she studied abroad in Paris, and made some funny quips about the setting in which she wrote the song on the way to saying, “I brought my guitar, kazoo, and a dream [to Paris].” I loved that. And the song, goodness. It was lovely. Really really sweet live. Her voice really shined here, as it was just her singing and playing electric guitar (which I thought sounded better than the acoustic guitar in the studio version), and the lyrics to that song, hearing it for the first time, are special. Really great songwriting. 

I didn’t make any notes on “Cruella,” but I remember enjoying it and listening back, I like the song. I just didn’t have much to say about it at the time. 

They transitioned quickly into “Say Nothing,” without pausing their playing if I remember correctly. This song had a good rhythm to catch on to, a bumpy riff and bass line, a faster song for sure. 

Kerry went on another funny monologue before “All Nighter,” saying that the song was about sleeping with your phone under your pillow in case the love of your life texts you and decides that you are also the love of their life, which is oh so relatable for many people. It’s funny, I thought, “Now I just sleep with my phone because I’m addicted to it.” Lord help me stay away from my screen before going to sleep. 

All Nighter was great, really catchy again and easy to listen to.

Kerry introduced the band after this, and when introducing herself, she made her funniest joke of the night (in my opinion), saying “And I’m Kerry! Spelled with a K like Kerrygold, for all you butter heads out there.” It was such a stupid joke, but it made me laugh out loud and I laughed about it again while walking in the parking garage. What can I say, it stuck with me. 

They closed the album with its last song, “Spin,” and it was excellent. I wrote, “song of the album” at the time. Whether I still think that, I don’t know, because I’ve gone back and listened and like a lot of the album, BUT, live and in the moment, first time listening to the album through, that song took the cake. I remember think how strong of an album Psychic Reader was at this time, and subsequently how strong of a performance BBH put on. Not a bad song on the album, and hardly a song I didn’t enjoy throughout the performance, most notably. 

They were a four piece band by the way: Guitar (lead vocals), lead guitar (backing vocals), bass (backing vocals), and drums. 

Kerry joked about how Psychic Reader happens to be a pretty short album, and so they were gonna play a couple more songs. Leading into the next song, she mentioned that she likes when songs reference each other, “point to each other,” as she put it. Which I love to! I always find it really interesting and special when a song references lyrics from another song, especially when it’s a band or artist referencing one of their own songs. But it’s also cool when one band references a song from another band. She said that “Take me Home Tonight” (by Eddie Money) is a good example, when the lead singer says “be my little baby” at the end. I honestly don’t understand that reference, I don’t know that one. If you get it, please fill me in! But for me, a good example is in “Trouble” by Cage the Elephant, one of the lyrics is “You know the wicked get no rest…” making a reference to one of their biggest hits, “Ain’t no Rest for the Wicked.” 

Kerry jokingly said just before they started playing it that they thought of calling this song “Iris 2.” It must be a new song, because I can’t find it on Spotify. Setlistfm tells me it’s called “Your Iris.” If the Iris reference is pointing to the Goo Goo Dolls song (which I thought it was), I didn’t get it. I was listening to the lyrics for anything similar, and didn’t catch anything. Who knows! If you have an idea of it or know the lyrics, let me know. I remember being pleased by it, it had this nostalgic, new wave-type riff (or at least that’s my impression of new wave, tell me if I’m off there). 

“Girl” was next. There was a cool guitar riff in it and I liked the tone of the guitar. Good song. 

Kerry gave Smut a shoutout before the next song. Then they played “Walkman,” and before it, Kerry said, “I like to think of this as our country song.” I remember not totally getting that thought, but maybe I’ll take her word for it. I’ll have to listen to it again. 

They brought the energy up pretty big with “It Hurts,” next. Kerry and the lead guitarist played kazoos at the end of it. It was a funny moment when the guitarist handed Kerry a kazoo. I got a kick out of it. I think the last time I saw a kazoo at a live show was Lime Cordiale. Anyways,  fun, cheery song, good one to end on. 

But, of course it wasn’t the end! Kerry had said it was their last song, but after it ended they did not look like they were going anywhere and she said something like, “Alright, I discussed it with the band, we’ll play another,” which was funny. This is actually a moment I love to note about for bands: encores, and whether or not they go off stage and come back. And in this case, BBH were just the second band I’ve ever seen not go off stage and come back out. They just basically said, “Okay no seriously, this is our actual last one.” The only other band I’ve seen not exit the stage and come back out for their encore was Queens of the Stone Age. I really think it’s a good move to just say, “Hey this is our last song and we’re not kidding.” Because I also like to note if a band says something like, “We’ve got ____ more for ya,” then after that amount, they exit the stage, but of course the lights stay off and no one leaves because everyone knows this is just a formality and they’re going to come back out shortly. But when they say that they have “____ more” left, there’s a small part of your mind that believes them and thinks, “Okay this is it,” and then after it you’re a little surprised they didn’t play one of their top songs (that they’re likely going to encore with). At least for me, I sometimes think that. When Queens of the Stone Age stayed on stage, Josh Homme said something like, “Do you mind if we play a couple of extra songs? We’re not gonna do the whole ‘walk off stage and come back’ thing. We need to stop with these bullshit encores, and just play a couple more songs.” That’s not verbatim, and he said it in a light, humorous tone, and I loved it. Anyways, I think it’s nice to just stay on stage and play a few more, but I also respect that the band may want a quick break or something. Let me know if you have an opinion on this. 

BBH played “Detroit Basketball” next, and before it, Kerry said, “If something rhymed with Timberwolves, this might be a different song,” which made me laugh as soon as I heard “Pistons” in the lyrics. 

They ended at 10:15. 

Bad Bad Hats were a really good show. They are a rock solid band with an established, confident sound, and their performance is quite fun and easy to enjoy. I think Kerry is a great front woman with a lovely voice, and the band plays well together, in a way that’s hard to deny that they are a quality performance. I think this is a great tour to catch them on because of the promise of playing all of Psychic Reader too, as it seems to be their best, most popular album, and many of the songs off of it are probably what they’re best at performing. I think that can make for a relaxed band that’s having fun, and that’s pleasing to see. So go check ‘em out! My ticket was only $30. It’s well worth it.  

If you were at this show or have seen Bad Bad Hats on this tour or anywhere else, please share your perspective in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Bad Bad Hats (or Smut) and I’ll be happy.

*A quick nod to the opener

I walked into Union Stage at 8:16 and Smut was on stage. I had never heard of them, and after a quick look on Spotify, they have a very small following relatively speaking (6,300 monthly listeners), but I did like them. They were interesting, pretty dark, but the lead singer was compelling with a strong voice. She was definitely a bit crazy, but I liked her.

They were a a five piece band: Two guitars, singer (no instrument for her that I saw), bass, and drums.

They had a punk sound to them, paired with the singer’s angsty voice, but not angsty in a bad way. Her voice was powerful, drowning, a voice that really holds onto the words and squeezes the sound out of them.

I didn’t know the names to all of their songs and I can’t find the setlist, but the lyrics, “I am weak in my skin” stood out to me in one of them. At the end of that song, the lead singer said, “That one was about loving yourself.” 

The song with the lyrics, “Close the window, change the channel,” I also liked. 

It was funny, one song opened with the lyrics, “When I was seventeen,” and I thought, man, every girl was seventeen at some point, weren’t they? My point is, the age 17 seems to stand out in songwriting. There are so many songs about being 17, and a lot of them are by some of the best female singers/songwriters ever. I immediately thought of two songs right away: 17 by The Greeting Committee (not one of the best singers ever, but a band I like), and “Anthems for a Seventeen Year-Old Girl” by Maggie Rogers. “Age of Seventeen” by Stevie Nicks later came to mind too. “Seventeen” by Sharon Van Etten (got that song from the show Yellowjackets), “Seventeen” by Sjowgren, and “Seventeen” by Haley Blais, are just a few songs with that I knew with that number in it. I’ll throw in one by a man: “Seventeen Going Under” by Sam Fender. Something about that age! 

Anyways, the last song of the set I enjoyed too, there was some very nice harmonizing with the lead singer and the guitarist, some slow heavy instrumental, and a big ole scream before the last chorus. To further explain, as the instrumentals were building before the last chorus of the song, the lead singer let out a high-pitched “AAAAAHHH!!!” that shook the room a little bit. Told ya, a little crazy. 

They were good! They really did sound good as a whole. A darker vibe about them to note, but if that doesn’t kill you too much then they are absolutely worth catching at least for part of their set before Bad Bad Hats.

If you enjoyed reading this, visit tourchmusic.com concert reviews.

*Notes on the venue

I gotta say, I was quite happy with Union Stage. I’m a little biased because a big factor was that it’s probably the closest D.C. venue to me, but outside of that, it was super easy to park in the garage below the venue ($20). And I mean literally below the venue: when we were walking to the elevator in the garage and wondering how to get to the venue from there, we could hear the show above us through the ceiling. I just loved that. So that answered our question on where to go. Oh, and there’s a button on the garage elevator that says “Union Stage” on it, which I also found to be so cool.

The garage shoots you out right on the wharf, which is nice. You just walk shortly around to the other side to find Union Stage. Seriously, like a one minute walk. There’s a bar you enter through up top, and then you go downstairs to the stage. 

I thought the sound in the venue was impressive. It’s a small GA area and we were in the middle, maybe a bit closer to the back, and the sound was strong but not overwhelming. I thought it was really good quality. 

There was a bar on the right side that had a very decent food menu for a music venue. I can’t remember everything that was on it, but they had pizza that I trusted didn’t suck and I remember there was a pretty good deal for sliders. I’m sure they have their menu posted on their website. Also, draft beers were between 7-9 dollars, which is a damn good price for nowadays. 

There was also a back area with some tables in the back right corner that some people were sitting at. I’m not sure if you have to pay more to sit back there, but I assume you do. 

Wikipedia says that Union Stage capacity is 450. We were comparing it to The 9:30 Club and thought it wasn’t thaaaat much smaller, but The 9:30 Club apparently holds 1,200. So, maybe it is that much smaller. It does not have a balcony upper level, like The 9:30 Club does, so that certainly takes a chunk of people away. And this wasn’t a particularly crowded show, which was really nice. So I’m a little biased with complimenting how comfortable it was in there, that’s really more of a testament to the band’s popularity than the venue. But hey, I like plenty of bands/artists that only draw a couple hundred people. I mean, don’t we all wish we could have them all to ourselves? Haha. 

Anyways, I thought it was great in there. It was my first time seeing a show there. I had heard of it many times before, but I didn’t even know where it was until I got tickets for this show. I loved the branding they have in the space, and most importantly, the sound was really good. I need to see some more shows in there from a greater variety of bands to give it a more legitimate shake, but I don’t know if they really attract anybody much bigger than BBH, for example. I would   but it’s immediately moved into the conversation of my favorite venues in D.C. It’s small enough that you’re gonna get a good look at the stage almost anywhere, it’s easy in and out, in a great area of D.C., is metro accessible if you need it, (which is huge), and if you want to drive, parking is extremely convenient if you’re willing to cough up 20 bucks or so, and by the looks of it, most shows there are pretty cheap. I hadn’t paid as low as $30 for a ticket in a long time, and I haven’t been seeing anybody that big lately either. It’s hard to find reasonably priced tickets these days. So go see a show at Union Stage, and let me know what you think, and if you already have, please weigh in.

I saw Briston Maroney on Sunday night at The Anthem in Washington, D.C. as the opener for Peach Pit. However, it would be more accurate for me to say that I saw two really good sets of music to make one great show. Both performances were awesome, and I think this is a rare tour lineup in which the opener and headliner are very similar tiers of live performance, making for a no-brainer, very worthwhile show. 

I’m not here to say that one band is better than the other, both were and are great, and it’s all subjective from there, but my point is that it was cool to see two shows of similar quality back-to-back. It made me feel the price of my ticket was extra worth it. 

To explain, let me tell you about the musical performance. 

*I am pasting only the review of Briston Maroney below for brevity’s sake. The Peach Pit review is posted separately.

Quick Fan Context on Briston Maroney: 

I wish I could say I was cooler and Freakin’ Out on the Interstate wasn’t the first song I heard by Briston Maroney, but it was. About six years ago. BUT, I’m not that ashamed of it because it’s a great song and that’s what great songs do: make you a fan. I followed him decently after that – I’ve never sifted through his albums, which I should, but I have nine of his songs saved and have always thought he was a great guitarist and have wanted to see him. I will say, I thought the single off the new album was pretty odd and didn’t like it. But I didn’t quite hate on it either, I thought he went through an obvious change and honestly found it a little humorous, thinking about how it seemed like the guy had some sort of life-altering acid trip/experience and now has this new sound that’s some sort of… garage-psychedelic, if you will. I had far too much respect for his music prior to that to write him off just because of a new, unexpected change in style. So while I didn’t put any time into the rest of the album, I thought “Hey, I’ll just go listen to it live.” Or, ya know, what he plays of the new album live. And there’s no better way to hear a song(s) you’ve never heard before, than live! I’ve found that the majority of the time, odds are you will like it better if you hear it live first as opposed to a studio version. 

Maroney and his band came on stage at 8:00. There was this funky intro music as the band walked on first, with some cricket noises mixed into the background. There was a recording of this really deep male voice that came over the speaker, as if mimicking a voice in your head or some kind of dream you’re having. It was on for about 30 seconds and the little monologue ended with something along the lines of “Turn that whisper into a yell.” Anyways, I think it was meant to have a bit of a trippy effect, and it did.   

Maroney came on in the middle of all this, super excited and strutting around (not like a Mick Jagger-type strut, more just like a really-happy-to-be-here strut) from one end of the stage to the other, throwing his arms up in the air. Really got the people going. Then he raised his guitar in the air with two hands, like it was Simba, from the middle of the stage. It was funny – not in the way that it made you laugh at him, but it more so made you smile because the guy was just pumped up. Oh, and he was wearing this long, white dress. But it kind of looked like a dress that was meant for a guy? I don’t know if that helps picture it, but it could have passed as a robe if you told me it was. Best way to describe it, and I don’t even mean this to try to be funny, but he looked like Jesus. 

They opened with Real Good Swimmer, of course, the single off the new album “JIMMY” that I said I didn’t like. But man, it banged live! The instrumentals were thumping and it was just fun. Which I guess isn’t that surprising if you listen to the song. It is a really catchy melody, it’s just so damn weird. The song is a little… jarring? It originally reminded me of something and I couldn’t put my finger on it, I wanted to say the Beastie Boys, but I’m now realizing that it reminds me of that song by the Butthole Surfers, “Pepper.” Actually, a combination of “Pepper” by the Butthole Surfers and “Loser,” by Beck. Am I crazy?! I don’t think I’m crazy. Tell me if I’m crazy. 

Anyways, I really enjoyed it live and thought it was a good choice for an opener. They extended the pauses in the songs a couple times, making it look as if something went wrong, but they were just playing around, it was clearly planned and synchronized. I thought in the moment that I really like how much Maroney has embraced this new sound and style, because it’s got to be an intimidating thing to do when you choose to do something far from what’s made you successful. But every great artist changes sound and evolves, we all know that. And I guess it becomes less intimidating when you really believe in it. And he clearly does. Well done. 

Continuing on with his demeanor on stage, after the first song, Maroney asked the whole crowd to put their pinky in the air. To wrap their pinky around his “proverbial pinky” and promise to “lose your fucking minds tonight.” Crowd loved it, and it is a pretty creative way of involving the audience early on in a set. They went into “Paradise” after that, which sounded great and fit the spirit of the room at the time, a really great way to start a show. The instrumental before the final chorus really caught me, it had to be some sort of synth, it sounded really cool. I never really paid much attention to that in the studio version. Live music, baby, never know what you’ll discover every time you hear it. 

After this, he said to the crowd, “I wore my very best dress for you all tonight,” which got laughs. Then he introduced the band. They were a four-piece: One electric guitar, bass, drums, and then Maroney with another guitar and of course vocals. 

I believe he mentioned something about playing an older song, then broke into “Small Talk.” It was funny, the crowd jumped into the lyrics right away, and Maroney actually stopped playing and said something like “Wow, you guys scared me!… You guys are crazy!… Now that I know we’ve got some feral fans…” I normally would think pausing mid song like this is silly and hurts a performance, but it was comedic. He had this type of charm about him for the whole show, he could’ve done almost anything up there and it would’ve been okay, because he was just delivering things so well. 

There was a long pause before the last chorus in Small Talk, during which Maroney riled up the crowd on each side of the stage, jumping up and down. It was awesome. 

After Small Talk, he made a brief mention of the new album and introduced “Tomatoes.” I remember thinking the distortion on his voice in this song was cool. He uses distortion in a lot of songs really well. The lead guitarist also busted out a killer solo to end this one. 

Before playing “My Body,” next, Maroney instructed the crowd to raise their arms and wave them, while “not intruding on anyone’s space,” something like that, chuckling a little as he said the last part because it was obviously difficult not to intrude on anyone’s space in a packed GA crowd. It was, again, funny. Right before starting the song he said, “Okay, we’re gonna ask you to flap those wings in about twoooo minutes.” Then before the final chorus of the song, he screamed “Spread those wings and take flight, and we’ll fly away togetheeerrrr!!!” Then played a bangin solo. He seemed to be really feeling good up there, it’s hard not to chuckle as I remember this and describe it. 

They played “Better Than You” next, which I now know is off the new album. Went well, the lead guitarist had a really long and impressive solo in it. Maroney went off stage at the end of it, but the bassist and drummer kept jamming for about 30 more seconds. 

As Maroney came back on stage, there were these forest-y, nature-type sounds that came over the speakers. I remember hearing crickets again too, clearly meant to put you in this setting of a campfire or just out in the woods in general. The lighting adjustment definitely emulated a campfire too. Briston was sitting down started playing a sweet acoustic guitar lick and said “Welcome to our campfire.” Then he went on to talk about friendship and how important it is/how much it means to him, then introduced Dougal McLean from Peach Pit, who came onto the stage to play violin for the ensuing songs.

They played “Land of Light,” and then “Caroline.” I hadn’t heard Land of Light before, what a lovely tune it was. And a new song! I didn’t realize that. I gotta listen to this new album. But anyways, it was just a pleasant song that fit, and the lead guitarist was now playing some sort of slide (machine?) I don’t know what to call it, but it makes a really sweet, sweet sound and adds a melancholy touch to songs. It certainly did here. I’ve seen it before, but if anyone knows what this instrument is, let me know. And the violin was a nice touch too. 

The voice over recording came on again and monologued on for a minute or so, I remember it this time mentioning something along the lines of “Is your heart open?” Basically preparing the audience for the rest of the show, I think was the point of the message. Then, the bassist bursted out a thumping, thick intro into “The View.” Didn’t know this one either, a distorted and rowdy one it was. It definitely jumped live. It was the first time Briston wasn’t playing guitar and was just singing. Also, towards the end of the song, Maroney acted like he wanted the sound guy to bring out his guitar, he said over the microphone something like, “Bring me the red one, that’s good.” And then the sound guy came out looking all rushed and panicked, then they both started tugging on the guitar and the sound guy said, “I’ve been thinking about this, you never let me play guitar,” then snatched the guitar from Maroney and rang out the ending solo, jamming with the lead guitarist. The crowd enjoyed it. It was all pretty believable up until the sound guy spoke, then you could tell it was a bit. It was good acting! Funny stuff, I’ve seen other bands include their sound guys like this before, but never faked some sort of disagreement/confrontation to do it. It didn’t really waste any time, and it made me smile, so sure, why not?

“Skin” was next, had another really good n’ loud outro.

“June” after that. Classic Maroney song, went well live. 

“DNA” was another new song after this. A little bit of a slower one, I remember it sounded cool though, somewhat of an outlier on the setlist. Not that the setlist lacked variety, it didn’t, but this stood out as just a different song. I also thought I heard a little bit of Interpol in this one? And not just because the lyrics mention New York City. I thought the instrumentals sounded a little Interpol-y. Listening to the studio version, I don’t think so as much. But while listening to it live, I remember thinking “Interpol?” Had another long n’ loud outro, they really let it all out at the end of songs. It was great. 

Maroney started talking to the audience again as the show was winding down. In a grateful tone, he mentioned that they were once at The Anthem years ago opening for Rainbow Kitten Surprise on New Years Eve. “Just a couple of wee lads finding our way, and now we’re back.” I got a great kick out of that, because I was actually at that show. It was New Year’s Eve 2021 going into 2022. Unfortunately, I missed Maroney’s set. I remember wanting to see at least some of his set, but I think I walked in with the group I was with at the very end and heard a bit of “Freakin’ Out,” but not enough for me to remember how it sounded. That was certainly a mistake! I wish I did see it so I could compare shows. How foolish of me. It’s tough to get there early when you’re in a big group, what can I say. Great show from RKS, by the way. Saw them again in Connecticut last year, read my review on that show if ya want. 

Continuing on, Maroney said, “This is a new song called ‘be yourself.’ And it’s about exactly that.” Then said something along the lines of, “It took me a while to figure out who I was, but I want to thank my friends and family for helping me… I hope you have people in your life who tell you it’s okay to be whoever you want… Happy Pride Month D.C.!” I wrote down that this song “went” and that it was “really good.” I know that’s quite a short and non-descriptive thought that doesn’t explain much about the song, but that tells you how I received it in the moment. It was really good and that’s all that I thought. Sometimes less means more. 

Of course, he closed with Freakin’ Out, and of course, it was wonderful to hear live. I know I’m not saying anything unique here, but it’s an excellent song. It’s predictable to hear as the closing song, but for good reason, and that doesn’t take anything away from the pleasure of hearing it.

They finished at 9:00. 

I can’t find a negative feeling in me regarding this set. It was really well done. Start to finish, I was pleased with every song, and I was impressed by the new ones. They sounded awesome live and I am so happy to have discovered them, and especially in this way (live!). And I really enjoyed the ones I knew too, of course. 

It was cool to see that Briston is a really entertaining front man. It was funny, my girlfriend actually saw him less than a year ago on his last tour in New Haven, Connecticut, and said he was way more toned down in his demeanor. Still a good show and a bright, charismatic guy, but not to the same degree as he was in this show. And I personally don’t need a lead singer to be the way that Maroney was – really energetic and creative with the ways he involves the audience and interacts with them – but he’s really good at it, and he frequently made me smile and chuckle a little bit, and he was overall very fun to watch. So, although I am fine with a front man who just goes up there and plays their music well and is somewhat “boring” in their style (I don’t really care as long as the music is the priority and is good), it’s hard not to like a performer like Briston Maroney. It certainly enhances the show. But more importantly, the musical performance was bang-on. Him and his band really drilled it. Maroney isn’t some pristine singer with a beautiful voice, but his songwriting, of course, plays to his voice, and I love the way he uses distortion. And, he’s got a killer band behind him. I don’t know how long this group has been playing together, but they look awfully comfortable and the wall of sound is pretty damn sturdy with them. Maroney is already an excellent, versatile guitarist himself, and he’s even better when he’s accompanied by a quality lead guitar and a really solid backing band in general.

My final takeaway is that Maroney is really getting unique with his songwriting, not that he wasn’t before, he always has been, but he’s clearly getting even better. All these songs off the new album are different from the other – can even be vastly different (Real Good Swimmer vs. Land of Light, for example), but they’re all good. I need to listen to the rest of the album to develop a deeper opinion on it, but he played seven songs off “JIMMY” in this set by my count, and I enjoyed them all. 

Briston Maroney and his band are absolutely worth seeing, and seeing them with Peach Pit is a pretty big steal in my opinion (I got my ticket for $70). Go see ‘em, and let me know what you think. If you were at the show or have seen them on this tour, please add your perspective in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Briston Maroney and I’ll be happy.

*Quick note on the venue*

I’ve said it before, I think The Anthem is the best music venue in D.C. The size is near perfect to bring in big bands in a more intimate setting than a stadium or big amphitheater, and for a decent price (most of the time, depends on the band). One thing I discovered this time around was the marquee bar they have upstairs outside (it’s above the marquee, hence the name). Cool spot to hangout at for a little while if you get to a show a little too early, which I did this time because I thought Briston Maroney was the only opener. BNNY came on when I got there. I didn’t write about them, not because I thought they were a poor performance or anything, they just didn’t interest me. Their final song caught my ear a little bit. Anyways, it does get a little crammed in the GA area at The Anthem for some shows, but there are big bars on all three floors on both sides, so it’s about as easy as they can make it to go get a drink and find your way back to your spot. It’s much easier to navigate if you stand on the sides, and your view is still pretty good from there in my opinion. I have never bought anything but a GA ticket at The Anthem, I just don’t think paying more for a balcony ticket is worth it. There’s no bad view that you can’t move out of on the GA level, and is almost always great (one Mt. Joy show I went to, the sound was a little low, but that seems like a rare one-off now).

I saw Cage the Elephant with Young the Giant in Bridgeport, Connecticut at Hartford Healthcare Amphitheater last week. It was my second time seeing both bands, and both of them delivered something different than the first time I saw them in their performances. 

For context (Young the Giant): I saw Young the Giant at Leader Bank Pavilion in Boston in June of 2023. It was in the middle of their tour off of American Bollywood, and I’d say I came into the show knowing 10 songs or so by them. Always respected them since Cough Syrup came out, but had always been a little adjacent to them. Had never taken a deep dive. 

They had a really psychedelic vibe to them, with a handful of hypnotic, dream-like videos with the lead singer’s voice speaking over playing in between songs throughout the set. Speaking about what I assumed were themes of the album. Overall, they were really solid. Sameer Gadhia sounded great, he just so casually has a broadway-like, booming, pure voice. I enjoyed the show, and walked out saying that I would see them again, but nothing about it impressed me too much. I remember thinking in the middle of the set that they were a little identity-less, and I couldn’t put my finger on what I thought of them. I wasn’t hanging on every song, but I thought it was a good performance. That was it. 

The Second Time: 

Young the Giant had a cool, confident demeanor about them in this show. They were a real luxury to have as an opener, because they could easily (and have) played a headlining show at Hartford Healthcare, and any other venues of that size. This was a show with maybe the two most similar bands, in terms of rise to popularity, established following, and level of live performance as an opener and headliner. I enjoy Cage’s music more, but objectively speaking, I don’t think YTG are much far behind them. Just a tier below. 

Anyways, Young the Giant were really loose. I have no idea how they actually felt, but I think as an opener, they felt a little less pressure to put on a “fan-first” type of show and just focused on playing their music well. That’s what it looked like to me, at least. They played Cough Syrup as their third song again, which surprised me the first time, but I guess I get throwing in one of the bigger hits in the beginning of a set. Just for the neutral crowd, so they recognize who you are maybe? I just think Cough Syrup had be an end-of-set song, if not a closer at times for them. 

After a handful of songs, Gadhia went on a brief speech about how they had been on tour for a long time, and on this part of the tour, they were trying to get back to the feeling of playing live that they had in the early days as a band. When they would go on stage, terrified, and “not know what the fuck was gonna happen,” (not verbatim, but something along these lines). He talked about how, as a band, they’re always trying to change. They never want to fall into patterns of music. He mentioned how they have five albums, and how that’s a lot of music, and they wanted to play songs from all over their discography. So, they broke into a 3-4 songs of deeper cut songs that I thought was really great. 

It was mostly songs I did not know, so I didn’t know what I was hearing. But I liked what I was hearing. I was tapping my foot with great enthusiasm or anything, but I just enjoyed looking at them perform and hearing what they were playing. It was genuine. I could digest it, and it sounded complete. So pure. “Call Me Back” was the song that stood out the most to me in this part of the set. It was really lovely live. Very emotional, and Gadhia sounded just excellent, per usual. 

Before playing “Mind Over Matter,” Gadhia mentioned again how the band is always trying to change. They never want to sound like “traditional” Young the Giant. They never want to chase a sound to gain popularity, pretty much, because “fuck that.” I did not write down his exact words, but I remember him saying “fuck that” to the “traditional sound” sound sentiment. And I fuckin’ love that. Gives me the feeling that Gadhia and Young the Giant have the attitude of making music “for no one,” like that Houndmouth song. Which has one of my all-time favorite messages in it. Anyways, I don’t know if that’s exactly what Gadhia was saying here, but it’s how I heard it and he was definitely implying that the band doesn’t make music for other people. They make what they want to make. And they never want to stick to the same shit just because that’s what people like. They don’t care for that. And that gave me a stronger respect for them than what I already had. 

Gadhia continued to say that this certain album was a big change for them that no one expected, and no one really loved at first. But eventually, “10 years later,” it had become their most popular album with their most popular song on it. Then they broke into “Mind over Matter.” That was cool. 

They closed with “My Body,” which is always a good closer, but I would love to hear something different, like “God Made Man” or something. But they have to play My Body somewhere, I get that. Anyways, this was a really good setlist from Young the Giant that impressed me. I enjoyed it more than the first time I saw them, and thought their playing was simply better. Looser in demeanor, but tighter in chemistry. Loved the inclusion of some deeper tracks, and would highly recommend catching them open for Cage while they’re playing this type of setlist. 

For context (Cage the Elephant): 

The first time I saw Cage was at Firefly in 2021. They were a spectacle, hard to keep my eyes off of, and fun to watch (and hear). I had known Thank You Happy Birthday and Melophobia (more so Melophobia) pretty well going into it, and knew the radio hits off of Social Cues. I held them in really high regard, and still do, and know their music even deeper now because of this show. They came out with Broken Boy (as they seem to do most of the time), and Matt wasn’t even on stage yet. I remember being worried that they were playing without him, because this guy in a fully bodysuit (face covered), came out on stage and I thought it really didn’t sound like him. But Broken Boy came in hard, the instrumentals were awesome and powerful, it didn’t even matter that the vocals were so muffled. I especially remember hearing the overpowering (woosh-like?) sound in the chorus right before “Broken Booooooy” is sung out. I think you all know what I’m talking about, I am just not sure what instrument or synth that makes that noise because it sounds like nothing I’d heard before. Anyways, I didn’t know the song, but I liked it and it immediately drew me in. And it was soon revealed that Matt was the masked man (I think one more song later). Not surprising, they just really had me going for a second. I wasn’t sure it was him. 

To fast forward, the set was electric, with really full sound. Cage has a harshness to them that is very chaotic, and I felt like they really harnessed that chaos. They made it feel organized, complete, even though it was nonetheless a loud, rumbling screeching, trainwreck of a show. Matt was Fucked. Up. He was ballistic on stage, but once he got that body suit off, his voice sounded good. His unpredictable, unique, howling, raspy, etc. voice matches the carnage that their music brings. But he was clearly hurting. At one point before a song, he said something along the lines of, “We talk about regrets. I got regrets…” I don’t remember verbatim, but it was a sad, awkward moment that was cutoff by the band breaking into the next song. Matt also forgot part of the lyrics to Ain’t No Rest, which I’m not knocking him too hard for. That stuff happens, but it just added to the reasons to believe that he was not himself. 

They closed with Teeth, and Brad absolutely clattered his acoustic guitar. There was a second, even stranger moment with Matt after this. The PA system started playing “We are the Champions” by Queen, just as a way to signify the set was over, I assume. And Matt stayed on stage through the whole song, by himself, repeatedly throwing his arms up and getting on his knees, I guess praising the crowd. I’m not sure. But he looked pretty crazy. Then AFTER THAT WAS OVER, the lights came on and he actually stayed on stage and walked around picking up some of the sound equipment. He was stuttering around though, walking a little like a zombie and just looked lost. 

So THAT is what I experienced the first time I saw Cage The Elephant. 

The Second Time: 

The second time did not match that. The chaotic, carnage-filled energy was still there, but not in full and it didn’t feel as genuine. They opened with Broken Boy again, which was surprising, but it’s a fucking killer opener, so I’m for it. Matt addressed his broken foot situation, talked about how he was connected to Bridgeport because he had bought a puppy that day. He also broke into a bit about how the leg scooter that he was wheeling around in wasn’t so bad because was learning how to be because he was learning “new moves” and loved that when he would sit down on the scooter, then stand back up and say “Yuh!” everyone in the crowd would go crazy. He prompted the crowd to follow that reaction throughout the show. It was, dare I say, wholesome. Not a word I like to say, but it’s the best way to describe how Matt was in comparison to the first time I saw him. So yeah, he’s sober as ever, which makes me happy because the guy has been at the front of some life-changing music for me and millions of other Cage fans out there, and he’s clearly in a much healthier state of mind. He even mentioned at one point that he had been through a lot, and that’s a lot of what the album was about, and that if anyone is going through a rough time, they need to talk to someone. Brad gave em’ a kiss, too. They clearly have come together and are not afraid to show that they care about each other. And that’s a great thing. That being said, it was a bit daunting to see how much different Matt was, and it made his performance less “Must see, can’t take your eyes your eyes off of. This guy is fucking NUTS!” To his credit, he managed wheeling around in that scooter pretty damn well. It was pretty funny to look at, but I respected how he embraced it and still did what he could to be entertaining. I felt that, because Matt was hindered a little, that Brad took care of some of the usual body language/interactions with the crowd that a front man usually would. He was out on the small platform often, and was physically the first person I was looking at, at times. That’s just my speculation, though, Brad may always do that, he’s a nut too (and I love em’). 

The Music:

Simply, I thought Cage was playing through their songs way too fast and it made the show less enjoyable. You couldn’t absorb the songs, it was the chaos I talked about in the first show, but not as contained. It felt like they were speeding through songs just to get to the end, like they had a quota to hit, but they set their quota higher than necessary.  Their sound wasn’t as sharp, as pungent, and the power of their sound wasn’t as digestible. What I mean by that is many bands can go up there and be powerful as hell with their sound, make a lot of noise, but when you can feel the power of their sound without wincing a little, and you find yourself banging your head around to their music, that’s when you know it’s good. I didn’t find that throughout the set  and it didn’t quite draw me in as much as their music does in general most of the time. The setlist was 22 songs long, and it really didn’t need to be if they were gonna try to squeeze that into about 90 minutes. I’d rather hear 14-16 songs played without a rush that the band pours into, and pours all over the audience in doing so. Also, the speedy electric sound made them sound a little – a LITTLE… pop-y. For example, I’m not against original acoustic songs being played electric live, plenty of bands do it and it works. But the electric version of Ain’t No Rest for the Wicked did not sound good to me. The hallmark, so-recognizable sound of that song is the slide guitar riff on the acoustic. Without it, I just think it’s a cheap version of the song. It’s got too much of a distinct acoustic sound to make it electric. I respect Cage trying new things, and I’m just some guy, but an electric guitar leading Ain’t No Rest, ain’t for me. 

