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Be Mine - Hipster Love Songs 2012

noreply@blogger.com (parttimepunk) — Tue, 07 Feb 2012 21:51:00 +0000

Since our hipster love song post is the number one post on this blog of all time (thanks Google!), we thought it best to have a second annual edition. Sure, some of the songs that make it to our list are old, some are popular, but we think it evokes the general mood of most hipsters--confusion. Is it happy? Is it sad? It's both!

There are some artists who make creating this playlist easier than others. The Magnetic Fields, for one, are quintessential, a true hipster love song band (I Don't Wanna Get Over You? Dire). On the other end of the spectrum is Belle and Sebastian, a more plucky, upbeat version of the same. Both are represented on our Hipster Love Songs Playlist in the sidebar (see way below for a track list).

But if we could write a love letter to any band this year, it'd be Dale Earnhardt Jr., Jr., whose covers of countless timeless love song covers, performed live, have made us dance like fools on more than one occasion. Unfortunately we couldn't get the best of their sets on the playlist, so enjoy a little YouTube action--and have a happy Valentine's Day.

Playlist Track Listing

I Can't Make You Love Me/Nick of Time - Bon Iver
Andrew in Drag - Magnetic Fields
Love is All I Am - Dawes
La Mer - Julio Iglesias
Emmylou - First Aid Kit
Falling For You - Weezer
When You Love Somebody - Fruit Bats
Piece of My Heart - Erma Franklin
Dress Up in You - Belle & Sebastian
Lonely Fortunes - Ha Ha Tonka
Alike - Efterklang
Save Me - Aimee Mann
Valerie - Amy Winehouse
Heart it Races - Dr. Dog
Come Pick Me Up - Ryan Adams
You're My Best Friend - Queen
All You Ever Wanted - Black Keys
Ain't No Sunshine - Bill Withers
Nothing But Our Love - Dale Earnhardt Jr., Jr.

Ryan Adams - Strathmore - January 24, 2012

noreply@blogger.com (parttimepunk) — Thu, 26 Jan 2012 14:49:00 +0000

Ryan Adams is a guy everyone hates to love, his attitude problems so well publicized (mere mentions of Summer of '69 cause his spit to gather) and his image so opposite of Southern it even hurts to call him alt-country (although he was born and bred in NC). His incessant self-loathing and slightly belabored banter made it even more difficult to love him Tuesday night at the hipster-packed solo Strathmore show.

I'm not sure if it's good or bad, then, that he's talented as hell, the strength of his voice surfacing in the first note of the setlist opener, Oh My Sweet Carolina. And the loveliness of his voice shone through standouts like Firecracker and Everybody Knows, through the beloved Come Pick Me Up, even through a bare piano-backed rendition of New York, New York.

And yet, perhaps the show was a little too bare; it's nothing like seeing Adams with the Cardinals, for example. As he hopped from piano, to guitar--seated, then standing--it became clear that this was a true singer-songwriter showcase, which meant it was a little slow, and a little long at almost 2.5 hours. The appearance of opener Jason Isbell was welcome during the encore. It added a dimension that had been lacking.

But damn, Adams' voice sounds better than before--did he quit smoking? And after hearing an opener like Isbell followed-up by Adams, it's clear why one singer-songwriter is selling out venues, and one isn't. While it takes guts for anyone to put their work out there, it takes true talent to be an economist with words, selecting the right ones and allowing for the music to speak for itself on occasion. Isbell makes the mistake of choking his songs with lyrics, which Adams doesn't do.

One downside to what was primarily a good show: the girl next to us sang along the whole time, and was generally annoying (we get it, you are SO into this show--but if you know all the words, it's a little scary given the volume of albums Adams releases). And Adams insisted on commenting on how the show featured slow, depressing songs, which only made a long show feel longer. Done

A Year in Review

noreply@blogger.com (parttimepunk) — Mon, 02 Jan 2012 14:09:00 +0000

It's a fraction of the whole, but it's so hard to control... Best-Of Live, 2011

Despite the fact that our posts slowed towards the end of 2011, the year went out with a big bang. We saw more shows than we could review, and heard more music than we could comment on. Here are our top five shows of 2011.

1. Foo Fighters, Verizon Center, November 11
Dave Grohl and the Foo crew (including original Pat!) plowed through an unforgettable 2 hour-plus set of the classics, and standouts from Wasting Light, including an encore of Dear Rosemary featuring Bob Mould. Grohl is a frontman to envy, commanding a stage with a catwalk clear to the other side of the arena with ease and energy. Words can't describe this show.

2. Dale Earnhardt Jr Jr, Red Palace, September 22
DEJJ is hardly just another hipster band. Think more party and way less pretentious. Their set at Red Palace on 9/22 was well worth the $12 ticket price. We've spotlighted DEJJ before, their somewhat retro remix of R&B and rock becoming a fast favorite for 2011.

3. Bon Iver, 930 Club, August 1
Bon Iver and crew crooned their way through an epic setlist including selections from the new album and the best of the rest (Skinny Love, Re: Stacks). It was a memorable show, one that couldn't have happened anywhere but 9:30.

4. Avett Brothers, DAR, February 19
To be in the presence of such awesome songwriters who hide hubris in the face of real talent, who recognize the importance of maintaining an audience, who give one hundred and twenty percent in performance (see broken bow strings of the cellist, singers running and jumping on the speakers, innumerous wails and shouts)... it's an experience worth reliving every time they come to town.

5. Paul Simon, 9:30 Club, May 27

Paul Simon at the 9:30 Club - enough said, right? He played for just over two hours, which was longer than the older crowd could patiently listen... Everything about this show was fantastic with the exception of said crowd.

You Can, Can Count on a Second Chance... Best Albums, Etc.

