Kate Nash & Supercute!: Live At The Black Cat

Over the last twelve months, we've seen the evolution of Kate Nash.  One might say that you could notice early signs of this change on her second album, My Best Friend Is You.  She drifted from the piano and grabbed the guitar.  Could you imagine how difficult it would be to shake the "'Foundations' singer-songwriter, Kate Nash..." introduction that kicked off every article?  In retrospect, the punk rock riot grrrl has always been there and it's simply more prominent on her new album.  Just look at older tracks like "Model Behaviour" and "I Just Love You More".  I had the opportunity to see Kate Nash at the Black Cat in Washington DC last Saturday and it will be remembered as one unbelievably incredible show.

The sold out venue opened a little before the listed door time of nine, which seemed to excite the mass of people forming a twisted line around the bar.  A large portion of the crowd consisted of a younger generation, proven by the X's across their hands.  I made my way to the front of the stage and claimed a spot at the center of the second row.  Due to the lack of barrier between performer and audience, I stood about an arm's length away from the microphone.

After what seemed like an unusually long wait, which may have been an illusion due to anticipation, the opening band took the stage.  I will admit that with a name like Supercute!, I wasn't sure what to expect from them.  The band is made up of four girls: guitarist Julia Cumming, bassist LuLu Laurette Prat, drummer Ruby Tanja, and ukulele wielding singer Rachel Trachtenburg.  After the show, I was asked what kind of music they play and I had the most difficult time answering the question.  They're pop-like, but not in the "dance pop" kind of way.  It's more of a retro girl-group type vibe. They played a set of original songs and threw in a spectacular cover of "Paint It Black".  The general consensus from the venue was overly enthusiastic and they fit right in with Kate Nash.  Their set was quite an impressive way to start the night.

After Supercute! and a set change, which was filled with sing-alongs to music ranging from Nirvana to Destiny's Child, Kate Nash appeared. That's when a large part of the crowd had a meltdown.  She started the show with "Sister", one of my personal favorites from her latest record, Girl Talk. Wearing a sparkling gold dress over black leggings and red plaid shorts, she rotated between a decorated white bass, a simpler red guitar, and just a microphone, allowing her to dance spastically across the dimly lit stage.  She was accompanied by her all-female band, creating a Runaways-esque image.

The setlist consisted of songs from all three of her albums, along with multiple B-sides and non-album tracks.  She even threw in a FIDLAR cover and explained how some misheard lyrics transformed their song "Cocaine" into "Grrrl Gang".  Most of the major singles such as "Foundations", "Do-Wah-Doo", and "Kiss That Grrrl" were heard.  I'll admit that I completely flipped out when she played "Mariella" after leaving it untouched for years.

In between songs, Kate would tell humorous anecdotes about the music and her songwriting process.  Dialogue with the audience was on the heavy side thanks to many screams of "Will you marry me!" and witty responses to her banter.  During one portion of the concert, she showcased the Because I Am A Girl campaign.  She partnered with the charity during this tour and even offered autographed merch in exchange for a donation.  This activism went hand in hand with "Free My Pussy", a song inspired by the controversial arrest of Russian punk group Pussy Riot after their 2012 performance.

The main set ended with a solo performance of "Lullaby For An Insomniac". Kate's somewhat hoarse vocals left the entire room in silence after a long and powerful set.  She left the stage for moment and later returned with the band for an encore of "We Get On".  Everyone sang along as well as they could manage, knowing it would be the final song.

Instead of simply saying goodnight and making an exit after the encore, Kate had the venue play one final song over the sound system.  "(I've Had) The Time Of My Life" from Dirty Dancing was the closing track.  Yes, everyone danced and sang along to classic 80's music.  And yes, Kate Nash and her guitarist Linda Buratto crowd surfed before the band took one final bow and made their exit.  It was the perfect ending to the perfect night.

Kate Nash: Live At The Black Cat - 23/03/2013

SETLIST:

Sister

Death Proof

All Talk 

Conventional Girl 

Kiss That Grrrl 

OMYGOD! 