I loved that they played Telescope, but it was the fastest f-ing version of Telescope I had ever heard. It’s a slow song! I think it’s normal for a band to speed up a bit live, but the chorus of Telescope went by in a blink. I’ll stop bitching about the pace of the songs here, but you get my point. 

Off the new album, they played “Good Time,” “Neon Pill,” and “Rainbow.” I will say, I really thought Good Time was a pretty boring song off the album, but it did sound better live. The chunkier instrumentals in the verse with Matt’s more “rapping” type of vocals sounded cool. Neon Pill and Rainbow are softer songs, and were delivered that way. It was a little strange, at one point, Matt brought up the new record, talked about playing some songs off of it, then the band broke into “Too Late to Say Goodbye.” They played Good Time right after, then Neon Pill two songs later, but it just felt like they were gonna go into a couple new songs in a row. 

Overall, I thought Cage’s performance matched “Neon Pill” as an album: good, but lacking the punch that Cage has always had. I wanted to like the album badly, I was so excited when I saw Cage was coming out with a new album, but I just couldn’t enjoy it as much as I enjoy Cage overall. There are good songs on it, as a matter of fact, I really wish they played “HiFi,” I think that song is better than all three that they played off the new album. But nothing off the new record rocked me like Cage has in the past. And I think this show emulated that. The performance didn’t reach a level as alluring, inspiring, and purely fucking awesome that I associate Cage the Elephant with. It’s not a terrible thing – bands evolve. Change their sound. And they most certainly don’t owe me (or any fans) a single thing. Cage has given me some of my favorite songs ever, and that impact lasts forever. But, if this is how they are as a live band now, I think their best live performances are behind them. 

If you were at the show, please add your perspective in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Cage the Elephant and/or Young the Giant and I’ll be happy. 

*Quick nod to the venue here. I think Hartford Healthcare Amphitheater is a really underrated venue in Connecticut, and in New England in general. The sound is always cool there, it’s a great medium size and tickets are never toooooo expensive (given today’s prices). They also do a $29 ticket deal if you buy in the venue for some shows. Lastly, YTG came on at 8:00, Cage came on at 9:25 and played until about 11:00.*

I saw Caamp on Friday night at the Anthem in Washington, D.C., with Whitney as their opener. Both bands put on a great, high quality performance. Unfortunately, the show cannot be described without mentioning the damaged viewing experience due to a distracting, inattentive and disrespectful audience. For brevity’s sake, I am going to put my remarks on that HERE, and leave this post to talk about the performances.

The Opener: 

Fan Context: 

I’ve known Whitney for a couple of years, and recently became a big fan of their song, “FTA.” I knew only “Southern Nights,” and “Golden Days,” before that. And in total, those are the only three songs I had saved by them before the show. But, I knew that I liked them, because they are clearly pretty unique. And the fact that they were opening for Caamp was really convenient I thought, because I would probably go see Whitney in their own show if possible, but paying the price of one ticket to see two bands I like? Sold. 

I walked into The Anthem at 7:40, and Whitney came on at 8:00. The lead singer said, “We’re called Whitney, and we’re gonna play 45 minutes worth of songs for you.” 

What immediately stood out to me was that the lead singer was also the drummer. I had never seen that live before. He had a smaller drum set, sitting right in the middle. I said they were unique! And that certainly was. I did not know that was the case. Anyways, they performed in a six piece, with electric guitar, acoustic guitar, bass, drummer (lead vocals), piano/keyboard, and a trumpet player, but he also had some kind of sound board in front of him that he used throughout the set. Anyone who might know what that was, please fill me in. 

It was cool hearing the lead singer’s voice live, because in their studio recordings, it seems to be often pretty saturated. Not a bad thing, but he sounded cleaner live and lived up to the consistent falsetto he sings in. They opened with Valley (My Love), and I was pleasantly surprised by Golden Days as the second song. I was impressed almost immediately by they’re sound. They were really light instrumentally, but very “well-strung” is the adjective I’d used for it. Very light, but it was still six different instruments being played at once, so a wall of sound was there, it was just a thin wall. It was really pleasant because it complimented the singer’s voice really well, he really glides over their gentle instrumentals. I also thought that the lead singer being mostly immobile due to him also being the drummer, it anchored the rest of the band to an extent. The other members moved very little, it was as if they had their own stations and just stuck there. But as I said about their sound, they were also pleasant to look at because of this “anchor” aspect I’ve just mentioned. While it wasn’t a “hard to look away,” grabbing-your-attention type of presence that they had, they were easy on the eye. Which I think is worth noting, and speaks to their music, which is easy on the ear. 

The third song had a long vocal intro accompanied by some piano, and the instrumental breakout from that intro really struck me. I liked it a lot, but can’t find what the song was on setlistfm. Anyone who may know, please shout it out. 

They played two unreleased songs after that, one of them had a long jam in it that was impressive. I think he said the other one was called “Back to the Wind” and that it would be out in a few months. 

I enjoyed “No Matter Where We Go,” it had a cool change of pace in it in the middle, which I don’t believe they do in the studio recording after listening to it, so that was a cool live touch. 

Before the next song, the lead singer said, “This song is about getting drunk.” Then, ironically, he messed up the beginning drum fill and he had to start over. They certainly weren’t drunk, or didn’t seem to be, but it was funny that he made a mistake that you may make if you were drunk right after saying that. They started it again and it was fine. I believe the song was “The Falls.” The electric guitarist used a slide on this one, it sounded really sweet. Overall, he was really smooth the entire set. He is definitely one of the more valuable pieces of the band’s identifiable sound, outside of the singer’s voice, of course. 

Lead singer made a mention of his parents being in the audience, made a mention that his dad was getting knee surgery and shouldn’t be standing for this long.

They closed with “No Woman,” and ended right at 7:45. 

Overall, Whitney was really good. At one point, the lead singer said “Alright, we’re cookin.” And “We’re makin’ magic up here.” Not in a cocky way, just a plain-toned statement. And he was right. They were really strong instrumentally as I mentioned, and the bassist and acoustic guitarist provided great backing vocals to the lead singer, who was pretty spot on the whole time. It was an impressive set that was a bit underwhelming, mainly because of the audience. It felt like no attention was on these guys. Anyways, you know my thoughts on that already. Whitney was very good and I commend them for playing really well through a mostly disinterested audience. If you are going to this tour for Caamp, it is worth showing up early and seeing Whitney’s set, totally. As I said, they are quite pleasant and quite the luxury to have as an opener. 

Caamp: 

Fan Context:

I have known Caamp for years. I remember hearing “Iffy” for the first time, and noticing that they spelt their name with two a’s back in college. That was the first song I had heard by them. But, over the years, I never gave them too much of my time. I noticed their rise in popularity, but not through my own listening, through friends that were playing their songs. I started to know more songs of theirs mostly through other people showing me them. I have eight of their songs saved, but I had been listening to them more frequently over the last year or so, and liked the new album, and knew I wanted to come to this show as soon as it was announced. 

Caamp came on at 9:10, and opened with Lavender Girl, which I was surprised by. I thought that would be a later-in-the-set song, just because it’s a little more emotional and slow. But hey, ya gotta open with something, and they played it a little more sped up. It worked and sounded good, I just personally think it would be better later in the set. 

They performed in a six-piece as well: Piano/keyboard, acoustic guitar (lead vocals), banjo (of course), electric guitar, drums, and the bassist played a real skinny bass. It was cool. 

They went into Snowshoes second, which really drove some more energy into the atmosphere, I thought. It was really well done, the banjo solo was excellent. I thought it aroused the crowd a little bit more. Not that Lavender Girl didn’t, but it’s just got that buildup that helps boost the beginning of a show. I think it would be a better opener than Lavender Girl, but you can’t go very wrong, both are great songs in whichever order you put them. And all of this being said, the crowd was still, overall… Well, you know.

They slowed the pace down a bit in the third song, I believe it was Wolf Song, the common lyric “Always thinking of you” in it. It was quite nice, a good soft one. 

They followed with two more slower, softer, songs – Apple Tree Blues and Misty. I enjoyed both of them, two I hadn’t heard before. There was so much damn chatter going on, though. Regardless, I just remember thinking they were good songs, but couldn’t make much else of an impression beyond that. Listening back, Misty is an especially beautiful song lyrically. 

They sped up the pace after this, with the upbeat and jangly, “I Keep Going.” The bassist switched to a big, standup bass for this song and a few that followed, don’t remember how many.

Lead singer made a mention of the new album, and they went into a porch swing lover. Not my favorite song off the new album lyrically, bit of an Elton John-type song name, but a catchy one and I enjoyed it live. 

The Banjo player sang the next song, I believe it was “There She Goes.”

See The World was after that, and then they slowed down again with “Send The Fisherman.” This one really struck me, stood out more than any song at the moment, and was my favorite song of the set. Meier’s voice was really booming during it, and then that lyric with “… shit out of luck” really grabbed my attention. Not quite sure why, maybe because Meier delivered it really emotionally. They added a really long outro at the end that I loved, but unfortunately so many people were talking during it, it wasn’t nearly as enjoyable as it could have been. Sigh. 

The lead singer walked off stage during the outro (I think) of Send The Fisherman, then came back out they all gathered together in the middle and sat down. I think it was the lead singer, bassist, and guitarist in the very middle, with the drummer and keyboardist staying in the background. They played “Shade” off the new album and they sounded great during that. Meier wasn’t playing guitar for the first time and was just singing, his voice was most impressive at this time in my opinion. He sounded really pure, still his usual raspiness, but more powerful and pure. I’ve always said that he sounds like a cigarette in a library, so raspy and quiet. On this song, he pinched to another level just above that sound, very sweet, but just a little bit more punchy than usual. It was lovely. 

They did “Somewhere” next, which is one of the songs I’ve been listening to most this year and one of, if not my favorite off the new album. They were still sitting down at the beginning of the song, then got up halfway through and played the big change in the song really emphatically. It was a great build up, and they nailed it. Only thing that slightly missed was that Meier was a bit too far away from the microphone when he said “Higher than you’ll ever know.” We just heard “Thank you’ll ever know.” Call me nitpicky, but I can’t help but point that out. 

Meier switched to electric guitar next, and said “You ready to hear some rock n’ roll?” They played some of their heavier, bluesy old school rock-type songs to follow, including a cool and more electric version of Peach Fuzz. I didn’t know the other ones. Peach Fuzz was more sped up live. Meier was really impressive in these songs on electric guitar. Showed off his versatility, he was playing lead and nailed some solos. 

“Hey Joe” was after this, the first time I heard that one too. Listening to the studio version, it was more energetic live, with all the electric instruments if I’m remembering correctly. 

Next, another example of how inattentive and talkative this crowd was. Meier asked, “Do you wanna hear Common Man?” There was little to no response. And I believe Meier was a bit annoyed here, because he then said. “I’m genuinely asking, Do you want to hear Common Man?” I personally couldn’t understand what he was saying, but I’d think if the place was filled with people paying attention to the music, the reaction from the bigger Caamp fans in the room who could make out what he was saying would have outweighed the sound from everyone else. 

Continuing on, a really cool thing that happened was that Meier played the drums for a few songs, and the drummer came up front and played guitar and sang a little. Meier really killed it on the drums too, I gotta look more into his background because he was a much stronger instrumentalist than I knew him for. 

Meier gave a shout out to Whitney at one point, saying how much he respected them and their demeanor on this tour. He explained that they had had some bad luck on the tour, talked about how it’s so hard to do what they do every day, and when things out of their control happen, “it’s tough.” Does anyone know what he’s referring to? What’s happened with Whitney on this tour? 

They did a Walkin’ on a Dream cover after this, which I unfortunately wasn’t surprised about because some guy next to me mentioned it earlier in the show. Don’t know why he needed to do that, but I hope that guy had a lovely fucking night. Anyways, it was a really cool cover! I enjoyed it, and it honestly wasn’t even very blue grass/folky, despite having a banjo. Meirer was on the drums for this one too, they hit it well. I don’t mind a quick cover like this, it was done well and they didn’t mess around too much during it. I think they did a good job of adding their own twist to it, but not spending too much time playing someone else’s song. That usually turns me off when another band’s song becomes a significant part of a set. 

There was a really long and proper bangout outro in “Going to the Country, that was cool. 

At one point, Meier walked off stage and the band played a short jam. Then, the band walked off stage and Meier came back out to play “Strawberries” by himself. Really showed off his voice again here. I had never heard the song before but it was really pleasant. I liked the picking pattern, and he played it on electric, and I see the studio version is played on acoustic. 

“Believe” was next, and was finished off by a transition into “War Pigs” by Black Sabbath. Again, this was about 30 seconds to a minute of covering the song. It was a cool addition, so I’m for it. The bassist did a pretty good Ozzy, I will say! Credit to him. 

They encored with “Mistakes,” first, which I really liked off the new album. Just a solid electric song for them, catchy melody, very good live. 

Last song of the night was “26.” They didn’t play Bye and Bye! Which was fine by me, they really didn’t need to. Meier said “This young man right here chose your last song of the night,” pointing to someone in the crowd, who I assume had a sign with 26 as a song request on it. So if ya go to a show, you just might get a song you want if you ask. Who knows. 26 was a good closer, I think they have a couple of songs they can go to for that. But it sounded great, was a fun one to end on. 

I would have love to hear “So Cool,” and “Bye And Bye.” But like I said, no more songs were needed. Overall, it was a really strong setlist that flowed well I thought. It was satisfying, and I think it’s clear Caamp is at a very high level, perhaps their highest level of live performance right now. They showed a lot of confidence, as most bands do live, but it was pretty apparent with them that they feel good up there. This has got to be their biggest tour too, right? So, it makes sense. They’re feeling it. 

Caamp put on a very good performance that is worth seeing. My tickets were $84, which isn’t cheap, but I’d say it’s a worthy price. They’re a really good band, and their live show is very tight (the good “tight”) and well done. They clearly have a setlist down that allows them to deliver a powerful live performance. However, my point still stands that the audience was a disappointing factor in this show. I tried my best to give them a fair shake here, but I would love to see them again in a better atmosphere to develop what feels like a stronger opinion on their live performance. 

Quick note on the venue:

I think The Anthem is the best music venue in D.C. It’s size is pretty unbeatable. Fits about 6,000 and the GA section is big, and they have one on all three floors. I’ve seen some excellent shows in there, and the sound is almost always fantastic. There are big bars on both sides of the GA section, and you can always run up to the second or third floor if it gets too crowded. Bathrooms are the same way. It was $12 for a beer though, which you’re gonna get at most venues these days, unfortunately. For the music, however, it’s a top tier venue.

Go see Caamp, and go see Whitney. And please add your perspective in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Caamp or Whitney, or both, and I’ll be happy.

*A quick nod to the opener

I walked into The 9:30 Club at 8:22 and caught the end of Cassandra Coleman’s set. She’s got a stunning voice. She’s really made for an opera house or a theatre. That’s not to say she doesn’t belong in a venue such as this one, it’s more of a compliment to her singing. One of the songs she said was about “that guy right there” and pointed to one of her guitarists, which was interesting. I’m pretty sure that’s what happened, someone correct me if I’m wrong. She was introducing the song and that got a little rise out of the crowd. It seemed as if it was a song about a breakup though, “If you’re gonna leave me tomorrow,” was the lyric I wrote down. It was a truly beautiful song, my goodness. Her voice is so powerful yet so pure.

She had two guitarists with her, and the one on the left switched to a keyboard at one point. The guy on the right of her played both acoustic and electric guitar. The guy on the left played both as well I think.

She did a cover of “Firelight” by Young the Giant, which is a really cool song to cover because it’s not the biggest hit for a popular band. It’s a known song by them, don’t get me wrong, but it’s not what everyone thinks of when they hear Young the Giant. Perhaps this is why my mind went to “Same Folk” later on when listening to “Normal Things” by The Brook and the Bluff.

Before the next song, she said, “This song is about drugs.” “So long my friend, we’re porcelain,” was a lyric that stood out to me.

Oh, and there was some sort of kick drum they were using too. But no drummer.

“Bite my Tongue” was the last song, which apparently my girlfriend sent to me at some point and I must’ve missed it, or just seen it and decided not to listen to it. Silly me. She explained that it was written for a Netflix show.

Anyways, she came off at 8:48. You should definitely go see Cassandra Coleman before The Brook and the Bluff. At least catch some of her set. Her voice is incredible. She shouldn’t be here, she should be in a theatre. So catch her now. I, myself, need to give more time to her music. To add, it’s not just her voice that stands out, it’s obviously the headline on her, but the songs I heard had a good build, powerful melodies that fit her voice too. She catches your attention with more than just her voice, but there’s good songwriting in there too.

I saw Chris Lake at Glow Block Party Festival this past Saturday, which amazingly happened on Pennsylvania Avenue, right next to the National Mall in Washington, D.C. This is new territory for me, as I am generally not a fan of EDM or most electronic-focused music at all and I’ve only been to two other true live DJ shows, but I am not writing this to bring down the genre. As a matter of fact, I’m trying to show my respect for it. After seeing this show, I am certainly more understanding of live EDM’s appeal.

Fan Context

I love live music and my beef with EDM has been that it just never feels truly live to me. In no way do I think being a DJ and making electronic music doesn’t require talent, but I do not know what they’re actually doing up there on stage. It feels like all the work goes into making their mixes, and then playing them live is relatively easy. Now don’t come for my head, I’m well aware that I could be wrong about this, but this is just what it seems like from my view. Please inform me on anything I might be ignorant to.

Lastly, on the music in general outside of live performance, I don’t enjoy listening to EDM. I find it mostly jarring and not pleasant to my ear. And by pleasant I don’t mean “soft music” necessarily – I saw Metallica a couple months ago and loved it, although metal is not my go-to either, I’m generally a fan of rock, alternative, some folk, etc. And while lyrics really appeal to me, it’s not even the lack of lyrics in EDM, as I also like instrumental music a lot (Khruangbin is one of my favorite bands). I did have a friend once tell me that EDM is like “taking the safety off the gun,” which is probably the metaphor that opened me to it most, marking how it allows creativity in its unpredictability, which I respect. But still, it just hasn’t satisfied me. House music I’m a little more open to just because I think it’s a less overwhelming listen, but that’s about as far as I go.

And the two other live DJ sets I’ve been to are Laszewo at a bar in Brooklyn, and Diplo at Firefly in 2021.

The Show

ALL OF THAT BEING SAID, this show was special, regardless of whether or not I was a fan of the music being played. I realized that EDM shows might be just as much about the overall spectacle than the music itself, and that’s how it could (potentially) appeal to anyone. You could probably say that about any show for any music, but I think it’s very prominent in the culture of electronic music, and maybe more than others. And in this case, the spectacle was especially incredible. The weather played a factor in that, as it always does with any outdoor show, but it was gorgeous outside and the coolest thing about it was where we were: Pennsylvania Avenue in the heart of D.C., directly in front of the capitol building, with the Washington Monument basking in the sunlight and then the moonlight as the night went on, staring down into an outrageously joyous scene lighting up the street below. And it’s just a mile from the White House, for those who don’t know. At one point, Chris Lake came over the microphone (I believe right before a beat drop) and said, “I can’t believe they’re letting us do this.” It was awesome.

Anyways, still speaking on the spectacle, the lights from the stage were ridiculous, of course. There’s something about when the music is building in a DJ set, when it’s a little quieter, and you just realize the sea of people swaying around as if almost coordinated. It’s like you are truly interacting with the music only. A band will have a singer who interacts with the crowd occasionally throughout a set, and is vocally interacting with them every time they sing. But at an EDM show, it’s as if the music is completely controlling the crowd. The creatures, I should say, because these shows are where the true creatures come out. And honestly, it’s fucking awesome. It’s not my thing, I don’t think you’ll ever get me to dress like an EDM fan at a festival, and it’s a little scary, but it’s still awesome. It’s like for a moment, we’ve all become aliens at an EDM show. As the music changes unpredictably, and as each drop comes, you stare into the lights and let the sound take you to another universe. And obviously, on the proper drugs, that can be an out-of-this-world feeling. I saw Tame Impala at Firefly as well as Diplo, and my friend turned to me in the middle of the set while we were rolling and said something like, “Close your eyes. Think of something that stresses you out. Now open your eyes and look at the stage.” And while this wasn’t an EDM show, I think this mindset applies to experiencing live EDM. There’s a clear connection to the music that allows people to go somewhere else and wash away worry, and maybe even become someone else – transform into a creature, if you will.

Speaking on the music, this was the first time I really felt like I could compare DJs. I got there early enough to see all of Joy Anonymous’s set, and when Chris Lake came on, it was clear that he was better. Not that Joy Anonymous was bad, and I don’t really have much depth in my analysis of a DJ, but Chris Lake’s music was more awesome. And I mean that by the physical definition, if that makes sense – it was just more powerful. I didn’t necessarily have a favorite moment or anything, but he was… more creative with his mix? I guess one moment that stood out to me was when he mixed in “Thunderstruck,” that was pretty unexpected. Not the song choice itself, but when he mixed it in it was just extra surprising, I guess.

The one thing I will say is god damn, this was a long set. He played from 7:30 to 10:00 and I can only sway back and forth and throw my hands in the air for so long, I don’t know how you freaks do it (I mean that as a term of endearment). I don’t need a show that long even for music that I love. So, it did drag on a bit too long for my liking. Also, a note for the festival itself – the beer line was a total lost cause in between Joy Anonymous and Chris Lake. It was just a sardine gathering of people and was totally fucked. I’m not upset about it, it’s expected at a festival like this. But I’m just saying, it was by far the most unorganized and chaotic system I’ve ever experienced. Honestly, it’s pretty funny thinking about it now. Those poor bartenders.

Anyways, this was a really cool show. It didn’t make me enjoy EDM much more when it comes to listening to it, but it did make me gain a greater respect for the experience of the genre’s live shows. They are special when done well, and I think it’s really important to see all kinds of live music to build a perspective and appreciation for it all.

So for those of you on the outside of EDM, go see Chris Lake, or just go see a DJ set in general. Especially at a festival, if you can. The spectacle for Diplo at Firefly was also amazing. Look around as much as possible. Let the scene and the music take you somewhere else.

If you were at this show, please add your perspective. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Chris Lake or EDM and I’ll be happy.

I saw Cut Worms at Union Stage in Washington, D.C. on Friday, April 17, and I thought it was a really good show. I think Max Clarke is a fascinating songwriter, and that he’s really above a three-quarters full show at Union Stage, but I’m not complaining about being able to see him in such a setting. He’s got a really unique style, and his demeanor on stage matches the wonder that he provokes in his songs. He really makes me wonder – about him, about what he’s talking about, about where these songs are coming from, which is a trait of an excellent songwriter in my opinion. Several of his lyrics stood out to me, and his guitar-playing style is very creative. He had strong support from his band as well, and overall it was a great performance.

Fan Context

I was first introduced to Cut Worms when a friend sent me “Ballad of the Texas King” months ago. I really liked the song, but didn’t pursue more of his music after that. Then, sometime in late February, Spotify put “Windows on the World” on my front page and I listened to it and really liked it. And when “Transmitter” came out in full, I listened to the whole album and enjoyed that too. I didn’t listen to individual songs much more than Windows on the World, but I knew I liked Cut Worms’ sound and just kept Clarke and his band in my mind somewhere. And when I saw they were coming to Union Stage, it was an easy “yes.” So, overall, I came into the show as a supportive fan of Cut Worms but not a deeply knowledgeable one quite yet.

The Show

Cut Worms came on at 9pm. A slow trumpet song came on the speaker before and as they walked out on stage together. Not sure what it was, but if anybody by chance knows the name of that song, let me know. It was cool.

They opened with “Worlds Unknown,” the first song on the new album, which I really got a kick out of, because I remember thinking how great of an album opener that song was when I first heard it, and of course how it would be good to open a show too. It just has a great build, it’s exciting, makes you move a little bit, and has that comforting guitar part that rings out a couple times – bum, bum, BUM. You know what I mean if you hear it. It adds a stronger, heavier instrumental to the song that brings the build up of it to fruition. Just a well-structured song and a near perfect opener in my opinion.

Right away, I thought Clarke’s guitar sound was great. He was playing a gorgeous black and white electric, had a really crunchy sound that I’m always a sucker for. His vocals were strong from the start as well.

They played as a five-piece band: Three guitars including Clarke, bass, and drums. They had a sweet guitar sound altogether, and the guitarist in the front of the stage to the left of Clarke (the other was behind him to the right) was the most supportive, he had a sweet sound and played the steel guitar really well in some songs. I’ll get to that.

“Evil Twin” was next. Two songs from the new album right away, which is cool. Went well.

After this, Clarke addressed the crowd for the first time, saying “Thanks for comin’ out, we’re Cut Worms… what is today, Friday? That’s a good day.” Then, funnily, he played “Long Weekend,” and the first lyric of the song is “Friday nights, I go out walkin’.” I got a laugh outta that. I really liked this song, the lyrics at the end: “I’m goin’ out for a while” I enjoyed. Because, I mean, shit, sometimes you just need to get out for a while. And that’s what it sounded like, “I’m just goin’ out for a while,” as if saying “I gotta get outta here, I need some open space,” at least I think.

“I’ll Never Make It” was next, which brought a country blues-ish instrumental sound. Maybe not so much country, but just a twang of some sort? I’ll call it “southern blues” for now. It felt like a slow dance song, but a sad one with the lyrics. Anyways, It was the first time the lead guitarist played steel guitar and it sounded really sweet, as that instrument pretty much always does. It’s so cool, it always adds something very nice to a song, such a great addition that can take a song somewhere else.

They played I’ll Never Make It straight into “Alien Sunset,” without stopping. It was a cool transition moment, with Clarke playing the opening riff as if Alien Sunset was a part of I’ll Never Make It. Having not heard either song before, I wasn’t sure it was two separate songs at first, or just a significant change in I’ll Never Make It. Anyways, cool song. Listening to the studio version now, I will say it sounded less distorted live. The studio version sounds almost “surf-rock” -ish. The song had a bit of a bouncier guitar riff as well.

They played “It Won’t be Too Long,” next. This one certainly had a southern-ish blues sound, too. But again, it’s hard to say it’s a country song because Clarke’s voice doesn’t have a twang to match that instrumental sound, at least I don’t think, but it still works. The steel guitar was really prominent and sounded great. The chorus I really enjoyed, “I know it won’t be too long before we’re free.” Fun, catchy song. Their sound proved to be pretty dynamic, a lot of different stuff they throw out there. You could describe their sound as being pretty light rock, but within that there is no definition that I can quite put on them (in my limited listening experience so far). They seem to have a really versatile build of sound throughout their albums. I need to listen to more of them.

It was funny, after this, in between songs, a fan yelled “Cut Worms rules!” through the quiet. Clarke said, “Why thank you.”

I thought from the start that Clarke seemed a little shy. He’s just about his business and that’s it. He seemed focused, and doesn’t seem to care for much outside the music while performing. I’m not quite sure how to peg him, but like I said, his demeanor matches a lot of his songs. He’s very gentle it seems. Doesn’t crush you with some dramatic presence, but still draws you in because he’s interesting. I could very well be completely wrong about all of this, but it’s just what I thought while watching him.

Clarke moved to the keyboard next and played “Always on my Mind.” I thought his voice punched out more when he sang while playing the keys as opposed to the guitar. The keyboard riff was really pleasant in this one, pairing with the guitar really well. “All the experts talkin’ all around, say it’s the worst that they’ve had all year” lyric really stood out to me. This is one of those examples of him making me wonder. What’s the worst that they’ve had all year? What is this about? A lyric like that can really draw me into a song when I’m not quite compelled by it yet.

After this, he said that was only the second time they’ve ever played that song live. A fan yelled, “We like it!” Clarke said in response, “Glad to hear.”

Clarke then said before the next song, “This is another one from the new record… titled ‘Transmitter,’ for sale at the back of this room! Get your copy now, today… Just kidding.” He was doing a sarcastic gimmicky voice, I guess joking about trying to convince people to buy the record.

The song was “Shut In.” I really liked it, there was a sweet guitar riff from the lead guitarist. He’s really important to their live performance, really talented. He looked like a young kid too. Good for him. I believe the riff in the studio version of the song is played on an acoustic guitar, but I’m not sure what exactly the instrument is. Anyways, he played it on electric live and it was really nice. They played completely electric if I remember correctly, no acoustic throughout the show. Someone correct me if I’m wrong.

Some more powerful lyrics in this song that I really enjoyed. Seemed like a more emotional song just in the sound of Clarke’s voice. “You must be thinking of someone else,” “I wasn’t invited I suppose,” “I just like the comforts of home.” I haven’t given a ton of thought to what it’s about quite yet, but it just seems to be deeply emotional, almost an apologetic, tired, desperate sound in his voice. And, listening back, the “You must be thinking of someone else” melody… Does this sound a little bit like the Beach Boys? Am I crazy?

They played “Out of Touch” next. Hearing “I can’t make the grade” in this song, I couldn’t help but think about “A Day in the Life” by the Beatles. Anyways, this song went over well, too. Really pleasant rhythm and an easy melody to lean into.

“Ballad of the Texas King” came next, which I mentioned was one of the two songs I spent extended time listening to coming into the show. It sounded good, but I have to say that I think Clarke forgot the lyrics at one point, or maybe just messed up the melody a little bit. In the second chorus, he sang “I put my fooooot, in the gas for the last tiiime…” when I believe the lyrics are “I put my foot in the gas tank for the last time.” I’m not sure if he did that on purpose, but there was definitely a moment that felt like something wasn’t right. Regardless, it didn’t take too much away from the song, still sounded great. I just write what I see/hear. The steel guitar was very prominent in this rendition of the song too.

“Castle in the Clouds” was next. Clarke played a longer, impressive bluesy piano intro. Definitely some more of that twang I talked about on this song also.

The whole band except Clarke left the stage after this, and Clarke stayed at the piano and played, “Dreams,” the last song from the album that I really liked upon my first listen through it. It was a little annoying that the crowd started talking a lot in side conversations during this song – it was a bit of a lull in the show and a slower song, I get it, but I would think that would make you want to be even quieter, as it’s a moment that calls for more specific attention, ya know? When the music is the only sound you can hear, especially when it’s just one instrument and a singer, that’s a beautiful thing. Anyways, I’ll get off my soap box on that topic. See my Caamp review for a longer discussion on audience “etiquette,” for lack of a better term.

But it was funny, by the end of the song, the audience was pretty quiet. It felt like Clarke had gained back their attention the more he played. To note, I thought he also looked a little disappointed in himself at the end of the song? If anyone was there, let me know what you thought. He seemed to be thinking hard about what was coming next on the piano and moving a little slower. He took some slightly longer pauses, it just seemed like he was playing it a little slower than the original recording, which is fine. It’s a beautiful, beautiful song. The piano in it is lovely, he sang it well. But looking at his body language, he seemed a little uncomfortable and when the song ended, it looked as if he thought, “That wasn’t my best.” I could be wrong, just my observation.

He stayed on stage by himself and played guitar next, playing “Cave of Phantoms.” This was a really cool song, and I noted it was my favorite of the set at the time, and thinking back, it probably still is. The lyric, “Real life ain’t real enough” early in the song drew my attention. And I loved the way he played it on guitar. My friend noted that the chord progression was really cool. He figured it out after the show that it was E F#m B E, E F#m B E, A E A E, C#m G#m, F#m B E, for anyone wondering. Anyways, really catchy song and it was really compelling having Clarke play it solo. The studio version sounds a lot different than this live version sounded. It has that more southern sound and a steel guitar with some light drums. It’s cool that when you just put an electric guitar and Clarke’s voice in there alone, you get a much different impression of the song. At least I did.

The band came back out after this, and they played “Walk in an Absent Mind.” This was a great song. “Drinking straight from an hour glass” is a really creative lyric, and “You don’t know the first thing about true fear” also caught my ear. It’s this stuff that makes me ask, “What story is he telling here?” I hear something really profound in his lyrics, there are just some intense statements in there. And “Drinking straight from an hour glass” has to be a metaphor for losing time, right?

They played “Windows of the World” next. Went very well, great song.

Clarke then said something along the lines of “Thank you all,” and the same fan who shouted “Cut Worms rules!” earlier spoke up again, exclaiming, “You’re not gonna quit, are ya?” Obviously encouraging him to keep playing. Clarke responded, “Don’t tempt me… to quit,” with a smile. And then said, “No, no… we’re not quitting yet, we got a couple more.”

“Barfly” was next and since listening back to these songs, this has become my favorite Cut Worms song (so far). “I’d give you half of a real conversation if I didn’t have to try so hard,” is a painfully sad lyric, but so direct. I think that’s part of what I love about Clarke’s writing in my limited knowledge of it so far – he says things that seem to be painfully true in a way that is so head on. I guess the way that he puts everything makes him… believable to me. I don’t know what he’s talking about, but when you put it that way – “I’d give you half of a real conversation if I didn’t have to try so hard,” I believe you, damn. He just paints a more compelling picture of the truth it seems. Also, “I can’t stand the sight of anyone, but I feel alright with you” is my favorite lyric from this show. I realize that liking all of these lyrics probably makes me sound like a dark and introverted person – I promise I prefer love and happiness, but I just think they are so relatable, and especially this one. I think we’ve all had times in which seeing people is just too damn much, except for the one person who makes you feel alright. It reminds me of a great Floodlights lyric from their song, “Nullarbor:” “It’s nothing personal, I just need a people drought.”

After this, Clarke looked down and said, “I have a setlist here, but it’s no good cause I can’t read,” which was funny.

“Living Inside” was next. I liked this song too. “Summer’s almost gone, never seems to last too long.” Boy, ain’t that the truth.

They played “Don’t want to say Goodbye” next, and then I did not note the last song before they left the stage. If anyone knows, please fill me in.

They went off stage at 10:18, then came back out a minute later. Clarke said, “Okay this song is actually one that is not released yet.” My guess based on the lyrics is that it might be called “Laughing through the pain.” It was good! He played a little harmonica solo in it also.

They close with “Veteran’s Day,” which was great. I think it was an outlier in the sound of this setlist. I liked the chorus, “You don’t know what your love can do to a fool like me.”

