Category Archives: TVD Washington, DC

TVD Live: Patterson Hood and Lydia Loveless at the Atlantis, 3/22

Patterson Hood has written hundreds of songs in his life, the best of which he’s performed with his band Drive-By Truckers for nearly three decades.

His latest batch were largely biographical musings, covering his coming of age period in Alabama. Exploding Trees & Airplane Screams, his fourth solo outing, was eventually played in its entirety during the first of two sold out shows Saturday at The Atlantis, the cozy 9:30 Club anteroom in DC.

That it was “hours until” his 61st birthday Monday only seemed to further stoke his giddy nostalgia at his past, telling stories of being raised by grandparents and a great uncle in lieu of his teenage parents, all the parties he used to sneak into, the neighbors and adults he looked up to, the curve of the rural roads, and the general magic of childhood and the promises of adolescence. That he told the essence of his fondly-remembered stories before doing the songs kind of robbed the tunes of any surprise, but the thematic continuity of the show made it feel whole.

Hood sat for the entirety of the 19-song set, mostly playing a vintage Harmony acoustic that in its diminutive size made him look even bigger than he was. As on the album, he wasn’t strictly solo, but surrounded himself with able musicians.

Eschewing by large measure the rocking electric guitar crunch of his primary band, he relied instead on the buzzing drone of synth, a bit of mellotron, some sax and woodwinds, from the four piece touring band he called the Sensurrounders—two of whom were from Drive-By Truckers.

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TVD Live Shots:
Michael Shannon &
Jason Narducy and Friends with Dave Hill
at the 9:30 Club, 3/4

Michael Shannon is mostly known as actor; one whose intense presence makes for memorable roles in films like Man of Steel and The Iceman. As it turns out, he’s also a musician and R.E.M. superfan. A singer who, along with pal Jason Narducy, takes a love for the original “college rock” band on the road. There, they’re joined by other fans hungry for live performances of early R.E.M work.

After a successful run of sold out shows last year when the pair honored R.E.M.’s debut album Murmur, Michael Shannon, Jason Narducy and Friends are back at it, celebrating the 40th anniversary of R.E.M.’s 1985 album, Fables of the Reconstruction. Tuesday night, the men hit Washington, DC’s famed 9:30 Club for a gig filled to the rafters.

On the road, Shannon and Narducy are joined by “friends”: Wilco’s John Stirratt on bass, drumming powerhouse (and one of my very favorite Instagram follows) Jon Wurster, guitarist Dag Juhlin, and keyboardist Vijay Tellis-Nayak.

The show on this tour is divided into two sets: the first set is the entire Fables album. The band had no problem delivering fantastic performances of Fables tracks such as “Feeling Gravity’s Pull,” “Driver 8,” and “Can’t Get There from Here.” After “Wendell Gee,” the band wrapped up the first set with a cover of the Velvet Underground’s “Femme Fatale.”

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TVD Live Shots:
Eivør with Sylvaine
at the Fillmore Silver Spring, 2/23

The Faroe Islands are a tiny archipelago located halfway between Norway and Iceland and is a part of the Kingdom of Denmark. The capital city, Tóshavn, receives the fewest recorded hours of sunshine of any city in the world. Known for its rugged, isolated terrain and subpolar climate, it’s from this environment that musician and vocalist Eivør Pálsdóttir, who performs professionally simply as Eivør, comes to us. Sunday night Eivør wrapped up her North American tour in the Washington, DC suburbs, performing to an enraptured crowd.

Norwegian multi-instrumentalist Kathrine Shepard, who performs professionally as Sylvaine, served as support on this tour. Sylvaine is the first woman to receive a Norwegian Grammy nomination for Best Metal Album. At the Fillmore, her music was less “metal” and more electrified Nordic folk (a term I just made up). Others have compared the sound to something from Middle Earth. It’s an apt comparison.

Sylvaine is ethereal and her voice is beautiful. Performing without a backing band, and sometimes without even an instrument, her set was a compact five songs. However, she captivated the (seated) crowd like a headliner would. The last song, “Eg Er Framand” so affected the Fillmore crowd that they were brought to their feet in a standing ovation. It brought her to tears as she waved goodnight. Sylvaine’s latest album is Eg Er Framand.

It’s been great to see Eivør’s fanbase in the DC area grow. She first performed at the Fillmore in 2022, during her very first US tour. Like Sunday night, it was a seated show. But while the crowd in 2022 was on the smaller side, Sunday night was a sellout.