Do-Wah-Doo 

I Just Love You More 

Foundations 

Free My Pussy

Model Behaviour 

Grrrl Gang (FIDLAR Cover)

3AM 

Mariella 

Under-Estimate The Girl 

Lullaby For An Insomniac 

ENCORE:

We Get On

Kate Nash's new album, Girl Talk, is out now and you can grab a copy here.  If you still need to pick up her previous releases, go this way. Supercute! will release their Kate Nash produced debut album, DON'T PoP MY BUBBLE, on June 11 and they currently have a spectrum of songs available for download on their bandcamp page.  You can check out Kate's website for info on upcoming tour dates.

Neon Trees, Penguin Prison, & JJAMZ: Live At The 9:30 Club

The moment it was announced that Neon Trees would be headlining a summer tour, I knew it was necessary that I attend this show.  When the band's sophomore album, Picture Show, came out in April, it became a staple in my daily playlist.  The record took everything that their debut had and built upon it, confirming that they are indeed a band to take notice of.

On July 11, the band checked into Washington DC's very own 9:30 Club as part of the summer tour sponsored by Nylon and Starbucks, which was evident by the banners draped across the venue's interior.  The tour runs from July 9 to August 22 and reaches a total of 22 dates.  For the first half of the tour, including the sold out DC date, Penguin Prison and JJAMZ will be taking the stage as the opening acts.  All of this makes for one extraordinary night.

There was a unexpected jolt of excitement before the door time of 7:00 even arrived, as all three bands were outside of the venue gathering gear and prepping for the concert.  A long line of anxious fans, including myself, snapped pictures and said a passing hello before heading inside.  Hey, a moment like that can't be missed.

The first opening band was JJAMZ, that's pronounced "Juh-Jamz".  They're something of a supergroup, as each member comes from another act.  The lineup consists of James Valentine of Maroon 5, Jason Boesel of Rilo Kiley, Alex Greenwald of Phantom Planet, solo musician Michael Runion, and Z Berg of The Like.  Arrange the first letters of their names, in that order, and you have JJAMZ.  They play extremely catchy pop music, but it's their stage presence that really adds to the package.  They couldn't look any happier as Z Berg danced around the stage, while the band shot playful gestures towards each other.  You should definitely check out their new album, Suicide Pact, which just came out this week.

After JJAMZ' short set, Penguin Prison approached the stage.  Chris Glover is the man behind the name.  His music is an 80's throwback dance party, and you may have already heard "Don't Fuck With My Money" or one of his many remixes.  It was evident from the start of the set that Penguin Prison was there to make people move.  Immediately, Glover jumped off the stage and went straight for the crowd.  This high energy was a common theme throughout the night.  Penguin Prison played the majority of his debut album along with a few non-album tracks, one of them being his RAC collaboration, "Hollywood".

With two stellar performances by JJAMZ and Penguin Prison already complete, the lights went down for Neon Trees.  The room was completely dark, except for a single microphone stand that gave off a purple glow.  A short instrumental intro, which was reminiscent of something Michael Jackson would do, transitioned into the opening notes of "Moving In The Dark".  With Chris Allen on guitar, Branden Campbell on bass, and Tyler Glenn on vocals and keyboard, the venue exploded.  The band is currently touring with a session drummer due to their regular drummer and backup vocalist, Elaine Bradley, being on a pregnancy leave.  Upon first sight, one might think they were witnessing a classic glam rock concert.  It's as if the band's wardrobe is the result of a neon rave colliding with a punk concert. There were platform shoes, pinstripe leggings, spiked leather jackets, and tri-colored suits.

One thing is certain, Neon Trees give everything they have when they perform.  Tyler Glenn is spinning across the stage one minute and swinging the microphone around his neck the next.  He's also the only person I've ever seen play the keyboard with their face.  To do that every single night takes some dedication, which is exactly what this frontman has.

The band balanced the setlist between both of their albums, switching between crowd favorites such as "1983" and "Lessons In Love (All Day, All Night)".  When the time came for "Mad Love", the only full out duet they've recorded,  the band introduced a pre-chosen fan to sing Elaine's verse.  Halfway through the show, Chris and Branden left the stage as Tyler sang a solo piano version of "Your Surrender".  This was the most intimate moment, as the audience screamed along.  Other highlights included powerhouse performances of "Love And Affection" and "Trust".

