Tag Archives: music

We Happy Few: Drive-By Truckers and Lucinda Williams at a mostly empty Merriweather Post Pavilion, reviewed

Lucinda Williams, badass

I am experienced. I’ve reviewed the great Louisiana songwriter Lucinda Williams for the Washington Post before, in 2007 and 2009.

I’ve also reviewed Drive-By Truckers, one of my favorite bands, for the Post in 2009, and I’ve interviewed Patterson Hood and Mike Cooley, the band’s two frontmen, separately for DCist, The Examiner, the Washington City Paper and Washingtonian. I was at DBT’s year-ending shows at the 9:30 Club last December, which were amazing.

Saturday night I covered the bill Williams and DBT shared at Merriweather Post Pavilion for the Post. It was a beautiful night and a good show. Too bad almost nobody saw it.

Alabama Shakes in Baltimore

Alabama Shakes opened the great show I saw the Drive-By Truckers play at the 9:30 Club with Booker T. Jones on New Year’s Eve. Their debut album, Boys & Girls, dropped this week.

I reviewed Alabama Shakes’ headling gig at Ram’s Head Live! (sic) in Baltimore Saturday night for the Washington Post.

Bradley Beats Budos

And here‘s my Washington Post review of The Budos Band‘s headling gig at the 9:30 Club Thursday night. Wish I’d seen opener Charles Bradley’s full set, because when he returned to sing “Why Is It So Hard” with Budos during their encore he fairly mopped the floor with them. Continue reading

He Paid the Cost to Be The Boss: Bruce Springsteen and the E Street Band at the Verizon Center

"44 years of performing experience! 30 years of psychiatric evaluation!" Photo by Erica Bruce.

Last Thursday, I road-tripped up to Philadelphia for what I think was my 15th Bruce Springsteen concert (but only my 14th with the pants-droppin’, heart-stoppin’, Earth-shakin’, booty-quakin,’ love-makin’, Viagara-takin’ etc., etc. E Street Band) since 1999. Three nights later, I saw my 16th (15th) here in DC at the Verizon Center.

For the City Paper, I wrote up some thoughts on the DC show, which differed significantly from the Philly one as you can see from the handy setlist table I have prepared below. Clip it out of your iPad’s retina display and post in your cubicle as a source of hourly inspiration! Continue reading

When the Star Talks Himself Blue: Ryan Adams at Strathmore, considered

Adams: "I got a plan."

I saw Ryan Adams and the Cardinals open for Oasis (!) in 2008 (!!!) but I only caught part of their set from across a basketball arena and anyway it was not an especially memorable experience. But I quite enjoyed the talky, sloppy Adams solo show — and opener Jason Isbell — that I review in today’s Washington Post. Continue reading

More on Springsteen’s Wrecking Ball: Mistakes Were Made, by Me

Bruce Springsteen announced U.S. tour dates this morning. He’ll be here in DC on April Fool’s Day. So I’ll just get this over with: Bruuuuuuuce!

Thank you. And now, let us proceed.

When The Boss announced the title and release date of his forthcoming album Wrecking Ball last week, I just couldn’t see past its abysmal cover, an area in which he has been a career offender. I noted that Wrecking Ball is also the title of a very fine Emmylou Harris album from 1995. Dana Stevens, Slate’s superb film critic, noticed that too.

(When I was on the Filmspotting podcast the week after Stevens, I tried to say how much I admire her writing and how honored I was to follow her on the show, but it came out wrong. I apologize for that, Ma’am.)

Anyway, we exchanged a few Tweets about that title. “Title re-use doesn’t infringe copyright, but it’s crass,” Stevens wrote. I pointed out that Emmylou got the title from Neil Young, whose song “Wrecking Ball” (from his 1989 album Freedom) Emmylou covered on her album Wrecking Ball. Got all that?