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TVD Live Shots:
The DC Record Fair at
the 9:30 Club, 2/23

PHOTOS: RICHIE DOWNS | Last year the DC Record Fair celebrated its 15th anniversary. Initially spawned as an ad hoc event at DC’s now-defunct Civilian Arts Gallery, to our surprise it’s grown to be a venerable DC institution. Gathering steam, the fair has subsequently been hosted by the Warehouse Next Door (RIP), Comet Ping Pong (folks, there’s no basement), the Black Cat, Artisphere, the Fillmore Silver Spring, Penn Social, and the Eaton DC hotel. And yet, another DC institution had proven elusive.

This changed on Sunday in a big way. The DC Record Fair finally made it to the legendary 9:30 Club where a line looped around the block long before the doors swung open. And frankly, the biggest buzz came not from the crowd and vinyl vendors alone, but it swept in a refreshed community spirit that until now had been typified by the Black Cat event right after “Snowmageddon” in 2010 when the club literally had to be dug out of the snow to invite people inside.

We’d like to extend sincere gratitude to the 9:30 Club and its team for opening its doors to us, and for the warm welcome and unyielding support we received. And our thanks to all of you for coming out, including the vendors and DJs. It was quite the day, and TVD’s Richie Downs was on site to capture the event in pixels.

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New year, new venue! The DC Record Fair comes to the 9:30, 2/23

We’re thrilled to announce the first DC Record Fair for 2025 lands at DC’s legendary 9:30 Club

For this event, we’ll have 30+ record dealers from up and down the East Coast with thousands of records, a stellar DJ line up (TBA!), and mimosa specials throughout the day.

Our thanks to YouTube user Abigail Bender for a recap of October 2022’s DC Record Fair at the Eaton Hotel above.

THE WINTER 2025 DJ LINEUP:
11:00 – 12:00 – DJ Soyo
12:00 – 1:00 – Marc Meistro (Sol Power All Stars)
1:00 – 2:00 – Brendan Canty (The Messthetics/Fugazi)
2:00 – 3:00 – StereoFaith
3:00 – 4:00 – Ryan Pieper
4:00 – 5:00 – Crown Vic (Electric Cowbell Records)

Watch this space and mark your calendars! 
THE DC RECORD FAIR

Sunday, February 23, 2025 at the 9:30 Club, 815 V Street, NW DC
11:00AM–5:00PM.
Early-bird entry: $5. Noon to 5PM: $2
Follow via Facebook.

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TVD Live Shots: Molchat Doma with Sextile at the Anthem, 2/11

It was an appropriately cold and snowy night Tuesday when Molchat Doma stopped by the Anthem in Washington DC. The post punk trio, from Minsk, Belarus, are in the midst of a North American tour and, despite the inclement weather, DC showed up in force.

Joining Molchat Doma on this tour is Los-Angeles based Sextile. The crowd at the Anthem was already starting to swell when the trio took the stage. Founding members Brady Keehn and Melissa Scaduto (who paced back and forth with a large flag emblazoned with “Sextile”) were joined by a standing drummer for a 40-minute, high energy post-punk/electronic set. Keehn was met with cheers when he gave a shoutout to DC and revealed he once lived in Columbia Heights. The trio were successful in getting the crowd hyped for the headliner. Sextile’s most recent album is 2023’s Push.

The Anthem’s floor was full by the time Molchat Doma took the stage just after 9PM. For the unfamiliar, Molchat Doma (meaning “Houses are Silent” in Russian) formed in 2017, in Minsk, Belarus; the current lineup is Egor Shkutko, Roman Komogortsev, and Pavel Kozlov. Their music is an amalgam of post-punk, new wave, and synth-driven sounds (a drum machine takes the place of a drummer), and is often compared to 1980s work by bands like The Cure, Depeche Mode, and Siouxsie and the Banshees. The men have also said they take influences from 1980s Russian rock bands, such as Kino.

The setlist was taken from across the band’s four LP discography; their latest album is Belaya Polosa, released last September. While their songs are sung exclusively in Russian, Molchat Doma’s modern-yet-retro sound has fueled their rapid ascent and appeal across generations and nations. In Washington, DC, the crowd, while skewing younger overall, featured a lot of Millennial and GenXers alongside the young goths.

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TVD Live Shots:
Jerry Cantrell with
Filter at the Fillmore Silver Spring, 2/6

The Fillmore Silver Spring hosted legendary Jerry Cantrell last Friday night; it was a hard rock party with a 1990s flavor. Cantrell is in the middle of his I Want Blood tour, in support of his latest album of the same name. Along for the ride on this tour is Filter, a fellow ’90s powerhouse.