Clarke said at the end of the song, “That’s all we got, thank you.” They ended at 10:29.

I highly recommend seeing Cut Worms on this tour. Max Clarke and his band are a really unique show, and I think there’s a clear reason why the same guy performing at as small of a venue as Union Stage is getting his albums produced by a figure as big as Wilco’s Jeff Tweedy. There’s clearly a respect for his songwriting and creativity, regardless of his popularity. So go see ‘em! It’s a worthy show, very pleasant, and overall, really unique music performed well.

If you were at the show or have seen Cut Worms on this tour or any time before, please add your perspective in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Cut Worms and I’ll be happy.

*I walked in right as the opener, Liam Vazar, was closing his last song. If anyone caught him and his band, let me know how they were.
Setlist
Worlds Unknown
Evil Twin
Long Weekend
I’ll Never Make It
Alien Sunset
It Won’t Be Too Long
Always on My Mind
Shut In
Out of Touch
Ballad of the Texas King
Castle in the Clouds
Dreams
Cave of Phantoms
Walk in an Absent Mind
Windows on the World
Barfly
Living Inside
?
Don’t Want to Say Goodbye
Veteran’s Day

*Some notes on the venue*

Union Stage is great. It’s on the Wharf in D.C. and on the metro line, which is a huge plus. It’s also worth driving if circumstances call for it, because the parking garage is $20 on weeknights in my experience, can’t speak for weekends, but if you’re planning on being able to drive and want to get out of a show quickly, parking is gonna cost you as much, if not less than an Uber, minus the wait time.

It’s a small venue, and it’s really just a bar with a stage downstairs, which is awesome. On their website it says capacity is 350 people. But there’s enough space in there that you aren’t on top of people. Now mind you, I’ve only been to two shows there and neither were sold out. But in comparison to D.C.’s Atlantis, for example, it’s a lot more spacious than that. 7500 square feet. There’s a bar on the right side and they do sell food, I saw pizza and sliders on the menu amongst other things, but that’s rare and a nice last resort if you’re really hungry at a show. There’s a small “VIP area” for lack of a better term, in the back right side behind the GA area. I’m not sure if you have to pay more to sit back there, but it seems like you do.

Anyways, it seems like a lot of great bands/artists play there. I hadn’t started looking for shows there until I noticed Bad Bad Hats were playing there a couple months ago, and in just a couple months time, another artist I liked was playing there. It seems to attract a good mix of niche acts that allow a bit of a cult following to enjoy bands/artists they like in an up-close environment without a massive crowd to work through, while also attracting acts like Quinn 92 on Wednesday night that sold out. I wasn’t there, but I’m sure it was a great show in a venue like that. I love having space and will take a half empty venue any day, but being at a sold out show is also great fun. So there’s a good mix that comes to Union Stage in my early experience at the venue. I joked with my friend yesterday, saying “Your Discover Weekly plays at Union Stage.”

The Opener:

Daisy the Great were the opener ahead of The Vaccines. I arrived early to ensure I would not miss The Vaccines and happily watched their whole set. They were a little weird, but the two singers were lovely together and the guitarist rocked on the songs that allowed him to. They had a bit of a dark sound, and were a little hippy-esque in their look. Don’t have much to report on them other than that, but I thought they were a quality live performance, caught my ear with a couple of songs, and were worth checking out on Spotify after.

I saw Dope Lemon on Tuesday night at the 9:30 Club in Washington, D.C. What an odd experience it was, but a pretty damn good one. 

Quick note on the opener: 

I got to the venue at 8:01, and the opener, Kate Peytavin, came on at 8:06. It was just her and an electric guitarist. She’s got an incredible voice, really deep and just pure. My overall consensus on her was that she could use a full band, and that would make her a lot better. Which is a bit surprising for me, because while I love loud rock music, I’m also a big fan and proponent of stripped back sound, especially when the lead singer has a great voice. But her voice is so powerful, if she had a full band backing her, they could be pretty killer. 

She was also really dry with her interactions with the crowd. I’m not gonna judge her too much because I don’t know what’s happening behind the curtain, tours are long and it’s gotta be hard to always look not exhausted while you’re up there, and she’s singing with just a guitarist backing her, which I can’t imagine is on purpose/ideal. Anyways, she held up a sign midway through the first song that read, “My name is Kate Peytavin,” instead of just saying it. Creative, sure. But it said her name on the back screen already, though. She made a joke saying that she was from D.C., then said that she’s actually from Louisiana. Then at the end of the “last song” she said “Remember how I lied to you earlier about being from D.C.? Well, I lied again. That was not the last song.” Something like that. Then told the crowd that she was going to walk off for a couple seconds, and they were going to chant “Encore, encore…” as if she was the headliner. She actually did it, and the crowd did go along with it. Surprisingly, a successful bit. Anyways, my point is she was very dry, and a little self-loathing. 

I thought “All I do” was her best song, I believe she played it third on the setlist. Again, a lot of potential there with her, but I believe she needs a band. 

Fan Context on Dope Lemon: 

I was introduced to Dope Lemon about five years ago, and it actually took me years to realize that he was Angus Stone. I only knew the big Angus and Julia Stone songs, ya know Big Jet Plane and Chateau, but that still gave me some good context on how much music this guy had. Of course, Marinade and Uptown Folks really stuck out to me, and I later saved Fuck Things Up, Lonely Boys Paradise, and Rose Pink Cadillac. I listened to him sporadically over the next couple years, always thought highly of his music and considered myself a fan, but never gave him a ton of my time. But I had seen Dope Lemon pop up at festivals over the last few summers, and I knew I wanted to see them at some point. So this was a must-go. 

Also, I’m saying see “them,” but I think this is technically Stone’s solo act? Someone correct me if I’m wrong. That’s the impression I had before the show, but during it, I thought more so that they considered themselves a full band, separate from just Angus Stone.

Dope Lemon came on at 9:24, and I believe they opened with Stonecutters. They were really smooth instrumentally, up until what I thought was a bit of an underwhelming harmonica solo. I mean, the guy stood up on the amp and waited a second before he started playing, and went on for 10 seconds or so. I just expected – if you’re going to draw that much attention to yourself –  a more inspiring solo. Anyways, other than that it was a really strong opener. Good start. 

If I remember correctly, they played How Many Times and Hey You next. Both a bit slower and already longer songs, and I’m not sure how long they extended them, but they were great jams. The harmonica guy killed it this time too – I’m not even sure if the instrument he was playing in How Many Times is a harmonica? It was a deeper, lower sound, but just looked like he was blowing into something. I could be wrong and maybe I have the songs mixed up, but it rumbled through the background of the majority of How Many Times if I’m correct. It sounded like a song you would hear in the soundtrack of a Donkey Kong video game. Listening to the studio version, I don’t hear it quite the same. But live, it had a little jungle-rock sound to it. But then I realized that their version of jungle rock is more so desert rock than anything else. Desert psychedelic rock. Like their sound is taking you through a mirage. I also thought How Many Times had a Gorillaz influence. Again, I don’t think all the same stuff about the studio version, speaking strictly on how it sounded live. 

The instrumentals in Hey You were also very bluesy, as the harmonica player banged out a killer intro to get it started. It was during this song when they started to get weird, not in a bad way, but they got weird. A minute or so into the song, three or four people came on stage with furry heads on. One girl was wearing a big furry cat head, one guy was wearing what looked to be a green head, stoner-looking dude with long hair and a cigarette in his mouth. And they had a little kid with them, had to be no more than five years old. He did not have a furry head on. Looked like some “Where the wild things are” type stuff. It was pretty funny, just weird. They danced and swayed around up there for the entire song, about 5-6 minutes. Odd thing to add to your performance if you ask me, but hey, that’s clearly a part of their style. 

I thought it was interesting that this Australian guy dedicated a song to John Belushi. Before they played the song, Angus said “This song is about a beautiful man named John Belushi.” I guess there’s no reason why an Australian can’t be a fan of the American funny man, but it’s just not what I would expect. I had never heard the song before, and it struck me as clearly one of their more emotional ones, just based on sound, really. Angus was using a really strong distortion for it, couldn’t understand much of what he was saying. It was a cool song, though. 

I figured out that they played an Angus and Julia Stone song, Little Whiskey. I immediately thought it sounded like Kings of Leon, just from the intro alone. Had to be a big influence on that song, am I crazy? Tell me if I’m crazy, but I hear some “Only By The Night” Kings of Leon sound in there for sure. Great song, went well live. 

I really liked Golden Wolf. Thought it was one of their more simple songs instrumentally, but had a really catchy rhythm and chorus. It also leaned to a more alternative sound than the psychedelic slow, bluesy rock that the first few songs were filled with. It was probably the song you could comprehend Angus the most on too. Less distortion. 

Angus made a brief speech before the next song that I think revealed his personality a little more. He talked about how amazing it is to be there, which I know artists say at shows all the time, nothing special about that, but he followed it up with something along the lines of “It’s good to be able to go to the bar, get a beer… we live such a privileged life.” I think the comment about living a “privileged” life was unique. I don’t think that’s the word a lot of rock stars use. Maybe that’s just me, but I began to realize how laid back this guy was. That I clearly had not heard enough of that slide of his music yet, as it’s generally the harder rock stuff that appeals to me. But they played Slinging Dimes next, and I loved it. I was really wrapped around the lyric, “I don’t wanna be the last man standing no more.” Clearly a song about getting the most out of life and the time we have here, and I fuckin’ love a fixation on time. “It’s all we got.” 

Also, the lyric “When you get out of bed, and splash on them clothes,” took my brain to a part of a brilliant Sixto Rodriguez lyric: “I woke up this morning with an ache in my head, I splashed on my clothes as I spilled out of bed…” Fill in the rest if you’re a fan. 

They played Honey Bones next. It was cool to see a sitar being played. Not what I expected. 

I believe it was after this the harmonica player (he played guitar too at some points), came up to the microphone after a brief pause with no music. Something like “Alright alright alright, how we all doin?!” Then went on to apologize for his mic going out (not sure when that happened), but, what was interesting, was that he said “that was some Blues Brothers stuff.” Another Belushi reference! Guys must be big fans. I’m gonna try to see what I can find about that after this. He also went on a funny little monologue about how they’re “Australians and we’ve become drunk… We’re a bunch of Australians in America… We’re 16 shows in, and when you’re 16 shows in, you become drunk.” Got a chuckle out of me, but the other band members seemed to be rolling their eyes at him. “Louie’s takin’ his piss” he said referring to the lead guitarist who had briefly left the stage. The Harmonica guy kept going on about getting beers with fans after the shows, then finally said “You already for the big man Angus Stone to come back out here and play some more songs?” Something like that. Thought it was funny, calling him “the big man.” I think it’s funny to see the dynamic of bands on stage, who does most of the talking. Sometimes it’s just the front man, sometimes a guitarist is more the leader of the band. For example, Lime Cordiale’s guitarist, Ollie, seems to speak to the crowd more than his brother Louie, the lead singer. In this specific interest, this was the first time anybody other than Angus spoke. 

They broke into Coyote after this, which really banged. Fuckin’ rocked. Man, can they really tighten up their sound and get heavy when they want to. The versatility that they have really made an impression on me, looking back at this show. Also, the chorus of Coyote could be sung by Jim Morrison. Sounds like his kind of melody and style. I guess the various influences Dope Lemon has came over me also. 

They closed the initial set with Rose Pink Cadillac, then Uptown Folks. Rose Pink is fine, but I could honestly go without it. It’s a good song and a fun one, but I enjoyed many of the songs I had never heard before much more. And Uptown Folks, goodness, what an excellent song that is. It was really strong live, as expected. Almost hard for them to mess that up. That opening guitar riff is hard to beat, and played on a gorgeous Les Paul live.. goodness. Also the keyboard (I think?) that rings through the back of the song, rising as the rest of the song does, is even louder live. I loved it.  

They left the stage and came back after two minutes or so. Encored with I think Yamasuki first, then I’m certain they closed with Home Soon, which was a fun, funky one to go out on. The pause in the beginning was a funny interaction of the crowd. It was cool, while the band was playing out the end of the song, Angus cracked open a beer and did a sort of “victory lap” around the front of the stage. Doing a little dance from left to right as he walked off. Oh, and the dancing furry heads came back out for the final song. This time in greater numbers, I think there were at least six of them out on stage. They got weird again!

It was interesting, every time they played a a heavier, true rock song that felt more “serious” for lack of a better term, they followed it with a more silly, chill song. It’s as if the band wants to make sure that their audience is frequently reminded that they don’t take themselves too seriously. I’m sure that’s not on purpose, but that’s just how it feels from my view. I’m sure they’re just making music that they enjoy making, and sometimes it comes out sounding one way, and other times it sounds another. But I think it’s clear that they desert psychedelic, laid back, mushroom sound is what they produce most. They have songs about loving, about living life freely and chillin, but then they also have some more emotional songs that drive home those same feelings, but are depicted more dramatically lyrically. THEN, they also have songs with lyrics like “She got attacked by a pack of dogs…” and “Had bits of foam coming out the bottom of its mouth… It’s kind of funny that way.” So they can be fucked up too! And amidst all that, they’re really versatile instrumentally with the sound that mostly matches those lyrics and emotions. But I will say, one of our (my two friends and I were talking about this) final takeaways was that we wished they leaned a little more into the heavy psychedelic rock sound that they have shown to have. Because they are so talented instrumentally, and they can be really, really powerful. 

Overall, it’s just a really interesting variety of sound they have. Some of their songs sound much like the other, some sound nothing like each other. Sometimes they could be compared to jam bands, sometimes to more modern alternative rock bands, other times to older garage rock bands. A variety like that is really fucking cool. 

Some final notes… 

Just on Angus’ personality and presence: I had heard Rose Pink Cadillac and knew the band had a sillier, less serious side. But for some reason, I was expecting Angus to be a more intense guy. Turns out, he’s absolutely delightful. An ever so pleasant fella, it seems. Cheers to ‘em. 

On Angus’ voice: He was generally difficult to understand in all of the songs, but that goes for their studio recordings as well. It’s obviously more difficult to understand live, as it is with most artists, but I think it’s clear in a lot of their songs that his voice isn’t always meant to be a leading presence, I don’t think. In many songs, it just fades into the instrumental sound and seems to bounce off of it. Lightly guide through it, and be an instrument itself. 

On the venue: The 9:30 Club is a really great venue in D.C., I’ve almost always had nothing but good things to say about it. The size is near perfect, tickets are generally cheaper, the bar set up is really easy access, and the character is strong. They have a cool record/CD room in the corner of the GA section that shows the amazing resume of bands that have played there. However, I will say it was fucking FREEZING in there. They had the AC and fans blasting. I know it’s hot and humid as hell outside, and I appreciate not being forced to sweat my ass off in there, but I don’t need to become a damn ice cube. Turn the AC down a bit, and we’re good.

Lastly, the time between sets: it was a bit of a wait before Dope Lemon came on. Peytavin only played about 35 minutes, and got off around 8:40. I figured if the opener was gonna play a pretty short set, then the headliner would come on a little earlier. Why wait? I understand it could’ve been backed up for multiple reasons out of the band’s control, and/or out of the venue’s control, but it was about 45 minutes before they came on at 9:24. To me, that’s too long for a Tuesday night, or really any night. I got a little tired of staring at the walking lemons smoking a cigarette and taking pictures. Funny visual for a couple minutes, but don’t make me stare at that for 45 minutes. 30 minutes in between sets should be the cap for shows at a mid-size venue like the 9:30 Club in my opinion. 

Go see Dope Lemon, and please add your perspective in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Dope Lemon (or Kate Peytavin) and I’ll be happy.

A quick nod to the opener

I walked into the 9:30 Club at 8:19, early enough to catch the last two songs of Flavor Crystals’ set. It was almost immediately clear why this band was opening for BJM. They were similar. When you google them, they are described as “space rock,” and I’d say that’s fairly accurate. I thought they had a desert-y, psychedelic sound. The lead singer’s bright blue guitar stood out to me.

Their last song caught my ears, “Your Dreams are Still With Me.” Very catchy and smooth guitar riff, and the lead singer’s low, miserable voice went with it well.

I’d say they’re worth arriving a little early for to catch a couple songs! It looks like they only played six in D.C., so it’s a short set. But worth giving them some of your time.

I saw Futurebirds at The 9:30 Club on Monday, June 8th in Washington, D.C., and it was an excellent show. These guys were really well-strung and very easygoing in their performance, seemingly effortless. And overall, they’re professional. They create a thick, sometimes harsh, but at the same time unintimidating wall of sound. It feels as if I have an underwhelming tone while saying how great they were, but I guess it’s because I just wasn’t that surprised, even having known very little of their music going into the show. I had read about them a little bit, and what I gathered was that they are a great live performance that plays louder than their studio recordings. They certainly lived up to that. 

Fan Context

A friend of mine told me about Futurebirds years ago, it was 2019, maybe, but I never got into them, although I’ve always remembered their name and trusted that they were a respected band (I held this friend’s musical opinion in high regard). There wasn’t a particular reason why I didn’t give more of my time to them. I guess there just wasn’t enough appeal about them to keep me listening at the time. But, after all these years, when I saw them on The 9:30 Club calendar, I knew I wanted to check them out. A few months ago, I listened to most of “Hotel Parties” and liked it, but it didn’t keep me around. I listened to the first song on the new album and liked it too, but again didn’t go much further. I also knew “Trippin’”, of course, probably just from searching them on Spotify and wanting to check out their top songs. So, while I knew this was a good band, something wasn’t keeping me close to their sound. I’m not sure what, and I’m usually not short on explanation and description – maybe I can just chalk it up to not having the patience at the time. Anyways, I knew I was going to see them at this show, so I figured I’d let that do the talking for them. If you’re ever wondering if you’ll like a band or not or want to give a band a good listen, concerts are, well, perfect for that. 

The Show

Futurebirds came on at 9:30, after the opener, Joelton Mayfield, finished at 9:02. It was funny, I was standing on the upper left balcony and one of the band members, Daniel Womack (the front man?), walked right past me at 9:29 with his guitar in hand. He was clearly in a rush. I only noticed because I felt this breeze behind me and turned around and saw one of the club workers open this curtain for him at the top of the balcony, and then he entered some room, I assume. And a minute later, I saw all the guys in the band come out from that room (I could see their feet under the curtain and it was pretty obvious it was them), and walk down the stairs. It was really interesting to see, as I guess that’s where bands walk to the stage from. They come from upstairs. Must be a lounge or “green room” up there or something. Womack walked from another door about 30 feet away when he walked past me, drawing little attention to himself. Gives you a little insight to the inner workings of The 9:30 Club. 

An electronic instrumental came over the speaker as they came on stage, and some sort of vocal came over it at some point, but I couldn’t understand it. It was a cool sound to walk out to though, almost inspirational. 

They opened with “Sleepless in a Cage,” which gets on you quickly. The vocals came in fast. I thought it was a solid opener, and I am supportive of opening with a song off the album you’re touring off of. 

“MJB” was next, and this felt more like their arrival. The chorus really jumped, and the instrumental build up to it was really smooth. This drew me in. 

After this, “Carter King said, “Welcome to the Far Out Country Tour!” And Womack said, “Thanks for coming out on a Monday night.” Then King finished with, “It might be Monday night out there, but it’s Friday night in here, baby.” 

They were a six-piece: Three regular guitars, (most of the time one was acoustic) steel guitar, bass, and drums. They messed around with some synths at times too, I think? My knowledge of what a synth is… loose (just me guessing). So please correct me if I’m wrong. Also, Thomas Johnson stood on the far left, Carter King stood in the middle, and Womack was on the far right side. 

They played “Nervous Ground,” next, then “Killing Ground.” Both went over well, and I didn’t know the names of the songs at the time, but I wonder if they’re related at all in their lyrics/story, given their names. Playing them back-to-back live is cool, but someone let me know if this is just a coincidence or if the songs actually have something to do with each other. “Takes me back to some place I shouldn’t go again” was a lyric that stood out to me in Killing Ground. Also, “Time goes by like headlights on the highway.” One (myself) might think that’s a corny line at first, but it’s really a strong metaphor, it’s just direct. Not a flashy one. Time just passes right by ya and it’s gone down the road, like that. 

I had read before the show in the band’s subreddit something along the lines of, “They have three songwriters and three lead singers, how talented they are.” And that hit me a couple songs into the show. With that prior knowledge, I figured they all would sing, but still thought they had a true front man. And if there is one, just based on who does the majority of the lead singing, it’s Womack. But it’s clear that they all can carry a song vocally, and all together, of course they’re excellent. When they first walked out and I saw King stand in the middle, I thought he was the front man. But it’s clear that there isn’t one, at least not in performance. 

I noted that it’s like their three voices are cousins, all sharing something with each other. It was honestly hard to tell who was singing lead at the beginning of every song because their voices are so similar. Womack’s is the most “country” but I think most of the time it just touches the line between country and just “southern.” I think there’s a difference between the two – I’ll get to that. Johnson’s voice is a little more high-pitched, emotional, echoey, and I think a bit more pure than Womack’s? Not quite as raspy, and I think it fits the more melancholy, emotional songs. Womack’s has more energy. And King is softer and the least like the other two, but it’s confident. I thought he sounded a little bit like the lead singer of “Susto” in the song, “Hard Drugs.” Something he sang at one point triggered that song from my memory. 

Genre Debate Interlude

Futurebirds makes me think about the difference between “country” and just “southern.” Their sound has a clear southern twang to it, and there are country sounds throughout their songs, but I would not say they make country music. The overall sound (from what I know) does not make me call them a country band, at least in my definition of it. I’d say they’re just southern rock, or soft southern rock. For example, I think Womack’s voice for the most part just touches the line between a singer with a southern twang and a country singer, but I did think he sounded like the guy from Florida Georgia Line at times. However, I would not at all compare Futurebirds’ music to Florida Georgia Line’s. Their music is not the same. And it stands out to me because I’m not a fan of FGL or that genre of country at all, but I enjoy that kind of voice when it’s backed by Futurebirds’ music (and stronger lyrics), because he’s not singing country music – he’s just a guy with a southern accent singing rock music. I think Kings of Leon is another good example of this, at least in a good portion of their discography. And honestly, so was the opener, Joelton Mayfield. 

Back to the show 

Womack said, “Ay Wassup! Can I get a big fat cheers for everyone in here, c’mon!” And raised a Miller Lite. They were all drinking Miller Lites.

They broke into “Crazy Boys” and then “Marco Polo.” Crazy Boys was the best song of the set I thought, although they all went over well. That opening, bouncy riff just gives the song an identity, a personality, and I loved the way they transitioned back to it. The steel guitar hovered over everything as well, with a really tingy sound. Awesome instrumental overall, they really blew it out. The three guitarists got real close to each other as they played the outro, it was a fun moment. I think King actually got on his knees and let Johnson use him as a chair. Something like that, someone correct me if I’m wrong. Either way, it was a fun moment and they clearly enjoy playing this one a lot. I also loved the chorus lyric, “How bout now, hope you got it all figured out.” 

I liked Marco Polo. “Hungover in the highlands, crying in the shower thinking ‘bout my lost friends” –  another example of their very direct lyrics when it comes to expressing emotion. They don’t hide much (in my limited knowledge so far). It’s a cool approach. Also, sue me, but I can’t help but hear a small part of “Lips of an Angel” in the guitar riff that ends the chorus. I also hear a part of “Say it Ain’t So” by Weezer. Sorry, I can’t control where my brain goes. 

They played “Movin On,” next. Energetic song, great rhythm. And after it, Womack said, “Hey, how ya’ll doin’ out there! Gimme a big fat cheers,” then they transitioned back into the chorus of the song one last time. It was cool, they tricked us. And it worked, it wasn’t as if it was overdone, the song still had life in it when they brought it back after the brief pause. But it did really feel like the song was over. A cool surprise. 

It felt like Womack was politely trying to get a little bit more out of the crowd throughout the night. He never showed any negative emotion, but I felt like he could tell that this wasn’t his most engaged audience. Wasn’t a bad crowd by any means, but there was a lot of talking at times and they weren’t highly enthusiastic. 

Somebody dressed as the robot that’s on a lot of the band’s art came on stage – a full mascot costume with a head and everything. He tossed three t-shirts into the crowd. They mentioned his name, but I couldn’t make it out. I’ll have to get into more Futurebirds to figure out what the robot is. Or one of you could just tell me. 

“Fly On” and “Feel Less Bad” came next. The lyrics in Feel Less Bad continue the aforementioned “directly emotional” theme: “I feel less crazy, but still quite bad.” 

“Sienna Life” sounded great. A really lovely picking pattern in the intro that King played. I think it’s a great track from the new album. It holds up very well live. Glad it’s in their set list. 

King said, “We put out a new record [recently]… seeing some of you guys sing along already, it warms our heart… It’s always a pleasure to get to play here.” 

Then they played “Ghost Moon,” off the new album. I thought it was a bit of an outlier in their sound? It rocked a little harder at the end, I thought it got a little more intense in the sound. 

Fastforwarding ahead a little, Womack shouted out two guys in the band’s crew, then cheers’d the crowd again. He also said, “Hey we’re from Athens, Georgia by the way, got any Bulldawg fans in here?” I think there were a couple bulldawg noises in response, but not many.  

They went into “Virginia Slims” next, and it was awesome. One of the best songs of the set. I love the lyric, “We’ve been burnin’ too long,” and the instrumentals grew throughout the song really well. Great stuff. 

They didn’t stop at the end of Virginia Slims, smoothly transitioning straight into 27, then they did the same as they went straight into “Trippin,’” not stopping through three songs. Trippin really got the crowd going, as if they were waiting for that song all night and exploded when they heard the opening note – which makes sense for any band’s most popular song – but I think that Futurebirds have such a solid set of music that a large outlier of enthusiasm for one song doesn’t make sense. That makes me feel like they’re a band with “that one song,” and they seem to be far greater than that. Maybe I’m overreacting, but it was just my thought on what I observed from the audience. 

Anyways, this whole stretch was a creative way to close out the initial set, an exciting finish. They came off at 10:44. As they left, Womack said “We gotta go scheme up a plan really quick, but don’t go anywhere” something like that. It was interesting that he didn’t say the usual “Thank you” and walk off, and then come back. He actually said, “We’ll be right back.” 

They were indeed right back out two minutes later, and encored with “Rodeo,” “Babyfaced God of Terror,” then “College Try.” A strong encore. The drummer came back on stage midway through Rodeo as they played the first couple minutes of the song softly without drums, and College Try gave a nice bang to go out on. The intro and outro of the song were loud. 

They ended at 11:04. 

This was an excellent show. Futurebirds are a damn good band that has it together in their live performance. They operate really smoothly with a power to their live sound, pairing the “rock” in their music with something gentler that balances their performance, making it easy to take in. I read that they bring a bigger sound to their live performance than their studio recordings, and while that’s mostly true of all bands, it’s notable for Futurebirds. I don’t think that’s an insult to their studio recordings, but more a credit to their shows. They’re a unique show too, because not all bands have three different lead singers, three that also sound great while singing together. 

So go see Futurebirds. They’re well-worth the $41 I spent to see them. A luxury of a price these days. 

If you were at the show or have seen Futurebirds on this tour or any others in the past, please add your perspective in the comments. Tell me I’m dead wrong, tell me I’m right, tell me I’m slightly off, tell me something about Futurebirds and I’ll be happy. 

*A quick nod to the opener

I walked into The 9:30 Club at 8:31 and immediately thought Joelton Mayfield sounded (vocally) like Kings of Leon. He had a very similar voice to Caleb Followill. I liked him. The first song he played had a lyric, “Met a man from Baltimore,” but I haven’t been able to find the name of the song. It was a long, slow one that felt good. His vocals are clearly a big strength that powers his music above everything else, but that’s not to say the instrumentals weren’t impressive either. He played the guitar with a really hard style. Really beating it up, but not out of control. I once described Josh Homme as playing his guitar like a chew toy, and I thought Mayfield was similar (not quite Homme, though). Him and the drummer were in great sync throughout the set, too. 

It made sense that he was opening for Futurebirds. They have a similar sound and are certainly in that “southern rock” genre. He was a little more bluesy. They had one long blues-infused jam at one point and after it, he said, “That’s our song with the most endings,” which was funny. A great way of putting it. They just kept on going. 

They played in a five piece: Lead guitar (vocals), bass, drums, steel guitar, and one backup singer, or I guess that’s what I’d call her. She hit a cowbell every once in a while too. 

“You always understood the punchline” was another lyric of his that stood out to me. Felt romantic. 

At the end he said, “I’m Joelton Mayfield, we’ve been Joelton Mayfield.” Interesting way to say that your name is the band’s name. He also mentioned something about “I can’t wait to eat those cupcakes,” referring to the cupcakes The 9:30 Club staff famously gives to its performers.

I’d say to definitely lend Joelton Mayfield a bit of your time if you’re going to see Futurebirds, and even if he’s playing his own show. He’s really talented as an overall front man and performer, and plays good, unique rock music that has clear influences but is his own style. 

Some notes on the venue*

I’ve said a lot about The 9:30 Club in the past, mainly about how it’s my favorite venue in D.C. I took in this show a bit differently this time, though. I stood on the upper left balcony for the majority of Futurebirds’ set, the first time I’ve stood up there. There’s usually not enough space to see well unless you get there early and get up on the rail, so I normally don’t deem it worth it. But I will say, while the sound quality is definitely not as good from the sides, it’s not detrimentally different, and the view is awesome. I thought it was especially cool to see the guitar pedals and how these guys used them, something you wouldn’t be able to see from GA. 

The 9:30 start was a bit of a late one for my liking, but I know that’s not abnormal. It’s just strange because I’ve seen many other shows start at 9:00 or even 8:30 at The 9:30 Club. I just wonder how that gets determined. Does anyone know anything about that? Please weigh in. I’m willing to wait and stay up late for good music, but I think my sweet spot for a weeknight show is an 8:30 headliner start that goes until 10. 

I’ve been listening to Hana Vu ever since she released the first single of the album, “Care,” on February 14th and Spotify delivered it to my home screen as a suggestion. I’m very happy that the algorithm knew me well that day, because I’ve been really interested in her music ever since. “Care” really grew on me nicely, the lyrics are so damn heavy (I thought “What is care, anyway?” was a great question and something I’ve never heard before), but they don’t necessarily make you sad. They’re paired with a happy melody, but then also the heavy acoustic guitar that seems to descend deeper and deeper in the chord progression. Overall, the listener is hit with sounds that evoke different emotions, and the final verse just keeps going, has a great change of pace at “So don’t pick up the phone, I just talk to fill the air,” and makes for a powerful ending to the song.

I was also pretty intrigued by the fact that her top songs, at the time, had under 500k listens. Thought that was kind of low for an artist to be suggested to you on your home page. I was excited to listen to what else she had. So thank you to Spotify for that one. 

The Singles:

Anyways, I checked out a couple of her past songs in her top five on Spotify and wasn’t huge on them (Admittedly, I didn’t put a great deal of time into her discography, so if I’m missing out on some of her songs from 2018-2022, please slap me in the face with some suggestions). But I kept listening to Care, and loved “Hammer” when it was released. The upbeat acoustic guitar chord progression, catchy rhythm, and buildup into the chorus are fantastic. I began to sense that long pre-choruses into absolutely sticking the landing with the belting choruses was going to be a theme for her. “And I call the doctor…” all the way to “And it’s hard to say what the trouble is, I run away ‘til it’s all behind…” was pretty addicting to listen to for a while when I first heard this song. Overall, I think it’s excellent, maybe the best song on the album. It seems a little simpler than many of the others, really easy to listen to. 

Vu released “22” on April 17th, and this one was really cool instrumentally. Similar to Hammer, it’s more stripped down in the first half of the song, letting her less distorted voice ring out a bit more and carry the song. The instrumental transition halfway through after “I don’t want to be anything, anything…” really struck me. I can’t tell if there’s a really saturated/distorted guitar in there or some kind of synth? (Do I hear some Flaming Lips-type of influence here?) Anyone who can tell, please feel free to weigh in. But god damn is it a powerful sound. I thought it was really unique. Then, finishing the song with the catchy, fun-to-repeat and easy to remember, “I’m just getting old, I’m just 22, I just want to hold on to you,” was all it needed. After hearing 22, I described her sound/genre as Emo Rock. That may ruffle some feathers with some people because “emo” has a pretty negative connotation, and it may not be true of her completely, but the three singles on this album scream Emo Rock to me. Maybe “Alternative Emo Rock,” if you want just for good measure. Her very deep, moaning, loathing voice, combined with the heavy instrumentals. She’s charmingly dark. Makes you root for her. Put it this way, for any Growlers fans out there reading this, The Growlers have “Beach Goth,” and Hanna Vu has “Emo Rock.” They’re completely different sounds, but the genres feel like distant cousins.  

The Rest: 

I love the transition from “Look Alive” to “Hammer.” A very futuristic, dramatic sound to the comforting basic rhythm of Hammer. A very “bright lights” sound to it. Like she’s getting ready to take on something much bigger than her, and it makes you curious to hear the rest of the songs.  Then you transition to the very simple, more upbeat, almost rhythm from the acoustic guitar at the beginning of Hammer that is almost comforting after hearing a Look Alive. Like Look Alive is the night time and Hammer is the sun rising. A very cool way to kickoff an album and makes you appreciate an album that tells a story not only through the lyrics, but through the sound as well. 

“Alone” is one of the faster-paced songs on the album, set by the quick downstrokes on electric guitar right away. And there’s a lot going on with the instrumentals, similarly to 22. Again, not quite sure what Vu (and her band/producer Jackson Phillips) is using to get that really heavy electric sound beyond a guitar and keyboard, but they’ve made a really powerful sound altogether. The chorus is loud, as Vu wallows the lyric “alooone” with the ascending instrumentals. On the first listen to the album all the way through, Alone stood out to me the most. Not much else to say on this one, just a banger about not wanting to be alone. 

“How it goes,” is a prettier song in comparison to the others. Light acoustic guitar backing it the whole way through. Vu’s voice is amplified over the instrumental more, and it feels like a song about desperation not to lose someone, then eventually accepting it as just “how it goes.” Really cool song lyrically and a nice change of pace, but keeps her style of a really satisfying buildup throughout. 

