Category Archives: The Rolling Stones

Live Last Night: Jason Isbell & The 400 Unit at the 9:30 Club


He’s good. Really good. Too good to stay in the Drive-By Truckers and sing four songs per night.
Reviewed for Post Rock.

The Setlist

01 Brand New Kind of Actress
02 Decoration Day
03 Seven-Mile Island
04 Chicago Promenade
05 The Last Song I Will Write
06 Never Gonna Change
07 Goddamn Lonely Love
08 Soldiers Get Strange
09 Dress Blues
10 Psycho Killer (Talking Heads)
11 Danko / Manuel
12 Try

13 Outfit
14 Hurricanes and Hand Grenades
15 The Assassin (Patterson Hood)
16 Coda

The Band

Derry deBorja — keyboards

Brownan Lollar — guitar, vocals

Jimbo Hart — bass, vocals

Chad Gamble — drums

Jason Isbell — vocals, guitar

To New or Not to New?

On their 1992 Zoo TV Tour, U2 opened with six-to-eight songs in a row from their then-most-recent album, Achtung Baby, and the crowd was with them. But they didn’t have the confidence to repeat this approach on the 1997 PopMart Tour — and of course, the POP album was far less popular than Achtung, especially in the U.S.

Ace Paper of Record music critic J. Freedom du Lac pre-viewed his re-view of Jackson Browne’s Warner Theatre concet with this blog post, chiding Brown for apologizing for his new material.

Since you asked, here’s my take:

If you’re going to apologize for playing your new stuff, you forfeit the right to refer to yourself as an artist, I think. Based on JFdL’s review (I wasn’t at the show), I’d give Browne a pass for apologizing once on account of the album not having been released yet. It sounds like he was apologizing repeatedly, though, which is just weak.

But bellowing out song requests is almost always obnoxious. Sure, there are exceptions — like when the performer asks, “So what do you guys want to hear?” But few artists work that way, and no artist worth listing to works that way all the time, and the idea that a performer just walked out there without having made up a setlist that expresses whatever it is they want to express is borderline insulting. More irritating still is when the request-shouters call for obvious warhorses — like “Running on Empty” or “The Pretender” — that everybody knows with 90 percent certainty they’re going to hear anyway! If you’re only interested in the half-dozen or so most familiar tunes in the artist’s catalogue, why bother attending a concert? Make a playlist, save yourself an evening and $150 or so, and spare the members of the audience who actually know how to show their appreciation in a respectful way the headache of having to deal with you all night.

A lot of this depends on what kind of artist you’re dealing with. When U2 or Bruce Springsteen tour a new album, they typically play half to three-quarters of the new material at least for the first leg or first couple of months. Radiohead are playing In Rainbows in its entirety and then some, including bonus tracks that (I think) are only included on the pricey deluxe editions of the album. R.E.M. are playing most of their new album this year, but then again, the album is less than 35 minutes long, leaving plenty of room in the set for crowd-pleasers and rarities alike. With an act like Tom Petty or the Rolling Stones, you’ll hear maybe two or three of the new songs, tops. But when Aimee Mann played the Birchmere last February to preview songs from Smilers several months (not one week) before the album was on sale, she didn’t apologize for playing the new stuff. She believed in the songs, and she sold them. Period.

I also believe a lot of artists are more willing to risk playing a preponderance of new stuff in a small venue than they are in a large one. (The Warner would be about mid-size, I guess.)

As the Crow Flies

This would be the second Sheryl Crow concert I’ve reviewed for the Paper of Record.

She closed the show I wrote about in September 2006 with Led Zep’s “Rock and Roll”; the other night, it was Stevie Wonder’s “Higher Ground.” Always a worthy 70s rock warhorse, I guess.

Next month, I’m covering Iron Maiden — the first band I ever saw play, y’alls! It’s their Somewhere Back in Time best-of-the-80s tour, so it’s the stuff I’ll remember from sixth grade. Four days later, I’m covering Emmylou Harris. I hereby nominate myself for the Declan P. MacManus Diversity in Musical Styles Award.

The Setlist

01 God Bless This Mess
02 Shine Over Babylon
03 Love Is Free
04 A Change Would Do You Good
05 Leaving Las Vegas
06 I Can’t Cry Anymore
07 The First Cut Is the Deepest (Cat Stevens)
08 My Favorite Mistake
09 Gasoline – Gimme Shelter
10 Real Gone
11 Motivation
12 Detours
13 Drunk With the Thought of You
14 Strong Enough
15 Out of Our Heads
16 If It Makes You Happy
17 Soak Up the Sun
18 Every Day Is a Winding Road
19 All I Wanna Do
20 Higher Ground (Stevie Wonder)

At the Warner, Elvis was That Year’s Model


On February 28, 1978, Elvis Costello was 23 years old and convinced of his own magnificence. His second album — but crucially, his first with the Attractions, the three musicians with whom he’d make his most celebrated records — the furious, paranoid, Aftermath-styled This Year’s Model, would be released the following week, and would top the Village Voice and Rolling Stone critics’ polls at year’s end. At the close of his first U.S. tour, only two months earlier, he’d been thrown out of 30 Rock for aborting his Saturday Night Live performance of “Less than Zero” mid-song to play the broadcast-industry indictment “Radio Radio” instead, a stunt that got him banned from SNL for 11 years. (He was invited back decades later to recreate the moment with the Beastie Boys.)