We all have regrets when it comes to music: guilty pleasures, concert faux pas, you name it. Our regrets are that we didn't give some of our all-time favorite artists a second chance when it came to their new releases this year, and that we missed a few standouts from the best-of lists. Here are a few things we missed, and a playlist of what was on repeat this year.

1. Radiohead's King of Limbs. This album was an initial letdown, a lame climax following years of waiting for a follow-up, taking esoteric to the extreme. But come on, it's Radiohead.
2. Wilco's The Whole Love. A second, then third listen, made us realize that this sounds more like the old Wilco we wholly love, than we originally thought.
3. Feist's Metals. As a pretty avid fan of Feist, a cursory listen didn't really grab me. Then again, I actually enjoy Mushaboom...
4. Kurt Vile, in general. Our first listen left a bad taste in our mouths. But critics are obsessed, and he's playing Black Cat with Thurston Moore in Feburary.
5. Metacritic's Music Critic's Top Albums of 2011 [esp. PJ Harvey & Adele]. We're data nerds. And the fact that the top two albums of the year--according Metacritic's unique data--slipped our radar means we need to recalibrate.
6. Paul Simon, So Beautiful or So What. Didn't anyone else think it was... hokey?

Best of 2011 by Jackson Takach on Grooveshark

Hipster Christmas Playlist

noreply@blogger.com (parttimepunk) — Mon, 19 Dec 2011 15:57:00 +0000

The name says it all, an eclectic mix of holiday-related songs I'm enjoying, in an embedded playlist for you to enjoy as well. What are you listening to this holiday season?

St Lucia - Gibson Showroom - December 1, 2011

noreply@blogger.com (onehandclapping) — Sun, 04 Dec 2011 16:11:00 +0000

Caribbean Island or Indie-Pop Quintet?

Try both. The New York-based group came in support of All Things Go's concert series New Noise at the Gibson showroom. The band has popped up in a few emails and blogs, so I decided to check out the show. It was an interesting vibe, equal parts hipster, young professional, and cool. The band was fantastic - think a more accessible xx. The venue was pretty cool, although it felt a bit like Ashton Kutcher's loft or something. There were several Gibson's hung along the main space, but it didn't feel at all like a guitar showroom. And the crowd was pretty reasonable; they were clearly interested in the music and not just the open Tito-and-Flying Dog-bar. Check out the photos below as well as a sample of what St Lucia is kicking out. I would highly recommend seeing this group sooner rather than later - you too might just be able to catch them up close and personal before they start playing larger venues.

Ha Ha Tonka - Rock and Roll Hotel - October 7, 2011

noreply@blogger.com (parttimepunk) — Wed, 12 Oct 2011 16:12:00 +0000

Last Friday night, Rock N Roll Hotel was the place to be, on paper--with a line-up like Hoots & Hellmouth and Ha Ha Tonka, it was not to be missed! But in typical DC style, what once was cool has become popular, with giggling twenty-something women replacing hipsters at the once divey music venue. And don't get me wrong, as a twenty-something woman, I love a good girls night out. But singing Michael Jackson at the top of your lungs, and taking flash-filled self-shots, should not take place at a show where people paid money to get in... there's a time and a place for that.

In fact, it was just upstairs, where a nineties party was happening for free with a near empty dance floor. Did you hear me, ladies? EMPTY DANCE FLOOR. And here I thought the evening would go perfectly. The friendliest bouncer ever greeted us upon entry, as did the nicest bartender!

But one speed bump followed another that Friday evening; after the gaggle of giggles came an excessively long soundcheck from Hoots & Hellmouth, a band I had previously seen at a BBQ restaurant. Not sure if that was the venue's fault, or the band's, but you would forget they were an opener with such an in-depth check. That being said, H&H once again put on a hell of a show, albeit over the chatter of dozens of the disinterested. I'm chalking this talking up to Friday night crowd on H Street.

Then the venue randomly emptied, and Missouri-based band Ha Ha Tonka came on, bringing their brand of Ozark folk rock to a somewhat more attentive audience, although a highlight of the set--an acoustic version of Hangman--was drowned out by familiar chatter. Ha Ha Tonka fits the niche of what my ear's been tuned to lately: Americana with a rock edge in some parts, soul in the others, and a mandolin. And the standouts from the album also stood out live: The Humorist, Usual Suspects and Death of A Decade... if I have to pick a few.

Really, I woke up humming their songs the next morning, which for me is a mark of an all around good time. See the scorecard, and a fun youtube video, for more on the show and the band.

Dale Earnhardt Jr. Jr. - Red Palace - September 22, 2011

noreply@blogger.com (parttimepunk) — Sun, 02 Oct 2011 16:05:00 +0000

Detroit duo Dale Earnhardt Jr. Jr. has annoyed plenty of people with their weird band name; the Hollywood Reporter called it sheer "stupidity." It's bothered me too, seemingly the mark of yet another hipster band trying to set themselves apart from being obscure, through total obscurity.

DEJJ, however, is hardly just another hipster band. Think more party and way less pretentious. Their set at Red Palace on 9/22 was well worth the $12 ticket price. We've spotlighted DEJJ before, their somewhat retro remix of R&B and rock becoming a fast favorite for 2011.

Their live show scored similarly well in our books. For their set at the Red Palace they rocked matching Detroit Tigers ensembles, their own band's tees, and for the encore, matching dayglow patchwork blazers emblazoned with "Jr, Jr" on the back.

But outfits aren't all that they rocked. Bubbles and brightly-lit Jr, Jr signs set the stage for a full on dance party, electrifying the audience from one end of the setlist to the other. Highlights included We Almost Lost Detroit, and an encore with two of the finest performances of the evening: Simple Girl, and a cover of Whitney Houston's I Wanna Dance With Somebody (I kid you not).