“Dreams,” is the brief positivity interlude of this album. After the first six songs seem to be about a number of sad things, including but not limited to: being neglected/feeling invisible, loss, the sadness of growing up, loneliness, etc., this song is filled with very directly optimistic, ecstatic lyrics. “All dark times, they have their end,” and the chorus ending with “And love doesn’t fade away, and everyone stays the same, and oh, it doesn’t hurt to be alive.” Another set of creative lyrics carrying the song, this time in a different emotional direction, surrounded by a less busy electric instrumental backing. And I thought she sounded a little like Sylvan Esso in the beginning? Call me crazy. 

Back to the futuristic sound with “Find me Under Wilted Trees.” Very dramatic song, produces a sinister sound and feeling. The lyrics “I’ve fallen on hard times, can you lay with me?” are repeated a lot.

“Airplane” evokes some panic in the chorus: “Change the song, I think I’ve heard it before and I don’t feel the same when it’s over,” is a very relatable lyric. A great way of describing how music and lyrics can mean so many different things to you at different times in your life. Also, I hear a little bit of a Bloc Party-type sound in the main guitar riff that carries the first verse (most similar to Modern Love, specifically). The crushing of Vu’s voice with all the (auto-tune?) effects after the second first and before the final chorus was unexpected, but wasn’t a turnoff, necessarily. It was just an interesting move to go almost fully electronically-produced vocal.  

“Play” is another relatable one that seems to be about an unhealthy relationship. She shows some more depth with her voice here in the high-pitched, smooth chorus. Really clever lyric: “All I play is you, and every game I lose,” along with “Love me ‘til your ugly to me baby,” amongst others. 

“I Draw a Heart” is another lighter one. Very soothing and sad. “Don’t stay to sing me happy birthday, it’s just like the last one, I won’t be going home with you.” Crushingly sad. I also love the lyric, “I love you like the last day of school.” Definitely a heartbreak song, I would say. 

The album closes with “Love,” and it feels like an album ender. It feels like a goodbye. “I don’t want to talk, I have nothing to say” in the first verse. The instrumentals pick up after a quiet opening with a heavy, thunderous, drum beat at the center of the sound, and it’s an epic road to the finish line from there. Another steady buildup that doesn’t force you to be too patient before getting to the parts of the song that make you bang your head and tap your foot, but doesn’t give you instant gratification either. And the lyrics made me think that this album is about the “symptoms of love.” She says, “Well I guess this is love, I don’t know what to say, I don’t know how to stop.” She’s realizing that this is love, all these things that I’m feeling are a part of love. Love can create a lot of the themes that I think she hits in this album: fear of loneliness, loss, neglect, desperation, panic, happiness, brutal sadness, etc. I guess this makes sense with the album name “Romanticism.” Anyways, what a fantastic way to wrap up this album in emphatic and uplifting fashion. 

Like I said, I started listening to Hana Vu from “Care” on, and have really enjoyed her since. This album was great, and really impressive from an artist with a seemingly small following (so far). Every song was different from the other, but was still uniquely her style and sound that, if it wasn’t well-rounded and established before, sure is now. A lot of emotion in the album for sure, it’s heavy, and that can be a turn-on for some people and a turn-off for others. But regardless, the lyrics are very relatable in some songs, and the instrumentals are awesome. And as I said before, she’s charmingly dark. Her sadness doesn’t scare you into being sad too, necessarily. I found the album to be pretty uplifting. 

I am really curious to see Hana Vu live. I wonder what her band looks like, what instruments/tech/effects are being used, and what she sounds like as a singer live especially. If anyone has seen her perform or sees her on this tour (looks like it starts in July), I’d love to hear about it. Anyways, if you listened to this album, let me know your comparison in how you heard it. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Hana Vu and I’ll be happy.

I saw José González at the 9:30 Club in Washington, D.C. on Thursday, April 23rd, and it was an interesting show that required some patience, but grew on me overall. I knew it was going to be low-energy given his style, and although there were more underwhelming moments than I thought there would be, there were also moments of real delight. His guitar playing is effortlessly impressive, and overall he is a true delicacy as an artist and performer.

Fan Context

All I knew of Jose Gonzalez going into the show were the hits: “Heartbeats,” “Stay Alive,” and “Step Outside.” I had heard “Line of Fire” in a movie or TV show too, but I’m pretty sure I didn’t know it was by him. So although I only knew a handful of his songs, I think my relationship with his music is a little more than that because of the power of his songs. For example, Heartbeats is not a song that I can just listen to at any time. I seriously would turn it off or change it if it were to come on a shuffle or playlist and I wasn’t in the right mood for it. It’s just so emotional and creates such a nostalgic feeling that if you aren’t ready to feel that, it’s almost intrusive. Every song applies to a mood, it all depends, but I think Heartbeats rings especially true to that feeling of a song that can’t just be placed on a playlist for the risk of it coming up and disrupting your mind in a way you aren’t comfortable with. You are playing that song for a reason, to cater to a distinct feeling(s). It’s an amazing thing. I feel similarly about Stay Alive, but not to the same level. Anyways, I say this all to express that although I only got lightly into Gonzalez’s work, the songs that I knew were so powerful that his name as an artist was one that I would never forget, and I likely never will. So when I saw his name up on The 9:30 Club’s calendar, I saw this as a good opportunity to hear more of his music in its most genuine form.

The Show

Gonzalez came on at 9:11, walking to a lone chair on a slightly raised part of the stage, with two acoustic guitars there waiting for him. He sat and towards the end of the welcoming applause he said, “Hell-OH!” in a calmly enthusiastic tone. “Good to see everyone.”

He opened with “Etyd,” which was a pretty captivating opener as I think back on it, off the new album too. The guitar sound is a little scary, mysterious if you will, but I feel that’s accurate to many of his songs.

He said, “Hello DC!” then played “Down the Line,” which had a little more energy to it. This is when I noticed the loop pedal he had, and he had something up there that was highly amplifying the embellishments in this song too, making the acoustic much louder. I’m not sure what it was, but whoever knows musical equipment better than I do, please weigh in.

I will say, it was hard to understand him throughout the show. I know that’s just his sound, it’s distorted in some way and he’s a quiet singer. And it’s true of many bands/artists, especially if you don’t know them well coming in, that they’re harder to comprehend live. While the sound is greater, the understanding of words usually isn’t. For example, I could have sworn he was saying, “Don’t think I’m insecure” during the part in which he says, “Don’t let the darkness eat you up.” But it’s not essential to understand what a singer is saying, but more so how much their sound satisfies you. At least that’s how I see it.

Before the next song he did some quick tuning, which was cool to watch because he must be so damn good at tuning his guitar by ear at this point in his career, given that so many of his songs are in non-traditional tuning. “Super unique tuning” would be a more accurate way to put it. He twisted the knobs and moved up and down the neck so quickly. I was thinking before he came on – the sound guy for Jose Gonzalez must have a particularly important job in comparison to others. He was out on stage for 15-20 minutes in between sets tuning both guitars if I remember correctly.

He played a song in Spanish next that I’m pretty sure was “Ay Querida” based on setlistfm. Crazy fast fingerpicking in this song that he made look so easy. It’s just not. Another scary-sounding song, as if he’s scoring a movie scene in which something terrible is happening. Of course, the translation is “Oh dear.” That makes sense. Another song off the new album early on in the set, to note.

He played “Every Age” next, then addressed the crowd again, saying something along the lines of, “Thank you so much for having us… this is our third show together with Abby Sage… it’s great to be back at The 9:30 club… it’s my tradition now… We’re gonna play some songs from the new album and some old ones… mix it up a bit… This one’s called ‘Stories we Build, Stories we Tell.’”

A slower song, but a really strong one lyrically. I noted here that it was a pretty underwhelming show so far. I was paying attention, but the songs weren’t exactly grabbing my attention. Saying it’s “boring” feels so disrespectful because it’s just not true, because what he’s doing on stage is such a stunning work of art. I felt like I was there out of respect for him especially as a guitarist, but also just as an artist overall, regardless of how drawn into his music I might have been. So to use a common term meaning no disrespect, I felt “bored” through this first stretch of songs, although what he was doing up there was objectively not boring – it just didn’t satisfy my ears personally. And, to any band/artist, that shouldn’t matter. They play for no one. I’m just trying to withhold my honesty here.

“Losing Game” was next, and this was a really cool song. All of his songs are incredibly unique on guitar, but this one was as if he was playing guitar and bass at the same time. Really active with his right hand, a more rapid pace to it too. He said at the end, “That song is about the tragedy of the commons,” if I heard him correctly. Interesting.

He then said, “This next song is in Swedish,” and played U – Rawls slöja. It’s amazing that he speaks Swedish so well, really beautifully. I didn’t know that about him, and I’m sitting here just realizing that he actually is Swedish. I had no clue. A tri-lingual man with the last name “Gonzalez” who is Swedish-born. Fascinating. I am always enamored with people who speak multiple languages… Europeans seem to value that so much more than Americans.

He mentioned a Helen Fisher quote before the next song, saying, “The Anthropologist Helen Fisher once said, ‘People around the world pine for love, live for love, kill for love, and die for love.’” Then finished his point by saying something along the lines of, “This evolutional system is sad when it gets hijacked by fictional figures…” then let his point marinade with a pause and stated the name of the song, “Killing for Love,” and started playing. If you were there, please check me on this quote. I think it’s important to get right and I think I have it correct, but am not positive.

While he played Killing for Love, I noted that there seems to be deep meaning to most of his songs. Now there’s meaning to every song, I realize that, but Gonzalez’s songs seem to be about something truly serious more so than others. Something serious about life overall. I think he’s trying to make a point in a lot of his songs, and it’s not always necessarily about him, but about what he observes in the world. Not just in other people close to him or in his life, but in the world around him. I guess that’s what I mean by saying his songs go deeper into meaning. I don’t know his music well enough to feel very confident about this observation, but it’s what I think so far.

He played a longer stretch of just instrumental at the end of the song, which was really cool, and it got a big applause at the end of it. It sounded a little Hermanos Guttierez-ish, or I probably should say that Hermanos Gutierrez sounds like Jose Gonzalez, as I’m sure he is an influence of theirs. And speaking on the audience, I applaud their behavior. For the most part everyone was silent while Gonzalez played, and that’s really essential during shows like this with just one performer. And for such calm music, it was really cool to hear everyone roar with applause at the end of mostly sublime songs. Really cool juxtaposition.

He quickly went into “Stay Alive,” and it was really cool to see him play it live without the backing instrumental. He did some effect with his microphone to dub his voice at some point, I think? There was definitely something there making it sound like there were two voices. His voice was also really beautiful here, standing out to me more so than any other song so far, but of course I’m biased because I really like this one. I also love the “To feel your heart as it’s keeping time,” lyric. It’s cool, you can hear a song hundreds of times, but some things stand out more when you hear it just one time live. Music, man.

He played another song in Spanish that I believe to be “El Invento,” and it was really beautiful. This was my favorite of his non-English songs.

There was a really powerful song next that looks to be called “Teardrop” and is a cover of Massive Attack. I thought it was such a special sound coming from his guitar. He got a big applause after this, too, and said, “Thank you! A good vibe today.”

He took a second to explain that “Tjomme” (pronounced “Cho-muh”) means “dude” in Swedish. And he made some joke about “Tjomme doomsday dudes… There are too many of them.” Something like that. It got a laugh.

Tjomme went over well, a bit more of an upbeat song, more of a fun one for him. I wrote here that there’s just almost nothing simple about the way he plays guitar. Complex seems to just be the default for him. It’s hardly fathomable to the common man. And when over done, that can really be unattractive in my mind. But he’s not over done at all. Just really really good.

He said, “Duuuude, duuude” after the song ended to some more laughs. Then he gave a shoutout to three members of his crew very smoothly, as if in song. He’s such a smooth guy. He’s very good at raising the enthusiasm in his voice, while not necessarily raising the octave level.

He played “For Every Dusk” next, and I believe he cut it short and played straight into “Crosses,” which was cool. It was clearly an intentional transition, but I’m now noticing that For Every Dusk is six minutes long, and he definitely didn’t play that song for that long. It was no more than two to three minutes, then without stopping he played straight into Crosses. Very cool transition as the intro in Crosses is really attention-grabbing.

Hearing Crosses made me think about how good he is at writing climactic songs. Ones that are perfect for dramatic montages in movies. And as I was thinking this I remembered that he soundtracked “The Secret Life of Walter Mitty.” Makes sense! He evokes so much emotion, and his sound has a way of making you panic, worry, worry about what’s to come. It’s really interesting his knack for doing that. I don’t know if it’s on purpose or not, I’d love to ask him.

He played Heartbeats next and that was worth the price of admission. I’m exaggerating, but not really. The song is so beautiful. I could have watched/listened to him play it for 20 minutes. It was near perfect live. I loved it.

And it is crazy to me that Heartbeats is a cover! I NEVER knew that! I only realized because someone noted that it was a cover when listing the song on setlistfm. I CANNOT believe that. It’s really rocking my world. I’m usually pretty good at discovering that stuff, but damn, I missed on that one. It takes away a small portion of the specialness of the song to know that Gonzalez didn’t write it, but not much. It really shouldn’t at all, I’m just so taken aback to know that it’s original form is that of a techno-pop song by The Knife. I guess it’s even more a credit to Gonzalez’s creativity – how he pulled such a stunning sound out of that song in his own version is incredible. Also, credit to The Knife for writing something so special.

After this, he mentioned his giving pledge, as he had a member of his crew in the back of the venue to talk to about donations. He mentioned how he took the giving pledge in 2017, and it’s important to note that they’re more impactful than the average charities. “Give a little, make a big impact” basically was the message. A nice thing.

He said that he had two more songs to close out the set and that they were the last two songs on the new album. He started with the title track, “Against the Dying of the Light,” and this was my favorite song of the set (of the ones I didn’t already know). I really liked it. It had a really easy rhythm to it and was very uplifting. He cursed at the end of it! I didn’t know he had that in him. He just seems like such a gentle, delightful guy. And I love that lyric, “Celebrate the fucking fact that we’re alive.” And rebelling “against the dying of the light” is really thought-provoking.

It’s funny, I could have sworn “The Dying of the Light” was the name of something Bruce Springsteen did, so I thought just adding “Against” was kind of a silly name for an album because of that. But I realized it was just a Noel Gallagher song that I knew. Silly me. So on second thought, “Against the Dying of the Light” is a great album name. And it also has a great cover. But doesn’t it sound Springteen-ish? Maybe I’m just thinking of “Blinded by the Light,” but that’s not what came to my mind right away.

Anyway, right after Against the Dying of the Light ended, the curtain providing the backdrop to the stage with the album cover on it dropped abruptly. It was cool. Got some “oohs” and “aahs” from the crowd. What was behind it was another version of the album art, with a big scissor to the right side that looked to be cutting through a cloud. The scissor’s right handle had a bird’s wing on it too. Interesting. It was just cool timing overall, as Gonzalez strummed the first note of “A Perfect Storm” as the curtain fell and kept playing, unbothered. I’ve never seen anything like that at a show.

He went off stage briefly and came back out about a minute later, playing “A line of Fire,” “You and We,” “Joy,” and “Pajarito.” Pajarito was in Spanish, it had a lovely picking pattern, very bright song. He whistled during it. All the other songs went over well, too. He got through them all pretty quickly. I’m not sure if they are short songs as originally recorded, but he played them all in under three minutes it seemed.

Before the last song, he gave another genuine thank you to the crowd, as if saying, “Okay this time I’m serious, this is the last song,” as artists tend to do. He said, “This is my last song… and feel free to sing along.” It was “Blackbird.” And I cannot BELIEVE that it’s a cover!

Just kidding. I know that it’s by the Beatles.

And it was great! I’m normally against ending your set with a cover, but I give some leeway to bands/artists that have so much of their own music. I still think you should close with your own song, but who cares what I think. This was a really cool moment, as most everyone did sing along. And during the whistling part, everyone started clapping, and Gonzalez said, “No clapping, only birds,” as he continued to play. Then everyone started whistling pretty loudly and aggressively, and he goes, “Calm birds. Calm birds.” It was funny, it was like all the people in the audience were like his music students, and he was a teacher. He even slightly stumbled on a guitar part and gave a chuckle, just showing how loose he was. He really seemed to be having fun, and again, he just seems like a delightful guy. I mean, how could it not be fun to be that effortlessly good at what you do? Although I’m sure to him, it’s probably not “effortless.” He just makes it look that way.

He ended at 10:30.

So go see Jose Gonzalez. His music is certainly for a specific taste and a specific mood, but it’s worthy of your time regardless. He really grew on me as the performance went on, too. The second half of the show drew me in much more than the first half.

Like I said, he’s a true delicacy. He might not totally satisfy you, but neither does eating caviar. But if someone offers you a rare garnish that you know has such universally convincing flavor, you’re gonna have some, right? That’s how I see it. Jose Gonzalez didn’t quite fill my musical hunger, but he gave me a taste of something I’m not gonna get at every show. He is a special songwriter, guitarist, performer, and artist, his art is worth witnessing live.

If you were at the show or have seen Jose Gonzalez on this tour or any others in the past, please add your perspective in the comments. Tell me I’m dead wrong, tell me I’m right, tell me I’m slightly off, tell me something about Jose Gonzalez and I’ll be happy.

*Notes on the opener*

I knew Abby Sage because of “Backwards Directions.” It’s a highly-impactful song for me, I love the lyrics. And after discovering that song, I attempted to go deeper into her discography and just wasn’t drawn in. But sometimes that happens, and you are much more likely to be compelled by someone’s music after seeing them live. So when I saw she was opening for Jose Gonzalez, I thought that was perfect. However, my original taste on her remained true, unfortunately.

I didn’t like her voice live very much. It was objectively beautiful, but a little creepy and it seemed condensed. Like maybe she had more in there if she opened up, but it seemed like her voice wasn’t super versatile? I can’t quite put my finger on it, but my best comparison is that she’s like a more exaggerated Hope Sandoval from Mazzy Starr. And I think Hope Sandoval’s great! So something about Sage is just enough off for me to not be a fan of her voice. Again, objectively she’s a wonderful singer. And she’s a great talent, I’m not here to shit on any artist. It’s just not in my taste and I won’t lie about that.

It was just her and one guitarist on stage. They both were seated. Sage switched between playing guitar and bass. There was one interesting story she told about going up to Canada, – where she’s from – to a cabin with a goal of writing an album, but “instead I came back with this instrumental!” And then she played that instrumental with her guitarist, and it was my favorite song of her set (although I missed a couple). She said, “I put that song in the set for myself,” with a smile. Almost as if she thinks people don’t find it to be very good, but she personally likes it. But I thought it was really cool! She should play it with more pride, I guess.

Anyways, she also seemed to be comfortable in her own skin, but a little awkward with the crowd at the same time. For example at the end, she said something like, “This is our final song… it’s called ‘Backwards Directions’ … I’ve played it here before, but I don’t remember where… but I like playing here!” Then paused and quickly said with a smile, something like, “But yeah this is backwards directions thank you so much whatever.” Shaking her head as if she didn’t really know what to say. She wasn’t rude or offputting, not at all, but just a little awkward with her presence on stage.

I also thought the guitar sound in a lot of her songs was really deep and faded. It’s a really cool effect, but was too loud at times I thought. Especially in the beginning of Backwards Directions. The sound in some songs was similar to a low-fi sound, I thought.

To cut her some slack, it’s gotta be hard being an opener for a big name like Jose Gonzalez. She talked about how she’s such a fan of his and that it’s surreal getting to tour with him. It was only the third stop on this tour, so I’m sure she’ll come into her own a bit more as it goes on. And maybe this is just her being herself, and it’s not in my taste. And that’s okay too. If you were there or have seen/are going to see her, let me know what you thought of her.

She got off stage at 8:40.

*Some notes on the venue*

The 9:30 Club is my favorite venue in D.C., but I will say, I bought a beer last night and it was $13.55. I don’t always remember it being that expensive, and that is dangerously close to stadium pricing. It was an IPA, but still, I don’t like that.

Other than that, The 9:30 Club is awesome. Read more about it here.

Quick note on the opener:

I got to the venue at 8:01, and the opener, Kate Peytavin, came on at 8:06. It was just her and an electric guitarist. She’s got an incredible voice, really deep and just pure. My overall consensus on her was that she could use a full band, and that would make her a lot better. Which is a bit surprising for me, because while I love loud rock music, I’m also a big fan and proponent of stripped back sound, especially when the lead singer has a great voice. But her voice is so powerful, if she had a full band backing her, they could be pretty killer.

She was also really dry with her interactions with the crowd. I’m not gonna judge her too much because I don’t know what’s happening behind the curtain, tours are long and it’s gotta be hard to always look not exhausted while you’re up there, and she’s singing with just a guitarist backing her, which I can’t imagine is on purpose/ideal. Anyways, she held up a sign midway through the first song that read, “My name is Kate Peytavin,” instead of just saying it. Creative, sure. But it said her name on the back screen already, though. She made a joke saying that she was from D.C., then said that she’s actually from Louisiana. Then at the end of the “last song” she said “Remember how I lied to you earlier about being from D.C.? Well, I lied again. That was not the last song.” Something like that. Then told the crowd that she was going to walk off for a couple seconds, and they were going to chant “Encore, encore…” as if she was the headliner. She actually did it, and the crowd did go along with it. Surprisingly, a successful bit. Anyways, my point is she was very dry, and a little self-loathing.

I thought “All I do” was her best song, I believe she played it third on the setlist. Again, a lot of potential there with her, but I believe she needs a band.

I saw the Magic City Hippies on Wednesday, January 21st in Washington, D.C. at The 9:30 Club, and it was a really good show. I knew very little of the band coming into it, and left pretty impressed from their performance. It was a diverse setlist that showed off a lot of their strengths, especially the talent of the individual members, and although they’re lighter on the ears overall, they are certainly electric and have flashes of power. Their music builds into a louder and exciting sound well, and they are a worthy, professional performance regardless of taste. 

Fan Context 

The only song I knew by MCH going into the show was “Fanfare.” I know, lame. I only knew their biggest hit. I had known of the band for some time, my brother is a big fan of them, and I had a rough idea of their type of music, but that was it. So I’d say I went into this show close to completely raw. 

Magic City Hippies came on at 9:15, a reasonable 30 minute wait after the opener (I think much more than a 30 minute-wait between sets is too long, depending on the size of the show, but especially at a venue like The 9:30 Club). It was a cool thing that I’d imagine was once pretty traditional, but the lights on stage started to flash at 9:08, seemingly signifying that the show was starting soon. I haven’t seen that many times before. At 9:13, a light drum beat played over the speakers, then some hard-to-make-out vocals along with it, then the band came out. With the beat still gliding in the background, the lead guitarist let out a quick, sharp pinch, which surprised me, already a bit of a harsher sound than I expected. He did this a couple times in rhythm with the beat, and shortly after with the sound building, the lead singer, Robbie Hunter, hopped out on stage with a drink in his hand, wearing a cheetah print sweater, and also wearing a big ole smile across his face. A very pleasant sight!

They opened with “Heavy Motion,” which I believed to be an interlude at the time, as my brother had told me that they have a number of those. It was pretty short, with Hunter picking up a guitar in the middle of it and playing a little. I always like to take note of how much a lead singer plays guitar, especially if he comes on stage without one around his neck or doesn’t grab one immediately. I always wonder, when they come on without one, is this the type of front man who only sings? Then I let them either surprise me or confirm my question from there. 

They’re a six piece band, with a lead singer (who plays guitar at times), a lead guitarist, bassist, two multi-instrumentalists that primarily play guitar and trumpet (I’ll get into what else they play later), and a drummer.

Before the start of the next song, Hunter said “What’s up DC! … We missed you guys.” Then they played “BRNT,” which was a cool early-in-the-setlist song with the “Got me fired up!” lyric. There was a screeching trumpet solo that got the crowd enthused a good bit, and I remarked that I could definitely see the Chili Pepper influence in Hunter. Another thing that my brother mentioned to me before the show was that Hunter’s talked about how his biggest influence is RHCP, and he had some Anthony Kiedis dripping from him as he “rapped” the lyrics to this song more so than sang, but that’s not to say he doesn’t have his own style. He’s softer, less flamboyant and punching in comparison to Kiedis’ voice. I did think that his voice was pretty light throughout the show and could have been stronger at times. Not stronger in quality, he sounded good, but just in volume. It was funny, he wears the microphone really high, you almost want to go up there and lower it for him. The stand was raised up and he really sang upward at it, seemingly just catching enough of it for the sound to be picked up. It’s an interesting physical style on stage. Maybe his voice is meant to be softer, perhaps because they want the instrumentals to be more prominent than his voice. I don’t know. But I did wish I could’ve pumped up his volume just a touch or two in some songs. 

They played “Franny” next. The crowd jumped in pretty big at the chorus, “FRANNY!” It was a fun song. Then they jumped right into “Water Your Garden” without stopping. It was a smooth transition, very nicely done. I enjoyed the lead guitarist’s slide riff in this one, and the drummer sang this song! I think he sang the whole song? Not sure if he just sang a verse or not, but I remember realizing he was singing about midway through. Correct me if I’m wrong. It was cool, you almost never see a drummer sing lead. MCH are a very versatile band, or atleast, the individuals within the band are very versatile musicians. 

Before the next song started, Hunter said to the crowd, “Thanks for hangin’ with us on a Wednesday, I know it’s a school night” which was funny. Then they played “Just Not Over.” The bass jumped out at me a bit more in this song, and the guitar riff too. They are definitely more prominent live than they are in the studio version. Also I believe that they played the short voice over in the beginning that says, “We know there are other people, But it sorta feels like the whole world is sort of shutting down…” it comes out in a really deep voice, kind of sped up. Listen to the song and you’ll know what I mean. Anyways, I’m pretty sure they played it. If you were there or have seen them on this tour, let me know what you remember hearing. I feel it’s an important thing to note if bands/artists that use pre-recorded sound in their songs in live versions, because sometimes they’re essential, but when it’s just a spoken word recording like this was, it’s not essential to the song. Just my curiosity to see if a band wants everything to be truly live sound, or if they find that every sound from the studio recording needs to be included in a live show, even if it means playing pre-recorded stuff. 

Also, after this song, Hunter jokingly mentioned that he was scared he might not be able to get through it because it’s too sad. The lead guitarist joked, “I’m proud of you.” 

At this point, they had played one song off of each of their albums in order, my brother mentioned. Cool way to start out a setlist, I wonder if bands often try to mix a setlist up by album once they have a big enough discography. It seems that a lot of bands often talk about the new album they’re touring off of at some point in a show and say something like “We’re gonna play some songs off of it…” and then play three or four. 

They went into “Lonely People” next, very energetic song. The clapping in the beginning of the songs gives you an easy rhythm to hang on to, that was something I remembered a bit more vividly than anything else. I also remember thinking that Hunter’s voice was impressive here, noting that his voice is “good, just not super powerful.” There was a really cool part in this song when Hunter, the lead guitarist, John Caughlin, and the tall, lanky guitarist/multi-instrumentalist (Jake Pinto) were all playing out an extended three-guitar jam in the song, and the drummer was “directing” the soloing, saying “Gimme three!” then one of them would play a lick, then he’d say “Gimme nine!” then another would play a lick. I don’t know enough about guitar to understand what those numbers might have meant, and I could have been mishearing him, but maybe it had something to do with the scales or notes they were playing in a riff. If you have an idea of it, let me know. Anyways, it was a really cool moment that pumped a little bit more rock into the show. 

Before the start of the next song, Hunter said to the crowd, “Everybody nay like a horse… It’s the year of the fire horse,” then everybody (mostly everybody) did to some extent, which was funny, then he said, “Alright now we can start the song… This is the year we’re gonna do what we want!” Something like that. Of course, the song was “What We Wanna.” It was a fun song, with a cool keyboard solo in it, a glittery solo. It matched Pinto’s jacket, which was bright pink and stunningly glittery, it was funny. I loved the vocals at the end of the song between Hunter and Caughlin. A really special outro. 

Something else I noted was that Pinto and Michael Fatum (the guy who primarily plays the trumpet) were both incredible multi-instrumentalists, often walking around stage in the middle of songs to switch instruments even, let alone in between songs. Pinto played guitar and keyboard a lot, and I think a synth at times, while Fatum played trumpet, tambourine, the fish (haha), the sticks (I’m pretty sure that’s what you call them?), and I think he also played the keys and a synth at some point. Also the cowbell and a shaker a few times. I mean, there was very little he did not play. Even playing a long list of the little boring, more truly “in the background” instruments that you don’t always even notice like that, I still find it to be incredibly impressive to know how to play so many and play them well. 

Skipping ahead in the setlist now, they played “Let it Ring.” I really liked this song. It’s a slower one and sometimes I can be a sucker for that, but it was a really intimate opening with Caughlin singing lead this time, and his voice certainly isn’t as pretty and polished as Hunter’s is, but it fit the song well, with the deeper, thicker keyboard sound and a lower guitar sound too. Hunter joined in on guitar and he played a seductive little solo, then he and Caughlin jammed out the ending. It was a nice buildup. This was certainly a more mellow one that can bring the energy down in a live performance, but I give them credit for putting it into the setlist. I feel like every setlist has to slow down at some point, and I thought this was a great choice for that, and it’s a great showing of versatility because it’s definitely farther from their core sound than most of their songs (that I’ve heard, atleast).

“Queen” was next, then “Fanfare,” which of course are too much more energetic, upbeat songs after their slowest one. Totally makes sense to put them in that order. Queen was very catchy, and I’ll say that Hunter’s voice was not as high-pitched live as it is in the studio version. I actually found that to be better. And of course, Fanfare is an easy go-to. One of their most popular songs for a reason, it’s a super complete song instrumentally, and, in my limited but growing knowledge, it catches the Magic City Hippies’ sound in one song about as well as any. That trumpet blare is so recognizable and powerful. Great song. They really blew this one out, and rightfully so. It brought the place up a lot, and Hunter screamed, “I love you DC!” during it. I don’t know if he does that for every city they play in during this song, but even if he does, I’ll take the compliment. Also, my brother noted that this used to be their encore. I like them changing it up, they probably played it as an encore for a long while. It works in the middle of the set as a song to add some life into a show. 

They slowed down to play “Diamond” next. But they finished it loud! The ending to this song really picks up, and it’s pretty pumping instrumental outro live. I liked it. 

Hunter checked in with the audience before the next song, “How we doin? We still gettin’ lit on a Wednesday night? This song is kind of lit… like a slow burn.” He was clearly joking around with his use of “lit,” it’d be cringey if he wasn’t. I only really noted the “slow burn” reference because I’m a big fan of that expression. Life is a slow burn, and often the best things in life come from a slow burn. Anyways, this song did burn slowly. It was “Limestone,” and I thought it was great live. Hunter’s voice stood out to me the most here, he was a bit more raspy, lower, but threw in some sweet sounding high notes, and it was backed by an acoustic guitar, with some other instrumentals I can’t quite remember. I think this was my favorite song of the set. 

Hunter said after this song, “They [the band] told me not to wear this sweater,” which got a laugh. It was a funny moment. These guys really kept it light. They seem to not take themselves too seriously. Couple a’ fun fellas. 

Skipping a little bit ahead here, they brought out a saxophone player, I forget his name, but they did introduce him and said he was from D.C., which was cool. I believe that Hunter said, “We made this song with Cory Wong, and I’m really excited about it,” although setlistfm claims that this was a cover, not a collaboration. But Spotify says otherwise, giving both groups credit for the song. So I’m gonna trust that. I really don’t remember how this one went, though. Not to say it was a forgettable song, it just didn’t quite catch me personally, or atleast I didn’t note anything about it.  

They played “I Can’t Let You Go” next, and Fatum and the new sax player did a fun, dueling trumpet and saxophone solo to close out the song. 

Caughlin said before the next song, “D.C. we got two more for y’all tonight,” and they played “High Beams.” This was the peak of the show. Midway through the song, a stagehand tossed a keytar from the balcony up on the left side of the stage down to Pinto (and he caught it), which got a rise out of the crowd. So add the keytar to the list of different instruments Pinto played. Hunter also used some sort of tube to add an effect on his voice to make it really deep, which was cool. I think it was this song that had the tube, correct me if you were there. Anyways, they really extended this one, with Hunter walking off the stage and going over the barrier, walking out into the crowd, forming a circle around him. It was about 15-20 feet from me. The rest of the band was jamming and Hunter yelled something along the lines of, “D.C., we gotta break it down!” Then the instrumentals changed up, going up a level for sure, and Hunter was jumping around with the crowd. Then Fatum joined him, sneaking into the circle without many people noticing him until he got there, likely because everyone was looking at Hunter. It was a pretty epic moment. And it was funny, both Hunter and Fatum were really sneaky about it. I swear Hunter ended up back behind where I was standing after starting in front of me, it was like a magic trick. Then all of a sudden he was back on stage. Anyways, speaking on the music, the song really jumped, and if the band’s instrumental talent and chemistry wasn’t already shown (it was), it was certainly proven here. It wasn’t stuff that just any band can pull off, they really crushed this as a peak moment in the set, one of those “worth the price of admission” moments. 

They played “Givin’ Up on Lovin’” next, then walked off stage at 10:36. They came back on a minute or two later and encored with “Something About Us,” which I learned was a Daft Punk cover. It was very gradual, as first Pinto only came back on stage and started playing the keyboard, then Fatum followed, then everybody else, before Hunter came out by himself and started singing. He used another effect on his voice for this song, it might have been the tube this time too, I can’t remember. And listening back to the Daft Punk song, it makes sense. Gotta be a hard song to cover when there are so many effects on the vocals, but hey, they pulled it off. And what do I know, maybe it’s easy. 

The second song of the encore and final song of the night was “Champagne on the Rider.” They kind of lost me on the final three songs, so I don’t have too many comments here. It felt like it was the “resolve” after the climax of “High Beams,” which is okay. Not every set needs to end with the most energetic or recognized song. It’s a decent idea to have a peak of a show with whatever is going to impress your audience the most and allow them to enjoy themselves, then close out with a couple songs that feel more like a… comedown? Something like that. Especially because if you save your top song for last, I feel like you can run into time issues if something takes longer than expected, then you end up having to cut a song that people really want to hear. But like I always say, it doesn’t matter what people want to hear. Bands play for no one, and should play what they want. But of course, consideration of the audience seems to be a common thing when it comes to deciding what gets in a setlist and what doesn’t. 

Anyways, they ended at 10:46. 