The two songs that generated the biggest reaction were none other than "Animal" and "Everybody Talks", the latter of which is currently plastered on the radio.  "Animal" served as a turning point of some kind.  Everything went up yet another notch, from loud to louder.  Yes, towards the end of their set, there was a stage dive and Tyler surfed the screaming crowd.  The evening concluded with a final encore performance of "Everybody Talks".  It was the full package, complete with those signature dance moves from the music video.

If you ever have the opportunity to see Neon Trees live, do it!  The same goes for JJAMZ and Penguin Prison.  It was an incredible night that I won't soon forget.  Neon Trees control the room with a performance that's simply amazing.  They put on a rock-dance hybrid show that will most definitely have everybody talking.

Buy Neon Trees Tickets

"Picture Show" by Neon Trees
"Penguin Prison" by Penguin Prison 
"Suicide Pact" by JJAMZ

Photo credit: Picture #6 taken by Courtney Nelson

LIGHTS: Live At The 9:30 Club

When I arrived at the venue, a line of eager bodies wrapped around the building.  The sun had already begun to set and the air was frozen by gusts of wind.  I was suddenly wishing I had worn at least two more coats and maybe a scarf.  Stretching down the block, a mass of people were waiting for LIGHTS to perform at the 9:30 Club in Washington DC.  As part of the Siberia Tour, March 5 was her night in the nation's capitol, and the show would surely be something to remember.

The doors opened at seven, as everyone rushed in to escape the cold.  The opening band, Ambassadors, wouldn't play until fifteen past eight, so that stretch of time allowed for a decent amount of excitement and anticipation to build.  When Ambassadors finally did come out, I was somewhat surprised.  They're definitely not the type of band that I would expect to see opening for an electro-pop artist.  They had energy and worked the crowd, but I feel like they would've been better appreciated at an alternative rock concert. Mismatch aside, the audience seemed to enjoy the act.

After Ambassadors played for a good forty minutes or so, the stage was cleared and set up for the main event.  At half past nine, the party started and everyone remembered why they were there.  The stage lights went full blast and the music picked up.  LIGHTS' set lifted off with her latest single, "Banner".  At most other shows that I've been to, the crowd never fails to make a rush towards the stage when they sense their favorite band is about to play.  I must say, this audience was one of the most considerate and polite that I've seen.  No pummeling surge or relentless moshing throughout the entire night.  The LIGHTS Army is a gentle kind.

The setlist dabbled back and forth between cuts off of LIGHTS' new record, Siberia, and old favorites from her debut.  The odd non-album track was also present.  She ran to and from synthesizers as the insanely catchy melodies filled the air.  You know how some people look completely different when you see them in person?  LIGHTS was identical to her album cover, wearing a red plaid button-up over a tank top and jeans.  Her standard combover mane was present as well.

The dubstep infused breakdowns found in a handful of her recent songs were magnified that night.  Strobes lit the club and worked the room on tracks like "Flux And Flow", "Suspension", and one of the highlights of her set, "Everybody Breaks A Glass".  Rap verses by Shad, which appear on the studio recordings, were replaced with instrumentals or an extended chorus.  Moments like these proved that if LIGHTS really felt like it, she could create one heavy album.

In contrast to the thicker electronic tracks, LIGHTS slowed down the set halfway through with the reprise of "Pretend".  The alternate piano version had arms waving in the air.  She followed this touching moment with a suitable rendition of "Face Up".  Just when this little ballad section started to settle in, a crunchy "Siberia" brought the pace back up.  I feel like balance is required for a successful concert.  If you leave one end of the show lopsided with slower tracks or pack every hit single one after another, you'll lose any sense of connection between the songs.  LIGHTS did an excellent job of weaving the tracks into an order that felt right.

The main set ended with "Toes", the lead single to Siberia.  She then took her exit for a mandatory break before the encore.  After a brief round of "LIGHTS!  LIGHTS!  LIGHTS!" chanting from the giddy crowd, she returned to the stage for two more songs.  First was a stellar performance of "Second Go", one of my absolute favorites from her first album, The Listening.  It served as the last call to scream along before the night ended.  To wrap up the evening, LIGHTS played a stripped down version of "Cactus In The Valley".  Accompanied by her acoustic guitar, it was the perfect way to say goodnight to DC.

