Spring is nearly here and that means all your favorite artists will be electrifying stages around D.C. as COVID restrictions wane and artists return to the road. Below are our picks for some of the most promising upcoming shows.
Khruangbin and Nubya Garcia will perform at The Anthem on Friday, March 11. Doors open at 6:30 p.m. Tickets start at $49.50 and can be purchased on Official Lyte Exchange’s website.
Chamber Music Society of Lincoln Center will perform “Chopin” on Friday, March 11 at 7:30 p.m. at Wolf Trap at the Barnes Stage. Pianists Gloria Chien and Michael Brown, violinist Cho-Liang Lin, and cellist Nick Canellakis. Tickets cost $44 and are available on Wolf Trap’s website.
Jamestown Revival and Robert Ellis will play at 9:30 Club on Saturday, March 12. Doors open at 6 p.m. Tickets cost $25 and can be purchased on Ticketmaster.
BENT: Burlesque will be on Saturday, March 12 at 11 p.m. at 9:30 Club. This event will be hosted by Pussy Noir and there will be performances by Vagenesis, Betty O’Hellno and Ricky Rosé. There will also be appearances from DJs Rosie, Lemz and Sidekick and visuals by PROJECTILEOBJECTS. Tickets cost $25 and can be purchased on Ticketmaster.
Animal Collective and L’Rain will perform on Sunday, March 13 at 9:30 Club. Doors open at 7 p.m. Tickets cost $25 and can be purchased on Official Lyte Exchange’s website.
Galactic and Low Down Brass Band will perform on Saturday, March 19 at 9:30 Club. Doors open at 6 p.m. Galactic – a quintet from New Orleans, LA- features saxophone, harmonica, bass, drums, percussion, guitar and keyboards. Tickets cost $30 and can be purchased on Ticketmaster.
The Set: A R&B Experience will be on Saturday, March 19 at 9 p.m. at Howard Theatre. Started by a collective of R&B enthusiasts, The Set is a social experience that features multiple DJs with an energetic and enthusiastic crowd that shares a love for R&B. Tickets start at $25 and can be purchased on Howard Theatre’s website.
Jazmine Sullivan: The Heaux Tales Tour will be on Sunday, March 20 at The Anthem. Tiana Major9 will open the show. Doors open at 6:30 p.m. and tickets are available on Official Lyte Exchange’s website.
The 8-Bit Big Band will perform on Friday, March 25 at 8 p.m. at Howard Theatre. This 30-65 member jazz/pops orchestra will play some of the best musical themes written from various video games from all consoles. Tickets start at $49 and are available on Howard Theatre’s website.
Snoh Aalegra- Ugh These Temporary Highs Tour will be on Thursday, March 31 at The Anthem. Ama Lou will be opening the show. Doors open at 6:30 p.m. and tickets are available on Ticketmaster.
Other upcoming shows of note:
Merriweather Post Pavilion in Columbia has a busy schedule, including the Foo Fighters on May 16 and 18; Halsey on June 8; and Tears for Fears on June 19.
For those who haven’t been to a large-scale concert since the pandemic, The Capital One Arena is back with Bad Bunny on March 25; New Edition on March 31; Maxwell on April 2; and Journey on May 9.
MGM at National Harbor brings an array of acclaimed artists to its state-of-the-art theater, including Faith Evans, Mya, and SWV on March 13; Daryl Hall and Todd Rundgren on April 16; and Air Supply on June 3.
The Black Cat has Squid on March 21; Sasami on March 24; Andy Shauf on March 30; and an already sold out show from the Circle Jerks on April 16.
Washington Arts Ensemble to host immersive concert
Creating a dialogue with D.C.’s history and culture
The Washington Arts Ensemble will host an immersive concert experience on Saturday, June 18 at 7 p.m. at Dupont Underground.
This concert will show how distinct genres influence pop culture and articulate the commonality between classical, jazz, and electronic music while creating a dialogue with D.C.’s history and culture.
Some of the works that will be performed include “Switched-On Bach selections” by Wendy Carlos, “The Swan” from The Carnival of the Animals by Camile Saint-Saens, among other works.
Tickets cost $25 and can be purchased on the Washington Arts Ensemble’s website.
John Levengood releases anthem “Say Gay!” to protest discrimination
Slated to perform new song at 2022 Capital Pride Festival in June
“Say gay! Say gay! Say gay!
“Say what? Say what?
“One little law won’t shut us up!”
Slated for digital release this Friday, recording artist John Levengood’s latest song “Say Gay!” confronts anti-LGBTQ legislation such as the “Don’t Say Gay” law by encouraging others to “profess their queerness loudly, proudly, and never in the shadows,” Levengood said in a press release shared with the Blade on Tuesday.
On June 12, Levengood is set to perform the song’s live debut at the 2022 Capital Pride Festival in Washington, D.C., to streets teeming with community members, food trucks, and local vendors, according to the press release.
“The rise in oppressive legislation and proposals have many in the LGBTQ+ community alarmed,” the press release says. Levengood “hopes this song can be used as a metaphorical weapon to blast holes in the argument that teaching children about acceptance and diversity is more appropriate at home than school.”
The bill, enacted by the Florida Legislature earlier this year but not yet in force, would limit teachers’ ability to teach LGBTQ topics in some school settings and obligate school officials to disclose students’ sexual orientation and gender identity to their parents upon request.
A D.C. resident himself, Levengood currently works over the weekends as resident host and karaoke emcee at Freddie’s Beach Bar in Arlington, Va., an LGBTQ bar and restaurant.