It took me entirely too long to post this review, but I'm glad I waited; after seeing a few shows from more seasoned artists the following week, I realized just how much I enjoy ones from bands on the way up. They don't wait until the sixth song to address the audience, or play songs just as they are on the album, or seem ungrateful in the slightest. They do so much more with so little (rich sound, awesome visuals, full-on energy, little name recognition) that nowadays it is incredibly difficult to justify paying a $40+ per ticket pricetag.

All that is to say, next time DEJJ rolls into town, you should be there.

Dale Earnhardt Jr. Jr. - Red Palace - 9.22.2011

Wilco - Merriweather Post Pavilion - September 25, 2011

noreply@blogger.com (onehandclapping) — Tue, 27 Sep 2011 11:35:00 +0000

The Semi-Whole Love

Photo from Washington City Paper

Touring on their new record The Whole Love (out today on their recently formed label, dBpm Records), soundproof favorite Wilco came into "town" on a breezeless, September Sunday night. Merriweather was abuzz with thirty-somethings and in many cases their recently sired offspring for a night of rock, roll and a little bit of sheer musical magic. NPR opened up their airwaves, Maryland opened up her highways, and IMP opened up their beer taps for my most anticipated show of the year.

Unfortunately the boys, who know how to deliver a near perfect show, seemed a little off. Opening with lead track Art of Almost, the band got off to a promising start, winding through the digitally-infused space jam with aplomb, Tweedy looking dapper as always. They followed that up with I Might, the rocking single from the new record. Sounds pretty good, they know this new record already. The crowd, however, did not. The pit was absolutely stagnant, the pavilion nearly completely seated after the third new track, Black Moon. Jeff, who normally begins his crowd interactions after the fourth or fifth song, was distant, disengaged, uncharacteristically reserved. And his energy is what drives the live show without a doubt. I'm not sure if it was illness, fatigue, nerves, or just generally unhappiness with the crowd, but without that Tweedy pixie dust, the band became a jukebox playing well-rehearsed songs sans intensity.

And It wasn't just the lack of energy that showed the band wasn't clicking. Nels had a couple of out-of-tune solos; the mix was all Tweedy rhythm guitar and drums; the keys of Jorgensen were obviously absent; Nels' brilliance was understated on every song save Impossible Germany. And the venue was terrible - $9 beers; food stands that over-charge and then close early while the employees eat the very food they are out of in front of you; recycling bins removed prior to the encore; bathrooms that haven't been cleaned since April. It's clear to me more and more that customer satisfaction at IMP venues is at or near the bottom of any priority list that may exist. At least with Live Nation I expect to be treated poorly. Finally, the audience alternated between cool person, asshole smoking some sort of unidentified herb that smelled like a burning couch cushion and thirty-something with his two-year-old daughter on his shoulders (with no ear coverage for the little ones of course). I suppose one in three ain't bad.

But, per usual, I had a great time. Opener Nick Lowe was charming, jangling through hits penned for musicians more famous than himself then later rocking out just a little with Wilco. Setlist highlights were new songs I Might, One Sunday Morning, Whole Love and Standing O combined with classics like Nova, Letters, War on War, Shot in the Arm, HMD and I'm the Man. And clocking in at just under two hours, even when things don't seem to click the boys know how to put on a show worth the price of admission.

See scorecard below; in order to show you just how much we love Tweedy et al, I included the average of all other Wilco-related shows we've scored in the past (five in total) as well as the average concert we've score in our history. Think I'm crazy? Making this all up? Too lofty expectations? Tale of the tape time - listen for yourself and tell me I'm wrong: Merriweather Show vs. Sasquatch! Show. Is this the signal that Wilco is no longer a must see, a permanent buy order here at soundproofblog? Hardly. In my opinion this was a blip, a speedbump, a hiccup in an otherwise healthy band's tour. So friends in Nashville, don't go selling those Ryman tickets unless its to me.

Avett Brothers - Merriweather Post Pavilion - September 17, 2011

noreply@blogger.com (parttimepunk) — Thu, 22 Sep 2011 17:09:00 +0000

A single group tailgating with a beer bong and winnebago, a plaid clad audience dotted with jet black dyed hair and tattoos, the aging former lovers of late nineties alternative--all ghosts of HFStivals past that haunted a mainly empty Merriweather this past Saturday for the 2011 edition of annual music festival.

The HFStival of today is a far cry from the festival's decade-old counterparts--only 3,000 people had shown up prior to 6:30 on Saturday, paltry for an all day festival that used to host bone crushing volumes of patrons (90,000 people at its peak).

But by the time 9:45 rolled around, the tide came in for the Avett Brothers.

If you've ever read our blog, chances are you know our feelings on the Avetts. For me, it was love at first listen. Brothers Scott and Seth (joined by cellist Joe Kwon) jump 'til they're sweaty and sing 'til they're hoarse. They break strings and shred bows. They thank the audience incessantly, and have perfected the response to the audience awkwardly shouting "we love you" (answer: "we love you too"). They pump a palpable energy into their shows that gets the crowd moving every single time. Saturday's show was no different.

It's hard to select stand-outs from the set. My personal favorite was a sparse, Avett-only rendition of Murder in the City; while I've seen them do it that way numerous times, the last line always rings sweeter in my ears in that particular arrangement ("Always remember, there is nothing worth sharing like the love that let us share our name").

A hallmark of a good show is having no complaints. A hallmark of a great show is overlooking them. I hardly noticed anything but the awesome time I was having.

Bright Eyes - Wolf Trap/930 Club - 2011

noreply@blogger.com (onehandclapping) — Fri, 16 Sep 2011 12:58:00 +0000

Bright Eyes Seeing Double

It's pretty rare that a band comes to town in June and then returns in September (that is unless they are a local mainstay). Lucky for the DC region, Bright Eyes did just that this year, playing a perfect summer night at Wolf Trap in June and a sold out, jam-packed 930 club last weekend. And because I have a standing buy order for Bright Eyes whenever they're in the neighborhood, soundproof got to attend both shows.