LIGHTS knows how to put on one spectacular concert and I would gladly see her show again the next time she stops by.  It's pop enough to satisfy the Top 40 crowd, yet those who are into dance and electronic music will have a great time.  If you're interested in catching a concert, LIGHTS is still playing across the US as part of the Siberia Tour.  For a full list of tour dates and ticket info, including SXSW, you can find her schedule here.  To download Siberia go this way.  For any other inquiries about the Canadian songstress, head over to her website.

The Kills: Live At The 9:30 Club

EDITORS NOTE: This feature was written by guest blogger, Brad Nelson.  You can follow him on Twitter @B_tothe_RAD.

It has been just over one week since The Kills performed for a sold out 9:30 Club crowd in downtown Washington D.C.  The ringing in my ears has subsided, but the music in my head has not.  I can still hear the crunching beat of the show’s opener “No Wow”.  I can still see Alison Mosshart, standing upon the dimmed stage, with tears forming, as she sang “The Last Goodbye”.  These are just two of the many stills that stand out within my mind as I recollect the night.

The evening began when the Brooklyn-based duo Hunters, and their accompanying drummer and bassist, took the stage.  If singer Isabel Almeida’s raucous scream doesn’t put a grin on your face, it’s probably safe to say you’re no fun.  They brought a special dose of energy that invigorated the room and matched The Kills vibe.

Having heard very little of the band in advance, I came away impressed.  I must admit, their single “Deadbeat” has, on more than one occasion, made a home in my head this past week.  The studio version is nearly identical to the live rendition and is every bit as catchy.

The two-piece rock band JEFF The Brotherhood followed, with a set that could best be described as loud and in your face garage rock.  From the first piercing note out of Jake Orrall’s guitar, to the final blast of Jamin’s drum kit, JTB laid down the noise.  Having heard some of their material beforehand, this came of no surprise, and didn’t disappoint.  Though I confess I was a bit distracted during a portion of their set, after spotting Alison Mosshart cheering from an upper balcony to the left of the stage.

After a short break, the curtains that formerly draped the backdrop of the stage were pulled, revealing the very Kills-centric leopard print which hung beneath.  Just moments away now, the crowd grew tense, and the lights dimmed.  Suddenly, The Kills appeared, amongst all the rumbling goodness of “No Wow”.  It provided such a blast of energy, and really set the tone for the entire evening.  When coupled with the duo’s overwhelming stage presence, you’d be hard pressed to come up with a better introduction.

I’ve always admired The Kills incredible sense of style.  In person, the duo looked every bit as awesome as you would expect.  Alison’s frazzled pink hair gave way to shades of blonde and black, as she confronted the crowd.  Interestingly, The Kills were joined on stage throughout the night by a pair of bandana-toting upright drummers.  The drummers actually added a nice touch, not only aesthetically, but audibly, even playing tambourines during the closing track.

This first seven-song portion of the show was ultimately my favorite, for several reasons.  Few concert experiences can hope to live up to the pure electric aura of staring eye to eye with Alison Mosshart as she belts the chorus of “The Heart Is A Beating Drum”.  The Kills bleed passion and energy, and it is nearly impossible to resist.

Next they played two old favorites, “Kissy Kissy” and “URA Fever”.  The latter of which received a roar of approval from the crowd, in response to those irresistible telephone beeps.  These tracks perfectly showcased the chemistry between Alison and Jamie.

One of the highlights of my night occurred unexpectedly, just a few songs into the show.  Jamie stepped to the edge of the stage, leaned, and tossed his guitar pick, which landed directly in my hand!

In a rare occurrence, the band was joined by a pair of background singers for “DNA” and “Satellite”. However, their impact was minimal, as Jamie’s wonderful guitar fuzz in “Satellite” stole the focus, lending itself well to the rocking crowd.  The Patsy Cline classic “Crazy”, which seemed to resonate well with the crowd, as did one of my favorites: “Baby Says”.

The slowed-down version of “Nail in My Coffin” seemed to throw everyone off momentarily, but did well to lead into “Black Balloon”.  The crowd did their best to clap along with the aforementioned drummers, eventually admitting defeat and fading into a muffled applause.