Levengood is no stranger to the music scene, in 2013 moving through multiple rounds of auditions for the third season of “The X Factor” before coming up short of formally appearing on the show, according to the release.
Growing up in the Shenandoah Valley of rural Virginia, the press release added that music has been an outlet for Levengood to express himself from an early age. The new song marks his seventh musical release.
Tori Amos spins magic at Sunday night D.C.-area concert
First show in the area since ’17 finds Gen X icon vocally subdued but musically energized
As with many veteran rock stars, it’s sometimes hard to get a handle on how hot or cold Tori Amos’s 30-year-old solo career is at the moment. It sometimes seems like she’s moving past the take-her-for-granted-because-she’s-never-away-for-long phase, and there certainly was that sense in the air Sunday night for her D.C.-area stop of her current “Ocean to Ocean Tour,” her first show here since 2017, which, with COVID, feels like a lifetime ago.
But there are also signs that it’s never been chillier for Amos in the overall pop culture landscape. It’s been a decade since she charted a single on any chart and there were no videos or singles from her “Ocean to Ocean” album last fall. It landed just outside the top 100 on the U.S. Billboard 200 album sales chart altogether, a new low that would have been unthinkable even a few years ago when her “regular” (i.e. non-specialty/concept) albums were almost guaranteed a top 10 debut.
The slide has been swift, too: 2014’s “Unrepentant Geraldines” hit No. 7, the next album (2017’s polarizing “Native Invader”) only made it to 39, then came “Ocean’s” thud at no. 104. There’s a lot you could point to to explain it — streaming, her aging Gen X fan base, the endless undulations of the music industry itself — but in some ways it has started to feel like she’s getting less and less return on her artistic dollar than one would expect.
Yeah, that always happens with veteran female pop stars once they hit their 50s and beyond, but Amos and her small but mighty fan base, who for decades exhibited a devotion of Grateful Dead-like proportions, outran the trend for so long, to see it finally catching up is a bit bewildering.
But then you go hear her live at a decent-size venue like The Theater at MGM National Harbor (which seats 3,000 and was about 97 percent full), and it feels nearly like old times. Sure, some of the excitement was just that we’re all gagging at being at concerts at all and having mask restrictions and vaccine requirements paused, but there was an electricity that, while mellower than it was at Amos concerts in the ’90s, still felt magical. I’ve never in my life seen so long a line for the merch table.
The concert itself was, for the most part, sublime. It was the first time since 2009 she’s toured with a band and while her solo shows are great too, there was pent-up yearning to hear her unleash full-on with a solid rhythm section (Jon Evans on bass, Ash Soan on drums) again. Beat-heavy songs like “Raspberry Swirl” and “Cornflake Girl” sounded tepid with canned beats the last few times out, so to hear everything truly live (save a few BGVs and effects) last night was heavenly.
The show had special poignancy too, as Amos grew up in the region. She has written and commented heavily on the immense toll her mother’s 2019 death took on her personally and artistically, so that the date happened to be Mother’s Day gave the proceedings added gravitas. “Mother Revolution” and “Jackie’s Strength” spoke, of course, to the holiday, though (and this is quibbling) I would have vastly preferred “Mother” from “Little Earthquakes,” a deep cut we haven’t heard live in eons.
Highlights included the slinky, rhythm-loopy opener “Juarez”; “Ocean to Ocean,” one of three cuts performed from the new record, which shimmered with Philip Glass-like piano arpeggios; the vampy, slinky interplay between the three musicians on “Mother Revolution”; and unexpected fan favorite “Spring Haze.” Amos, overall, is varying up the set list quite a bit less than is her norm, so it was one of the few surprises of the evening.
The lengths of several of the songs were drawn out considerably. At times — “A Sorta Fairytale,” the aforementioned “Revolution” — that worked well and gave the band time to languidly jam. At other points, it felt a bit self-indulgent and even slightly boring — as on “Sweet Sangria” and “Liquid Diamonds.”
“Russia,” a bonus cut from the last album, sounded just how it did when Amos performed it here in 2017, but took on added resonance because of current events. Closing line “Is Stalin on your shoulder” was chilling.
Overall, the show — lighting, pacing, everything — largely worked. The sound mix, which fans have said has been muddy at some venues recently on the tour, was pristine. Pacing only lagged a few times in some of the mid-tempo cuts from later albums, but just when you felt some were zoning — the flow of those entering and exiting is a good barometer — Amos whipped things back together with a fan favorite like “Past the Mission” or “Spring Haze.”
It all came to a satisfying, audience-friendly climax with “Cornflake Girl,” then the two encore cuts, “Precious Things” and “Tear in Your Hand,” both from the first album.
Vocally, the range was there and sounded lovely, but the oomph was considerably held back. Vocal preservation for the many dates ahead? Probably. It’s understandable. Amos, at 58, may lack the stamina she had 20 years ago, but it did feel underwhelming in passages that in years past would have been full on, balls out like the “Bliss” bridge or the “nine-inch nails” passage from “Precious Things.”
Not one acknowledgment or mention by Amos of the female folk duo openers Companion. I’d have invited them out for a few numbers to sing BGVs. I mean, heck, they’re in the house, why not? And other than the welcome, a brief soliloquy on Mother’s Day was the only Amos comment of the entire night.
Still Amos never came off as aloof. She seemed genuinely excited to be playing live again and the queer-heavy crowd responded in kind.
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