The Fillmore was already quite full when Filter took the stage—many in the crowd were just as stoked to see this Ohio band as they were Cantrell. Hitting the rock scene in the early 1990s, Filter released their first album in ‘95, titled Short Bus. The band has cycled through many personnel changes since then; front man Richard Patrick remains the sole original member. No matter, though—the rest of the band (Jonathan Radtke, Bobby Miller, and Tosh Peterson), provided an energetic dynamic for the nearly 45-minute set, performed in smoke and near darkness. The crowd rocked out to songs including “You Walk Away,” “Welcome to the Fold,” and ’90s bangers, “Take A Picture” and “Hey Man Nice Shot.” Filter’s most recent release is The Algorithm (2023).

“Jerry! Jerry! Jerry!”

The mostly GenX crowd at the Fillmore had swelled by the time Alice in Chains frontman Jerry Cantrell took the stage at 9:15pm. They were anxious to see the legend and chanted and sang along for much of the night. Along with vocalist Greg Puciato and his backing band, Cantrell greeted the crowd and launched into “Psychotic Break,” from 2002’s Degradation Trip. What followed was a setlist that represented the scope of Cantrell’s career, including several very crowd-pleasing Alice in Chains tracks.

But it was I Want Blood that was the centerpiece; the set featured five songs from the album, said to have more of an Alice in Chains influence than other solo work. “Vilified” was performed early in the night; it weaves well with Cantrell’s AIC work. Much of the other solo work in the set was sourced from the southern rock/country tinged Brighten (2021), including “Atone” and “Had to Know.”

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TVD Live Shots:
Myles Kennedy with
Tim Montana and Sons
of Silver at Baltimore Soundstage, 1/30

Myles Kennedy, the golden-throated vocalist of Alter Bridge and Slash collaborator, is in the middle of his solo The Art of Letting Go tour. Along with openers Tim Montana and Sons of Silver, Kennedy conquered Baltimore Soundstage last Thursday night. It was—as always—a fun hang and a bright spot in what was a dreary January.

Sons of Silver got the festivities started in Baltimore, setting the tone for a night of rock and roll. Coming to us from Los Angeles, Sons of Silver are Pete Argyropoulos (vocals, guitar), Marc Slutsky (drums), Brina Kabler (keyboards), Kevin Haaland (guitar), and Adam Kury (bass). This band are veteran musicians and include former members of Candlebox (Kury) and Skillet (Haaland). As a lover of guitar-driven, bluesy rock music, Sons of Silver were a welcome addition to this tour. Their latest album is Runaway Emotions, praised for its energy and fun rock riffs.

Occupying the middle slot on the Art of Letting Go tour is Tim Montana. As the name suggests, Montana is from Montana—Butte to be exact. Growing up in a mobile home, Montana had no electricity and learned to play guitar by candlelight. It’s a past Montana refers to during his performance—he clearly comes across as a dude who has worked hard to overcome his underprivileged upbringing and is grateful for his successes. His notable friends include Billy Gibbons himself; the men are past collaborators on a few songs. In Baltimore, Montana blasted the audience with a grungey, southern rock sound pulled mostly from Savage, his latest album. “Devil You Know” and “Savage” were the standouts from his set.

Finally, the main event—Myles Kennedy, my favorite rock vocalist, the one who stands above all others. This tour supports his latest solo album, The Art of Letting Go, released last October.

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SUNDAY! New year,
new venue! The DC Record Fair comes to
the 9:30 Club, 2/23

We’re thrilled to announce the first DC Record Fair for 2025 lands at DC’s legendary 9:30 Club

For this event, we’ll have 30+ record dealers from up and down the East Coast with thousands of records, a stellar DJ line up (TBA!), and mimosa specials throughout the day.

Our thanks to YouTube user Abigail Bender for a recap of October 2022’s DC Record Fair at the Eaton Hotel above.

THE WINTER 2025 DJ LINEUP:
11:00 – 12:00 – DJ Soyo
12:00 – 1:00 – Marc Meistro (Sol Power All Stars)
1:00 – 2:00 – Brendan Canty (The Messthetics/Fugazi)
2:00 – 3:00 – StereoFaith
3:00 – 4:00 – Ryan Pieper
4:00 – 5:00 – Crown Vic (Electric Cowbell Records)

Watch this space and mark your calendars! 
THE DC RECORD FAIR

Sunday, February 23, 2025 at the 9:30 Club, 815 V Street, NW DC
11:00AM–5:00PM.
Early-bird entry: $5. Noon to 5PM: $2
Follow via Facebook.