The stars certainly aligned for the June BE show - it was a Saturday, the temperature barely deviated from 70 degrees, no humidity to speak of and an opening band the we simply love (see words of adoration here). And let's face it, the crowd at a Wolf Trap show is just better. Maybe it's the fresh air; maybe it's the family-friendly vibe; maybe it's the fact that concert-goers have to drive and don't get absolutely hammered before the show even starts. I won't speculate but I will say that the confluence of all these elements made it feel like a magical night right off the bat. Dawes didn't disappoint one bit, with leader Taylor Goldsmith in good form, per usual. The DC lover affair with M. Ward baffles me a bit, but his musical stylings on this night in particular weren't unpleasing to the ears, just not the highlight. And Bright Eyes. I saw them five years ago right before band engineer Conor Oberst took a leave to Mexico to form his Mystic Valley Band. Back then Conor wasn't much more than a shadow on stage, hiding behind his guitar and solo cup full of whiskey, making the occasion quip about corrupted politics. Today, he's a full-on band leader, engaging the crowd, twirling on-stage without a care in the world. It was almost like he was enjoying himself up there - you know, unironically even. Their stage setup was very elaborate, with a giant light board and light-sabered mic stands, all making the band look like a festival headlining act. The setlist was solid too, but the gem was hearing Lua with Conor solo on stage, save the spotlit trumpeteer bellowing out the solo. Altogether, this show was one of the best of the year to date.

Fast-forward to September - same story different channel. The 930 Club is by far a more intimate venue to see a band if only for the fact you're going to be stood on top of by late comers trying to push their way in. The openers were again fantastic, First Aid Kit from Sweden. Those two young women can sing, period. And Conor was again in very agreeable mood, high-fiving the crowd, again twirling around the stage care-free. The experience would've been a nice complement to the wolf trap show if not for the irresponsible parents who during First Day of My Life (at probably 1030 PM) nudged their way in front of us and sat their small CHILDREN on ledge at the bar, obstructing our view. Really?

All-tolled, a great set of shows. See the side-by-side scorecard and setlist below.

Setlists Side-by-Side

930 Club	Wolf Trap
Another Travelin' Song	Firewall
Old Soul Song (For The New World Order)	Haile Selassie
Four Winds	Take It Easy (Love Nothing)
Bowl of Oranges	Jejune Stars
Hot Knives	Four Winds
Take It Easy (Love Nothing)	Bowl of Oranges
Jejune Stars	Trees Get Wheeled Away
Landlocked Blues	Approximate Sunlight
Lover I Don't Have to Love	Lua
Shell Games	Shell Games
Arc of Time (Time Code)	Falling Out of Love at This Volume
Cartoon Blues	Arc of Time (Time Code)
No One Would Riot For Less	Cartoon Blues
First Day of My Life	Smoke Without Fire
Wrecking Ball	Hot Knives
I Believe In Symmetry	Poison Oak
The Calendar Hung Itself	The Calendar Hung Itself
Ladder Song	Ladder Song
Let's Not Shit Ourselves (To Love and to Be Loved)	Lover I Don't Have to Love
Road to Joy	Road to Joy
One For You, One For Me	One For You, One For Me

Hot August Blues Festival - August 20, 2011 - Part One

noreply@blogger.com (parttimepunk) — Wed, 24 Aug 2011 20:03:00 +0000

Last Saturday we had the pleasure of attending Hot August Blues Festival at Oregon Ridge Park in Cockeysville, MD. A write-up is soon to follow, but for now, check out our photo slideshow for a taste of the fun we had that day.

TicketsNow & Ticketmaster: Conspiracy or Crap?

noreply@blogger.com (parttimepunk) — Fri, 19 Aug 2011 19:12:00 +0000

Pollstar posted an article this week that Ticketmaster is going to once again direct people, in the event of a sold-out show, to its resale subsidiary TicketsNow.com, testing waters that were once unsafe in 2008 post-Bruce Springsteen debacle.

After experiencing our own trials for Foo Fighters at Verizon Center tickets (which we had to purchase via EBay), to go on TicketsNow.com and see >400 tickets available for the show, all awesome (hello club level?), all above face value, is kind of unnerving.

Does anyone else think this is a scam? I'm still not convinced that Ticketmaster.com does not funnel tickets directly to the reseller for immediate mark-up.

A TM "rep" responded with this in the comments section of the Pollstar article.

"Just want to let you know that Ticketmaster doesn’t control the tickets and we do not move inventory designated for Ticketmaster to TicketsNow. We wouldn’t want to do this, not to mention our clients would fire us if that happened."

What do you think? Convince me otherwise...

Gillian Welch - Strathmore - August 2, 2011

noreply@blogger.com (parttimepunk) — Fri, 05 Aug 2011 18:23:00 +0000

Strathmore Top Tier, pre-show

Gillian Welch is a banjo wielding Aimee Mann, a California girl who sings sparse, slow songs like she was raised along the Blue Ridge Parkway and not a Pacific Coast one. Her show on Tuesday at Strathmore was full of the same, a 90+ minute blur of that heavy deep voice fading in and out of songs from Harrow and the Harvest and some older, more beloved tunes. It was a perfect venue for her and "musical partner" Dave Rawlings, their near-perfect harmonies and minimal arrangements filling the cavernous space; she likened it to performing inside a slice of birthday cake.

[sidenote: for more info on the couple, here's a recent WSJ article]

We only made it through the first half (two shows in a row will do that to a blogger), but standouts from the set included Hard Times (on repeat now) and Baby Clothes, both off the new album, and of particular note was the simple, quiet chemistry between Rawlings and Welch. Even though the duo's billed "Gillian Welch," Rawlings is as big of a draw as its namesake.