“If Bruce covers the Neil Young song on this record, then the nab is vindicated,” Stevens concluded. Continue reading

Bruce Springsteen to release another album with an ugly cover on March 6

You can’t judge an album by its sleeve, and that’s good news for Bruce Springsteen.

My admiration for The Boss is a matter of public record, and it was from a place of love that I took the occasion of his last album’s release three years ago to point out that nearly all of his album covers are terrible. Today he announced that his 17th studio album will be called Wrecking Ball and will be released for sale on March 6. Any resemblance to Emmylou Harris‘s great album from 1995, Wrecking Ball, is completely coincidental, probably.

That’s the cover of Bruce’s Finger-Painting With Bird Shit Wrecking Ball at the top of this post. Hideous, right? He probably paid Danny Clinch a lot of money to take the photo before scrawing his name over it in Wite-Out. What this says to me is Eh, only a fraction of those of you who bother to listen to this at all are actually going to pay for it, so why I should I sweat the packaging? Just sit tight, we’re gonna play “Badlands” later.

Continue reading

Drive-By Truckers 9:30 Club Setlist Table II: The Secret of the Ooze

It’s not much of a photo, but it was a pretty fantastic way to spend New Year’s Eve. That’s Booker T. Jones, stage-right, performing at the 9:30 with the Drive-By Truckers, a band I love and that I’ve written about a lot. The first time I saw them play was at The Troubadour in Los Angeles in 2003 or 2004. All I remember about that show is that my then-girlfriend had a pain in her leg and we left early. Since then, I’ve seen DBT play the 9:30 probably 10 times. When they were there for a Friday & Saturday night stay last February, I made a table to show how different the two setlists were. Hey, some people care about baseball statistics. (DBT singer-songwriter Mike Cooley does not.) Continue reading

Presenting HARK HARK, DECK DECK: Yule-Tunes Eclectic & Inexplicable Team VI – The NOW SOUND of Christmas [Side A]

Yippe kai yay, Christmas lovers! My sixth annual audio Christmas card has arrived to illuminate and/or obfuscate your yule! At two hour-long sides, the first of which you can hear right now, this is the longest yulemix ever. Remember those 120-minute blank cassettes introduced in the twilight of the analog era that allowed you to record more music at lesser quality and were highly prone to breakage? Continue reading

Postcards from “Postcards from Italy”: Beirut at the 9:30 Club, reviewed.

I covered the first of Beirut’s two-night, tour-ending stand at 9:30 Club last night for the Washington Post. Read all about it in the paper-paper version, or see the version on Click Track for a few more of Josh Sisk’s fine photos from the show.

Hey, I Like the Quarry House, Too: Kid Rock at the Fillmore, discussed.

So the Washington Post sent me to a Kid Rock show. One of the best things about working as a critic is that it forces you to broaden your taste! It was my first visit to the Fillmore Silver Spring, the new Live Nation concert venue across from the AFI Silver Theater that finally opened its doors two months ago after years of preamble. Here’s my report of what all went down.

Kid Rock is 40 years old. His most recent album, the year-old “Born Free,” was produced by late-career rejuvenation specialist Rick Rubin and evokes 1970s Bob Seger more than it does the Clinton-era rap-rock that made Rock a multiplatinum star. He hasn’t been arrested at a strip club or a Waffle House in years. He’s recorded a duet with Sheryl Crow. Twice, actually.

But chin-and-middle-fingers up, Kid Rock fans. While these harbingers of mortality are unmistakable, Rock’s 105-minute set at a tightly-packed Fillmore Silver Spring last night demonstrated that maturity hasn’t laid its liver-spotted hands on him just yet. Continue reading

Deleted Scene: Hayes Carll

Hayes Carll's devotion to the songwriter's art entails contemplating sex with Ann Coulter if necessary.