During “Tape Song” and “Cheap And Cheerful” the crowd erupted into a free-for-all mosh, as a hoard of individuals made a push to the front of the stage.  This rush resulted in a complete shuffle of positions, and I wound up being pushed back a row.  At the song’s conclusion, Jamie amusingly prompted the crowd, saying “If you're going to fight, please let everyone join in... don't do it while I’m playing guitar, it’s not fair.”  The Kills closed the set with “Pots and Pans”, and briefly exited the stage.

The emotional peak of the night was unquestionably “The Last Goodbye”, the first performance of the band’s encore.  Jamie quietly retreated to a keyboard with a bottle of wine in hand, as Alison took center stage.  The emotion in her voice was remarkable, and seemed to strike the crowd into awe.  They then continued the encore with the always popular and lively “Sour Cherry”, which injected another dose of adrenaline into the now delirious crowd.

The show closed with a pair of songs from The Kills first album, “Keep On Your Mean Side”.  Jamie did the honor of introducing the first track “Fuck The People”, describing it as “One of the first songs we ever wrote.  It’s a very profound and in-depth response to democracy and the complications of life.” As the night came to a close, everyone sang along, soaking up the final notes.

Finally, they played out the last tune of the night, “Monkey 23”.  At the song’s conclusion, Jamie and Alison crept to the edge of the stage and bowed, her glorious fray of pink hair lashing one final time.   The crowd surrendered one more massive roar, their thanks for an unforgettable night.

If you would like to hear The Kills 9:30 Club performance in its entirety, check out NPR’s “Live In Concert” feature here.

Tonight, The Kills will celebrate their tenth anniversary with a performance at Terminal 5 in New York City.  It's sure to be a memorable and emotional night for the band.  The show will be live-streamed by MTV at 10:30 ET, so be sure to tune in.  I know I’ll be watching.  Ten years is a long tenure for any band and should be deemed a great accomplishment.  To put it in perspective, The Beatles entire career spanned only ten years in total.  I want to thank Alison and Jamie for every song, every album, and every show they’ve played in those ten years.  There are no holes in their catalogue, something that’s true for few bands in this era.

Long live Hotel and VV.  Here’s to another ten years.

Owl City: Live At The 9:30 Club

Owl City is currently on the All Things Bright And Beautiful Tour and earlier this week, he stopped by Washington DC's 9:30 Club.  On the 16th of November, a massive line of eager fans lined down the sidewalks surrounding the building.  What had otherwise been a damp and gloomy day would soon become a night of sunny music.

As the doors opened and everyone rushed in, opening band Days Difference warmed up the audience.  A pop band from Virginia, the group managed to get an enthusiastic response from the room.  Imagine Hot Chelle Rae without the mock-Ke$ha attitude or high pitched vocals.  I do have to say that something about their sound didn't quite mesh with Owl City.  The band's music would fit better with a more pop-rock oriented artist.

At around ten past seven, Owl City took the stage.  When the lights went down and the first sounds appeared, every mouth in the building shrieked.  Due to the overabundance of teenage girls that occupied the majority of the venue, a sonic boom of screams welcomed the night's act.  My ears were ringing before the main show even started.  With an extended opening of the first track off his new album, Adam Young popped out of the shadows and into the spotlight.

Adam has stated time and time again that he's as shy as they come, he even talked about it during a break in the music.  His stage presence was bashful and incredibly lighthearted.  Between every song, he would laugh off the applause with a disbelieving grin.  The euphoric mood prevailed above everything else.

Unlike some of Owl City's previous tours, a full live band supplied the music.  Young found himself surrounded by an acoustic drum set, a small string section, and various guitars and keyboards.  Plenty of programmed beats filled the evening as well.

From Of June to All Things Bright And Beautiful, the band played a solid set that tested the crowd's knowledge of their discography.  The crowd delivered.  Not a single syllable was missed as they sang along to "Hello Seattle" or the raving beat of "Umbrella Beach".  After a block of high energy numbers was pumped out, Adam took to the keyboard for the piano driven "Lonely Lullaby".