This was a good show that earned my respect for Magic City Hippies more than anything else. They likely won’t become a band I listen to frequently any time soon, but there were some songs that strongly caught my ear and I will take those away from the show, which makes any show worth it. And I’ve already given them more of my time. On top of that, the chemistry and talent of the band is hard to deny. I mean, it ended up being a 20-song setlist that didn’t feel rushed, which is hard to do and a sign of quality in my mind (I’m of the belief that a longer setlist is not always a better setlist). Maybe a few songs could have been taken out, but nothing felt truly forced. I’ll let the bigger fans of the band weigh in on that. Anyways, Magic City Hippies are a fun, professional show with good, unique music worth seeing and hearing. If you were there or have seen them on this tour, please let me know your thoughts. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about the Magic City Hippies and I’ll be happy.

*A quick nod to the opener…

I walked into the show at 8:07 and caught a handful of songs from Supertaste. They were a logical opener for MGH, similar sound. Psychedelic. They were a four piece band with a singer who played guitar at times, keyboard, bass (who also played lead guitar at times), and drums. 

The lead singer had a pretty sweet voice, their keyboard sound stood out to me, and they did a cool transition from one of their songs into Dreams by Fleetwood Mac, then ran it back into the chorus of the original song they were playing. It was cool. 

They got real funky at times, used synths a lot. The lead singer once said “Just doin’ synth stuff with my synth friends.” They also got a little jazzy in their guitar sound I think? The lead singer also said before another song, “This is the jazz section of the show.” They were talented instrumentally, with the lead guitarist/bassist carrying them a bit as a multi-instrumentalist. 

At one point, the lead singer got into a short monologue about D.C. He mentioned that they had played DC9 before (a venue I need to check out myself), then he told a story about how they came down here nine years ago, drove down to the National Mall (to protest, I think). “A lot has changed since then… This song is about power. It’s about how the only divide is up versus down, not left versus right,” which was a really interesting thing to say. Very thought provoking. Anyways, it was a good song! I will probably go back and listen to it again. 

I could have sworn at one point in one of their songs they mixed in a lyric/riff of “Instant Crush” by Daft Punk. If you were there, feel free to tell me I’m crazy or tell me I’m onto something. But I’d love to see if anybody else noticed that. Then, they did a cover of a song (I couldn’t understand what they said it was), but it was Daft Punk-esque. Clearly an influence there for both Supertaste and MCH.  Their keyboardist sang with a heavy, heavy synth disguising his voice. 

At the end of the set, the lead singer said, “This has been fuckin awesome… it’s a dream to play at The 9:30 Club,” then they played Supernova, which was “the title track of our first album.” It was an awesome song, I loved the instrumental intro. Definitely their best in my limited opinion on them. 

So go check out Supertaste too, they’re definitely worth showing up a little early for and catching a few songs, or even their whole set. 

Some notes on the venue… 

I love The 9:30 Club. D.C. feels like a great music city in there. It’s really a legendary place with all the names that have played there, and more importantly, it’s the perfect size and in a great location, and the sound is really good. 1,200 capacity and the GA fits plenty of that 1,200, with bars on both sides that have never required a long wait in my experience. I love the room on the back right side with all the CDs and records (I assume it’s CDs of bands that have played there at some point), and the balcony isn’t a bad bet if you can get there earlier enough to hold a spot, but I find GA to be the most convenient decision for a show. And the bands/artists you get there… you are sometimes spoiled because you’re catching a top-tier band just before their peak. The peak before their peak, if you will. The 9:30 Club seems to be the last stop that truly great bands make before graduating to The Anthem, Merriweather, Capital One Arena, etc. (speaking on D.C. area venues only here, but the example applies anywhere), and, their ticket is about to get more expensive. It could be the last chance you can see them for a decent price. So, you can find yourself thinking, “I’m surprised they’re performing here and not at [a bigger venue].” And that is an awesome feeling as a fan, because you know you just saw something rare, and special. And in other scenarios you could see a band that never gets bigger than The 9:30 Club (or similar sized venues), but they’re a favorite of yours and you’re getting to see them in a tighter space, a more special experience. Or, you’re seeing a band that’s aging, coming down from their days of larger venue tours, but is still special to you and puts on a great show. My point is, you’re likely to get something good at The 9:30 Club. And it’s on the metro line on U Street, really easy to get to with The Lincoln Theatre just down the way. That street has a lot of character, and I love that there are two timeless music venues on/right off of it.

I got there for the back end of Marina Allen’s set, I think I heard four songs. I couldn’t tell you what they were, but I was pleasantly surprised by this artist who I had never heard of before. And I love a good opener. She definitely has some Stevie Nicks influence to her voice and overall songwriting, if I had to guess. In other words, her voice is lovely and quite soothing. Again, much like Real Estate, this made for a sleepy performance, but I would fall asleep to Marina Allen any time and enjoy it. Light electric guitar, keyboard, drums, and bass. I respected that she played a really slow and quiet song as her last, dismissing her drummer and keyboardist offstage to play with just her bassist, who added just a touch of plucking to the song. Can’t find it on Setlist FM, so anybody who was there/is a fan of her, let me know or take a guess at what it was.

The band looked exhausted. Like they’d hardly slept in days. They mention it was near the end of their run with Real Estate (looks like it ended on the next day on April 20th in Woodstock, NY), so it had probably been a long haul. I gave her a listen on Spotify after and liked “Original Goodness.” Also found “Falls on me,” as it’s her most popular song, but I believe it’s not technically hers. Says it’s by Sylvie and she’s featured, but Christ does she sound good on it.

Share if you were there and/or if you’ve seen Real Estate or Marina Allen anywhere else, would love to hear any other experiences and opinions.

*A quick nod to the opener of this show, Medium Build*

I had only heard one song by him coming into the show, “Can’t Be Cool Forever,” which I thought was fine, a little angsty, but a good song. His set was so far beyond that song. It was way better. He had a sweet, twangy, southern soft rock (a touch of country) sound to his voice and in the band’s instrumentals. I don’t want to say full country, because it really wasn’t country music in my opinion, there were just small flashes of country sound within it. Maybe I just don’t like most country music, so I’m refusing to call it that, because I did enjoy his songs. He does have an album called “Country.” So maybe I’ve beaten myself on this one. Let me know how you would classify him. Anyways, I had read that he was from Alaska, but clearly didn’t read much further because he said that he was from Georgia. He said at one point that the band was “from Nashville by way of Alaska.” So it started making sense to me why he had such a country look and sound to him, and not an… Alaskan look? Anyways, he has a really powerful voice and was a very likable guy. He talked about how his music obviously isn’t very joyful if you listen to the lyrics, but “it’s joyful for me to play these songs.” Which I thought was really genuine. I listened to a number of his songs on the ride home, and honestly he was much better live, it freed up the power of his voice. He’s worth checking out, though, and I would even encourage seeing him before listening to many of his songs.

*A quick nod to the opener*

I walked into The Atlantis at 7:42 and caught a couple of Mercury’s songs. It was just three people, all with acoustic guitars, two boys and a girl lead singer. She had a really special voice, really lovely, and my friend described it as “endearing” which I thought was accurate and a word I couldn’t think of at the time. I need more words to describe music. Anyways, I thought they were quite nice, and will check out more of their music. They are worth showing up early for and listening to some of their songs, if not their whole set. I freaking love openers that I don’t know well or at all, ya never know what you’re gonna get! It’s free new music in its purest form, baby.

I saw Peach Pit on Sunday night at The Anthem in Washington, D.C. with Briston Maroney as their opener. However, it would be more accurate for me to say that I saw two really good sets of music to make one great show. Both performances were awesome, and I think this is a rare tour lineup in which the opener and headliner are very similar tiers of live performance, making for a no-brainer, very worthwhile show. 

I’m not here to say that one band is better than the other, both were and are great, and it’s all subjective from there, but my point is that it was cool to see two shows of similar quality back-to-back. It made me feel the price of my ticket was extra worth it, and I had to think that most fans left feeling happily spoiled. 

*I am pasting only the review of Peach Pit’s performance below in this sub for brevity’s sake. The Briston Maroney review is posted separately.*

Fan Context 

I’ve known Peach Pit’s music for about five years. I’ve never got deep into their stuff, but I have 11 of their songs saved and have always enjoyed them. I gave little attention to the new album, “Magpie,” but not for any specific negative reason. Just didn’t get to it. Similarly to my approach to Briston Maroney’s new album, I just thought, “Well, I’ll go hear some of it live.”

If I remember correctly, the first two songs I was shown by them were “Black Licorice,” and “Shampoo Bottles.” I know, those are two pretty common ones, but on the opposite end of that, I’d say the most niche song I know by them and really like is “Hot Knifer.” 

I actually saw Peach Pit at Firefly in 2021, when they were touring off of “You and Your Friends.” I remember thinking they were just okay, and what unfortunately stuck with me the most was that they screwed up their last song of the set, playing a 30 seconds or so of the intro and then having to start over. Don’t remember what song it was, but it was a rough way to end a set. Regardless, that stuff happens and I wasn’t going to knock them too hard for an “okay” set, especially because they were still a pretty young band at the time (and your perspective is a little skewed when you’re at a festival with performances from The Killers, Cage the Elephant, Tame Impala, Khruangbin, etc). I picked up a handful of songs by them over the years, and while they’ve never been at the top of my list of favorites, I’ve always thought they had some great songs and wanted to see them live again.

The Music

Peach Pit came on at 9:30, after Maroney got off stage at 9:00, so not an unreasonably long wait in between sets, which I appreciated. They started by playing a quick “War Pigs” cover riff that broke into “Magpie.” It was funny, just two days before at The Anthem, Caamp did a War Pigs cover at the end of one of their songs. Black Sabbath is really touching these bands these days I guess, funny coincidence. It was a good way to get the show started, and the short transition into Magpie hit my pulse. That guitar riff in that song is really electric and fits well for an energetic opener. They added the War Pigs riff back in at the end of the song, which was a cool way to finish off their introduction to the audience. I’ve said this before, I don’t love when younger bands who are still growing play covers (I wanna hear your stuff). It’s not the end of the world when it happens, but I’d rather hear something new (or old) from the band I’m seeing. Just my opinion. BUT, adding in a small bite of a classic rock riff to one of your already highly electric songs to add some more energy to an atmosphere at the beginning of a show serves a useful purpose in my mind. So, fair game. 

There was a brief moment of the band looking pretty unassuming for a second, then the lead guitarist punched out the “Drop the Guillotine” opening riff, and the crowd went nuts for it. I’m not talkin’ mosh pits or anything – this was a Peach Pit concert – but there was certainly an amped up buzz in the crowd and it was awesome. The opening riff really jumps, it was cool. I had always known that Peach Pit was a strong instrumental band, especially the lead Guitarist, Chris, but even their more instrumentally-prominent songs always seemed to have a softer tone to them. It was cool to see them let it out a bit more in the beginning here. Chris is a really special guitarist, that showed throughout the entire set. Every lead guitarist is gonna be highly important to their band, but it’s obvious that Chris enhances Peach Pit to a great extent. He carries their live performance and he isn’t the lead singer, which is not totally uncommon, but is nonetheless impressive. 

I want to add that I liked these songs that leaned closer to a true rock sound, but I didn’t like the sound in its entirety. I think Neil has a sweet voice, but I don’t think it works well with pulsating instrumentals. I like that they’re evolving into a more energetic sound with songs like Magpie, but I don’t think that sound will ever be the band at their best. Not that the band has to only make music that is perfect for all their capabilities – all great bands/artists experiment. But I’m not sure how much they can grow in that type of sound or how good the music will turn out. I just feel like the vocals to match that instrumental sound won’t be there. Just my opinion. 

Moving on, the lead singer, Neil, addressed the crowd for the first time after Drop the Guillotine, and introduced the band members. He talked about how happy they were to be there, how they’ve played in D.C. at various places, mentioning that they played at Comet Ping Pong once, which was funny. 

They played Black Licorice next, which was a nice change of pace and a good way to mix in a bigger hit earlier in the set. I think three songs in is a solid place for that. They added a cool change up in the middle of it with a heavy bass sound, and it turned into a longer jam at the end. I appreciated the way they spruced up one of their simpler instrumental songs in a live version of it. Well done. 

They were playing in a five-piece, by the way. Three guitars, one played by Neil, drums and bass. The second guitarist was a multi-instrumentalist, playing some kind of sound board at times, along with the violin (and maybe others, I could be forgetting. Let me know if I am). He was impressive.

They played “Up Granville,” next, then played “Vickie.” Up Granville sounded good live, Chris’s solo at the end was cool to see and hear. Neil said before playing Vickie, “This song goes out to my friend Victoria.” 

Oh also, the “Long Hair, Don’t Care” tour name really rings true. These guys were swinging their hair around in almost every song. It was funny. 

Neil asked the audience if anyone was having a couple drinks, and mentioned that he would be right with those people, but confessed that he’s gone “seven years, no alcohol!” Then they played “Give Up Baby Go,” which was a cool transition, given the song being about drinking too much. I love the lyrics in that one, it’s one of my favorites of the newer songs (I know it’s from an album ago, but still, it’s newer to me), it gets stuck in my head a lot. Really catchy, they played it well live. 

Neil was just laying down in the middle of the stage for a second after Give Up Baby Go. He got up, and the band played a quiet intro into “Outta Here.” I hadn’t heard this one before, it was a bit more toned down, but I really liked the sound of it. The very light guitar as the leading riff with the jabbing electric guitar sound in the background, it was like a well-evolved version of their earlier-album sound, I think, and I now realize it’s off of Magpie. It’s a cool one live. 

Next, Neil said, “We’re gonna play some oldies for you guys now.” And they played “Being so Normal.” This was another moment that made me think about how talented the group is instrumentally, and again, especially Chris. The lick he played in this song was something. It’s really subtle in the studio version, but hearing it live it was really prominent. Great stuff. 

They did a cover of “What Once Was” next. As I said, not my favorite move for a band like Peach Pit, but that’s not to say I didn’t enjoy it. And then they played right into “Techno Show,” which I honestly didn’t remember until seeing it listed that way on setlistfm. That sparked my memory, though and I remember hearing that pretty recognizable guitar riff in Techno Show. It’s accurate, I just wasn’t sure if they played right into it or paused between What Once Was and Techno Show. If you were there, feel free to confirm or deny. 

They played Alrighty Aphrodite next, which I was really happy to hear. It’s just a great example of Peach Pit’s core sound. I think it’s one of their most unique songs, one I would show someone early on if I was trying to define Peach Pit to them. 

Neil gave a shoutout to their crew before the next song, then they played “Shampoo Bottles.” Classic one, of course, and they did a really good job again of upping the instrumentals in what is one of their more simple songs. Neil also mentioned before they started playing that they only had two songs left before this, which was surprising because it was only 10:20, but I remembered thinking that it was a good setlist so far, and I was pretty satisfied. So I wasn’t upset about it. 

They played “Private Presley” after Shampoo Bottles. I hadn’t heard this one, and remember thinking that it was a more emotional one. Just based on sound alone, because I couldn’t fully understand the lyrics. It had a gripping and satisfying buildup, I thought it was one of the coolest songs of the set. The ending was awesome, Chris blew out a killer solo. Really grabbed me. The lights were also cool throughout the song, putting up a blue hue over the band. 

The band walked off after this, and Neil came back out alone with just an acoustic guitar. He talked about all the other places they had played at in D.C. again, with a grateful tone. Then he talked about how since high school he always wanted to be in a band, but he didn’t know how to do it. He didn’t go to college after high school, and just worked seemingly mundane jobs to make money. Then, he talked about how Chris moved into his neighborhood and they began to hangout, “especially at the spots where we would smoke pot together at night time.” Funny. He talked about how they weren’t super close, but both took molly together and a music festival near where they lived and that experience brought them much closer. And it felt cliché for Neil, that he had finally built up the courage to ask Chris to be in a band with him (he knew he played electric guitar) while being high on drugs. But he did it anyway, and Chris said yes. Then, Neil said “This is the first song I played for Chris,” something along those lines. The song was “Peach Pit,” which, of course, eventually became the name of the band and is one of their best, BEST songs. Similarly to how I feel about Alrighty Aphrodite, but more so. 

Anyways, this was a nice moment in the show that took some time, but I think was worth it because it provided an interesting peek into the origin of the band. Then, the band came back out and finished on “Tommy’s Party.” Another core Peach Pit song and a great closer. 

It was an intimate solo version of it with the crowd very involved, singing along at the chorus. Anyone else notice that the chords are really similar to the chords in “Hot Knifer?” When he was playing the intro, I thought that was the song that was coming. 

They ended at 10:47. 

Final Thoughts

This was an impressive show from Peach Pit, and they are absolutely worth going and seeing. Plus, seeing them with Briston Maroney is a pretty big steal in my opinion (I got my ticket for $70). Having seen them years ago, it’s clear they’ve really grown and matured in their live performance. They’ve gotten a lot better, are very connected as a band, more heavily and energetically electric, and have put together a strong setlist that flows well (I don’t know how much they’ve adjusted it on this tour, but it looks like not a whole lot in recent shows). 

I will add that while the show was impressive and I enjoyed it, the band didn’t move much in terms of how highly I hold them. They’re consistent and I always like a band that makes me feel, “I know what I’m getting,” and I definitely gained more respect for them (after already having a good bit for them) after seeing this show, but they’re songs mostly just jab me. They don’t quite punch me. Their original Peach Pit sound (soft songs in which the instrumentals compliment Neil’s softer voice more, but are still complex and cool, and prominent) is a good identity to have. And I’m glad they’re evolving beyond that, and I think they’ll continue to make very good music. And I’ll go see ‘em! But I don’t know how much they can significantly grow much more, and I’ve yet to think of them as anything beyond a good band, with some great songs (but many good ones). BUT, I respect what they’re doing, and they certainly shouldn’t only make music that they think will appeal to their fans, they should make whatever they think sounds good. They don’t owe me, or any of their fans anything. But I strive to always give my honest opinion.

So go see Peach Pit, and let me know what you think. If you were at the show or have seen them on this tour, please add your perspective in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Peach Pit and I’ll be happy.

I saw Rainbow Kitten Surprise at Hartford Healthcare Amphitheatre in Bridgeport, Connecticut back on Wednesday, September 18th, and I was pleasantly surprised by their performance. 

Here’s the good news: Rainbow Kitten Surprise are still a great live show. 

For Context…

I have been a fan of RKS for five years or so, and I know them pretty well. There are certainly bigger fans of the band than me, but there was a period in which I listened to their music a good bit and I would recognize a lot of their songs. I saw them in Washington, D.C. two years ago and it was a great show, and I knew I wanted to see them again the next time they toured. I was excited that they were back making music after they had a pretty abrupt break, which (I think) was sparked by Ela (formerly Sam) Melo’s transition from male to female (open to info on this if anyone has it), but then they put out an album that I thought was just bad. Not because it was a change from their established sound, but because it simply wasn’t good music in my opinion. It was pop, snare drum, high-pitched, saturated music. Didn’t do it for me and was a hard listen. I won’t get on my soapbox about this right now, but my point is that I really thought there was a permanent change to Melo’s voice after his transition (not sure how that may or not have affected him/her), and that was potentially why the sound had to change so much just so it could cater to the level that Melo’s voice could reach. I am all for bands experimenting with new sound, but the change in this direction didn’t make sense to me unless they had to go this way for some reason. Safe to say, I was disappointed and didn’t enjoy the album at all. So I wasn’t very optimistic about how they would be live. But they have some awesome songs and killer discography of music, and are one of the more unique bands I know, so I went to the show hoping to see at least some flashes of that. And I got tickets for $30 through a deal through the venue. So out of respect for their music that was made prior to Love Hate Music Box, I wanted to go see them. They deserved a chance, and any band that makes an impact on my life, I’ll almost always try to go see. But I went in fully prepared to be disappointed and underwhelmed, with maybe a few flashes of the old RKS. 

The Music 

I was really pleasantly surprised by RKS’s performance. Their sound was “still there” for lack of a better phrase, and most importantly Melo’s voice was still there. That was my biggest concern coming in, but from the first note she sang, I was reassured that Melo’s live singing voice was still just as punchy and powerful as it always had been. It was pure. What really made me happy was the setlist, it was really enjoyable with a lot of variety, a healthy mix of hits, deeper tracks, new stuff (meh), and just overall, some songs I didn’t expect to hear live. Opening with “Fever Pitch,” into “When it Lands” was great and not what I expected. I guess I don’t know what I expected, maybe for some of the new album first, although bands seem to like to mix in new songs in the middle of a set. Anyways, those songs are just very niche to RKS in my opinion and I was excited to hear them after they took a turn away from that type of sound in the most recent record.

They went on to play some RKS staples: Hide, Cocaine Jesus, Matchbox, First Class, All that and More. All of them sounded great. I was really surprised to hear Bare Bones, a slower and quieter song, but one of my favorites from RKS. A song that Melo’s voice carries with that dissonant, dead, dark, acoustic guitar sound. And she sounded excellent, hardly different from the studio recording, but different enough to make the live version special. Really impressive. Apparently, according to setlistfm, that was also the tour debut of that song. 

Anyways, they played seven songs off the new album, and I will say, they sounded less saturated live. Less screechy. Especially Melo’s voice. I still think they’re bad songs, that thought didn’t change for me. But they weren’t as bad live. “Run” is always a great late-in-the-set song, and they usually close with it I think, but it was the third to last song. Definitely a song that you wouldn’t think is by RKS at first listen because it has a little more of a traditional rock sound, and not the unique RKS rock sound with a big emphasis of vocals – it’s heavier. But it’s a great outlier in their sound that makes you bang your head live. They encored with “Thanks for Coming” off the new album, then “It’s Called: Freefall,” which I will take 10/10 as an alternative closer to Run. 

Overall, the musical performance from RKS was really strong. There wasn’t much else to their performance – they did have cool lights, though. But they were up there to play their music, not so much to entertain you. And I don’t mind that at all, the music is the reason why you’re going to the show. It’s entertaining in itself. Now, that’s not to say that I am not in support of a head bangin, raucous, live show with extended solos, booming vocals, and loads of Freddie Mercury-type crowd interaction (just saw Green Day a couple months ago), but this show was more tame, less exhilarating, but very enjoyable because the quality of the music was really good. I saw Cage The Elephant earlier this year, a band I listen to and know and like more than RKS, and my biggest critique of them was that the setlist felt rushed. They were flying through songs and I think that took away some of the quality and ability to enjoy, savor the songs. They played 22. RKS played 24! And they hit the nail on the head. They were comfortable, not so much a blood pumping energy show that Cage was, but quite pleasing and hard to look away from. Anyways, my point here is not to do an RKS/Cage comparison, and I still love Cage and will always go see them, my point is just to say I enjoyed the RKS show more, and I did not expect that. 

Melo mentioned at one point a very simple, direct statement about how they woke up that morning and thought, “Let’s play a fuckin’ show.” And threw in “This is what we do, and we love doin’ it.” I don’t remember verbatim, it was along those lines. It was great to see her show some joy on stage throughout the performance. She danced around, the same way I remember her/Sam doing in D.C. I know she had probably been through a lot with the transition both mentally and physically, and it made me happy to see that she seemed happy. Regardless of how you feel about someone’s personal decision and how they identify, someone who makes music that has an impact on me will always be special to me. You need that music in life. And they made it. I will support that person/band for as long as they are morally decent. And I will always give their music a fair shake, and support their live shows. 

Does anyone know more about the band member changes? I don’t know much about it but I believe the bassist and one guitarist are new? Regardless, both of them were good. The band had great chemistry and they were really solid. There wasn’t much crowd interaction from Melo or anybody else, which was fine, I’m not sure if that’s ever been their thing, I don’t remember them being particularly interactive in D.C., but they were clearly there to play music, and that was it. They have a serious stage presence. And, to paint a picture, the venue was not close to sold out (which was another reason why I was a little worried that the show might be subpar, that maybe word had gotten around that they aren’t worth seeing). It wasn’t empty by any means, but it wasn’t a packed house. The crowd was tame, so maybe the band was just taking what they were giving them. 

Anyways, I’m curious to see where RKS go next with their music. I wouldn’t imagine that there’s another album coming any time soon, but who knows. That’s the bad news – we’re still waiting for good new music from them. This last one was a dud, but I’m happy it gave them a reason to tour. Whatever they put out next, I hope it plays more to the band’s strength. I’m not pleading for a full reboot of their sound from the first few albums (although I would like that), I know that bands evolve, but less of a hard turn into pop-music would be nice. As far as their live shows go, however, go see RKS if you want to hear good music. It’s still there, and I will keep going until that changes, despite my qualms with what they put out in studio. 

If you were at the show or have seen RKS on this tour, please add your perspective in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Rainbow Kitten Surprise and I’ll be happy.

*A quick nod to the opener of this show, Medium Build* 

I had only heard one song by him coming into the show, “Can’t Be Cool Forever,” which I thought was fine, a little angsty, but a good song. His set was so far beyond that song. It was way better. He had a sweet, twangy, southern soft rock (a touch of country) sound to his voice and in the band’s instrumentals. I don’t want to say full country, because it really wasn’t country music in my opinion, there were just small flashes of country sound within it. Maybe I just don’t like most country music, so I’m refusing to call it that, because I did enjoy his songs. He does have an album called “Country.” So maybe I’ve beaten myself on this one. Let me know how you would classify him. Anyways, I had read that he was from Alaska, but clearly didn’t read much further because he said that he was from Georgia. He said at one point that the band was “from Nashville by way of Alaska.” So it started making sense to me why he had such a country look and sound to him, and not an… Alaskan look? Anyways, he has a really powerful voice and was a very likeable guy. He talked about how his music obviously isn’t very joyful if you listen to the lyrics, but “it’s joyful for me to play these songs.” Which I thought was really genuine. I listened to a number of his songs on the ride home, and honestly he was much better live, it freed up the power of his voice. He’s worth checking out, though, and I would even encourage seeing him before listening to many of his songs. 

The Show:

I saw Real Estate on Friday, April 19th, at the District Music Hall in Norwalk, CT as part of their They were as advertised, sounded just like Real Estate. What I mean by that is Real Estate has one of the most distinct, recognizable, and most consistent sounds of any band I know, and it rings true in live performance, to their credit. Play the first 10 seconds of any Real Estate song, and any fan can probably recognize their sound happily. That being said, it makes for a bit of a sleepy show, because while their instrumentals are usually at an energetic pace and fun to listen to, they’re also very soft. And so is the lead singer’s voice. But if you’re a fan of their music, you shouldn’t go into a Real Estate show thinking their sound is going to be a blow to the face. 

The Band:

The band seemed to be at a tired point in their tour. Before jumping into their first song, the bassist Alex Bleeker said to the crowd, “I said in the green room, ‘This is gonna be the best show on tour. So let’s give it a whirl.’” As the show went on, I began to be pretty certain that that comment was sarcastic. I say this because they were shorthanded, their keyboardist, Matt Kallman, was missing because his wife had just had a baby, they informed the crowd at one point. And the keyboard is a huge part of some of Real Estate’s best songs. They also had several, what looked to be, sound issues, in between songs. The lead singer was adjusting things a lot and it didn’t look natural, they even had to jam for about two minutes in between a song as he was fiddling with a wire with the venue’s tech. I know it was the venue’s tech because the lead singer, after fixing a problem with one of his pedals (it looked like), exclaimed “This is what happens when you can’t afford a tech.” Also, they were their own sound guys. They came out on stage before the show and tested all of their instruments and all microphones. If you were a casual fan and didn’t know what the band members looked like, it would’ve been hard to tell if those were the band members or not, considering that they all look like they should be solving problems on my laptop. They could easily pass on sound guys for the band. Not a knock on the guys, I feel like they fully embrace the “nerdy band” shtick, the lead singer being kind of a Rivers Cuomo-type, and they are significantly cooler than me just based on their musical skills alone. So just an honest observation that I found to be humorous, but also a little sad because I believe that a band as good as Real Estate should be able to afford some freakin’ sound guys.

Anyways, my point is that it seemed like the “Best show on tour” comment was a sarcastic way of motivating themselves to sort of “accept the suck,” on what was going to be a difficult, “throw away” type of show for them, given the factors I just listed. Bleeker kept making funny comments about Norwalk and how “crazy” of a time they’re having in the city, which was a crowd pleaser because he was obviously being sarcastic and playing into the self-deprecating humor that many people from Connecticut have about Connecticut. He wasn’t being rude, just wasn’t holding back on the fact that they probably knew performing in Norwalk, CT wouldn’t be the most riveting scene in their live performing careers. He stuck a “putting clams on pizza” joke in there. Credit to him for playing to the audience, people in Connecitcut fucking love when you talk about their pizza. 

Even before the last song of the night, the lead singer, adjusting his pedal nervously again said “Okay we’re done… after this,” and broke in to “Talking Backwards” to close out the night. They remained totally professional the whole time, they weren’t expressing any displeasure. They just seemed like they wanted to get through the set, and move on to the next show. Accepting that the odds were a bit stacked against them for the night. 

The Music: 

They were rock solid as a band overall, totally in sync and like I said: they sounded like Real Estate. Not much of a difference between their studio and live sound. Julian Lynch riffs were sharp, bouncy, but soft. I wished he played a little tonier live, which might be an unpopular opinion because that’s just not their sound. But to that I would say Lynch’s guitar riffs are really the focal point and most attractive part of Real Estate’s best songs, so if they’re not bright and vibrant and the leading sound live, then I think that’s makes their live performances less powerful. Also, I was on the opposite side of where Lynch was standing on the stage, but it was a small room, so take that as you will. I just wanted to hear ’em more. He wears his guitar very high, playing the instrument like he’s working at a standup desk, hardly moving throughout the show. Making it look awfully easy to play Real Estate’s very active songs that require a lot of movement up and down the fretboard. 

It was a strong setlist, coming from someone who has only listened to the band sporadically over the years, but can recognize a few songs more than just their hits (Had to Hear, Talking Backwards, Beach Comber, etc., which they played). I know some deeper cuts like Fake Blues, Kinder Blumen, Green Aisles, etc. Their new songs didn’t sound like a dramatic change from their known sound, but were certainly not a carbon copy. They played eight from the new album (Flowers, Haunted World, Somebody New, Say No More, Interior, Paper Cup, Freeze Brain, Water Underground). They brought “Had to Hear” out early (third song). I’m always interested to see when a band plays one of their biggest oldest hits, whether they save it for the end or play it early to throw an oldie in with some of their early-set new stuff just to keep the casual fans intrigued and at a balance of interest with the die hard fans. 

The venue: 

The District Music Hall is small and it was close to full for this show, but there was space. There’s a GA area that I would guess fits 200-300 people, and a balcony that fits probably 100 or so. Maybe less. Was pretty quick and easy to get a drink at the bar that’s straight back, centered with the stage. Sound was not fantastic in there, and I’m not some guy who knows what he’s talking about when it comes to proper sound quality in a venue, it just got a little vibrate-ey at times and I just think I’ve heard better at similarly-sized venues like College Street Music Hall in New Haven. It could’ve just been the band’s sound and my sub five star review of the District Music Hall’s sound may be inaccurate, but who knows. It was not a deal breaking problem, however, just a small critique. I would happily go see a show there again. 

The Opener: 

I got there for the back end of Marina Allen’s set, I think I heard four songs. I couldn’t tell you what they were, but I was pleasantly surprised by this artist who I had never heard of before. And I love a good opener. She definitely has some Stevie Nicks influence to her voice and overall songwriting, if I had to guess. In other words, her voice is lovely and quite soothing. Again, much like Real Estate, this made for a sleepy performance, but I would fall asleep to Marina Allen any time and enjoy it. Light electric guitar, keyboard, drums, and bass. I respected that she played a really slow and quiet song as her last, dismissing her drummer and keyboardist offstage to play with just her bassist, who added just a touch of plucking to the song. Can’t find it on Setlist FM, so anybody who was there/is a fan of her, let me know or take a guess at what it was. 

The band looked exhausted. Like they’d hardly slept in days. They mention it was near the end of their run with Real Estate (looks like it ended on the next day on April 20th in Woodstock, NY), so it had probably been a long haul. I gave her a listen on Spotify after and liked “Original Goodness.” Also found “Falls on me,” as it’s her most popular song, but I believe it’s not technically hers. Says it’s by Sylvie and she’s featured, but Christ does she sound good on it. 

Share if you were there and/or if you’ve seen Real Estate or Marina Allen anywhere else, would love to hear any other experiences and opinions.

Show Thoughts: Saint Motel Headlining at the 9:30 Club in Washington, D.C.

I saw Saint Motel last night at the 9:30 Club in Washington, D.C., and it was quite a pleasant show. That may sound underwhelming because that’s a relatively cute word to describe a seasoned band, but it’s my most honest compliment to them. The performance was really fun to watch and made me happy, and I took a stronger liking to the songs than I thought I would as a novice fan going into the show. They have a much greater, whole sound as a live band, and were more powerful than I thought they’d be. I don’t mean they were screeching rock n’ roll up on stage, that’s not them, but they were a loud sound that was easy to listen to. It didn’t sting, my ears didn’t ring, but I was brushed back. They were one instrument. And that was probably my favorite part of what I saw vs. what I got. I’m usually not a big fan of bands with a common use of brass and strings and an overwhelming amount of instruments that’s just loud and chaotic, and I thought I’d get a bit of that with Saint Motel. Almost nerdy music, because it’s all played with sheet music in front of them and they wear suits, comb their hair, and use a grand piano. Not that I’m a cool guy by any means or have anything against people who use sheet music or look nice on stage, it’s just a way of describing my taste. My point is, this was not overwhelming. It was a really pure sound altogether and was a, yes, “organized,” performance. It wasn’t head bangin’ rock n’ roll with a wonder of what could possibly come next, no one was shredding their guitar to bits (although there were still impressive solos), but the band was a really gently powerful sound, and it was fun. Fun to listen to, watch, and be a part of.  

Fan Conext: 

A little more detailed context of my perspective: I have eight songs saved on Spotify by Saint Motel. I don’t listen to them very often, but have been aware of them for years after being introduced to them. I’ve always thought they were a good band and respected them, but never held them in high regard when it came to my favorites. 1997 was my favorite song by them coming into the show.