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TVD Live Shots: David Gray with Sierra Spirit
at the Anthem, 1/25

Washington, DC’s Anthem hosted a packed house Sunday night, welcoming British singer-songwriter David Gray on a cold winter evening. Touring in support of his latest album, Dear Life, Gray has singer-songwriter Sierra Spirit along as support.

Gray and his sizable backing band took the Anthem’s stage in near darkness. The venue’s ambient lighting—including lights around the concession stands and extra stage lighting—were turned off in order eliminate distractions for the artists and create a more intimate setting for the seated audience.

Dear Life is Gray’s thirteenth studio album, having released his very first back in 1993 (A Century Ends). However, it was 1998’s White Ladder (rereleased in 2000) which put Gray on the map. That album featured his now-trademark “folktronic” sound and the hugely successful single “Babylon.”

Sunday’s show featured “Babylon” as the final performance of the night—Gray packed a whopping 23 songs into the set list. Drawing from several albums including A New Day at Midnight and Life in Slow Motion, much of the material came from his breakthrough album White Ladder. Gray also threw in a few covers in to mix things up and get the crowd up and dancing. While they were mostly shrouded in shadows, Gray’s backing band was top shelf—tight and highly skilled, they worked to keep the crowd on its feet.

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TVD Live: Chuck Prophet and His Cumbia Shoes at the Hamilton, 1/22

Long-running rocker Chuck Prophet never lost his capacity for writing engaging tunes or shaking up his style as he does it. For his latest venture, Wake the Dead, he’s wedded his laconic lyric observations with the bright rhythms of cumbia, the Latin American musical style that originated from Colombia. With baselines not so far from reggae and stinging guitar that could be a kin to surf, fueled by a percussion-assisted beat, it’s a thoroughly pleasing, danceable sound to frame his familiar voice.

But with his show at The Hamilton in Washington on a frigid winter night last week, dancing was not possible. The space in front of the bandstand where fans have bopped for previous shows by Prophet and the Mission Express was blocked by gold circle tables extending all the way to the stage. Which may have made it more comfortable for the frankly older crowd on hand. But, like the all-seated duo show with his wife Stephanie Finch at the Kennedy Center last year, it kept the show from reaching quite the celebratory heights his band shows usually hit.

Nonetheless, the rock-cumbia connection bookended the set through some tasty covers—a bilingual blast of Eddie Cochran’s “C’mon Everybody” to open, and a can’t miss closer of Sam the Sham’s “Woolly Bully” as the final encore. The latter best employed the keening electronic organ and raspy vocals of Mario Cortez, amid his myriad percussive instruments.

As on the Wake the Dead album, he and two members of his usual band Mission Express, guitarist James DePrado and drummer Vincente Rodriguez, are augmented by a couple members from the Salinas, Calif., cumbia band ¿Quiensalve?—guitarist and keyboardist Alejandro Gomez and the multiinstrumental Cortez. And with the newly added bassist for the tour Mike Anderson, they’re touring as Chuck Prophet and His Cumbia Shoes.

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TVD Live: Gillian Welch and David Rawlings at Capital One Hall, 12/8

The first surprise in Gillian Welch and David Rawlings’ current tour is the stage: bare, with just a couple sets of microphones for guitar and voice, and a table between them for water. Rather than rely on a band or other equipment, they’ve stripped everything down to honest voice and guitar—and their show, which played the Capital One Hall in Tysons Corner, VA Sunday, was all the stronger for it.

Already, Welch’s alluring song craft and plaintive, melodic voice that’s produced a handful of great albums, her harmonies with her partner Rawlings enhance the songs, but they rise to a new dimension when he begins soloing on his trusty 1935 Epiphone Olympic, which has a small wooden body but a big, bright sound.

It approaches the sound of a mandolin when he’s playing fast, but more often he’s taking time to invent strikingly original solos and runs within the confines of songs that may not have come directly from classic string bands but sounds as if they could have.

He’ll shake the guitar as if to wring the right sound out of it, or wag his head when he isn’t shaking his instrument. Almost like magic, he never touched another guitar all night, using the mahogany and pine fronted arch top from beginning to end, playing to a microphone instead of being plugged in and never even stopping to tune very often.

Welch was doing her part with rhythms and more than once pulled out a banjo to some unnecessary acclaim. They concentrated on the songs from their recent album together Woodland, but had more than enough songs from their catalogs, together and apart, to fill two sets and two sets of encores.