With the night's softest moment aside, it was time for the song everyone was waiting for.  The opening notes to "Fireflies" made even the most casual fans bounce off the walls.  This momentum continued through a wild version of "Kamikaze" and into my personal favorite, "Meteor Shower".  "The Yacht Club", a duet with LIGHTS that appeared on Owl City's newest record, ended the set.  Breanne Düren, who makes appearances on the albums, and tackles the synth on tour, took over LIGHTS' vocal duties.  The wait for an encore wasn't very long, as the group returned to the stage for two more songs.  A lively performance of "Vanilla Twilight" and the closing number, "If My Heart Was A House".

When listening to an Owl City album, it's easy to imagine what a live concert would look like.  Something similar to a few guys dancing around in front of some MacBooks, with maybe a synth or two.  In reality, the picture couldn't be further from these expectations.  There was plenty of dancing, but the full sound of a band really brought a new element to the music.  The strings were lush and the beats were hard.  It didn't feel like monotonous electo-pop without emotion.  Instead, Owl City was a bright blast of fun.

Foo Fighters, The Joy Formidable and Social Distortion: Live At The Verizon Center

On 11/11/11, the Foo Fighters brought their Wasting Light tour to Washington DC.  A sold out Verizon Center would witness the band play one of their final shows before starting the Australian leg of their tour.  Along with opening acts The Joy Formidable and Social Distortion, this would most definitely be a concert to remember.

The evening had a less than ideal start.  After I forgot the tickets a ticket mix-up, I headed into the stadium, bought a Foo t-shirt, grabbed some barely edible arena food, and found my seat.  If only I would have known about the group of incredibly drunk men seated directly in front of me, who would eventually be ejected from the show.  Seeing these dim circumstances certainly had me worried about the concert.  Luckily, the music turned out to be a completely different scenario.

The Joy Formidable, a trio from Wales, kicked off the night with a thirty minute set of five songs.  While the majority of the seats were still waiting for occupants, the band played hard and loud.  Those who showed up on time to see them were the lucky ones.  Takes from their album The Big Roar, including "Cradle", "Whirring", and "Austere", filled the space.  The Joy Formidable were a great way to start the concert and their sound matches the tour flawlessly.

While the arena continued to fill, Social Distortion began to play.  Lukewarm at first, the band picked up momentum as they went on.  "Story Of My Life" was a turning point, as it led into a stretch of songs ending with the climax of their "Ring Of Fire" cover.  Social Distortion felt like an odd fit to fill the spot between The Joy Formidable and Foo Fighters.  I feel like the order of Social Distortion playing before The Joy Formidable would've made more sense.  Either way, the Foo Fighters were up next and everyone was more than ready.

It was evident from the first note of "Bridge Burning" that tonight was going to be something special.  Having grown up between Springfield and Alexandria, Dave Grohl declared this his hometown show.  With a sold out arena of dedicated fans, the Foo Fighters pumped out a set that clocked in at three hours.

The majority of their latest record, Wasting Light, was heard along with a massive selection of their biggest singles and classic tracks spanning across almost every album.  Identical to Wasting Light's order, the set's opening song flowed directly into "Rope" with roaring excitement from an overly eager room.  After the two opening acts and several stage changes, these two songs seemed to fly by at an incredible pace.  By now, ever single body in the building was either dancing, throwing up the horns, or screaming every word back to the stage.  A familiar set of "The Pretender", "My Hero", and "Learn To Fly" followed.  "My Hero" was the night's climax in terms of crowd participation.

The band pummeled through song after song only to be occasionally interrupted by the always captivating, and often hilarious, banter or backstory.  Drummer, Taylor Hawkins took over the vocals for "Cold Day In The Sun" and once again for a cover of Pink Floyd's "In The Flesh?".  "These Days" was transformed into a Veteran's Day dedication, while "This Is A Call" reached back to the self-titled album.  "All My Life" ended the set as the lights went down to a howling crowd.

Encores on the Wasting Light tour have been notoriously long and filled with surprises, so when Dave came back out and stood upon a raised platform for an acoustic set, the enormous Verizon Center turned intimate.  He spoke to the audience between verses and sing-along choruses of "Wheels", "Best Of You", and "Times Like These".  The latter of the three led back into a full band performance.  I must admit that the solo acoustic rendition of "Best Of You" really changed how I feel about the song.  I've gone from liking it to loving it.