The Show… 

Saint Motel came on at 9:07. It was interesting, at 9:03 the between set music over the speaker was interrupted by a really quick and jarring strings sound, then went back to the music. It caught the crowd’s attention, as I’m sure it was supposed to. Then at 9:05, they had a dramatic “action movie preview” type of voice come over the speakers saying that the show will start in two minutes. It was clearly a Saint Motel thing and not a 9:30 Club thing, but I wondered if venues used to do that to let people know when bands were about to come on? I’d imagine that process became a hazard because of people stampeding towards stage/their seats as soon as they heard the announcements, but that’s just my guess. Maybe venues did it back in the day, maybe not. But I’m a fan of bands doing that if they want to give people a heads up for when they’re about to come on! It can help the indecisive decide if they want to grab one more drink, get food, run to the bathroom, etc. Anyways, the same voice counted down from 10 at 9:07 and the band came on. 

I’ll paste the setlist down below, but I’ll talk about my top highlights here: 

They opened with Puzzle Pieces, which I am pretty sure I never heard before coming into the show. I thought it was a fantastic opener that really stuck out, had that piano that sounds very familiar to Saint Motel’s typical sound. It was really energetic and fit the “hello” feel of what an opening song is meant to feel like. Also, listening back to Puzzle Pieces, does anybody else hear the opening (and recurring) piano riff in “Pull It Together” by The Greeting Committee? It’s very similar, matter of fact, I remember an old friend pointing it out to me saying that the Greeting Committee copied Saint Motel. Big fan of their music, but they might be guilty of a casual steal here!

The lead singer (AJ Jackson) actually introduced the band going into the second song, which I found a bit rare. I feel like most singers wait until the second half of the show or the very end to do that. Anyways, just an interesting difference. It was cool, he teased the beginning of the Für Elise Beethoven riff, then introduced the band, then they played, of course, For Elise. Cool thing at the end, the lead guitarist actually came over and played the final part on piano while Jackson sang. 

Jackson talked about the new album before the third song, mentioning that the next song was off of it, and they played “Get it at Home.” I remember thinking that it sounded like Phoenix, and listening back, it definitely does sound like Phoenix! Which is a good thing, good bands tend to sound like good bands sometimes in my opinion. Really catchy chorus, fun song. I also remember thinking that this is when the band started to sound more powerful, that “whole” sound that I mentioned. Jackson also started playing guitar for the first time here, after just singing before this. 

Jackson asked about anyone having a sister before breaking into “Sisters.” I had never heard this one either, got a chuckle out of the lyrics. 

He gave a bit of a longer intro into “Life is a gas.” He talked about how they spent their time in DC during the day at the museums, etc., and said something along the lines of “You guys got a good place here.” It felt very genuine, but he could say something like this everywhere, and I’m just the guy believing that the stripper actually loves him. Nonetheless, it was nice! He ended the little monologue with “When life gets bubbly, you gotta drink it all up because life’s a gas gas gaaaass.” Then played the song. This one stuck out to me the most I think, and really struck me live. It doesn’t feel totally serious but I love the lyrics. Listening to the studio version, it didn’t quite inspire me as much. If you get nothing else from my thoughts here, my main point is to go see them live because it is better. I was so excited knowing that I had new songs to listen to after this, because they were played to me in their highest form and I wanted to hear them again. 

“A Good Song Never Dies” was perhaps their most emphatic song of the night, with a really dramatic sound coming from the trumpet and clarinet (pretty sure it was a clarinet, maybe saxophone) during the chorus. It was a cool sound, like something that would back a montage of a main character doing some devious things. Like I said, I’m not a huge brass guy, but that backing really added to the power or their sound. It’s totally necessary. 

One of the members of their crew brought out angel wings that Jackson put on before playing “Hold My Place In Heaven.” Jackson said “We’re gonna take a trip up to heaven real quick.” The trumpeter played a mariachi-type solo in the middle of the song. Good stuff. 

Jackson said, “Are you guys ready to take this relationship to the next level?” before playing “Move.” He had the crowd go as quiet as possible, then had everyone scream. Then encouraged everyone to do the same thing when saying “MOVE” when the time came during the same. He said something like, “Okay, now let’s laser in that same level to just one word, and that word is ‘move.’” 

He gave out three lit up wands to people in the crowd before playing “It’s All Happening.” He had his own wand on stage and tapped it up in the air to the rhythm of the song and the screen lit up behind him to make it look like the wand was releasing little stars or something. It really fit because the song has that “spacey” sound to it. They gave out only three wands, and Jackson had everyone else turn their phone light on to mimic the motion he was doing during the chorus. Not quite the usual “light up the sky with your phone light” type of song! So I’ll give it to ‘em and say that wasn’t generic, it had a Saint Motel uniqueness to it. Never thought I’d be talking about wands in one of these write-ups, shortly after I claimed that this wasn’t “nerd music.” 

I think “Fine Wine” was the peak of the show. This was when I thought Jackson was truly excellent as a front man, elegant, cool, smooth, with a surprisingly comforting presence, all while having a really level but versatile voice. I say versatile because I immediately thought his voice sounded like some older Saint Motel songs during Fine Wine, showing that he sounded just different enough in the new songs they played so far. Maybe a “precise” voice is a good way to describe him, because the impressive part is not so much that he has this ridiculous range, but that he can adjust ever so slightly. It’s unique, in my opinion.  He had sunglasses on the whole time and just kept smiling very bright. 

He introduced his entire tour crew 12 songs in, or at least the entire crew that the audience could see. Sound guy, merch guy, video guy, etc. I thought that was rare too, not something you typically see. Usually a merch person or sound guy handing out different guitars between songs might get a shoutout. He had the crowd chant “Vince, do the fall tour with us!” I think Vince was their sound guy, I guess they’re trying to convince him to do their fall tour with them. It was funny. 

They did Cold Cold Man, and then I’ll be honest, my girlfriend passed out and I was in the back office for the rest of the show. She’s okay! She was just supremely dehydrated. It was not hot in the 9:30 Club, I actually thought they did a great job of keeping it cool in there. She just didn’t drink nearly enough water during the day (and took an edible), and it was just a bad mix. So I’ll take this time to commend the workers at the 9:30 Club who took her into the back office and took care of her. They were really nice to us and gave her a couple ice packs and water to help her get back on her feet. Also, thank you to the man in the bar line who kept her from falling. 

I remember hearing Sweet Talk and then at one point, they ended with Just My Type. I don’t think we missed more than four songs. Anyways, thank you to the workers at the 9:30 Club for taking care of my girlfriend! And the man in the bar line who kept her from falling. 

I want to point out that the whole show was backed by a five to six person orchestra, because I’m not sure I’ve made that clear here. You just couldn’t see them, only their shadows. The visual they created was a backdrop that looked like the window/door to a spaceship, then the shadows of the orchestra in the middle of that window. And some lights around them to of course make them look like… a Symphony in the Sky!

Last thing I’ll say here before getting to the venue and the opener: Listening back to a lot of these songs, they are much greater in live performance, as is usually the case. But I thought this to be especially true because even for a band that isn’t going to make you bang your head off your neck, Saint Motel was still immensely more powerful in their sound live. The studio versions sound so much softer, the live sound is like a parade, especially with the support of the strings behind them. If you don’t know Saint Motel well, or not at all, I’d bet you enjoy yourself at one of their shows. Easy-to-listen-to songs, and it’s unique music. They’re not my favorite type of music, but they certainly sold me on their live show and moved up in my list of bands. Go see ‘em. 

A quick nod to the opener… 

Tell ya what, Stolen Gin were quite nice. I walked in at 8:04 and believe they were in the middle of their first song. They were funky the whole time, almost like energetic lounge music. They jammed for a good bit of every song, really choppy, tingy guitar, there was a little bass solo at one point, a drum solo too. The lead singer had a very sweet voice, and they had a couple of big and impressive change ups in the “If We Go Down” (pretty sure it was this song). I thought in my head while they were playing that they sounded a liiiiiiiittle like Pigeons Playing Ping Pong? Don’t kill me if you think that’s totally off, but they were funky! And fast at times, gave me a PPPP feeling. Anyways, they were very pleasant as well, relaxingly funky and I will be checking out their music. 

This was a really satisfying show with unique music that is worth hearing and seeing. An easy way for me to judge a show is by whether or not I walk out of it feeling excited that I’ve found new music that will improve the way music affects my life. And this show gave me that. Plain and simple. Bravo, to both Saint Motel and Stolen Gin. Share if you were there and/or if you’ve seen Saint Motel or Stolen anywhere else, would love to hear any other experiences, perspectives, and opinions in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Saint Motel, Stolen Gin, or the 9:30 Club and I’ll be happy.

Setlist (minus the parts I missed – let me know what I missed!

1. Puzzle Pieces
2. Elise

• Introduced the band and orchestra as the “Symphony In The Sky”
• Guitarist played piano for the final part of the song 

3. Get it at Home

• Talked about new album, mentioned this song is off it – “hold the night in the palm of my hand” sounds like Phoenix, lead singer played guitar for fish time, really whole sound on this song, started to sound really powerful 

4. Sisters

• Asked about anyone having a sister to introduce the song 

5. Life’s a gas

• Long intro into the song (“when life gets bubbly, you gotta drink It all up because life’s a gas”), 
• Short dueling bass and guitar solo going back and forth in the middle of the song 

6. Good Song Never Dies
7. Hold My Place In Heaven 
8. Move

• “Are you guys ready to rake this relationship to the next level?” 

9. It’s All Happening (wand moment)
10. Fine wine 

• Had the crowd “practice” the chorus, mimicking him before the song started 
• This is when I thought Jackson was truly excellent, elegant, and cool, smooth… 

11. Something about an angel I think? I missed this one
12. Cold cold man 

I was on medical duty from here… 

Notes on the Venue

Aside from the very meaningful action they took to make sure my girlfriend was okay after passing out, I thought the 9:30 Club was one of the best venues, if not the best in D.C. when I walked up onto the balcony. I had been there one other time before for a Moon Taxi show years ago, I think late 2021, and it was during covid so the restrictions made it tough to really judge the place. It’s bigger than I remembered, and it’s just the perfect size. Or pretty close to it. After seeing a couple shows at The Atlantis right next to it, it was really satisfying to be in a small venue that wasn’t too small. I love The Atlantis, great place. But it’s crammed in there. The 9:30 Club gives a bigger and especially wider GA area, making it easier to get a better view. We were able to get up to about 20-30 feet from stage on the right side after watching the opener from up top. A few other notes: 

It just feels like a veteran venue that’s clearly seen a lot of shows and great artists/bands, and knowing the history of it does make me a little biased. The best part of it to me though, is its size. Perfect for almost any band. r

Bars on both sides of the GA section, and a bar at the top of the balcony level, and a mini bar right off the stairwell to the balcony level. Plenty of options. 

It was just over $10 for a beer if I remember correctly, I got a Dogfish Head

I actually didn’t go to the bathroom, so not sure what the bathroom situation is. 

I was pleasantly surprised by the fact that they actually sell food there. There’s a sign on the left of the GA section that says “FOOD FOOD” above what looks to be a little snackbar. I’m not sure what they sell there, so if you’ve gotten food at the 9:30 Club, let me know what they got. 

Show Thoughts: Sawyer Hill, Headlining at The Atlantis on Thursday, April 24th, 2025

I saw Sawyer Hill last night at The Atlantis in Washington, D.C., and it was a very good rock show. I went into it not knowing a ton of his music, and then I realized that there wasn’t a ton of his music. He has 11 songs on Spotify by my count, including the new album (which was only seven songs) that he released last Friday. Hill himself actually referred to it as an “EP” during the show, so I assume this means there has to be more music coming. I wondered how he was going on a world tour, albeit a short one, with just 11 songs to his name! But, reading about him some more and reading some comments on his performances on YouTube, it seems pretty clear that he’s’ an upcoming talent with a lot of hype around him. And I will say, I felt that during the show too. It proved to be correct. There’s definitely this momentum toward stardom for him. He’s got a clear following based on the crowd response I saw, and he has the “rock star” persona fully, not that that necessarily matters. But it helps. And that’s not to say he’s very stereotypical in his music, he of course has a look about him with that rock n’ roll long hair and leather jacket, but his music is not just typical rock n’ roll. “Heartbreak Hysteria” is the proper name for his album, and all of his music so far, because he really is happily angry at this girl who broke his heart. Or at least it seems. 

Anyways, it’s too early to tell exactly how great he is, and I don’t want to overhype, mainly because he just hasn’t been “on the scene” that long, at least as a true professional. And he doesn’t have enough songs yet. But, he’s clearly toured before (I believe last night was the first show of this current tour), and is making something of it and impressing people even with the limited amount of music. He’s entertaining, and he’s got a very good band with him. It’s “Sawyer Hill,” but it’s a mistake to not give his band credit. The lead guitarist (Jack something? I believe Hill introduced him as “Jack”) is special, he really propels the show. He played a number of really showstopping solos, and so did Hill, but the lead guitarist was sensational. I don’t think the show was nearly what it was without him extending songs the way he did, and adding so much to them with screeching and howling solos. 

They’re very good. There’s definitely potential for Hill and his band to be something really great. Time will tell, and I hope there’s more music coming, but for right now, I can say that Sawyer Hill is a rock show worth seeing. Loud, pumping heavy instrumental rock music, with some grunge under it too. You should definitely try to see right now on this tour, before he’s potentially playing bigger venues for a more expensive ticket. I got a GA ticket for $28 total. 

Fan context: 

Quickly so you have my perspective. I was listening to him in the days leading up to the show (a friend sent me High on My Lows a while ago, but that’s all I had heard from him), so I was a novice fan going into it. And I thought his songs were good, but they didn’t quite punch me. I thought he was obviously a great talent with his voice and guitar and songwriting, but wasn’t dying to go see him play or craving much more from him. But I wanted to see what he was like live, and, as many artists are, he was better in performance. He was way more powerful live, which is obvious to hearing almost any artist in person vs. a recording, but it made him a lot better to me. The songs felt new, not just to my memory of Sawyer Hill’s music (I had recognized a handful of songs), but the sound overall. It was a mix of rock/grunge that had bits and pieces of sound that I’ve heard before, but the whole sound I hadn’t quite heard before. It was hard to pinpoint a clear influence he/the band had. The instrumentals were mostly paired to rock, but Hill’s voice is so deep and dark that it feels grungy at times. Like I said, “Heartbreak Hysteria” is definitely the proper name for this album and all of Hill’s music so far too –  he’s really happily mad at this chick who broke his heart. 

I’ll paste the setlist down below, but I’ll talk about my top highlights here: 

The band came on at 8:34 p.m. to Hells Bells. The three band members came out first, then Hill came out about 30 seconds into the intro of Firestarters, which was a no brainer opener. Pretty good choice. 

The first thing I noticed about Hill was his confidence. He turned the mic to the crowd on the first chorus of Firestarters and didn’t even sing it, and the crowd responded. For a guy with only so many songs, he’s clearly been performing for a while and knows he has a strong following. It did not feel like some “new” kid on the block. I guess that makes sense, given that many of his songs have been out for over two years, but that still doesn’t seem like that much time in the music world. But it seems like I’m wrong there. 

Anyways, Hill was very relaxed, even when screaming “MAKE SOME FUCKIN’ NOISE” and “I CAN’T FUCKIN’ HEAR YOU” it felt like he wasn’t even trying. Screaming felt like his normal volume, and he wasn’t over the top about it. His body language was really relaxed and confident, and he got a great response from the crowd.

He used a capo on the third fret for Firestarters and elsewhere in some other songs, which doesn’t really matter, but he’s just not a guy I would expect to use a capo much. Bands that are so fully electric, I feel like they usually stay away from capo. Just an observation. 

Six songs in, they played a new song that I liked a lot,. He introduced it with “We’re gonna play a new,new, NEW song nobody’s ever heard before.” The finishing lyric of the chorus was “ “when everything is wrong you forget to start wondering why.” He sang something about lighting matches too, I think. It was good! Looking forward to hearing it when it comes out. 

I read about his cover of Folsom Prison Blues prior to the show, and they did it. He introduced it saying, “Somethin’ to know about us is that we’re a bunch of hillbillies from Arkansas. We want to give you a little taste of Arkansas.” I’m personally not a huge fan of bands doing live covers, especially bands that are new, I wanna hear their stuff, ya know. But, this was a really cool rendition, super electric and I’ll give them credit for their creativity with it. Hill and the lead guitarist did a cool “dueling guitar solos” type of bit when they both let off a couple of howling riffs in a sequence. 

At the halfway point of the set, Hill said “This is my favorite part of the set” and told the crowd that they can shout out any classic rock song and they’ll play it. Someone shouted out for Wonderwall, and he said “Whoever said ‘Wonderwall, they can go fuck themselves’” which was funny. Of course, someone shouted for Free Bird, and the guitarist raddled off the riff from the solo and they jammed for a minute. It was funny the songs he turned down after saying the crowd could choose “any classic rock song,” then he would go “Except for _____, or _____” and then finally choose one. They did Enter Sandman next for another minute, jammed out until the first chorus. It was a cool interlude, entertaining at least, I’m not gonna complain about it. But it’s likely something they have to do because of a lack of songs to play. Or maybe I’m just cranky about their lack of songs and it’s just a fun thing they like to do. Let me know what you think. 

Probably the peak of the show was during J’s, which I believe is another new song, or at least unreleased. They jammed in the middle of it after what I think was two verses, and Hill and the bassist actually walked out into the crowd. And again, this is a small venue, couldn’t have been more than 100 people on the floor or less. A circle formed around them as Hill slowly soloed, then it picked up with the lead guitarist on stage soloing, and HIll and the bassist jumped around playing rhythm. Crowd was very into it of course and they kept playing as they walked back up on stage to finish the song. 

It was cool to hear High on My Lows live, and listening to it in comparison to the other songs, I think it’s actually one of his softer songs, surprisingly enough. 

Look at the Time as the closing song was great in the encore, people really went nuts during the chorus. Perhaps their most grungy song, it almost sounds like… Creed? I might get some heat for saying that, but I promise I mean it as neither an insult nor compliment, just an observation. Blame my ears. 

He also introduced the band in the middle of Look at the Time, with the band continuing to play behind him. Apparently the bassist is six months sober, Hill mentioned it in his introduction. Good for him!

Quick nod to the opener, The Criticals. I walked in at 7:44 in the middle of their set, and the songs I was able to make out that they certainly played were Good Looking, High Life Clinic, and Mother of Style. I listened to them on Spotify after, and in live performance, they are a lot heavier with instrumentals. Definitely a punk rock style to them, very energetic, and I enjoyed them. If you’re going to see Sawyer Hill, I’d get there early to see these guys. Then again, I always try to see the opener. Like a box of chocolates! Ya just never know what you’re gonna get out of them if you don’t know them already, and a lot of times you get at least a few songs you like. So go see The Criticals too. 

Overall, this was a very good show overall from both bands. Share if you were there and/or if you’ve seen Sawyer Hill or The Criticals anywhere else, would love to hear any other experiences, perspectives, and opinions in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Sawyer Hill and/or The Criticals and I’ll be happy.

Notes on the venue

I think The Atlantis is one of the cooler music venues in D.C., it’s got a cool history with how it was introduced and seems to have quickly become a staple. My thoughts after last night: 

• You definitely have to get there early for a show because it fills up fast. There’s not a lot of space in there, which is a real blessing and a curse, but a blessing more so because there are few venues that host the bands/artists that they do in an up-close setting. Doors opened at 6:30, even it not being a sold out show it was still pretty filled. The top area fills up mighty quick, and it’s nearly impossible to “infiltrate” for lack of a better term. The bottom is pretty tough too, but you have a better chance of getting a good view if you’re late. 
• The sound is pretty damn good in The Atlantis. It’s hard not to be because of its size, but Lime Cordiale sounded excellent and Sawyer Hill was the same last night. It feels like you’re inside a boom box, in fact my right ear was ringing a little bit this morning. 
• There’s an outdoor bar all the way up at the top, totally quiet in between sets. Really cool and a great idea. I didn’t notice it when I went to Lime Cordiale a couple months ago. I must’ve missed the big blue sign that said “Rooftop Bar” downstairs. Whoops. 
• Last time I was there it was really hot, much cooler this time. They did a good job of that. Had to have some AC running or some serious fans. 
• Draft beer was $11.75, bars on the first and second floor, and the rooftop that I mentioned. The lines have been minimal both times I’ve been. I didn’t move during the show, but I would imagine it’s pretty quick if you wanted to grab a drink then, and you are still so close to the music. They don’t sell food to my knowledge
• I’m pretty sure it’s six single bathrooms up on the second floor. Didn’t see bathrooms anywhere else. 
• Some really good character in The Atlantis with all the postings about other DC/DMV area shows. I know that’s typical of any venue, but it just feels like the heart of affordable and good live music in D.C., so all the ads for Merriweather, 9:30 Club, and the Lincoln Theatre just feel good to see. Other places that echo a similar theme for fans.Overall, it feels like an important place for music in the city that also doesn’t take itself too seriously. Next time I’m in there I’ll pay closer attention to what’s on the walls, I’m sure they give some kind nod to their history and the history of the music scene in D.C.

Full setlist

8:34 start time

1. Firestarters
2. For The Hell of it

? – I could have sworn there was a third song before Hear From Me, but the lyrics I have written down are in Hear From Me, so maybe I just thought they changed songs when they didn’t. 

1. Hear From Me
2. Never Once
3. New song (mentioned above)
4. Folsom Prison Blues cover
5. Classic rock song requests interlude
6. Aiming at My Head
7. Symphony
8. J’s  – I think this is a new/unreleased song also? Can’t find it on Spotify but confirmed teh name on Setlist FM from an old setlist. He started this with “You guys want a weird one?” This was the song when Hill and the bassist went into the crowd (mentioned above)
9. Hot Girl Summer? I believe that’s what it’s called, and I think this has to be an unreleased song
10. One Shot
11. High on My Lows

Encore

1. Need Me Now
2. Look at the Time

Ended at 9:43. 

*A quick nod to the opener

I walked into Union Stage at 8:16 and Smut was on stage. I had never heard of them, and after a quick look on Spotify, they have a very small following relatively speaking (6,300 monthly listeners), but I did like them. They were interesting, pretty dark, but the lead singer was compelling with a strong voice. She was definitely a bit crazy, but I liked her.

They were a a five piece band: Two guitars, singer (no instrument for her that I saw), bass, and drums.

They had a punk sound to them, paired with the singer’s angsty voice, but not angsty in a bad way. Her voice was powerful, drowning, a voice that really holds onto the words and squeezes the sound out of them.

I didn’t know the names to all of their songs and I can’t find the setlist, but the lyrics, “I am weak in my skin” stood out to me in one of them. At the end of that song, the lead singer said, “That one was about loving yourself.” 

The song with the lyrics, “Close the window, change the channel,” I also liked. 

It was funny, one song opened with the lyrics, “When I was seventeen,” and I thought, man, every girl was seventeen at some point, weren’t they? My point is, the age 17 seems to stand out in songwriting. There are so many songs about being 17, and a lot of them are by some of the best female singers/songwriters ever. I immediately thought of two songs right away: 17 by The Greeting Committee (not one of the best singers ever, but a band I like), and “Anthems for a Seventeen Year-Old Girl” by Maggie Rogers. “Age of Seventeen” by Stevie Nicks later came to mind too. “Seventeen” by Sharon Van Etten (got that song from the show Yellowjackets), “Seventeen” by Sjowgren, and “Seventeen” by Haley Blais, are just a few songs with that I knew with that number in it. I’ll throw in one by a man: “Seventeen Going Under” by Sam Fender. Something about that age! 

Anyways, the last song of the set I enjoyed too, there was some very nice harmonizing with the lead singer and the guitarist, some slow heavy instrumental, and a big ole scream before the last chorus. To further explain, as the instrumentals were building before the last chorus of the song, the lead singer let out a high-pitched “AAAAAHHH!!!” that shook the room a little bit. Told ya, a little crazy. 

They were good! They really did sound good as a whole. A darker vibe about them to note, but if that doesn’t kill you too much then they are absolutely worth catching at least for part of their set before Bad Bad Hats.

If you enjoyed reading this, visit tourchmusic.com concert reviews.

I saw Spacey Jane at The 9:30 Club in Washington, D.C. on Tuesday, September 9th, and it was a really good show. They were about what I expected, and I don’t mean that to say they were underwhelming, as that wouldn’t be fair because I would have been shocked if they weren’t a really good show. I’ve been a fan of them for years and they’ve been on my list of bands to see for some time now, and I always thought they had to be a great live show. Their sound and overall personality as a band was just too strong not to be. That was my expectation, a high expectation, that they met. So it wasn’t surprising. They were Spacey Jane. 

Fan Context

I just touched on this a little bit, but to give some more detail, the first Spacey Jane song I ever heard was “Feeding the Family” in 2020, as I’m sure it was for many others. And I really liked that song, but I’m pretty sure I didn’t listen to another Spacey Jane song until 2022, like a damn fool. I don’t know why, Feeding the Family was certainly a convincing enough song to make me check out their other stuff, but I just didn’t give them more of my time. Sometimes if you don’t do that early on, you forget about a band, or your memory of them just doesn’t burn as bright, and you never get around to them until they get around to you and slap you in the face. It was “Sawteeth” that made me jump into Spacey Jane more. I think it came up on my Discover Weekly once, and I made a point to listen to more of their music. That led to “Booster Seat,” which led to the rest of the “Sunlight” album, which is just magnificent. So, I became a bigger fan, BUT I didn’t go much further than Sunlight outside of a couple of songs. I have 12 of their songs saved, for full context. And I did listen to the new album, “If That Makes Sense,” all the way through, but only one time (I think it almost always takes multiple listens to get a full impression of an album). So I’m a fan, but there are certainly people out there who know far more of their music than I do. Let’s say, I’m an intermediate fan. You know what, I’d rather undersell myself: let’s say I’m on the upper part of the bottom half of Spacey Jane fandom tiers. 

The Show

Spacey Jane came on at 9:01, 30 minutes after the opener, the Bel Air Lip Bombs came off stage. Not too long of a wait between sets, I think 30 minutes is exactly what it should be at most of the time, depending on the size of the show. The last song they played on their between sets playlist (if it was their specific playlist, I’m not sure) was “I Will Survive” and they paused it about a minute or so in and came on stage. I’m always curious if bands run the same playlist between sets before they come on, and if they like to end on a specific song. If anyone else who’s seen them on this tour pays attention to that and can weigh in, let me know! 

As the lights dimmed and it was clear they were about to come on stage, the lights in the back of the stage flickered in unison with a (keyboard? I think?) sound that mimicked the rhythm of the chorus of “Through my Teeth,” which was cool. I wasn’t quite certain that’s what it was at first, but I was pretty sure, and I think the rest of the crowd felt about the same way. Then Spacey Jane came on stage, and opened with that song. I really like opening with a song that was a single, or clearly a more popular song off the album that you are touring off of. I think it’s a great way to establish the time, a sign of the times, a sign of the tour! I think a lot of great bands can do that, because they know a lot of fans at the show already know the lyrics to their newest songs, so they’re not worried about opening on something that doesn’t immediately engage the audience. It’s not the most important thing, but I’m a fan of opening a set with a song that is making its debut on the current tour. There also may be far less rhyme or reason behind it and I’m just thinking too much. WhadoIknow? 

Right away I thought the lead singer, Caleb Harper, had such a pure voice. I knew that coming in, but of course had never heard it live. The sound he produced was a bit crackily, very crisp, almost like you could reach out and grab it and break the wave of his voice with a satisfying snap. But of course, you don’t want to do that. 

I will say, though, I really wish I liked Through my Teeth more than I do. I think it’s a good song, and a great opener for this tour, but I think it’s a little too saturated, and something about the rhythm of the chorus doesn’t fit for me. It feels jagged. Choppy. I might get some hate for this, but I always want to be honest. BUT, of course, as usual, it did sound better live. 

One of the other first things I noticed is that the guitarist is an absolute freak! I mean that in a good way, and I am of course exaggerating. But he twisted his body around like he wanted to rip himself off of his hips. He is one of the more mobile guitarists I’ve ever seen, but in long, slow, but also aggressive movements. Even when there was a part in which he wasn’t playing, he sometimes would jerk his hips to the right and left (seemingly stretching?), like a really flexible giraffe that’s got the jitters, but is also really cool at the same time. He was doing all of this but kept such a calm facial expression throughout his performance. It was a funny moment when I noticed all of this, because I overheard a guy next to me before the show talking to the people he was there with, and he said “So you guys know the movie School of Rock? And the guitarist in the band who’s like, way over-the-top rock n’ roll? Spacey’s guitarist reminds me of him. They don’t put a microphone anywhere NEAR him!” Something along those lines. I didn’t quite know what he meant at first, and I honestly was a little peeved that I heard it because I like learning things organically about a band throughout a show, and then looking things up after. I thought he was saying that the guitarist (Ashton Le Cornu) either says too much during shows, or is just a bad singer, and just overall that the band doesn’t trust him to speak or sing at any time during a show. But of course, very quickly I realized what he meant was that the band doesn’t put a microphone anywhere near him because surely he would knock it over. Anything in his area would be a safety hazard! He needs his space to orangutan around. And he did a lot with a relatively small stage at The 9:30 Club. Made it work. I can’t imagine he likes acoustic sets very much. Cheers to his movement.  

“Estimated Delivery” was next. I thought I had heard this one before, and I realized just now that it’s on the new album. Good song, went well. “I guess that’s how it goes” was an easy part for the audience to jump into. Good stuff. Oh, and the part at the end that Peppa sings was beautiful. 

“Skin” was next. Good ole Spacey jam. I hadn’t listened to that one in a long while. Good tune. The solo really went over well, quite jumpy.

“Lunchtime” was next. I hadn’t heard this song. It was a big energetic one, Le Cornu was leapfrogging across the stage. If I remember correctly, that’s not an exaggeration. And Peppa scampered over to his side of the stage, switching sides briefly, like they were running sprints in their own style. They were having a fucking blast, which you love to see as a fan. I remember multiple times thinking that they just look so happy to be here, playing their music, which I do think is true of most bands, but nonetheless worth commenting on when it comes across so emphatically. They moved around a lot on stage, and Peppa seems to like running little circles around Le Cornu while he does his thing. She does it with such joy on her face. It’s funny. 

That was one thing my girlfriend said before the show, that she just expects them to be “fun… cool.” And they were exactly that. Similar to my expectation for them to be a really good live show, it’s hard to listen to them and not think that they’re just cool. And fun. It’s a simple description but it’s what they are – simple, in a good way. And they’re Australian, which helps with both the cool and fun part. Especially the cool part, and especially when it comes to music. I think I speak for most American fans of music on that. 

Harper addressed the crowd for the first time after Lunchtime. He gave a funny shoutout to the people sitting up on the top balcony (there’s a small seated area at The 9:30 Club up there, behind and just above the standing balcony rail area), saying “Sitting down at shows, that’s my shit.” Which was funny to hear, because as I got older and weaker and more lame, I agree with him! A sit down show for the right artist can be quite, quite nice. I did that for The Tallest Man on Earth at the Strathmore theatre a couple months ago, and it was lovely. I’m not old enough to want to do that for a Spacey Jane concert yet, though. 

“All the Noise” was next, which I forgot that I knew. Good song, the abrupt ending was really cool live. 

Then came Sawteeth, which I was so happy that they played. I wasn’t so sure that they would, but figured there was a chance, and it came a little earlier than I would have guessed, but that doesn’t matter. It’s my favorite Spacey Jane song, as it has one of my favorite all-time lyrics: “Overdose on retrospect,” which I think is such a brilliant way of describing all the different ways that that people overthink things they’ve done, and the unfortunate human nature to dwell on the past, and grasp it so hard that you overdose on retrospect. I find it to be a very comforting lyric when I’m struggling to move on from something. And it’s a phenomenal reminder that life is short – if you let yourself think about everything you’ve done in the past that bothers you, you will fucking overdose on it. Retrospect can be a drug that finds you edible, and eats at you. In case you can’t tell at this point, it’s a highly impactful lyric on my life that I think about a lot. Music can change your life, baby!

Anyways, Sawteeth sounded great. The solo before the final chorus was excellent, the only thing I wished I could’ve heard better was Peppa’s background vocals, but I only couldn’t hear them well because the crowd was singing along so loudly, which I can’t complain about. 

“Whatvrrrr” came after that. Not my favorite song off the new album, could’ve gone without it in the setlist. Not a bad song, but doesn’t excite me. The high-pitched vocals, of course, sounded very good live. 

“How to Kill Houseplants” came after that. Quite an interesting one off the new album. The chorus is a pretty little thing. There’s a synth or keyboard in the background I think, right? Someone help me out on that one. But that’s a feature of this new album that I think is new for the band, bit of a different sound thrown in there. Crowd was into it live, there was a great response to the new songs throughout the whole night. 

It was funny, Harper said “It’s time for a Spacey Jane classic,” right before breaking into Feeding the Family. That’s such a true statement, and funny that he has that awareness. It truly is their first “classic.” Also before breaking into the opening riff, the lights came on and Harper said “Whaaat the fff – Oh, haha, very funny. My tech knows that I always fuck up this opening riff so he turned the lights on so I could see what I was looking at.” Apparently he said after that, “I was on the wrong fret!” Then started playing the riff. 

Anyways, the solo at the end of Feeding the Family was howlin.’ Really, really cool. It gets really hard wavy at the end of the song, gives that “wahwah” sound, but with more distortion to it, and it’s taken up a notch live. Quite the howler. 

They carried Feeding the Family right into Thrills without stopping their instrumentals. Probably the peak of the show, two absolutely bangin’ tunes back to back. That Thrills opening guitar riff live was really energetic. The whole audience jumped in for “Woo!” That opening riff loosely reminds me of the riff in the song “You! Me! Dancing!” by Los Campesinos! Anybody else think so? 

Jumping ahead here, the final four songs of the set were about all you could ask for: Head Cold, Good For You, Hardlight, and Booster Seat. All were excellent, “I’ll find tiiiiime” in that last part of Head Cold was real magic. Hardlight I had never heard before, and I loved it. It was the song that stood out to me most. 

There was a short pause after they exited and before the encore. I remember thinking that they were moving very fast throughout the show, just not spending a lot of time in between songs. But they weren’t rushed, that’s not what I’m saying. They were just really, really efficient. The pace was near perfect, ending with a really well-balanced 18-song set. Their live performance is in such strong form right now it seems. 