The venue got just a few knocks for being pretty damn stuffy in the top tier, and a little harrowing to navigate to seats. But from what might be the best top-and-center seats in the city, Tuesday's show was something to see.

1,2,3 & Viva Brother - Black Cat - July 26, 2011

noreply@blogger.com (parttimepunk) — Sun, 31 Jul 2011 15:47:00 +0000

During the dog days of summer, the small show reigns king. Take Tuesday's show at Black Cat with 1,2,3 and Viva Brother, a prime illustration (along with last Saturday's Hoots & Hellmouth show) of bands pulling into town and blowing the roofs off these smaller spaces.

1,2,3 and Viva Brother have huge sounds that could've easily filled the mainstage at Black Cat. In 1,2,3, we find living proof that sometimes the sun does shine in Pittsburgh, at least via the PGH natives' soothing indie synth pop led by frontman Nic Snyder's Ezra Koenig-like falsetto. In fact, the whole shebang has a very Vampire Weekend/Morning Benders feel to it, in a great way.

Shows in the Black Cat's back room have this raw, living room feel to them, and it was clear from the beginning that the 1,2,3 was facing some set-up snafus. Then the bass went out almost immediately after the set began. Yet the band perservered through songs from their new album "New Heaven," one second belting out a bouncing beach tune, the next, crooning in a slower melancholy style.

It's kind of interesting that they're billed a duo, when the two non-billed "bandmates" are so critical to the sound. Regardless, 1,2,3 held it together through a lovely introductory set.

And then Viva Brother took the stage, a hodge podge mix of Brits with a tacked on fashion-forward female back-up singer. The comparisons to Oasis are apt, with lead singer Lee Nowell sounding like Liam immediately upon listen. And I didn't hate it, despite the misuse of"gritpop" to describe their sound; the only gritty thing about Viva Brother is the unfortunate buzz about them (legally forced name change, status as a big label band, attitude problems). Dragged through the mud so early...

All in all, a great way to spend a Tuesday. Keep both of these bands on your radars, and check out their albums which dropped within a month of each other.

Hoots & Hellmouth - Hill Country BBQ - July 23, 2011

noreply@blogger.com (onehandclapping) — Tue, 26 Jul 2011 23:20:00 +0000

Want On Nothing At All
Do you like foot-stomping country? Do you dig on thigh-thumping folk? Can you deal with some right-on roots? Well I think you'll enjoy the rich sounds of Philadelphia-based rockers Hoots & Hellmouth. At times rowdy and at others contemplative, they are a great mix of roots and Americana. And lucky for us, they played a free show last Saturday at the newest DC music venue, Hill Country BBQ in Penn Quarter.

Hill Country is fairly small as venue space - only the basement is setup for shows and half of it's filled with long, family-style dining tables. The bar is fairly accommodating though, and service was great, only slowing when the venue swelled with bachelorettes and bros (apparently, a free show attracts a strange and diverse group of spectators). And it would be shameful not hype the food available in the main hall - some of the best and most authentic Texas BBQ you can find in greater DC.

Solid sound too for such a tight space; while the band had a hard time getting the mix right in their monitors, it sounded whole to us in the audience, with crisp upright bass, sharp trap set work, perfectly matched harmonies and just plain awesome mandolin and banjo. The band did two sets filled with most of their work to-date, however show highlights were our two personal favorites Roll Brandywine and Home for Supper, played back-to-back in the first set.

Per usual, the low score on the totem pole was for crowd misbehavior. Why you would want to come to a music performance just to have to yell to talk to your equally obnoxious friends is beyond me, but that's kind of DC's thing right now. All I can say is sorry band. But ultimately it was a great show and I for one am eagerly awaiting a return trip. See scorecard and sampler below.

Washington DC September 2011 Live Music Melee

noreply@blogger.com (onehandclapping) — Fri, 22 Jul 2011 00:40:00 +0000

DC's Abundance of Riches

Has anyone but us noticed the dearth of quality live music in the greater DC area this July? I'm sure there's a ton of good music out there that's off our radar, but in the indie/americana sphere, it has been bone dry. In fact, if it weren't for the heel-stomping Hoots and Hellmouth this Saturday at Hill Country BBQ, the blog would have seen an entire month with no action. What is this, January?

Fast forward to September - has someone figured out how to be in two places at once yet? The cup runneth over and drowned our city in an amazing live music tsunami. Here's what we here at SPB have on our schedules already:

1 - Hold Steady - 930 Club
4 - Bright Eyes - 930 Club
8 - Pepper Rabbit - DC9
17 - HFStival (Avetts, Dr. Dog, etc.) - Merriweather
22 - Dale Earnhardt Jr. Jr. - Red Palace
23 - Fleet Foxes - Merriweather
25 - Wilco - Merriweather
26 - Foster the People, Cults - 930 Club
27 - Jeff Mangum - 2640 Space (Baltimore)

Oh and here are some additional shows that if we could we'd make:

9 - Peter, Bjorn and John - 930 Club

10 - Virgin Freefest (Black Keys, Okkervil, etc) - Merriweather

15 - The Low Anthem - 930 Club

17 - Clap Your Hands Say Yeah - 930 Club

23 - Megafaun - Red Palace

23 - The Head and the Heart - 930 Club

Yep, that's crazy. Add in ACL Festival coverage and a trip to the 40th annual Frog Farm Hoe Down and we are downright spread thin come October - but in a good way. Most of these shows still have tickets available (at posting the only sell outs are Foster the People, Jeff Mangum and freefest) so come join us for a September to remember, or at the very least, help us cover the shows we just can't make.

Hot August Blues & Roots Festival Preview

noreply@blogger.com (parttimepunk) — Tue, 12 Jul 2011 19:03:00 +0000

Imagine sitting on a blanket in a gorgeous national park, a Flying Dog draft in one hand, festival food in the other, listening to smooth sounds of some of the best live musicians around.