After the acoustic jam, Grohl introduced Bob Mould, of Hüsker Dü and Sugar, who joined the band for "Dear Rosemary" and a cover of Tom Petty And The Heartbreakers' "Breakdown".  Mould's irreplaceable vocals made "Dear Rosemary" one of the night's most memorable moments.  The Foo Fighters ended their marathon of a show with an all out rendition of "Everlong" that left everyone in the building at a new high.  It was the song that no one wanted to end, but it did, and everyone reluctantly stood in awe as the band left the stage

Unless you're dying to see the performing artist, I wouldn't suggest choosing the Verizon Center for a venue.  Unfortunately, it's nearly the only choice in DC for a venue of arena proportions.  Still, the Foo Fighters overshadowed every single complication or problem that I was faced with.  This was a concert that I'll never forget and I'll always recommend you see the Foo Fighters if ever possible.  Plus, they promised to play the 930 Club next time around and that is a show you will not want to miss.

Download: Foo Fighters - "Wasting Light"

Download: The Joy Formidable - "The Big Roar"

Download: Social Distortion - "Hard Times And Nursery Rhymes"

Sleigh Bells, CSS, Mr. Dream, and Wet Witch: Live At The 9:30 Club

At around 7:00 P.M. last Saturday, the 9:30 Club had a line of people waiting outside the venue.  A group of all ages and buzzing with excitement.  Some wore neon outfits complete with matching headbands, while others took the term "hipster" to a new level.  They were all waiting for a night of frenzy.  Sleigh Bells and CSS were in DC for a sold out night of their co-headlining tour and they brought along Mr. Dream and Wet Witch for good measure.  Once the doors to the venue opened at 8:00, everyone rushed towards the stage for a good spot.  I settled down somewhere between the first and second row and was advised by an obviously concert savvy girl to keep a steady hold on my spot because, "It's gonna get crazy."

The show kicked off with Wet Witch at around 8:30.  Most of the crowd had no idea what to expect from them, so when the band's first song was an intense blast of noise, hands instinctively covered ears.  Wet Witch is a trio consisting of a guitarist, drummer, and vocalist.  The vocals were harsh while the drums shattered the room.  After the initial impact of the first song, the crowd loosened up. By the end of their set, there were mixed reactions.  Some were anxious and now noticeably pumped for the night to go on, while others got their ear plugs ready.  Wet Witch gave the club a good taste of what the mood would be like for the rest of the night, full of energy.

After a short set change, Mr. Dream prepared to take the stage.  The drum kit was moved to center stage with each vocalist on either side.  They started with one of my favorites, "Knuckle Sandwich".  The crowd warmed up to their sound much quicker than the previous band.  "Winners" caused every head in the pit to nod with perfect timing.  The combination of heavy rock numbers and lighter songs with sing-along melodies definitely turned some heads.  The bounce of "Knick Knack" under the dark red lights had me singing along all the way until the final note.  Their set seemed significantly longer than Wet Witch's quick spree and it ended with screams of "Mr. Dream!".

Once Mr. Dream left the stage, there was a decent wait until CSS would come out.  Although the majority of the audience was there to see Sleigh Bells, everyone was more than ready for CSS.  The entire venue roared when the lights went down.  Once CSS' Lovefoxxx ran onstage, the night changed completely.  She controlled the room with her wild antics, which included running through the crowd, spraying the room with everything she drank, and shedding her clothing.  When the opening beat of "Music Is My Hot Hot Sex" hit the air halfway through their set, everyone that wasn't already a CSS fan before the show was now converted.  Dance breakdowns during "Move" kept the night going at full speed.  The highlight moment of "Let's Make Love And Listen To Death From Above" transitioning into "Alala" topped off their set.  CSS had transformed a rock show into a dance party.