They encored with “So Much Taller” and “Lots of Nothing.” Harper also introduced the band before So Much Taller. I’m pretty sure it was then, could have been before Lots of Nothing. Not sure. But I’m always interested to see if/when lead singers do that. Anyways, I liked that they put a song from the new album in the encore, it shows a lot of confidence in it. They totaled six songs from If That Makes Sense, and they all mixed in quite well I thought. A younger band like Spacey Jane should always make a point to play a decent portion of their new stuff I think, and putting a new song in the encore shows that they care about this album, and care about growing as a bad, not just relying on the “classics.” They’re way too young to even consider that thought yet, though. And I like to think a band is probably more excited to play that stuff than their older material. I’m also totally fine when a band plays the hits, too. I just like talking about setlists. They should play whatever they want, and not worry about what I, or any fans think. 

Lots of Nothing is a good closing song, feels really positive, despite the not-so positive, heartbreak lyrics. It’s just upbeat and a good one to close on. I also like the lyric “My head’s filled with lots of nothing,” as it’s pretty relatable. Great way to say that you’re thinking about of a lot of things, but those things end up being just nothing. Not mattering. At least that’s my interpretation of it. Anyways, Harper’s control over his voice was really impressive in this song in particular, but all night also. It was a really happy way to end the show. 

I didn’t write down what the time was when they ended, but setlistfm says they finished at 10:10. I thought it might have been a little bit later than that, but I always think it’s important to add the set time length to these. I appreciate accurate set time sharing, even if it can be unpredictable at times. I’ll get it on the next one. 

So, definitely, definitely, definitely go see Spacey Jane. There are few other bands that make me more confident in saying that you are likely to see a really, really good live show. They’re in excellent form right now, they’ve got to be performing the best they have in their time as a band. I really think this is their prime just given where they are in their musical timeline, but I also haven’t seen them before this. If you have seen them before this and disagree, please weigh in. I’d imagine their tours off of “Sunlight” and “Here Comes Everybody” were filled with quality performances. They just look really comfortable and confident right now. 

Anyways, if you were at this show or have seen Spacey Jane on this tour, please add your perspective in the comments.Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Spacey Jane and I’ll be happy.

A quick nod to the opener

I was pleasantly surprised by the Belair Lip Bombs. It was a weekday show and I was at a show the night before, pretty tired, so I wasn’t super enthusiastic about getting there early to see an opener. But I do normally hold a lot of value on openers, I think it’s the best when you go to see a headliner you love, and simultaneously get to pick up some new music from a band you’ve never heard of before or don’t know well. 

I got to The 9:30 Club at 8:05, enough to hear I think three or four of their songs? Anyways, they were really solid, and I could totally see why they were opening for Spacey Jane – very electric. They had a big, thumping bass line in a lot of their songs, and the front woman was really good. I liked her voice and thought she was powerful. I thought they produced a great wall of sound. I need to make a point to listen to some more of their music. I’d say they are definitely worth showing up early for and even catching their full set! I would have loved to see more. This is a damn good tour they have put together with this combo. 

Notes on the venue

I love The 9:30 Club. I saw the Brian Jonestown Massacre there the night before, and if you see my review of that show, I echo the same words about the venue for this review. The beer I said I bought at that show was actually at the Spacey Jane concert. I got them mixed up. My friend bought me a beer at BJM. Sorry brother, I should have given you credit for that one. Cheers. 

A quick nod to the opener…

Tell ya what, Stolen Gin were quite nice. I walked in at 8:04 and believe they were in the middle of their first song. They were funky the whole time, almost like energetic lounge music. They jammed for a good bit of every song, really choppy, tingy guitar, there was a little bass solo at one point, a drum solo too. The lead singer had a very sweet voice, and they had a couple of big and impressive change ups in the “If We Go Down” (pretty sure it was this song). I thought in my head while they were playing that they sounded a liiiiiiiittle like Pigeons Playing Ping Pong? Don’t kill me if you think that’s totally off, but they were funky! And fast at times, gave me a PPPP feeling. Anyways, they were very pleasant as well, relaxingly funky and I will be checking out their music.

This was a really satisfying show with unique music that is worth hearing and seeing. An easy way for me to judge a show is by whether or not I walk out of it feeling excited that I’ve found new music that will improve the way music affects my life. And this show gave me that. Plain and simple. Bravo, to both Saint Motel and Stolen Gin. Share if you were there and/or if you’ve seen Saint Motel or Stolen anywhere else, would love to hear any other experiences, perspectives, and opinions in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Saint Motel, Stolen Gin, or the 9:30 Club and I’ll be happy.

*A quick nod to the opener…

I walked into the show at 8:07 and caught a handful of songs from Supertaste. They were a logical opener for MGH, similar sound. Psychedelic. They were a four piece band with a singer who played guitar at times, keyboard, bass (who also played lead guitar at times), and drums.

The lead singer had a pretty sweet voice, their keyboard sound stood out to me, and they did a cool transition from one of their songs into Dreams by Fleetwood Mac, then ran it back into the chorus of the original song they were playing. It was cool.

They got real funky at times, used synths a lot. The lead singer once said “Just doin’ synth stuff with my synth friends.” They also got a little jazzy in their guitar sound I think? The lead singer also said before another song, “This is the jazz section of the show.” They were talented instrumentally, with the lead guitarist/bassist carrying them a bit as a multi-instrumentalist.

At one point, the lead singer got into a short monologue about D.C. He mentioned that they had played DC9 before (a venue I need to check out myself), then he told a story about how they came down here nine years ago, drove down to the National Mall (to protest, I think). “A lot has changed since then… This song is about power. It’s about how the only divide is up versus down, not left versus right,” which was a really interesting thing to say. Very thought provoking. Anyways, it was a good song! I will probably go back and listen to it again.

I could have sworn at one point in one of their songs they mixed in a lyric/riff of “Instant Crush” by Daft Punk. If you were there, feel free to tell me I’m crazy or tell me I’m onto something. But I’d love to see if anybody else noticed that. Then, they did a cover of a song (I couldn’t understand what they said it was), but it was Daft Punk-esque. Clearly an influence there for both Supertaste and MCH. Their keyboardist sang with a heavy, heavy synth disguising his voice.

At the end of the set, the lead singer said, “This has been fuckin awesome… it’s a dream to play at The 9:30 Club,” then they played Supernova, which was “the title track of our first album.” It was an awesome song, I loved the instrumental intro. Definitely their best in my limited opinion on them.

So go check out Supertaste too, they’re definitely worth showing up a little early for and catching a few songs, or even their whole set.

A quick nod to the opener

I was pleasantly surprised by the Belair Lip Bombs. It was a weekday show and I was at a show the night before, pretty tired, so I wasn’t super enthusiastic about getting there early to see an opener. But I do normally hold a lot of value on openers, I think it’s the best when you go to see a headliner you love, and simultaneously get to pick up some new music from a band you’ve never heard of before or don’t know well.

I got to The 9:30 Club at 8:05, enough to hear I think three or four of their songs? Anyways, they were really solid, and I could totally see why they were opening for Spacey Jane – very electric. They had a big, thumping bass line in a lot of their songs, and the front woman was really good. I liked her voice and thought she was powerful. I thought they produced a great wall of sound. I need to make a point to listen to some more of their music. I’d say they are definitely worth showing up early for and even catching their full set! I would have loved to see more. This is a damn good tour they have put together with this combo.

I saw The Brian Jonestown Massacre on Monday, September 8th at the 9:30 Club in Washington, D.C., and it was definitely the strangest show I’ve seen. I don’t mean to sound dramatic, because it wasn’t as if anything crazy happened, but there’s no denying that it was just odd. It mainly had to do with the dialogue from the lead singer to the audience, the way he interacted with his band members, some loooooong waits in between songs, and some weird behavior from the audience. And really, it wasn’t all that surprising given BJM’s reputation.

OVERALL though, the music… was pretty damn good. But, forgive me if this review seems unorganized, makes you feel weird, and leaves you feeling a little confused. It’s only a reflection of the show.

Fan Context

All I knew of BJM’s music was Annenome, as I’m sure is the same for many who don’t know them well, but of course I found at the show that they have many other good songs, and a really good rock sound. They’re really quite consistent. I went to the show with a friend who is big into them, and he let me know some of their reputation for “getting into fights on stage” and just being a bit casually reckless in general. Aaaaaand yeah, that fit.

The Show

BJM came on stage at 9:01. As the members all got on stage, I recognized who the lead singer was based on seeing photos of him on their Spotify page, but I was confused because some other guy was standing in the middle of the stage. My friend said something like “There he is, there’s the man” and I thought this guy in the middle with mutton chops, a black beanie, and beaming black sunglasses on was who he was referring to, because he was standing in the middle and MUST be the frontman then? And the old scraggily guy with a big (cowboy?) hat is just someone who is a prominent member of the band. And it took two or three songs in for me to realize that no, Joel Gion isn’t the lead singer.

Anyways, there was a long intro into the song, led by the bass riff repeating slowly and getting increasingly louder, and the rest of the instruments came in right when Gion first jangled his tambourine. He leaned into it really slowly and confidently, and the rhythm of the whole band came together in an instant as they played “Whoever You Are.” It was a cool intro. This wall of sound was built immediately, with all the other instruments (after the bass) coming in at once, all ringing out progressions that laid on top of one another. It really caught me, and I thought it was a great opening song.

Also, Newcombe was playing this pentagon shaped guitar. I thought it was an electric banjo at first. Had to be a rare guitar, it had a cool sound.

I really liked the guitar intro of the next song, Vacuum Boots, really crunching rhythmic riff.

So the third song is when shit started to get all Brian Jonestown Massacred up. About midway through “Do Rainbows Have Ends” Newcombe stopped singing and said something along the lines of “we oughtta start this song over” and said something about how he was focusing on the audience too much and not his band. And said he’s gotta “get my shit together,” and asked if that’s alright with everyone. And the crowd responded a little bit with cheers, but then he said “I’m asking you guys,” looking at his band. “Can we do that?” And they all nodded, or more or less said yes by saying nothing, expressionless, pretty much like it was a rhetorical question. It was awkward. Really awkward. But just based on the body language of the band here, it gave me the feeling that this was something that happens.

After the song, Newcombe and Gion got close and talked for a second, then Newcombe said on the mic “I apologize… I apologize deeply, you guys aren’t Japanese by the way.” I’m pretty certain that’s what he said. I have no idea what the Japanese thing was in reference to, my thought was that he must have said something in his original ramble when he paused the song that made that comment make sense. I don’t know what it was, it made no sense to me in the moment. If you were at the show and comprehended more of what was said in these moments, please add whatever clarity you can to the conversation.

After playing “#1 Lucky Kitty” next, Gion addressed the crowd, talked about how they loved D.C., made some joke about Tom Cruise being in D.C.? Maybe he’s filming a movie here at the time, I don’t know. Then he drank straight from a bottle of wine, which I thought was funny. At least I think it was a bottle of wine. Someone correct me if they think or know otherwise.

I remember thinking during the next song, “Fudge,” that I’ve never seen someone play a tambourine with such style. Emphatic might not be the right word for it because that makes it sound like he’s drawing so much attention to himself. But he makes something that seems so simple, and even boring, look so smooth. I mean, it’s not really a pretty thing, shaking a noisy instrument. It’s not an instrument that is usually played in a sleek manner – you shake it! You’re not plucking strings. But Gion has this gentleness with the tambourine, adding a touch to an instrument that usually gets more of a whack. The way he was flicking it at times also, I thought that it must hurt his hand. My friend called him the “tambourinist” at one point, and I thought he had to be the only person on earth to wear that title. How many people play the tambourine as their primary instrument? Of course, if they’re not the lead singer or a backup singer, or something of the sort. That has to be rare! And he stands right at center stage, so he’s the main focus of the audience. I’ve since watched some interviews in which Gion talks about how Anton doesn’t like to be in the center of the stage, and he’s never understood why bands seem to stick to this “traditional formation” with the lead singer in the middle. It’s quite interesting. Anyways, with Newcombe being on the far right side, I felt that more of my attention was on Gion and the rest of the band (it also made a difference that I was standing on the left side).

After Fudge, I heard Newcombe say “This sucks.” Then, he had this preamble going into the next song. He said, “The thing that Americans love, I don’t know if other countries love this, but Americans love the underdog, so let’s see if we can pull this off.” There was some other stuff in there I think, but this that’s the part I wrote down. They then began playing “Days, Weeks, and Moths” and about a minute or so in, Newcombe stopped again. It was like he slowly came to a halt. You could tell that he was going to stop again, because he just started slowing down, and then so did his bandmates. Then he said, “See, I have to try again.” Then the bassist and Gion came over to him, and it looked like they were showing him something on the (sheet music?) he had in front of him. Or maybe he just had the setlist or the lyrics or chords in front of him, I’m not sure. Then they started playing again, and got through the song the second time just fine. And I can’t remember if it was at the end of the song, or after he stopped it, but Newcombe added, “I can’t fake this every time.”

They played “That Girl Suicide” next, and this song stood out to me. I remember thinking it was the best song of the set at the time. I noticed Gion switched to maracas on this one. I just loved the guitar sound in the song. It was great.

This little sequence was a pretty good representation of the entire show in my mind. At one moment, I’d be enjoying the band’s music, then there would be this moment of disconnection within the band, then I’d be enjoying their music again, but, almost cautiously? Thinking “Okay, this is good! Right? Yeah, this is good. I like this.” Questioning what I’m seeing because I was just reminded that the music could just stop at any time, and things could get weird. At times, it felt the music was in the background of the unpredictability of The Brian Jonestown Massacre.

So right after this song, a moment that made me laugh… Newcombe pulled out his phone and took a picture of the rest of the band. Didn’t say anything, just took out his phone, and took a photo. It was so random. Gion gave a slight pose, and I think the rest of the guys just stood there. I remember thinking that throughout the whole show, one of the guitarists, I believe Frankie Emerson, was the most emotionless. I loved the way he played guitar, though.

Anyways, Newcombe then started another slow ramble about how he and Joel used to “sleep in the back of a car… at this park….” and went on about how they had to sleep in the back of a car because it was too expensive to record in a studio? It was something along those lines. The crowd started to talk a lot at this point, and they did between songs throughout most of the show, as it was pretty hard to understand what Newcombe was saying whenever he was speaking. They would keep the reverb of the guitar ringing out while he was talking, so it was a challenge just to hear him. So unfortunately, there wasn’t much point in listening until he said his peace and they started playing again. I tried my best to hear what he was saying. But the guy shares an awful lot!

So when they got back to playing, I really liked “When Jokers Attack,” awesome guitar riff in that song. I remember thinking how strong each song was instrumentally. Very cohesive. As I said earlier, they have a wonderful layer of sound. Or I should say layering of sound, that I like a lot. Something about it is very easy to listen to, very satisfying to listen to. The layering of three guitars playing something different, yet staying connected to each other, along with a tambourine (or maracas, etc.). And it was hard to understand Newcombe’s lyrics while he was singing, his voice was low and soft, but that didn’t matter much to me. His voice still contributed to the sound well. Their collective sound is powerful, it’s not a band in which any one instrument or vocal part stands out much beyond the rest, outside of a lead guitar riff that is meant to be most prominent. And I mean, Newcombe’s older, I’m not expecting him to have a very impressive voice, just enough to mesh with the sound of the instruments, and it did that. Oh, and they stretched a long, bangin outro at the end of When Jokers Attack. It was cool, but almost went on too long in my opinion.

Again after this song, Gion walked over to Newcombe and based on his body language looked like he was reasoning with him or calming him down, or something. He put his hands on his shoulders, met him at eye level, real close to him… this happened multiple times throughout the set.

At one point, the band member in the back that played guitar (wearing a poncho), and sometimes keyboard/some kind of synth (I think? Correct me if I’m wrong), played clarinet. Interesting versatility, I thought. I also didn’t think BJM would have any songs with a clarinet in it.

Newcombe went on one more monologue about foot pedals, talking about how bad he was at using them, because his feet were too big. But Ricky, one of the guitarists, was very good at using them.

It had to be a 2-3 minute long (or more) instrumental intro into the final song. It was just Newcombe playing a slow, ringing, psychedelic sound on his guitar, while the band just waited. And I mean, waited. It did not look like they were about to play a song, or that they were going to come into the song any time soon. It looked like they were just waiting for Newcombe to be finished with whatever it was he was doing, and then they’ll go. It was long. And throughout the whole show, it was clear that the band just waited on Newcombe. They went as he went. I questioned if they even knew what song was coming next at times, as if they were just reacting once Newcombe decided what he wanted to play and opened with a guitar riff. That’s probably an exaggeration, but my point is that he seemed to do what he wanted, and the band followed.

The last song was “Supersonic.” My friends and I weren’t sure if they were going to encore or not, but we agreed to leave after that one. I almost always, always stay for an entire show. But it was getting sleepy in there. The time in between songs really brought the energy of the show down, and it was just STRANGE in the audience. One guy would keep clapping for at least 15-30 seconds after everyone was done clapping after a song. The whole room would be quiet and he would just keep clapping really passionately. Another guy, a couple of times, would just scream things at Newcombe as he was speaking in between songs. Mainly repeating back what he was saying in an enthusiastic voice, but would also yell out things like “LESS TALK, MORE ROCK!” Another group of guys was just leaning up on the wall near the bar, hammered, having a conversation as if there wasn’t a concert going on in front of them. It was fuckin weird. It felt like a dream.

Anyways, we walked out as Supersonic was wrapping up, and the last thing I saw was Gion lightly throw his tambourine down on the stage. I’m not sure if they encored, but based on setlistfm, it looks like that was the last song of the night.

So, if you’ve made it this far into this review… it was an odd show, in case you couldn’t tell. BUT, but, this is not to discredit The Brian Jonestown Massacre. They are legendarily strange. I understand that much about their reputation. And really, the music was freaking good. It was really good rock music that I tend to love. So, I’m very glad that I saw them. I know they’ve been at it for a long time, and they are widely respected. I can see why, when it comes to the music. And I can see why when it comes to their peculiar behavior! Bands have style. They’re style is fuckin weird, but it’s theirs, or maybe it’s just Anton Newcombe’s, I don’t know. It’s easier to forgive a band, or a member of a band for being strange, and doing things that hurt a performance, when their music is good. That’s what I’ll say about Newcombe and The Brian Jonestown Massacre: they’re odd, confusing, and not the most entertaining. But when the music is playing, they’re pretty damn good and worth seeing. So go see ‘em.

If you were at the show or have seen BJM on this tour, please add your perspective in the comments.Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about The Brian Jonestown Massacre and I’ll be happy.

A quick nod to the opener

I walked into the 9:30 Club at 8:19, early enough to catch the last two songs of Flavor Crystals’ set. It was almost immediately clear why this band was opening for BJM. They were similar. When you google them, they are described as “space rock,” and I’d say that’s fairly accurate. I thought they had a desert-y, psychedelic sound. The lead singer’s bright blue guitar stood out to me.

Their last song caught my ears, “Your Dreams are Still With Me.” Very catchy and smooth guitar riff, and the lead singer’s low, miserable voice went with it well.

I’d say they’re worth arriving a little early for to catch a couple songs! It looks like they only played six in D.C., so it’s a short set. But worth giving them some of your time.

Notes on the Venue

I’ve said this many times, I love the 9:30 Club. It’s become my favorite venue in D.C. Perfect size (seats 1,200) for a GA ticket to get you a great look from pretty much anywhere, and there’s an upper level. I personally almost always think the floor area is better for a show, but it is a great view from up there, you’re just pushing your luck on being able to hold a spot up on the balcony, depending on how big of a group you have and how early you get there. A lot more room to maneuver in the GA area.

Bars on both sides of the GA area, a cool record/CD room in the top right corner of the GA area, bathrooms very close by and don’t fill up very easily, and it’s easy to get to in D.C. It looks like there’s a “back bar” that you go down a stairwell to, I think it’s on your left as you walk in. I’ve never been down there, but would love to check that out. Let me know if you know what I’m talking about and have been down there.

12 freakin’ dollars for a 12 ounce beer, though. That seems to be the unfortunate cherry on top of any venue anywhere. It was an IPA, I think it’s under 10 bucks for a light beer there. I’ll give them that.

Anyways, go see a show at The 9:30 Club, a staple D.C. venue for good reason.

I saw The Brook and the Bluff at The 9:30 Club in Washington, D.C. last night, and it was a really solid show. They’re a really talented band all-around, and they showed to have a deeper, versatile sound within their recognizable style. They’re mostly light and soft, it’s not a powerful noise that grabs you, but other parts of their sound does, such as their very creative lyrics and impressive instrumentals. And overall, their calling card as “the band with really strong harmonies” checks out, their vocalization is so pleasant, but it is not my only takeaway from their live performance. They have more there. 

Fan Context

I had seen The Brook and The Bluff open for Mt. Joy years ago, I think it was in October of 2022. Now mind you, I caught a small portion of their set in Connecticut at College Street Music Hall (great venue), so I couldn’t make a full impression of them. But I remembered being interested in them, I enjoyed their sound and thought they were a fun live performance. I distinctly remember them doing the swaying thing that they involve the crowd in for “Off the Lawn,” and thought that was funny. And of course I remember the lead singer’s voice being impressive. I had listened to a little bit more of them after that, but didn’t keep in close contact. I did listen to all of Bluebeard when they released that album on a long car ride once, and I liked it but didn’t pursue it beyond one listen. I saved “Tangerine,” “My Foggy Lens,” and of course the first song I heard by them before the Mt. Joy show to check them out was “Halfway Up.”

The Show

The Brook and the Bluff came on at 9:16, walking out to the Chicago Bulls intro theme song “Sirius.” There was a cool golden glow from the stage lights when they started playing the first song, which was “Werewolf.” I always think it’s good to open with a song off the album that you’re touring, and this was a very light song to begin with. The more shows I go to, the more I think there’s a notion of a band “warming up” the audience’s ears, as a lot of bands tend to start with some lighter songs, or ones that fall right in the middle of their popularity. Something recognizable but not a fan-favorite, just something to say hello, get loose. Maybe some bands deem that not everyone is in their seats or standing room area yet at the beginning of the show, and they want to save their best stuff for the middle/end of the set. But then again, plenty of bands open with high-energy songs that punch the audience in the face. 

I immediately thought there was a bit more confidence in them in comparison to the first time I caught a glimpse of them years back. Perhaps the fact that they were headlining the show and playing to a bigger crowd at a popular venue contributed to that thought, but the audience sang along to a lot of the lyrics throughout the show too. They clearly have developed a bigger, stronger following (at least from what I knew of them). Good for them! 

They played as a five-piece band: Lead singer (guitar), lead guitarist (backing vocals), bassist, drummer (backing vocals), and a keyboardist. Something to note in their stage positioning, the drummer sat all the way to the left of the stage, while the keyboardist was farthest back on stage. Almost always the drummer is back and in the middle in a band’s performance, but no one was in that position. 

They went straight into “Superbowl Sunday” next, which was more energetic, gave the crowd a bit more of a buzz. 

The lead singer, Joseph Settine, made a quick address to the crowd after Superbowl Sunday, then they went into the next song. It was funny, he mentioned that they were from Birmingham, Alabama, and a girl behind me said, “They’re from Alabama?” I remember thinking the same thing when they mentioned it at the first show I saw them at. You don’t seem to see anything southern about them, no twang, but if you hear them talk/play long enough, it’s there subtly. 

I don’t remember if it was exactly here, but early on in the show, Settine said “If you’re havin’ a good time, go ‘Ahhwooooo,’” a werewolf howl. He made the noise a couple times throughout the show, funny way to reference the album name they’re touring off of. 

They played “Off the Lawn” next, and Settine said at the beginning, “Alright, if you’ve been to one of our shows before, you know what to do,” and pointed to the left and to the right, with his hips following each direction he pointed, giving the audience a demonstration. I give them credit for mixing something like this into their set because as I said earlier, I distinctly remember it from the first show, and that was years ago. It’s a good way to stand out, but I’m not sure that that’s the reasoning behind it, it’s probably just because Settine likes dancing and enjoys getting the crowd involved. I don’t think it’s a “strategy” to make their performance more memorable, but nonetheless, it worked on me! 

Anyways, the lead guitarist, Alec Bolton, played a long solo in Off the Lawn, and Settine’s falsetto vocals stood out. 

I wrote in between songs here that they’re not the young, silly band I remember. And I don’t mean “silly” as in bad, or not talented, I just mean it seemed that they didn’t take themselves too seriously at that time. And they still might not! But to my eye, they seem more polished, more professional now. 

Another thing I remember about the first show is Settine not playing guitar nearly as much. I believe he played guitar in every song of this setlist. Any fans of the band who know ‘em better than me got any information/thoughts on that? Am I misremembering? 

“Shelby” came next, and I thought Settine had a little Adam Levine in his voice in this song. He may just be a male singer who falsettos a lot, and I might just immediately think “Adam Levine!” when I hear that, but I’d like to think my mind isn’t that narrow. I think he sounded pretty similar to him at times. Anyways, there was an impressive keyboard part in this song, and he (Kevin Canada) was impressive all night. A wizardly, smooth keyboardist, he plays it very well. For this whole band, it’s almost underwhelming how talented they are, how high-quality their playing and singing is, just because their sound is generally very soft and delicate that you don’t quite realize that what you’re hearing/seeing is quietly excellent. Exquisite might be a better word for them. 

Shelby was a really jammy song, I liked it. 

Settine gave another quick word to the crowd, then got back to it, playing “Can’t Figure it Out” next. Fans jumped in throughout the song on this one, but especially in the chorus. Really lovely chorus on this one too, the sound has a bit of that southern twang in it that I mentioned subtly comes out. It reminded me of another band/artist, but I couldn’t and still can’t quite put my finger on it. I swear it’s on the tip of my tongue. But it leans into a more country/folk sound. And from what I knew of the band coming in, which wasn’t much, this is a different area for Settine’s voice. It adds a little seasoning to it as opposed to his incredibly smooth vocal that headlines the band’s sound, at least to fans on the more novice side like me. But this type of sound is there for them, they do it well. Really good song. 

They did a cover of Midnight Rider next, which was cool. They didn’t make a big thing of it, as many bands will introduce a cover and talk about why they’re playing, etc. But some bands don’t, especially if it’s a cover that’s known by them and has been worked into their setlist. In this case, I realized after the show that The Brook and the Bluff let people vote for what they want covered on their Instagram story. Cool thing to do, I’ve seen some other bands do this. 

“I’ll Have it Down,” came next, and I thought this was their most impressive song. At least, it’s the one that surprised me most. The long instrumental intro was cool, and it created a bigger wall of sound that I hadn’t seen/heard from them yet. I know this is probably horribly inaccurate to many people, but I can’t help what I feel: I felt a Led Zeppelin-ish sound in this song. Not the same power, but the instrumental sound and the rising vocalization put Led Zeppelin in my head. Sue me. Anyways, I thought it was a really cool song. I liked the “half a million more mistakes” lyric a lot too. 

After that, Settine said, “Are we absolutely Brookin’ our Bluff tonight or what?” which got a laugh. 

Next was “Calling Cards,” which had a cool instrumental transition in it that I liked. I noted here that I thought they were getting stronger as the setlist went on. 

They slowed it down in the next song, playing “Everything is Just a Mess.” This one had a nice instrumental change of pace as well, coming after a very mellow intro. Good song. I did think Bolton may have messed up his solo toward the end. He started soloing, then just dragged into a stop, seemingly not knowing what to do next. I’m not sure if that was on purpose or not, but just based on his body language, it looked like he was a little embarrassed, and he looked over at the keyboardist, who then soloed himself to finish the song. They were probably both supposed to solo, I just think Bolton’s was shorter than intended. Not a knock on him, he was excellent throughout the show, I just write down what I see. 

Apparently the next song is unknown according to setlistfm. I wrote down “I won’t change” as one of the lyrics that I made out from it, but I’m not sure other than that. 

Settine then mentioned that this was the third time they’ve been to The 9:30 Club, and that they’ve headlined it twice. Then he said that the prior song was the first love song he ever wrote, and that it reminded him that the drummer, John Canada, met his wife here. My girlfriend later discovered that his wife is the singer, Ashe. Which is incredible! What a story. Good for Canada, and good for Ashe. I believe the story was that they were opening for Ashe at The 9:30 Club, and I guess the rest is history. They joked about how you might find love at a “B n’ B” (Brook and Bluff), which was funny. 

“Get By” was next. Good rhythm to the song, and the keyboardist had a funny moment when he held up a cowbell with a devious grin on his face, just to show the crowd. Then started playing it. 

After this, everyone but Settine left the stage. It was a bit abrupt, in a funny way. Like they weren’t all totally sure that they were supposed to be leaving the stage yet. Perhaps that’s explained by Settine saying, “I feel so weird without my boys up here, but we’re trying something new.” So I guess this is a new part of the setlist they’re working in. Settine then played “Normal Things,” which was really beautiful. The picking pattern somewhat reminded me of “Same Folk,” by Young the Giant, and he was wearing a thumb pick, playing acoustic guitar. 

The guitarist and the drummer came back on stage after that, and Settine said, “I’m shakin’ in my fuckin boots up here every night doin’ that,” referring to playing Normal Things solo. It’s funny that he admits that he’s nervous, because you could tell by the way he was playing. He sounded excellent, that’s not what I’m saying, but considering what he said before the song about feeling weird without his bandmates, and the fact that he had a small buzz of his strings during one part of the song when he played up high on the neck, which is never fun on an acoustic guitar. You could just tell he was a little uncomfortable, but man, that song came out pretty stunning. And I mean, as a fan, we’re always in awe of these people because they make it look so easy, perhaps we’re not even in awe enough, because we just expect bands to play everything perfectly when they’re up there, and more often than not, they do. But ya wonder, are they nervous up there? Do they have to focus extra for some songs? They always seem to get through the song and to fans, we might not even know when something was not played the way it was supposed to be. Anyways, I just thought it was cool that he said that – someone who’s immensely talented, who’s in a position in which the expectation is for him to be so automatic, showing that he’s human. 

They told a quick funny story going into the next song, with the drummer saying that when he first saw the band playing, they played a bunch of covers. And I think he was starting to play with the band or wanted to play with the band, and so he learned something like three hours of cover songs. Then he heard them play, “Rush” and asked who that song was by, and they said it was theirs, and he said, “Oooohh. I’m gonna join that band.” Pretty cool!

So they played Rush, and it was also very pleasant. The vocalization was really special here, especially with the crowd adding to it with Bolton and Canada carrying the “ruuussh” lyric. I honestly thought it was just the audience singing it at first, but then realized it sounded so good because the two band members were singing too. Cool moment. Really bluesy sound to the song too, that versatility showed here. I also believe it was before this song that Settine said it was the “Insert TV show” song. He said “Really it’s Mad Men, but really it’s Young Sheldon.” It was a funny thing to say, but I didn’t really understand the reference. I may have my songs mixed up, my notes are a little scratchy here. If you were there, let me know if I have this right. Oh, and there was a really lovely acoustic solo from Bolton in this song. 

They played another apparently “Unknown” song after this, and I missed writing down any of the lyrics. So anyone who knows these songs, by all means, speak up. I’d be grateful! The keyboardist came back out for this one. I don’t remember how it went, but I remember liking it. I thought this three-song, acoustic stretch was their strongest moment of the set. I’m a little biased because that’s just where I’m at right now, really enjoying more intimate music at the moment, so let me know if you disagree, but I loved it. 

“Misnomer” was next, and the lyric in the beginning, “I have lived cloudy since 24” really stuck out to me. It seems pretty simple, but “living cloudy” is a great way to describe your mind after a breakup, which I would guess this was about. And it’s a good way to describe your mind when anything distracting happens, not just a breakup, although that’s a prime example. There’s a fun, jumpy transition in this song after the “Get a hold of yourself,” lyric. There was a big pause before the ensuing guitar riff came in. 

They played “Gone for the Weekend” after that. Fun song, catchy chorus, enjoyable lyrics. “While you’ve been gone for the weekend, I’ve been gone for a couple years…” Makes me chuckle. Just a funny description.

“Halfway Up” was next. It was great live. It’s one of those songs that again feels almost underwhelming because of how special it is. You hear it a couple times and forget that it’s nearly perfect. The unique guitar riff, then the keyboard comes in, the catchy rhythm, and then Settine’s voice just brings the purity of the song together. Songs with that many layers of quality that go together so well don’t just grow on trees, I feel like those are songs that bands/artists dream about writing. But that’s the cool thing about music, even a song that you know is nearly perfect might not do it for you, it might be too pure for your liking, you might prefer Bob Dylan whaling into a microphone with a buzzy acoustic guitar and a low quality microphone instead. That might be your “perfect” at the time. But on other days, you might crave something as delicately constructed and satisfying as Halfway Up, and in that moment, the perfection of the song rings so loudly to you. It all depends on you! And what you’re feeling. Music gives you so many options to find something meaningful to you. 

They closed the set with “105,” which was one of their louder, heavier songs that leaned more into a rock sound. Showing some more versatility there. It was fun. 

They walked off at 10:40 and came back out about a minute later. Settine said, “Brook. Bluffed,” in reference to them doing the typical, “Thank you and goodnight!” then coming back on stage, which got a laugh. They played “Baby Blue” as the first song of the encore. The “ yoooouuu” part was very nice, sounded great. 

Settine then shouted out Cassandra Coleman and his crew, introducing the sound people by name, which I think is a cool thing to do. Not every band or artist does that. He did it as the keyboardist played a really bluesy tune in the background, which was cool. It felt like he was MC’ing a dance at an old western saloon or something, or I guess I should say, a concert. He gave a very genuine shoutout to The 9:30 Club too, which made me really happy as someone who loves it dearly. He said, “This is one of the most legendary venues in the country,” and mentioned that they’re treated so well there, that they get hot showers and food. Which made me wonder – what’s the protocol for venues and bands on tour? There are showers at The 9:30 Club? I wanna find ‘em. That’s a joke. But I’m seriously curious. Do all venues provide that? Is that a rare thing? Where do bands shower while on tour? I always assumed on the bus, but I don’t know if buses have that. Let me know what you think. 

The next song Settine said was about someone they knew in high school, Doobie Bronson. They blew this one out too, a louder heavier instrumental song, and very happy-sounding. Settine and Bolton did some funny synchronized kicking at the end. 

They ended at 10:50. 