I’m a big fan of Austin singer-songwriter Hayes Carll, whose work I have written about before. I talked to him last week for Washingtonian; you can read that here. In honor of his appearance at the Birchmere tonight, I’d like to share a question I asked him when last I interviewed him, in June of this year. I wasn’t able to use what he said in the piece I wrote then, so here it is now for you enjoyment and/or edification. Take it away, Me. Continue reading

I Wanted to Ask You: A Conversation with Matthew Sweet

Matthew Sweet, photographed by Matthew Sweet

I chatted for a minute with Matthew Sweet about the 20th-anniversary-of-Girlfriend tour he’s bringing to the Birchmere tomorrow night, for Washingtonian. It’s my first piece for them.

And the Mekons Shall Inherit the Earth

Sally Timms sings "The Letter." In real life, she appears in-focus.

I’d never heard of the Mekons until Jon Langford — the long-lived art-punk collective’s nominal frontman — appeared on this 2002 This American Life episode. I quickly procured a trio of the albums the group made during the 1980s – Fear and Whiskey, Edge of the World, and Rock and Roll — and I was sunk.

Their sit-down acoustic set at IOTA last night was mostly devoted to Ancient and Modern, a new album I hadn’t heard prior to the show. Didn’t matter. Read all about it.

Marling and Me

British folk phenom Laura Marling.

And Now for Something Ever-So-Slightly Different: My Washington Post review of British folkie Laura Marling‘s concert at Sixth & I Historic Synagogue last night.

Hayes Carll Gets James Carville & Mary Matalin to Show Up in His Video

Hayes Carll's devotion to the songwriter's art entails contemplating sex with Ann Coulter if necessary.

I’ve been doing the Capital Fringe Festival and not a ton else this month, but I did cheat on Fringe & Purge long enough to write this little ditty about Hayes Carll, a country singer-songwriter whose KMAG YOYO is one of my favorite records so far this year. Fun fact: He grew up in The Woodlands, TX, which are the very suburbs that inspired one of my favorite records from last year, Arcade Fire‘s The Suburbs.

CAKE at the 9:30 Club, reviewed

OUT: More Cowbell.

IN: Enough with the Goddamn Vibra-Slap Already.

“We’re opening for ourselves!” CAKE frontman John McCrea announced last night at the first of three consecutive sold-out evenings at the 9:30 Club. He was explaining their appearance at earlyish hour of 8:15. It’s “an evening with CAKE,” he said, stretching out the word “evening” in his mouth. Sounds like the eclectic Sacramento group — riding high on the strength of Showroom of Compassion, their first new music in seven years — had prepared a lengthy program and we’d all best get comfy, right?

Nope! They played exactly 90 minutes, the minimum acceptable amount for a band with a 17-year catalog. Which would’ve been okay if they didn’t do everything possible to drain the gig whenever any momentum or excitement threatened to accrue. A 20-minute intermission after only 45 of music? Allowable if you’re going to play at least double that upon your return, or if you’re an aged legend who physically requires a midshow rest. These guys? All in their mid-40s.

Post-intermission, they burned another 10 interminable minutes giving away a tree to an audience member. And eliciting a promise from the unlucky winner to re-plant said tree. And to use it to teach his students — he’s a teacher — “where food comes from.” And to post photos of himself with the tree on the band’s website. I have a compost pile in my apartment, and this was, even to me, insufferable. Continue reading

Setlisted: Lucinda Williams at the 9:30 Club

Lucinda Williams at the 9:30 Club, Tuesday, March 15, 2011

01 I Just Wanted to See You So Bad

02 Fruits of My Labor

03 Metal Firecracker

04 Still I Long for Your Kiss

05 Pineola

06 Drunken Angel
Continue reading

Xylos!

My WashPo review of is right here. Click on that Kyle Gustafson photo up there to get the Click Track version featuring more of his images.

Wanda Jackson at the 9:30 Club, reviewed

Rockabilly pioneer Wanda Jackson, after taking the stage at 23:35 hours Friday night: “I said, ’9:30 Club?,’ looked at my watch and said, ‘Heck, I already missed it.’” What a voice, what a lady, a proud daughter of the great state of Oklahoma. Here’s my Washington Post review.