You don't have to go to the Gorge to get there. Months ago we featured the Hot August Blues & Roots Festival in our preview of summer music. As we hit the halfway mark, it's time to do a feature on what could be the sleeper hit of the summer.

What: Hot August Blues & Roots Festival

When: Saturday, August 20, 2011 (~noon - 10PM)

Where: Oregon Ridge Park (1,000 acre park in Cockeysville, MD, just over an hour from DC and home to one of the best beaches in Baltimore, apparently).

What: Started in 1993, Hot August Blues Festival is a one-day roots/rock extravaganza that raises money for Common Ground on the Hill, a multicultural music and arts/arts education organization. Since its inception, the festival has played host to a slew of fantastic musicians, including some of the best live acts around: Dirty Dozen Brass Band, North Mississippi Allstars, John Hiatt, Black Joe Lewis & the Honeybears, Lyle Lovett, Bonerama, and dozens more.

Why: This year is similarly eclectic, and not to be missed, featuring Soundproofblog favorites Kings Go Forth, Tedeschi Trucks Band, Robert Randolph & the Family Band, Baltimore locals J. Roddy Walston & the Business, and more.

What's fascinating about this festival is how Brad Selko, festival founder, has his fingers aptly put on the pulse of an American sound revival, selecting artists that not only put on a stellar live show, but have also mastered musical traditions that define the more classic genres they strive occupy (see Robert Randolph's soulful pedal steel, Kings Go Forth rocking Milwaukee motown, Derek Truck's definitive electric slide guitar playing).

How: Get online and buy a ticket. $53 will get you a ticket and parking pass. $150 gets you a VIP pass that includes all you can drink soda, wine, beer, and special access to viewing areas and preferred parking.

Consider it a pre-fest to Freefest (which has been all the buzz this week!)--one that's significantly more chill, and an awesome deal to boot.

Paul Simon - 930 Club - May 27, 2011

noreply@blogger.com (onehandclapping) — Mon, 11 Jul 2011 19:48:00 +0000

Why Deny the Obvious, Child?

Paul Simon at the 9:30 Club - enough said, right? At his show at the end of May (sorry for the delay!) Paul played just about everything you could ask for, focusing in equal parts on his new album, classic works, covers etc. Paul was all business with little banter ("Gotta love a club show" was the one quip). He played for just over two hours, which was longer than the older crowd could patiently listen.

Everything about this show was fantastic with the exception of said crowd. The line to get into the 9:30 Club was insane, wrapping around the venue hours before the show. While the line wasn't for us here at soundproofblog (Duffy's tots, anyone?), some folks waited very patiently to get the spot they wanted in the club. Which is why I was angered to see late-comers crowding, pushing, edging-out folks who had been there for hours. We're not talking about youngsters here - we're talking couples in their forties, fifties, parents with their twenty-something kids. I guess young assholes grow up to be old assholes.

Despite an annoying crowd, this Paul proved he can hang with the other aging rock-legend Paul, Sir McCartney. His accompaniment of all star rock stars didn't hurt his score either. See the setlist and scorecard below.

Setlist

The Boy in the Bubble
Dazzling Blue
50 Ways to Leave Your Lover
So Beautiful or So What
Vietnam (Jimmy Cliff cover)
Mother and Child Reunion
That Was Your Mother
Hearts and Bones
Mystery Train (Elvis Presley cover)
Wheels (Chet Atkins cover)
Slip Slidin' Away
Rewrite
Peace Like a River
The Obvious Child
The Only Living Boy in New York
The Cool, Cool River
Getting Ready for Christmas Day
Diamonds on the Soles of Her Shoes
Gumboots

Encore:
The Sound of Silence
Kodachrome
Gone at Last
Here Comes the Sun (The Beatles cover)
Late in the Evening

Encore 2:
Still Crazy After All These Years
Crazy Love, Vol. II

Did You Hear About... Dale Earnhardt Jr. Jr.

noreply@blogger.com (onehandclapping) — Wed, 29 Jun 2011 16:41:00 +0000

And finishing first in best new bands with the worst name category is Dale Earnhardt Jr. Jr. When core members Josh Epstein and Daniel Zott set out to have some fun and record a few songs, they never gave much thought about selling records, much less about selling out clubs. So it makes sense that they didn't consider commercial appeal when naming their then just-for-fun outfit. Now two years later, love it or hate it, DEJJ is here, they're good, and you'd better just accept the bizarre homage to the stock car stud.

The music is a unique blend of indie-pop synth, sensible rock, and clever, insightful witticisms. "'Twenty ways to make him sigh?' Girl, I don't want to lie," says the chorus of An Ugly Person on a Movie Screen, which later goes on to note, "You don't know why your caged bird sings. I guess you're more concerned with the immediate things - looking good in your jeans." Simple concept and beautiful delivery. Their recent and first full-length release is chock-full of similar social observations. Check out the mini-sampler posted below, and if you like, continue your exploratory journey over to KCRW's in-studio performace and intervew to see just how good these guys translate their sound to the stage.

Aretha Franklin Review - Wolf Trap - June 21, 2011

noreply@blogger.com (parttimepunk) — Tue, 28 Jun 2011 18:06:00 +0000

Aretha Franklin is a diva in every sense of the term; in the classic sense, she has a voice unparalleled in mainstream music, and since she knows it, in the more popular sense of the word she demands R-E-S-P-E-C-T, especially at her show at Wolf Trap last Tuesday. Respect for her opinion on how her voice should sound coming through the speakers. Respect for her piano playing, the lesser known of her talents. Respect for her repertoire, which includes a lot of songs you have never heard (and can--so conveniently--purchase exclusively at Walmart). Respect for her image, projected prominently behind her on a screen at the Filene Center.