So go see The Brook and the Bluff! Definitely a worthwhile show. I don’t know if their music will ever be directly up my alley, but it’s close to it, and man, they are good. They have made good music, regardless of mine or anyone’s taste. And that’s a really pleasant site, a great feeling to have after seeing a band live. Nothing makes me rest easier at night quite like knowing that there’s good music out there. Anyways, I think they’re really talented and a high-quality band to see at a smaller venue like The 9:30 Club, and they seem to be in strong performing shape on this tour. My ticket was only $32.50, by the way, which is an excellent price these days. 

As someone who knew just a fraction of their discography coming into the show, their sound ranges above and below “Halfway Up,” just to use that as a center point for their sound to unknowing fans. Their southern twang comes out at times, they have a blues side to them, a harder, jaggidy side, really creative and emotive lyrics, and overall I think their music is relaxing, and an easy listen, which is a high value to have in my opinion. 

If you were at the show or have seen The Brook and the Bluff on this tour or in the past, let me know your thoughts. Please add your perspective. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about The Brook and the Bluff and I’ll be happy. 

*A quick nod to the opener

I walked into The 9:30 Club at 8:22 and caught the end of Cassandra Coleman’s set. She’s got a stunning voice. She’s really made for an opera house or a theatre. That’s not to say she doesn’t belong in a venue such as this one, it’s more of a compliment to her singing. One of the songs she said was about “that guy right there” and pointed to one of her guitarists, which was interesting. I’m pretty sure that’s what happened, someone correct me if I’m wrong. She was introducing the song and that got a little rise out of the crowd. It seemed as if it was a song about a breakup though, “If you’re gonna leave me tomorrow,” was the lyric I wrote down. It was a truly beautiful song, my goodness. Her voice is so powerful yet so pure. 

She had two guitarists with her, and the one on the left switched to a keyboard at one point. The guy on the right of her played both acoustic and electric guitar. The guy on the left played both as well I think. 

She did a cover of “Firelight” by Young the Giant, which is a really cool song to cover because it’s not the biggest hit for a popular band. It’s a known song by them, don’t get me wrong, but it’s not what everyone thinks of when they hear Young the Giant. Perhaps this is why my mind went to “Same Folk” later on when listening to “Normal Things” by The Brook and the Bluff. 

Before the next song, she said, “This song is about drugs.” “So long my friend, we’re porcelain,” was a lyric that stood out to me. 

Oh, and there was some sort of kick drum they were using too. But no drummer. 

“Bite my Tongue” was the last song, which apparently my girlfriend sent to me at some point and I must’ve missed it, or just seen it and decided not to listen to it. Silly me. She explained that it was written for a Netflix show. 

Anyways, she came off at 8:48. You should definitely go see Cassandra Coleman before The Brook and the Bluff. At least catch some of her set. Her voice is incredible. She shouldn’t be here, she should be in a theatre. So catch her now. I, myself, need to give more time to her music. To add, it’s not just her voice that stands out, it’s obviously the headline on her, but the songs I heard had a good build, powerful melodies that fit her voice too. She catches your attention with more than just her voice, but there’s good songwriting in there too. 

*Some notes on the venue

I’ve written about The 9:30 Club many times. Go to tourchmusic.com/venues for more details on the historic D.C. venue. 

One last quick nod to the opener, the Still Tide. Just a two-piece band and I could have listened to more of them. Very quiet, subtle music, but very unique and instrumentally impressive. I mean, the guy (Joe Richmond) invented the synth he was playing. The lead singer mentioned that he created it and that he give a rundown of it after the show at the merch stand. She sounded nearly perfect singing in that room. I need to learn a little more about them (please feel free to add your insight), but I would see them again. The lead singer, Anna Morsett, also mentioned how Matsson is one of her heroes, because she toured with him for years. Matsson later on confirmed that she was his guitar tech for some time. I thought that was a cool story.

Show Thoughts: Tallest Man on Earth, Headlining at The Strathmore Theatre on Tuesday, April 8th, 2025

I saw the Tallest Man on Earth last night, and it was a long time coming. I’ve followed his music, a bit from a distance, over the last 10 years, but have gotten really into him in the last 2-3 years. I’ve never gotten through all of his music, because there is so much, but I’ve listened to a lot of it and I am a huge fan. I’ve recently felt that his music is very calming, partly because of how (mostly) solo and bare it is. His music always makes me wonder about his life, and he seems to always be surrounded by nature. He’s so descriptive with his lyrics, and he makes me think about the world around me a lot. It’s a wonderful form of distraction that he provides. And the way he plays guitar is really his most incredible and unique attribute – I think he’s one of the most creative overall instrumentalists, let alone guitarist out there. So, seeing him live solo on this tour was something I had circled for a while, and he delivered, to very little surprise to me.

The Show: 

(Started at 9:05, ended at 10:45)

It was a really enjoyable setlist, he got 19 songs in while spending some time talking to the audience in between songs. But did not seem rushed, didn’t fly through songs. He scampered around stage like a lunatic version of Peter Pan, as I’ve seen before in his videos. He is himself! Which is great. 

The only songs I wished he played (well, if I could make requests, we’d be there all night), were The Wild Hunt and The Dreamer. I was really surprised about The Dreamer, as I would have guessed he plays that at almost every show, not only because it’s a bigger hit but also because he’s expressed how much he himself loves that song. But maybe on this solo tour, he’s taking the opportunity to play songs he doesn’t always play. It seems like he did that to an extent, but I have not looked back at his last tour setlist with a band to compare yet, so I’m not sure how much the setlists differ. 

I’ll paste the setlist down below, but I’ll talk about my top highlights here: 

Matsson first came out on stage in this wonder walk, stumbling around and looking up as if he was in some enchanted forest, seeing things he’d never seen before. Like something was pulling him. The stage was big in general, but especially big when just one person was filling it, so it was entertaining to see him use all the space. It’s as if the guy is just pulled by music, and can’t control himself or his excitement when he is playing/about to play.

He opened with Fields of Our Home, then went into This Wind. It was interesting at one point in the song, he actually started singing one line and then stopped, and started it again. “Checking” his voice, for lack of a better term. It wasn’t a significant moment, I just thought it was funny to see that even such an incredible performer can have moments like that, but then again it may be a testament to his experience to be able to realize that what he’s about to belt out is not going to sound good, and he should just reset and try again. 

I’m glad he played “Every Little Heart” because it has an awesome sound to it on guitar and I feel the new album deserves some representation. I think it’s a great change for him. 

1904 was a nostalgic highlight, definitely one of the first TMOE songs I ever heard and loved, and he sang it with the same enthusiasm that I’m sure he had when he performed it over 10 years ago. Just a classic, and his voice especially punched through when he sang it. It does feel like it’s missing something without the electric guitar riff that’s so catchy and recognizable in the song, but it was pretty cool to hear the song without it. The acoustic rhythm still sounded lovely. 

Looking for love he played on electric and it had a really echoey sound. It’s amazing how he puts the sounds of multiple instruments into the guitar strings when playing solo. 

He had a funny story about the origin of the song “Major League” mentioning how he owed Charlie Sheen for the inspiration for the song (jokingly). He said that he actually played baseball in Sweden as a child, too. 

The Gardener, similar to 1904, gave a nostalgic TMOE feeling. Another quintessential TMOE song that could be played for the next 100 years and I wouldn’t get tired of it. 

He brought out a slide at one point and mentioned how this was the first tour in which he played a slide on stage, which was cool to hear, considering that he is such a versatile guitarist and instrumentalist in general. Looking at setlistfm, I believe the first song he played with a slide was a new song called “Deep Within.” It was a real emotional one and really struck ya, but I thought it was just from an old album and a song I hadn’t heard before. But it seems that it’s a new one, so that was cool! I wonder if he’ll release it anytime soon or if it’s a sign of more new music/another album. I can’t imagine he’s releasing anything extended anytime soon (given that he only recently finished the Henry St. tour), but who knows. 

The tuning for Like the Wheel sounds so incredible live, I had never heard that song before. The slide sounded so unique. Bluesy but also futuristic. As Matsson would put it, “like it’s from space.” I heard him say that in an interview about Skip James’ influence on him. And, when he was tuning his guitar before breaking into these songs with open tuning, he said “Yeah, that sounds like Skip James,” which was cool. It’s amazing a guy so seemingly “folky” has such a deep blues influence. And heavy blues, a real southern sound to it. But then again I guess almost every great guitarist has a blues influence. 

Love is all on electric guitar was the real treat of the show for me. I love that song, and I especially love it electric. It was excellent. Not much else to say about it, just such a heavy fingerpicking riff on electric with such a punching sound, and some of his best lyrics in my opinion. So deeply cutting. 

A fan at one point asked about the guitars and other instruments that got stolen from him, which I remember him posting about on Instagram. Really sucks to hear that he only got three of those guitars back. He mentioned the red one that he loved so much. 

Revelation Blues is another top TMOE song for me that was great to hear live, he added a nice outro to it that was different. 

He closed with King of Spain, which is a great end-of-set song, but then came out for the encore. When We Were Young was a cool cover to see live, I had just seen that one video of him singing it with an orchestra behind him once, not really sure where that was from. But I remember it. He sang it with a fingerpicking rendition on guitar. Then ended with Kids on the Run, BUT he prefaced it with a story about how he had originally written it on a banjo, then his “bipolar ass” felt the need to jump over to the piano, which he “definitely didn’t know how to play at the time,” and recorded the song there instead. Really enjoyable backstory, saying that he remembered that because he was listening to an old cassette tape of the recording (that’s how long ago it was when he wrote it), and heard himself move to the piano. So, he then proceeded to play it for this crowd on the banjo. It was great! I personally prefer the piano version, but I loved hearing that story and appreciated the uniqueness of hearing the song played that way. Just a cool thing to do as an artist, offering up something you don’t see every show. I’d like to think that most people are okay with that even if that’s not their favorite way of hearing that song played. 

He forgot lyrics at times and stumbled over a few, but never to the extent that it ruined the song. He recovered fine whenever that happened. I suppose those little mistakes are way more apparent when you are performing solo, there isn’t a big wall of sound from a full band to drown out those errors. But I wouldn’t even call this a complaint, it didn’t matter because he’s so energetic and powerful that even vocal/lyrical mistakes just feel a part of his performance. 

A quick nod to The Strathmore Theatre. The sound was tremendous in there and it was a cool venue. Had no problems with anything, easy to navigate. 41 freakin’ dollars for two glasses of wine though, that’s not gonna go without a complaint. However, I will give it credit for free parking in the garage a short walk away on a weeknight. And more importantly, is it a good place to see a show? Yes. The seated shows are nice sometimes, especially for an artist like TMOE that isn’t going to make you wanna get up and dance for the most part. Would just rather be entertained by him. As ballistic as he is on stage, my goodness is his music somehow relaxing. 

One last quick nod to the opener, the Still Tide. Just a two-piece band and I could have listened to more of them. Very quiet, subtle music, but very unique and instrumentally impressive. I mean, the guy (Joe Richmond) invented the synth he was playing. The lead singer mentioned that he created it and that he give a rundown of it after the show at the merch stand. She sounded nearly perfect singing in that room. I need to learn a little more about them (please feel free to add your insight), but I would see them again. The lead singer, Anna Morsett, also mentioned how Matsson is one of her heroes, because she toured with him for years. Matsson later on confirmed that she was his guitar tech for some time. I thought that was a cool story. 

Overall, this was an excellent show. I love the Tallest Man on Earth, and I believe he’s one of the supreme underrated artists of the last 15 years or so. And now I can confirm what I already knew, that he is a wonderful live performance. 

Share if you were there and/or if you’ve seen TMOE or The Still Tide anywhere else, would love to hear any other experiences, perspectives, and opinions in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about The Tallest Man on Earth and I’ll be happy.

Quick nod to the opener, The Criticals. I walked in at 7:44 in the middle of their set, and the songs I was able to make out that they certainly played were Good Looking, High Life Clinic, and Mother of Style. I listened to them on Spotify after, and in live performance, they are a lot heavier with instrumentals. Definitely a punk rock style to them, very energetic, and I enjoyed them. If you’re going to see Sawyer Hill, I’d get there early to see these guys. Then again, I always try to see the opener. Like a box of chocolates! Ya just never know what you’re gonna get out of them if you don’t know them already, and a lot of times you get at least a few songs you like. So go see The Criticals too.

The Show:

I saw The Vaccines on Friday, March 8th, 2024, at MGM Music Hall at Fenway in Boston. As one of my top all-time favorite bands, I was really interested to see them tour off of “Pick up Full of Pink Carnations,” because to me, it was really their comeback album that let their long-time fans know they still got it. It was so comforting to hear their old sound again. And I don’t mean that they didn’t evolve their sound at all in this album, it was fun new music and different from every other album. Most similar to Combat Sports, if I had to compare. But the songwriting from Justin Hayward-Young was back to its reliable consistency with catchy choruses, relatable lyrics, and overall the sound didn’t cross the line from alternative rock to pop rock, like “Back in Love City” did. This was a really good alt rock album from The Vaccines in my opinion, with songs that rival some of their older hits.

The Setlist:

I was really intrigued by the setlist. They played some songs I never thought they would play live (on this tour). They opened with “Love to Walk Away,” which wasn’t a surprising one. Got off to a kind of humorous start because the (new?) guitarist, Matthew Hitt, jolted the opening riff, but it seemed like his amp wasn’t on because Hayward-Young sang the first lyrics, “All night —” then the whole band stopped abruptly and looked back at Hitt. Something got messed up there. Anyways, it was just a minor mistake that happened to happen on the first song. 

Loved that they moved right into Wreckin’ Bar. I feel like they have to play this song at every show because of how short it is and how good it is. One of their best songs and is so uniquely The Vaccines. They moved into more old hits after that: I can’t quit, post break up sex, wetsuit, and Your Love is My Favorite Band. Then, Hayward-Young made a mention of the new record and they followed that with “Discount De Kooning,” which I was not a huge fan of on first listen of the album, but will admit it sounded great live, then bopped into “The Dreamer,” which I think is one of the best songs on the album. A catchy gem. Hayward-Young did sound a little deeper in his voice for this song. In the studio recording he seems to be higher-pitched, but he was really bellowing the speedy lyrics of the song live. They then played Headphones Baby (boo), and I was pleasantly surprised to hear Jump off the Top after that. I did not like the studio version of that song at all on BILC (they turned up the “pop radio” on it too much for my liking, drowning out The Vaccines’ sounds ), but I always thought the live recordings of it were great. If it were recording for WDYEFTV or Combat Sports, it probably would’ve been a lot better in studio. 

Lunar Eclipse came next, and I believe this is one of their best songs and most defining song of this new album’s sound. It was wonderful live, Lanham’s guitar riff ringing loud and carrying the song as it does in the studio recording. At the end, however, in “We took a trip, out to the Lunar Eclipse, the road fell and twisted, into cracks in our lips…” it seemed like they turned Hayward-Young’s mic down and Lanham’s up, one of the few times he provided backing vocals. You could faintly hear Hayward-Young singing the higher-pitched lyrics, and Lanham muttered softly the same ones. It was fine, but I would’ve rather them let Hayward-Young belt it out over Lanham’s backing. Listening back to the studio recorded, you can hear Lanham, but Hayward-Young still powers the lyrics out over him in a higher pitch. 

I was pleasantly surprised to hear “Handsome,” and “Teenage Icon.” I don’t know this for a fact, but I would’ve never guessed The Vaccines have played either of these songs too much live, especially Handsome. I saw them in 2018 off the Combat Sports tour, and they didn’t play either then. They extended Teenage Icon, as Lanham repeated the very catchy riff while the band subtly jammed over it and Hayward-Young introduced the members of the band. Classics “I Always Knew,” “If You Wanna,” and… All My Friends Are Falling in Love closed the show. That was my only complaint. Although, much like Jump off the Top, I think the studio recording of All My Friends Are Falling in Love is a little too “pop radio” and not enough “The Vaccines,” it does sound a lot better live. Hitt thrashing the rhythm guitar on a 12-string was interesting. That being said, how do you close on that song over the all-time great “All in White,” perhaps the greatest Vaccines song ever. That was my only disappointment, my only pain point. Call me crazy, but I think most fans of the band would agree that closing with All My Friends Are Falling in Love over All in White is a criminal mistake.

The Band:

Justin-Hayward Young is mighty fun to watch perform. He’s very satisfying to look at as he strut/stumbles around the stage and thrusts his out to the crowd to emphasize certain lyrics of each song. He looked genuinely happy to be performing, sporting a welcoming grin as they first took the stage. I will say, though, the band performs well together, but they seem a little disconnected. I was still hearing The Vaccines, but I feel like I was seeing “Justin Hayward-Young and the Couple Other Fellas.” Not a discredit to the talent of the rest of the band, just a comment on how they looked on stage. Maybe this is how every band looks with a powerful lead singer and songs that carry a lot of lyrics in a short period, and I’m just being silly. But I saw what I saw. I know the band has undergone some changes, with the additions of Hitt and Tim Lanham to replace the very talented original lead guitarist Freddie Cowan. I believe Arni Árnason (great name) on bass and Yoann Intoni on drums are original members of the band. My point is, this is probably this group’s first big tour together, and it may take some time for them to look more like a complete band. Again, they still sounded like The Vaccines, which is all that really matters. 

Hitt provided the very fast-paced and violent rhythm guitar, and some keys. Lanham is clearly a key piece and worthy replacement of Cowan on lead guitar, he was very smooth and had a great and confident look about him on stage. Looks like he is from the 80s, more like a member of Boston than The Vaccines, with his green suit jacket, 80s-type hair and mustache. More importantly, he supported Young really well on guitar and they performed great together, and he delivered some impressive solos. It was funny, after the second to last song of the set, Lanham tossed his pick to a member of the crowd in the front row and put his guitar down, only for Young to come over and whisper to him and Lanham to realize they had one more song left. Young walked over to the mic and gestured towards Lanham and said “He thought we were done.” 

Arnason was entertaining, banging his head around like a pendulum to the bass rhythm of several songs, and Intoni is fantastic on the drums. Added some awesome fills to many of the new songs, and of course, the pounding, thunderous, garage-type drums are essential to The Vaccines’ sound in many of their early hits, and he added quite the exclamation point to their performance of those songs live. 

Back to Hayward-Young. He’s an awesome frontman. Really underrated I think. Like I said, he was a little deeper live, really bellowing and yelling, but that is truly him I think. He’s mastered that and made it a talent. I don’t think that’s too inconsistent with past performances I’ve heard. He stepped in on rhythm guitar for a handful of songs, that classic red and white one I think I’ve seen him use in past years. He was without an instrument for more songs than not, though. 

For an opening act, The Vaccines are a bargain. A steal. An absolute treat as an opener. The Kooks are objectively a great band and I’m sure The Vaccines are happy to be touring with them, but I wish (and think they deserve) to headline their own shows at venues the size of MGM Fenway. Those mid-sized, but not small venues are perfect for them. When I saw them at their own show in 2018, it was at The Rock and Roll Hotel (hint: it’s not a hotel), a venue that filled about 250-300 people in Washington, D.C. It was fantastic and I’m not complaining about it, but I think the band is better than that. They have quite the resume of bands they’ve opened for over the years, though, including the Rolling Stones and the Arctic Monkeys. 

The Opener: 

Daisy the Great were the opener ahead of The Vaccines. I arrived early to ensure I would not miss The Vaccines and happily watched their whole set. They were a little weird, but the two singers were lovely together and the guitarist rocked on the songs that allowed him to. They had a bit of a dark sound, and were a little hippy-esque in their look. Don’t have much to report on them other than that, but I thought they were a quality live performance, caught my ear with a couple of songs, and were worth checking out on Spotify after. 

If you were at this show or have seen The Vaccines on this tour, let me know your comparison to the performance you saw. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about The Vaccines and I’ll be happy.

Show Thoughts: Third Eye Blind, Headlining at Xfinity Theatre on Saturday, July 13th, 2024

I saw Third Eye Blind in Mansfield, Massachusetts at the Xfinity Theatre last night, and it was one of the most entertaining and enjoyable shows I’ve seen. The band seems to be in really good form right now and really comfortable with this setlist. They were so satisfying to watch, and more importantly: to hear. The way the setlist was structured made for really smooth transitions, and I found it hard to keep my eyes off the stage (even for songs that I didn’t know), and that is always a sign of a great performance. The lead singer of the opening band, Yellowcard, said something along the lines of “Third Eye Blind’s set is everything you could want and more” before leaving the stage, and I have to say, he was right. 

Now for context, I’ve been a fan of Third Eye Blind for years, and I know their music pretty well compared to a casual fan that just knows their songs that made it to the radio. But they have a ton of music, and there are bigger fans out there than me. I’ve also seen them a couple times before, but none impressed me as much as this show. I knew most of the songs in this setlist, but was pleasantly surprised by a couple that I had not heard live before, and a couple that I had not heard at all before. 

*To note: Xfinity Theatre is an outdoor amphitheater that sits about 30,000, including some lawn seating in the back*

The Show: 

(Started at 9:12, ended just before 11:00)

They opened with Motorcycle Drive By, which I was surprised by because it seems like a “later in the set” type of song, given its energy and the fact that the song has kind of a cult following within the Third Eye Blind fandom. And they had played later in the set in the two prior Third Eye Blind shows I’ve seen. But I guess it’s important to have an energetic opener as well. Anyways, it worked well as a way to get the set started. The keyboardist/guitarist came out first and played the very recognizable riff that goes in between the first two verses of the song, just teasing the crowd with the sound of the song, like a mini overture. Then Stephan Jenkins walked onto the stage and plucked away the opening guitar part. The lights supporting Jenkins and the band as the song picked up were very pleasing, it looked like clouds were hanging over them and the lower bowl of fans. It was a heavy opener that could easily be a song that gets played in an encore, but the solo start it has with just Jenkins out on stage and in the spotlight was an intimate way to greet the crowd and reel them into the performance to come. 

They immediately broke into “Dust Storm,” which I had never heard before but quite liked, and I noticed “The Cure” influence right away. They went on to play “Just like Heaven” all the way through as an extension of the song, which was just lovely. A really fun cover. And a great way to give a nod to the band that clearly influenced the song. At least I think that’s what they were doing. And I love that they acknowledge that – because who the fuck hasn’t ripped off The Cure? It’s nothing to be ashamed of as a songwriter in my opinion. You might as well admit it and pay homage. 

Now I don’t love when bands play many covers, but 3eb stuck in one more and it was perfectly placed. At the end of The Kids are Coming, they broke into “Wolf Like Me” by TV on the Radio. It rocked. A pumping jolt of rock added to the already highly electric show that they nailed. What I liked is that they just did the final verse of the song (the best part), and didn’t stretch out another full cover after playing all of Just Like Heaven. Didn’t get too far away from their own stuff. Anyways, it was a really unique song to throw in and cover by an equally underrated band in TV on the Radio. It’s a sign of great taste from the band also, grabbing at songs that the crowd may not be singing every word to (or know at all), but nonetheless are what they believe in, enjoy playing, and feel deserves some attention. It’s not super surprising to see from 3eb though, given the covers album they did a couple years ago (Thanks for Everything). I don’t know TV on the Radio well, but I did stumble upon Wolf Like Me years ago on Spotify. If I didn’t know it, I would’ve just thought it was a part of a 3eb song I hadn’t heard before. They used it to transition into “Company of Strangers,” which has a similar tempo to that verse in Wolf Like Me, and made for a very smooth (yet lively and rapid) transition. 

The band hardly stopped playing through the first 10 songs of the performance, with Jenkins throwing a few quick words to the crowd during choruses, solos, transitions, etc., but not engaging too much yet. Another thing they did well was combine their own songs also, but avoided doing too many medleys. For example, they added just the opening verse of Water Landing at the end of Faster (another song I didn’t know, but liked), which I thought was perfect because that song really drags on, and honestly, the intro is the best part in my opinion. No need to burn a whole song when you could just give the people (me, in this case) what they want, and save time for another full song. If you’re a fan of Water Landing, please feel free to scold me. Ursa Major just isn’t my favorite album. Great intro in that song, though. Really catchy  and “She uses boys like bandages, but the wounds remain the same,” is an excellent lyric. 

Anyways, the show slowed down a little after Shipboard Cook. It was a complete version of that song. What I mean by that is it had everything. Jenkins started it by fingerpicking the opening chords, which is different from how it’s played on the original recording and was really pleasant to hear. He is really skilled at fingerpicking, not that that’s news to anyone, but I feel that is a bit of an underrated part of his guitar-playing style that doesn’t get seen as much. It sounded similar to the intro of Motorcycle Drive By actually. The band chimed in after the first “I’m always a ghost,” lyric, as expected, providing the heavy electric background to Jenkins’ acoustic guitar and belting voice to one of the band’s most powerful songs in terms of sound. As Jenkins sang the final chorus of the song by himself while casually strumming the chord progression, as it’s done in the studio recording, members of the stage crew began setting up what looked to be  couches and a few lounge chairs behind him (will get to this later). Jenkins went on to keep strumming the C or F chord (couldn’t quite tell) as the crew continued to set up behind him and the band went backstage, and he started to explain the origin of the song. He said that he saw it as a song that should be sung in an Irish pub when he wrote it, a song that people gather around and sing and don’t really know the lyrics too, but all mutter it on cheerfully as a way to cheer up their buddy who just got dumped. It was funny. He said that you don’t need to know the lyrics or sing it in tune, you just need to sing it together. So he repeated the lyrics and encouraged the crowd to join in after him. He went through it twice, teasing the crowd after their first try, saying “That was horrible,” and joking that he thought Boston was a pub town. 

As the crew continued to set up, Jenkins went on a bit of a monologue for three or so minutes. He mentioned how he had had an “intense” 10 days leading up to this show, and was grateful to be there. Two things that I remembered distinctly were him saying, “I feel fuckin’ great,” and “I have this rage to live.”

The Acoustic Interlude

Well, this part of the show was just sublime. I don’t love using such a dramatic word, but it’s the best way to describe the three-song acoustic interlude that took place. The band all gathered in the center of the stage and sat on the low-to-the-ground chairs and couch that the stage crew was setting up behind Jenkins during Shipboard Cook, and they all brought acoustic instruments (I think it was a six-string guitar, 12-string guitar, and mandolin). The bassist kept an electric bass, and the drummer had a smaller stand-up kit. They broke into a wonderful acoustic version of “The Background” after Jenkins introduced it as “a really old song,” and it was excellent. A deep track on their best (at least, most popular) album and they gave their fans a special and rare rendition of it. They followed it with Palm Reader.

Jenkins took time after Palm Reader to introduce the band, then they played “Blinded (By You). This was my favorite part of the show. I had never heard this song, and as a 3eb fan, I felt like I was seeing a totally new version of them (which is ironic, because the song is over 20 years old. This is when the 12-string guitar came out, as Kryz Reid used it to deliver the very lively, upbeat, attention-grabbing opening riff, and the 12-string provided such a happy, tingy, wavy, uplifting sound. It was such a different sound, one that I did not know/think 3eb had. It was borderline folky, but not quite. I felt that the sound was in a genre of its own. Jenkins played the bongos during it, and Alex Kopp put his mandolin down and played acoustic guitar while providing lovely background vocals (he did this well throughout the whole show). The song was delivered beautifully, and I thought it was a special part of the performance. A real delight to see and hear so intimately. A Third Eye Blind delicacy. 

The crew rearranged the stage back to its original form, but just Jenkins remained on stage after that to do “Slow Motion,” which I love that he continues to play live, delivering the absolutely vulgar but clever lyrics to the quiet and slow song. An unassuming fan must be quite puzzled while hearing the words he says, not knowing the song’s underlying meaning (The joke’s on you). 

The hits Jumper and Semi-Charmed-Life followed and were as expected. Two of the most popular, memorable, catchy, songs of the last 20+years of rock/indie rock music that never disappoint to hear live. And the crowd always joins in on every chorus. There was a beautiful moment in “Jumper,” for about 30 seconds when the band went completely silent and the whole crowd was clapped along to and sung the “Doo-doo-do” part before Jenkins lets out his famous “YEAH YEAH YEAH YEAH YEEEAAAHHHH!” You all know what I mean. It was a cool moment. 

They encored with “How’s it Going to Be” and that was that. Great song to end a phenomenal performance. I thought they were going to add “Losing a Whole Year,” but it was just a one-song encore. I feel it’s rare they don’t play that one. 

This was my fourth time seeing Third Eye Blind and was by far the best performance I’ve seen from them. It was really a pleasant surprise to see them in such form, especially when Stephan Jenkins is approaching 60 years old. His voice and overall front presence, showmanship, energy, etc. is still there in full. The biggest takeaway I have from this show was that the setlist was so excellent, that’s what separated it from past 3eb shows and just made it unique and entertaining in general in comparison to any concert. The way the band transitioned from song to song was nearly flawless, and I did not want to take my eyes off the stage. The band drew the crowd in from start to finish and truly entertained. Of course, a setlist is different for everybody depending on how well you know a band. So you can take my word with a grain of salt if you wish, but I think even if I walked into that show foreign to 3eb’s music, I would have had to tip my cap to the way they performed. But for Third Eye Blind fans that really know the band, this setlist was just about as good as it gets. They played the hits, they played the deep tracks, they played covers, they played medleys, they played special versions of songs from all different parts of their discography. It’s a wonderful site to see Third Eye Blind still touring, and selling tickets to big venues (Jenkins mentioned that this was their biggest show in Boston). The 2024 Summer Gods Tour is one to see and I hope they don’t stop anytime soon (Jenkins also did mention at one point that he was working on a new record, and thanked the fans for being patient). It’s performances like these (in addition to their music overall) that feed my belief that Third Eye Blind is one of the greatly underrated bands of my lifetime, and Stephan Jenkins one of the greatly underrated songwriters of my lifetime as well. 

I know the band has changed members several times, with Jenkins (and the drummer?) being the only original members still there. If anyone can weigh in on that history, I’d love to hear it. This group they have now is incredibly talented, and I hope it stays that way. If you were at the show, please add your perspective in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Third Eye Blind and I’ll be happy.

*Also, quick nod to Yellowcard here. That band has never been my type of music, but they put on a great performance as 3eb’s opener.*

I saw Cage the Elephant with Young the Giant in Bridgeport, Connecticut at Hartford Healthcare Amphitheatre last week. It was my second time seeing both bands, and both of them delivered something different than the first time I saw them in their performances. 

For context (Young the Giant): I saw Young the Giant at Leader Bank Pavilion in Boston in June of 2023. It was in the middle of their tour off of American Bollywood, and I’d say I came into the show knowing 10 songs or so by them. Always respected them since Cough Syrup came out, but had always been a little adjacent to them. Had never taken a deep dive. 

They had a really psychedelic vibe to them, with a handful of hypnotic, dream-like videos with the lead singer’s voice speaking over playing in between songs throughout the set. Speaking about what I assumed were themes of the album. Overall, they were really solid. Sameer Gadhia sounded great, he just so casually has a broadway-like, booming, pure voice. I enjoyed the show, and walked out saying that I would see them again, but nothing about it impressed me too much. I remember thinking in the middle of the set that they were a little identity-less, and I couldn’t put my finger on what I thought of them. I wasn’t hanging on every song, but I thought it was a good performance. That was it. 

The Second Time: 

Young the Giant had a cool, confident demeanor about them in this show. They were a real luxury to have as an opener, because they could easily (and have) played a headlining show at Hartford Healthcare, and any other venues of that size. This was a show with maybe the two most similar bands, in terms of rise to popularity, established following, and level of live performance as an opener and headliner. I enjoy Cage’s music more, but objectively speaking, I don’t think YTG are much far behind them. Just a tier below. 

Anyways, Young the Giant were really loose. I have no idea how they actually felt, but I think as an opener, they felt a little less pressure to put on a “fan-first” type of show and just focused on playing their music well. That’s what it looked like to me, at least. They played Cough Syrup as their third song again, which surprised me the first time, but I guess I get throwing in one of the bigger hits in the beginning of a set. Just for the nuetral crowd, so they recognize who you are maybe? I just think Cough Syrup had be an end-of-set song, if not a closer at times for them. 

After a handful of songs, Gadhia went on a brief speech about how they had been on tour for a long time, and on this part of the tour, they were trying to get back to the feeling of playing live that they had in the early days as a band. When they would go on stage, terrified, and “not know what the fuck was gonna happen,” (not verbatim, but something along these lines). He talked about how, as a band, they’re always trying to change. They never want to fall into patterns of music. He mentioned how they have five albums, and how that’s a lot of music, and they wanted to play songs from all over their discography. So, they broke into a 3-4 songs of deeper cut songs that I thought was really great. 

It was mostly songs I did not know, so I didn’t know what I was hearing. But I liked what I was hearing. I was tapping my foot with great enthusiasm or anything, but I just enjoyed looking at them perform and hearing what they were playing. It was genuine. I could digest it, and it sounded complete. So pure. “Call Me Back” was the song that stood out the most to me in this part of the set. It was really lovely live. Very emotional, and Gadhia sounded just excellent, per usual. 

Before playing “Mind Over Matter,” Gadhia mentioned again how the band is always trying to change. They never want to sound like “traditional” Young the Giant. They never want to chase a sound to gain popularity, pretty much, because “fuck that.” I did not write down his exact words, but I remember him saying “fuck that” to the “traditional sound” sound sentiment. And I fuckin’ love that. Gives me the feeling that Gadhia and Young the Giant have the attitude of making music “for no one,” like that Houndmouth song. Which has one of my all-time favorite messages in it. Anyways, I don’t know if that’s exactly what Gadhia was saying here, but it’s how I heard it and he was definitely implying that the band doesn’t make music for other people. They make what they want to make. And they never want to stick to the same shit just because that’s what people like. They don’t care for that. And that gave me a stronger respect for them than what I already had. 

Gadhia continued to say that this certain album was a big change for them that no one expected, and no one really loved at first. But eventually, “10 years later,” it had become their most popular album with their most popular song on it. Then they broke into “Mind over Matter.” That was cool. 

They closed with “My Body,” which is always a good closer, but I would love to hear something different, like “God Made Man” or something. But they have to play My Body somewhere, I get that. Anyways, this was a really good setlist from Young the Giant that impressed me. I enjoyed it more than the first time I saw them, and thought their playing was simply better. Looser in demeanor, but tighter in chemistry. Loved the inclusion of some deeper tracks, and would highly recommend catching them open for Cage while they’re playing this type of setlist.