Last month we premiered the brand new single “Velcro Shoes” from Pete Yorn off his new self-titled album produced by Frank Black. Well, the Vagrant release is now available in your local record stores and on iTunesas of this past Tuesday—so this month we have a pair of tickets to award one of you for Pete’s show at the Black Cat this coming Wednesday night, 10/6.
Asked about working with Pete, Mr. Black noted, “We headed down a path of realization I stripped Pete down a whole bunch. We battled in the best sort of way. I tried to get the session into a fearless and raw place, and to his artistic credit Pete took his songwriting to a fearless and raw place. This listener will find his or herself sitting right next to Pete on the couch. And the record totally rocks out.”
Let us know why you should be chosen for the pair of tickets to see Pete in the comments to this post and the most convincing of the bunch will take home the tickets.
You need to act fast though—we need to close this one out tomorrow, Friday (10/1) by 5PM—and remember to leave us a contact email address with your entry. I can’t tell you how many “winning” entries we get with no way of letting that person know. So—now you know—go!
Our love runneth over for Rick Taylor and Brandon Grover’s post-punk DJ night, We Fought The Big One that hits Marx Cafe the first Friday night of each month. Tomorrow night Rick and Brandon will be joined by a friend of this blog, Josh Harkavy of Red Onion Records. Rick’s got the details:
About this whole Year Zero thingy…
Was 1977 really the start of a new musical movement that led to everything we know today as modern alternative/independent music? Certainly, one could argue that the shockwaves brought about by The Sex Pistols marked the single biggest tectonic shift in music since Elvis. It wasn’t just punk or post-punk that happened either; it was something broader—a new way of thinking about how to make music. No longer did one have to be a skilled musician to get signed and put a record out. The record making process itself was also demystified—not only could anyone play the guitar, anyone could start their own label and find cheap equipment to record with. As the legendary and era-defining DIY band Desperate Bicycles boldy proclaimed in 1977: “It was easy. It was cheap. Go and do it.” And the reality is that just about every disaffected British kid with an arty inclination did.
But, but, but…I have to take issue with this strict interpretation of 1977-as-Year Zero. The notion that everything before that most critical of musical years can be dismissed as inconsequential, middle-of-the-road, AOR dross doesn’t hold up to close scrutiny. Firstly and most obviously, you had seminal bands such as Velvet Underground, The Stooges, Roxy Music and New York Dolls clearly pointing the way forward. Another key band that existed prior to 1977 was The Modern Lovers. Now, a lot of times you’ll see these bands lumped under the “proto-punk” category…the implication being that they not only existed prior to the “proper” punk era, but that their music was a “not-quite-there-yet” embryonic version of the more fully developed sounds that would come later.
This is not the case with The Modern Lovers 1972 demo of “She Cracked.” This particular recording of the song (an earlier, more raw and tension-filled, dare I say it—superior version than what would eventually appear on the band’s lone self-titled compendium-as-album) is a note perfect realization of all the power and possibility the post-punk movement would come to offer. Listen to that guitar—those jagged edges stab like the kind of vicious wooden splinters that leave blood on your fingers. And Jonathan Richman’s non-chalant, too-cool-to-be-bothered vocals would be the template, whether intentional or not, for countless indie rock bands to come whose members hadn’t even been born yet. Top it all off with an irresistible earworm of a hook, some wonderful WTF? sound experiments during the middle 8 section and the band’s undeniable conviction, and you have a 24 karat slice of post-punk perfection…only, several years before post-punk happened—and yes, still a few years before Johnny Rotten called the Queen of England a fascist. It’s no wonder the track has aged so gracefully.
There’s actually a broader point that I’d like to make outside of just questioning the soundness of the Year Zero philosophy. And that is simply this: there are oodles of amazing records out there that either fell through the cracks or have been unjustly forgotten about that are just waiting to be discovered or re-discovered by hungry music fans with a curious ear. I’m inclined to think a lot of Vinyl District readers agree with me, based on the continued success of the DC Record Fair, which just marked another triumph this past weekend at the U Street Music Hall.
I also want you to be aware, if you weren’t already, that our nation’s capitol has a monthly dj night dedicated to celebrating these inspired post-punk sounds of the past: We Fought the Big One. As one of the djs, I can tell you the idea for the night was to host a music listening party heavily anchored around the sounds of the late 70s/early 80s post-punk scene: bands such as Gang of Four, Wire, Joy Division and PIL, along with contemporary DIY heroes (think Deerhunter, Wild Nothing, Vivian Girls) and loads of obscure gems too.
This Friday night, We Fought the Big One will be featuring a long-time friend of the Vinyl District, Josh Harkavy, owner of Red Onion Records and Books, one of DC’s best places to shop for vinyl. Josh has also been instrumental in making the DC Record Fair the success it continues to be. So come by the Marx this Friday night, enjoy some tasty Belgian beers, meet other music fans and revel in the world of post-punk weirdness and DIY brilliance!
More info: Fri. Oct. 1 WE FOUGHT THE BIG ONE w/ guest dj Josh Harkavy @ MARX CAFÉ 3203 Mt. Pleasant St. NW Washington DC 20010 10pm – 3am NO COVER 21+ www.myspace.com/wefoughtthebigone Facebook info: http://www.facebook.com/#!/event.php?eid=155517691135955&index=1 (RSVP if you can!) http://redonionrecordsandbooks.com/default.aspx
As I mentioned on Monday, we’re delighted to have The Posieshere with us all week blogging away mercilessly—especially since this week is the release week for the eagerly anticipated new LP,BLOOD/CANDY.(Officially on store shelves September 28th.)