And the diva did not disappoint... entirely. Donning two big, beautiful gowns, and one high silver heel, Aretha hobbled around onstage like she wasn't 69 years old with a broken toe (hence the one heel and not two) for more than an hour and a half.

This show was on my concert bucket list, and I had high hopes. But I'll start with the shows low, which was a big one: she performed next to none of her hits, several of which had places on the official playlist. No Chain of Fools, no Respect, no Higher & Higher, no Think. If the Soundproof Score was weighted, it would've sank because of this selection.

Alas, it is not, and there were a few highs. I gave the venue high marks because without it being Wolf Trap (purportedly her favorite venue), she would've cancelled due to injury. And the mix is always fantastic there, even if Aretha insisted on chirping at the sound guy all night.

The more obscure set was littered with vocal runs, riffs and trills, and a smoothe voice with clarity expected of someone thirty years her junior, and her piano playing is something to be recognized. But it was the band--back-up singers and brass--that did a lot of the heavy lifting, giving her voice a movie score backdrop.

Combine all that with a series of glamour shot images on the big screen behind Aretha and a few awkward moments when she introduced "VIPs" in the audience who weren't there, and the show ended up being everything one could expect from Aretha: wholly unpredictable.

Aretha Franklin - Wolf Trap - June 22, 2011 - Composite Score: 7.6

Did You Hear About... A/V Club Undercover

noreply@blogger.com (parttimepunk) — Fri, 24 Jun 2011 15:31:00 +0000

It's been a big couple weeks for the timeless trend of covers, at least for us at Soundproofblog. We saw Aretha Franklin, the Queen of covers, live. Rave on Buddy Holly came out, featuring a collection of covers by an impressive list of artists, with a must-listen edition of the singer's '(You're So Square) Baby, I Don't Care' by Cee Lo. We also heard The Decemberists do a fantastic rendition of Fruit Bats' When U Love Somebody, live (which topped off a fantastic concert overall).

And the most time-sucking, yet awesome dis(cover)y of all: A/V Club's Undercover, a series of videos featuring indie bands and singers/songstresses covering everything from guilty pleasures to peer indie pop, to true oldie classics. The A/V Club staff makes a list of 25 songs for select artists to choose from, and then they perform them live for online audiences.

While they are cumbersome to load and locate (no thanks to the SBux commercial on every video), they are definitely worth the while. Visit these two links, and hit "View All Episodes" to see both sets of Undercover covers.

Some of the videos are hit or miss (still not understanding the love affair with Sharon Van Etten), but standouts for me included Telekinesis doing Belle & Sebastian, and the Fruit Bats doing Hall & Oates One on One.

As well as this cover of We Built this City by Cursive, which I'm including for all my college friends who've said this song reminds them of me... guilty pleasure admitted.

Cursive covers Starship

Mumford & Sons Review - Merriweather Post Pavilion - June 9, 2011

noreply@blogger.com (parttimepunk) — Fri, 17 Jun 2011 12:28:00 +0000

"Thank goodness for Mumford & Sons - Avett Brothers shows were getting too crowded."

To anyone worth their showgoing salt, if you compare a concert to the Radiohead one at Nissan Pavilion a few years back, folks know exactly what you mean. And last week's Mumford & Sons show started that way. A Chick-Fil-A stop and 2.5 hour drive in traffic in bad weather--with hail--led us to missing the openers... and lots of, "How'd ya'll stay dry?" looks and commentary.

And because of the rain, people got trashed. Like, human cannonball into Merriweather Staff and knock over stanchions, I see you in my rearview mirror slumped over the steering wheel, drunk. Not kidding when I say, really hoping the DD drinks sodas free rule still applies. All of this would be fine if the show wasn't sold out to a near 20,000 person capacity, roughly about 15,000 of those tickets being lawn patrons who got absolutely drenched by the rain. Paints a picture?

You might ask, what does this have to do with Mumford & Sons themselves? Next to nothing, I guess. They put on a solid performance filled with rich music (live brass is a sweet spot). Highlights included the opening number, Sigh No More, Little Lion Man, and the banjo plucking pelvic thrusting from Winston Marshall... like Usher playing a banjo, that one.

M&S also performed a handful of new songs, and who doesn't appreciate hearing new music? The caveat, however, is that the new songs were not only significantly more radio friendly (ie less banjo), but pretty lackluster to boot.

Mumford & Sons are like the Avett Brothers' popular, better looking older brother. But, as Mindy Kaling says, "no one who was a big star in high school is a big star later in life, except athletes." The preview of what's new for Mumford doesn't thrill me, and their lyrics lack the complexity of my favorite Avetts (with whom they somewhat share a sound).

Fantastic musicians with a bright future in the industry in some capacity, but staying power is questionable. That being said, I gave it a solid seven.

Mumford and Sons - June 9, 2011 - Merriweather - Composite Score: 7

Fleet Foxes - DAR Constitution Hall - May 15, 2011

noreply@blogger.com (onehandclapping) — Wed, 08 Jun 2011 17:09:00 +0000

DAR Sound Tech Accidentally Sits On Volume Button

Better late than never I always say. Last month Fleet Foxes rolled into town in a much anticipated stop on their Helplessnessblues tour. If you are unfamiliar with this band or album, stop right now, go over to itunes, grooveshark, mog, rhapsody, or whatever your pleasure may be and listen to the new offering - it's fantastic.

Now that we're all on the same page, imagine those crystal harmonies, those calm, humming acoustic guitar strums, those emotional highs and lows performed live. Yes folks, this band is very capable of reproducing the same intricacies that probably took days to perfect on tape in a live setting. In fact, one of the best shows I have ever been to was Fleet Foxes at the 930 club in 2010 - churchlike reverance doesn't even touch how the crowd responded to the band's sound. It was perfect.