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TVD Live Shots: Steel Panther with Stone Horses at the Fillmore Silver Spring, 12/5

The Fillmore Silver Spring hosted a night of hair metal and laughs as Steel Panther made a stop on their Feel the Steel 15th anniversary tour. It was a fun weeknight gig, and the venue was packed with fans ready to let their hair down and let loose for a night. 

Maryland’s very own Stone Horses are support on this tour. The band kicked off the festivities with an energetic performance showcasing their raw take on classic rock sounds, influenced by giants like Led Zeppelin and Robert Johnson. Led by vocalist John Allen, Stone Horses (with drummer John Heiser, guitarist Teddy Merrill, and bassist Dylan Howes) got the crowd amped with songs like “Reckless Ways,” “Free,” and even a cover of a Black Keys song (“I Got Mine”). The set was a tight thirty minutes but packed a punch for the home state crowd.

For the uninitiated, Steel Panther is a “comedic” glam metal band, hailing from Los Angeles. The band (vocalist Michael Starr, guitarist Satchel, drummer Stix Zadinia, and bassist Spyder) provide their fans with an often hilarious parody of the 1980s glam metal experience. The songs are debauched and profane and defenestrate any idea of political correctness, all in the name of some naughty, tongue in cheek fun. I found myself laughing quite a bit. So did everyone else.

This tour commemorates the 15th anniversary of the release of Steel Panther’s first album, Feel the Steel. That album introduced the world to songs like “Asian Hooker,” “Community Property,” and “Eatin Ain’t Cheatin’,” all of which were in the set Thursday night. You can use your imagination to figure out what those songs are about. Steel Panther look like the prototypical glam metal band, too—with neon, big hair, spandex, a dash of leopard print, and wind machines. It’s a hoot.

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TVD Live: Marshall Crenshaw and James Mastro at the Birchmere, 11/24

PHOTO: AL PEREIRA | A couple songs into his crackling set at The Birchmere, Marshall Crenshaw stated his purpose. “I’m still flogging the ’40 Years in Show Biz’ thing,” he said, though it’s been 43 years since his first single “Something’s Gonna Happen” and 42 since the self-titled debut album that became a classic. Freed from that round number, though, he traveled throughout his career, over nine different albums.

For the affable Crenshaw, 71, it became something of a parlor game, identifying each song with its year, defying what would seem to be the simplicity in his songs that made them so popular with driving, complex, interlocking rhythms from his talented band.

His guitarist Fernando Perdomo looked like he could play any kind of lead guitar, including metal, but was on point—and seemed to be having a ball—adding his leads to Crenshaw’s melodic tunes. Bassist Derrick Anderson was just as inventive in his approach, while drummer Mark Ortmann, once of The Bottle Rockets, pounded out his own rhythms.

Crenshaw is a decent guitarist himself and the four of them turned out wheels within wheels on highlights like the opening “Fantastic Planet of Love” to “Move Now.” He’d include a couple of things from albums out this century—”Live and Learn” and “Passing Through” from 2009’s Jaggedland.

But if he got too far off track, it was easy to reel fans in with the opening strains of “Whenever You’re on My Mind” early in the set, “Cynical Girl,” and “You’re My Favorite Waste of Time” and the set closing pairing of “Mary Anne.”

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TVD Live: Lucinda Williams at the Lincoln Theatre, 11/19

PHOTO: DANNY CLINCH | A 2020 stroke never slowed the creativity of Lucinda Williams. Rather, it could be argued it has ignited her to do more than before, issuing a new album in last year’s Stories from a Rock n Roll Heart, performing a series of live-streamed concerts covering favorite artists that resulted in a half dozen more releases since 2021, writing a memoir in Don’t Tell Anyone the Secrets I Told You, also out last year, and near constant touring since she returned to the stage three years ago.

Her current outing with her solid band brings one of two different shows—a more conventional concert prioritizing Rock n Roll Heart amid her classics, the other a continuation of her more strictly autobiographical Don’t Tell Anyone the Secrets tour.

It was the latter that played the Lincoln Theatre before a hushed, grateful audience experiencing essentially the same as the book-based show she gave at nearby Tyson’s Corner, VA a year ago, that mixes reminiscences with songs, illustrated with home movie type video accompaniment.

In a way, it’s a perfect format for any artist with a long career, telling her story of musical development chronologically through tunes that influenced her before touching on early compositions, career highlights, and a couple of recent tunes that reflect what she’s learned.

With her father a poet and her mother a music major, Williams seemed destined to become a Southern-bred singer-songwriter. To hear her tell it though, a major early musical inspiration was a street blues singer and preacher in Macon she saw when she was five and who she enshrined in the song, “Blind Pearly Brown.”

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