Stepping onstage at the Warner Theatre for his first Washington, DC gig, aired on the radio radio by WHFS, the once-and-future Declan Patrick MacManus was full of ambition, swagger, impatience, and, probably, amphetamines. Opening with the apocalyptic stomp of “Pump It Up” and winding things down with the simmering “Chemistry Class” an hour later, the feral, compressed, too-clever-to-be punk rock he conjured up that night solidified his fan base in Our Nation’s Capitol, even though he’d soon start doing everything he could to sabotage his growing popularity and acclaim.

You can hear the 1978 Warner Theatre show in its breathless 62-minute entirety on the new 30th anniversary edition of This Year’s Model, which Hip-O Records is releasing today. Elvis’s first 11 albums, originally issued here in the States on Columbia Records, has been repackaged more times than the Smiths’ greatest hits, each time with a new(ish) side dish of bonus material. This year’s, um, version of This Year’s Model includes most of the same B-sides, demos, and outtakes featured on the 2002 Rhino Records edition; “Big Tears,” featuring The Clash’s Mick Jones on guitar, and a great, live cover of The Damned’s “Neat Neat Neat” from 1977 remain highlights. And yet its inclusion on a second disc of the previously unreleased Warner Theatre gig makes this an essential purchase for any Elvis geek, not just obsessive completists. This re-re-reissue loses points, however, for omitting the candid, often hilarious liner notes Elvis penned for the prior edition. (We need hardly tell you that on the merits of the 12 songs that comprised the original release, This Year’s Model is a must-own in any version.) 2008_0304_Elvis_dollar_bill_front_big.jpg

The sound mix of the Warner concert is stellar, proving once again that while Elvis and the Attractions radiated as much kinetic force onstage as any punk outfit, they simply played too skillfully to embody the form’s DIY ethos. Each Attraction has equal presence — bassist Bruce Thomas is the only member who doesn’t still play with Elvis in the Imposters, and to hear his bouncy, fluid anchor lines here is too miss him — but the crowd is a crucial character in the scene, too. Despite Elvis’s typically combative orders to them to get out of their seats (“You in the beard. What’s the matter with you? Stop trying to be unimpressed; I don’t believe ya “), they’re plenty involved, from the guy who can be heard near the end of the show shouting “You’re fucking brilliant!” again and again to the dude who implores Elvis during the hushed bridge of “(I Don’t Want to Go To) Chelsea” to “Play some fucking rock and roll!” (How did WHFS handle these improptu contributions to their radio show, I wonder.)
Hearing the show also invites you to consider the legacy of the Warner Theatre, one of the oldest and most storied performance venues in the region. Opened in 1924 (as the Earle Theatre) and operating almost continuously since (it was closed for repairs from 1989 to 1992) — as a vaudeville club, cinema, concert venue, and even, briefly, as a porno theatre — the Warner was around for decades before Blues Alley or The Bayou, which closed in 1998. Two concert venues on U Street, the Lincoln Theatre and Bohemian Caverns, both opened around the same time as the Warner, though the Warner wouldn’t be used primarily for concerts until much later.

The Warner is home to the District’s modest Walk of Fame, featuring the signatures of luminaries who’ve played there since its 1992 reopening, from Frank Sinatra to Chris Rock. These days it’s part of the Live Nation megalith. Though Live Nation is supposedly getting out of the theatre business to focus on the concert trade,the industry juggernaut chose to hold onto the Warner even as it sold off many of its mixed-use venues in January. This would seem to reflect the Warner’s continuing renown as a concert venue, a rep bolstered by the fact that 1,800-seat Warner has occasionally been a venue-of-choice for “secret” shows by artists who easily fill much larger rooms: The Rolling Stones played a gig there in 1978 on their tour for Some Girls, their last great album; two days later they played Philadelphia’s massive, now-demolished John F. Kennedy Stadium. The Artist Formerly and Now, Thankfully, Once Again Known as Prince performed there on several occasions between 1983 and 2002.

The Warner’s slate for the coming months is a typically mixed bag of musicals, plays, stand-up comedy, awards shows, and of course, rock and roll. In that regard, it’s well, the DC performance venue most like Elvis Costello.

Now in his mid-fifties, Elvis remains a workaholic of near-freakishly eclectic interests who’s just as likely to turn up crooning ballads in front of the Baltimore Symphony Orchestra as he is to play a rowdy 2.5-hour rock and roll show at the 9:30 Club. His recorded output in the latter half of his career has been even harder to categorize, encompassing ballet commissions, jazz, and collaborations with everyone from pop masters like Allen Toussaint, Burt Bacharach, and Paul McCartney to avant-garde musicians like Anne Sofie von Otter or the Brodsky Quartet.
Elvis and the Imposters — essentially the Attractions, with Davey Farragher replacing Bruce Thomas on bass — are opening for their contemporariesThe Police on the latter band’s supposedly-final tour this summer. The Police couldn’t pretend they were punks for very long, either. Compared to the seething jealousy dripping from every note of This Year’s Model, “Every Breath You Take” sounds like the sweet little love ballad that many always believed it was.