It was around 11:30 by the time CSS ended their set.  Sleigh Bells wasn't scheduled to take the stage until midnight.  This meant a long and restless wait was inevitable.  While many of the concert-goers wore CSS shirts, and some discovered new favorites in Wet Witch and Mr. Dream, it was clear that Sleigh Bells attracted almost everyone to the show.  The guitar amps, which took the shape of the giant wall, were pushed out closer to the edge of the stage.  The lights went out and after the first beat of the duo's "Iron Man" intro, the entire pit rushed forward causing the front rows to fall against the railing.  The now neon lights blinded the crowd.  Sleigh Bells had taken the night to another level.  Every strobe light was brighter and every noise was louder.  The crowd recited perfect lyrics back to Alexis Krauss, who donned a "SLAY BELLS" jersey over reflective and splattered leggings.  "Infinity Guitars" and "Rill Rill" were the crowd favorites.  Alexis surfed the pit, while guitarist Derek Miller sat on the rail during "Holly".

Sleigh Bells ended the night with a riot inducing rendition of "A/B Machines".  The back of the room surfed its way to the front.  People were thrown onto each other.  It was exactly how their music felt like it should be, chaotic and fun.  They played a fairly short set, about forty minutes which included almost every song that they had.  That didn't stop a group chant of "Sleigh Bells!" once the band left the stage.

The girl who told me to be ready for a crazy time was one hundred percent correct.  The concert, which let out at around 12:45, was explosive.  The glazed eyes and wide smiles were appropriate measurements of how hard the 9:30 Club was hit.  Each band played a completely different genre of music, but it only makes sense that they tour together since it was the raw energy that they all had in common.

Keep reading for more pictures of the show...

Imogen Heap: Live At The Warner Theatre In Washington DC

On May 29, 2010, Imogen Heap played at the Warner Theatre in Washington DC as part of the sixth leg of her Ellipse tour.  Ellipse, her third album, saw commercial success in 2009 reaching #5 on the US Billboard charts.  The album was later nominated for multiple Grammys, giving Ellipse the title of "Best Engineered Non-Classical Album".  Imogen Heap is known for her use of technology and unique instruments to create one of a kind electronic music.  When I got tickets on the day before the show, I knew I was in for a treat.

The show didn't focus on only her newest album, Ellipse.  Imogen played a range of songs from all of her albums including her work in the electronic duo, Frou Frou.  The set started with "The Walk", from Speak For Yourself.  It was an amazing opener, and started the show on a high note.  She then continued with a block of songs from Ellipse including "Swoon", "First Train Home", and "Wait It Out".  The majority of Ellipse was heard.  It was also great to see her play a select few from her debut album, I Megaphone.

For every show on this leg of the tour, Imogen is playing a completely improvised song.  She asked the crowd what key the song should be in and whether it should be fast or slow.  After much debate from the audience, she wound up playing a very melodic ambient piece based on the piano.  After every show, the improv piece will be available as a charity download.  Here's a list off the current available downloads. The proceeds will go to a local organization.

In between songs, Imogen talked with the audience and explained the stories behind each song.  The crowd participation was at an all time high during "Just For Now".  She separated the entire venue into three sections and had each one sing part of her layered voices from the recording.  This performance used no music at all, only Imogen and the choir-like audience.

Loops were a major element of the performance.  Imogen would record her voice, or any other instrument or obscure sound, and loop it on repeat.  She would continue doing this until she had an entire band, consisting only of her own doings, behind her.  Watching her during this process was incredibly fascinating.

One of the many highlights of the show was "Tidal".  Imogen explained that it was her absolute favorite song to perform live, and now I know why.  The song took full advantage of the stage lights, creating a more "rock concert" feel.  She ended the song with an extended keytar solo.  After "Tidal", the band left the stage and she played two more songs.  "The Moment I Said It" and "Hide And Seek" closed the show.  During "Hide And Seek", she asked once again for the crowd's participation for the bridge of the song.  Once she finished the final song, she took a bow and the show ended.

Imogen is an extremely active artist on Twitter.  When I read a tweet on the social networking site that she frequently talks to fans after the show, I knew I had to wait for her.  After the show, I waited behind the venue at the stage exit.  I waited for about an hour when she came out and talked with the fans.  She signed my Ellipse shirt and stayed for some pictures.  It was an unbelievable experience, and she was as kind as you could ever imagine.

The concert was even better than I could have expected.  The setlist was nearly twenty songs, and the opening acts Ben Christophers and Geese, both part of her band, were great.  If Imogen Heap ever comes to your city, I strongly recommend you go see her.  The show will make you sing, dance, and even laugh.  You can go here for a list of upcoming tour dates.