Fast forward to 2011: the band is too big to play the 930 club. Wisely, instead of skipping DC altogether, IMP promotes the show at the concrete thunderdome that is DAR. This turned out to be a huge mistake as reverance was replaced by endless reverberation. Those intricate and gentle harmonies were overamped beyond recognition, and while it may seem impossible, the show was best enjoyed with a set of earplugs I found in my pant pockets.

Cave Singers

Where there some good moments? Oh my there were. The band's demeanor and technical performance was spot on. They played everything off the new record and several favorites from their previous release and EP. Mykonos, Montezuma, Blue Spotted Tail, and Helplessness were practically religious experiences. There was solid banter from Robin and local-drummer J. Tillman regarding the metaspectical of the band's tuning process. Openers Cave Singers were excellent as well. The crowd was pretty solid for a DAR show, but I deducted a point for the endless and forced crowd participation. Hey jerks, this isn't a Wilco show - your requests are not cute and will not be met with witty repartee.

Ultimately I'll remember this show as well performed but disappointing. Take the show, turn it down to five, put it in a church, grocery store, airport hanger, anywhere but DAR, and I would probably put it as a best-of-2011 contender. Scorecard and setlist to follow.

The Cascades
Grown Ocean
Drops In The River
Battery Kinzie
Bedouin Dress
Sim Sala Bim
Mykonos
Your Protector
Tiger Mountain Peasant Song
White Winter Hymnal
Ragged Wood
Lorelai
Montezuma
He Doesn't Know Why
The Shrine/An Argument
Blue Spotted Tail
Blue Ridge Mountains

Oliver James
Helplessness Blues

Bon Iver, Bon Iver Preview

noreply@blogger.com (parttimepunk) — Fri, 03 Jun 2011 13:08:00 +0000

It took us awhile to get our ears on the long awaited sophomore release from the elusive falsetto folk hero Bon Iver, but finally it happened. And I for one swoon for the new Bon Iver tunes. Through the shitty speakers of a laptop, it sounds like standard Bon Iver fare with Justin Vernon's signature echo stamped on every single track, melting them together into one long fluid song.

A second, third, then tenth listen through headphones, however, proved the songs to be--albeit signature in style--not only unique, but wonderful. Shame on me for being initially cursory.

It's hard to pick a favorite, though easy to pick a least: the one minute of Lisbon, OH, an albeit beautifully ambient track that takes up precious space on such an anticipated album. And I couldn't get my hands on Wash., thanks to a plethora of similarly named tracks online.

The influence of Vernon's more recent pursuits are obvious on the "self titled" album, ie the album's pretty saxxy (and therefore, pretty sexy, thanks Gayngs). Hinnom, TX features a velvety bass voice backed by a falsetto one more reminiscent of R&B, while Minnesota, WI, slips some brass into an otherwise regular, rambling Bon Iver-style tune.

Perth, described by JV himself as a "“a Civil War-sounding heavy metal song," features the rat-a-tat of a fife and drum corps snare, but it's the guitar hook that stands out as superior.

Towers is a plucky, trumpet tinged song reminiscent of John Mayer's 3x5 (yes, sorry, it is), while Calgary, the only single released so far, is the most upbeat (beat wise).

It took me a sec to locate the Bruce Hornsby inspired song (as described by Jimmy Fallon, because there are bits of influence all over the album), but Beth/Rest is it, featuring a smooth jazz sound with piano.

The standout for me as the most inspired tune on the album is Holocene--introspective, almost brooding lyrics, rambling acoustic guitar... perfect summer driving music. Yes, I said that about a Bon Iver tune.

The songs in short are slow and soulful, but compared to the vein-opening style songwriting found on prior releases, it's a relatively (key word here) upbeat album and pretty lovely. Sounds like Justin Vernon isn't necessarily trying to tell a story, but avoid be constrained by one, and so far seems successful.

Free Summer Concerts in DC

noreply@blogger.com (parttimepunk) — Thu, 26 May 2011 18:04:00 +0000

After discovering that Brooklyn band Beach Fossils were playing Millennium Stage this weekend, thought now is as good a time as any to peek around for some free tunes this summer! If there's anything we missed, please add it in the comments.

Free OK Go: To celebrate the Millenium Stage's birthday, KenCen booked a big one--a free performance with OK Go. You only have until Wednesday, June 1, however, to enter to win two free tixx to the show. What are you waiting for? And if you miss out, they've got some other cool shiz lined up for the summer. Perfect opportunity to expand your musical mind.

Steve Martin & Steep Canyon Rangers on the National Mall: This one's on the clustercuss known as Fourth of July in DC. But it adds some musical cache to a bill that includes Glee's Matthew Morrison and American Idol's Jordin Sparks. Oh yeah, Little Richard will be there too.

9:30 Club Documentary on U Street: Okay, it's not a concert, but how cool to watch 930 F just around the corner from 9:30 V? Showing is July 26.

Smithsonian Folklife Festival: This year, the festival's focusing on Rhythm & Blues. With a name like Smithsonian attached to the project, could reel in some quality talent for free performances. Keep your eyes peeled.

Fort Reno: As a DC music blogger I am TOTALLY REMISS in not having gone to this indiefest yet. However, I'm eagerly awaiting the announcement of the season's schedule.

Live on Woodrow Wilson Plaza: pretty typical sounding outdoor series for lunchtime listeners, not so typical free kickoff with legendary Smokey Robinson on June 13. Check back here for a calendar.

Baltimore's Artscape: Huge festival from July 15 - 17 featuring free performances from Fantasia, Nikka Costa, Southern Culture on the Skids, G. Love, Pietasters, and Matisyahu. An eclectic mix for a single schedule, lots of big names for no money!

Freefest 2011: It's happening again. Not likely to technically happen during the summer vacation months, but head over to 9:30's message boards and speculate with the best of them.