Those of you who follow us with rapt attention know that for every ‘takeover’ week here at TVD, we’ve got a contest running in tandem – and this week’s can’t be any more obvious.
We’ve got two copies of the aforementioned BLOOD/CANDY on vinyl to ship out to two winners in exchange for your comment to this post. Pen your Posies-related missive to us and the band in the aptly named Comments Box and the two that strike the perfect chord will each have the new LP shipped off to him or her.
We’ll choose both winners this coming Friday (10/1) and remember to leave us a contact email address, ok?
I’m rarely afforded the opportunity to see live music these days. It simply ain’t happening—despite the number of tickets we give away to shows here at TVD, which—all blessing and a curse-like—keeps me most evenings glued to the Mac. Right, right – there are exceptions but normally the concerns are for your evening plans.
But I did have the opportunity to catch Pittsburgh, PA’s Mariage Blanc last summer on a four-way bill we promoted that week and with having heard just one track, the joyous ‘Whatever You Say I Am,’ (very Pernice Brothers) I was taken with the band immediately, chatted them up, told ’em they needed to get back on the blog—and that moment’s here in the form of a pair of tickets to Friday’s show at Velvet Lounge with Foreign Press and Janel and Anthony.
You’ve got 48 hours to win this pair by telling us in the comments to this post, what band you saw live for the very first time that simply blew you away. Should be easy, right?
We’ll choose our winner at noon on Friday, 10/1 and remember to leave us a contact email address with your insightful entry.
Remember, we’ve teamed up with ReadysetDC for all of our ticket giveaways so you can enter to win either here at TVD or at ReadysetDC.
To celebrate the 10th anniversary Future of Music Policy Summit (taking place at Georgetown University from Oct 3-5), The Future of Music Coalition (FMC) and Air Traffic Control (ATC) have just announced an all-star benefit concert on October 4th at the Black Cat.
‘Dear New Orleans – A Benefit Concert’ showcases several of the artists who contributed to the critically-acclaimed compilation, Dear New Orleans. The concert will feature one-of-a-kind collaborations between Damian Kulash of OK Go, Hank Shocklee from Public Enemy, Jonny 5 of Flobots and the Wonderlicks, Jenny Toomey & Franklin Bruno, to name a few.
The benefit album was produced by ATC to mark the fifth anniversary of Katrina and the floods. Since Hurricane Katrina, a diverse group of musicians have headed to the cradle of American music to participate in a series of artist-activist retreats produced by FMC and ATC and to learn firsthand about efforts to rebuild and sustain this vital city and its music communities. Proceeds from the album and concert benefit nonprofits working to support the region’s unique musical and cultural traditions, and to restore and protect crucial environment and community resources. ‘Dear New Orleans,’ the album, can be downloaded here.
TVD is pleased to be offering one pair of tickets to the benefit concert to the reader who strikes the right note to this question: What does New Orleans mean to you?
Spill it in the comments to this post—with a contact email address!—and we’ll choose one winner this Friday, 10/1.
Tickets to the benefit are $20. There are also a limited number of VIP ticket options. Full details here.
Remember, we’ve teamed up with ReadysetDC for all of our ticket giveaways so you can enter to win either here at TVD or at ReadysetDC.
Virgin Festival at Merriweather is what I imagine my heaven to be like. The day was a dusty journey through an indie wonderland with all of my favorite artists at every destination. Scattered between the three music stages was a psychedelic array all of the delightful things in life: a giant ferris wheel, fire-works, karma bars (with booze and delicious food), random teepees with (!!!) free massages inside, giant beds for randomly napping, dj tents spinning tunes ranging from Billy Jean to Aloe Baac. UMM. HEAVEN. I happily stumbled across old friends, danced with current friends and made a few new friends.
For me, the day started at the Dance Forest where I unfortunately missed hometown DJ, Will Eastman, but made it in time to catch Pitchfork favorite, Neon Indian. Likely you know the ‘chill-wave’ pioneers by now (first LP, Psychic Chasms, was released just this time last year), but if not then perhaps you recognize them from their recent Apple appearance. 22 year-old Alan Palomo is the virtuoso behind the electronic sound, expertly crafting sound that immediately shifts your mindframe into some sort of 70’s sci-fi digital existence. His music is like a video game on acid.
“Deadbeat Summer” was easily the most popular track of the set, and fell between both new and old tunes including “Local Joke”, “Mind, Drips”, “Don’t Sleep” and a very-crucial version of “Should Have Taken Acid With You” (soooo good). Transitions between songs were frequently filled with Palomo’s own experimental-sound melding; where he was able to show off his innate musical palate by turning noise into paralyzing sound. With the set starting at 3:45 and the festival buzz just kicking in for most, this was a perfect way to leap into the euphoric afternoon and the procession of amazing sets to follow.
Although Yeasayer overlapped directly with NI, I heard several reports that the Baltimore based indie-band definitely did not disappoint. Other local favorite’s, Thievery Corporation, took the West Stage afterward giving me a brief second to chill-out to the familiar and tranquil beats, soaking-up the zen before trying to jump from stage to stage in the next few hours.
If you are a fan of Pavement then you already know that this set was inexplicably great. Cult legends in the the indie-music genre, and just recently starting to play shows again after a 10-year hiatus. Pavement’s under-attended show on the main pavilion stage seemed to echo their niche in the popular music scene of the 90’s; underappreciated but ultimately proving to be good news for those fans that are lucky enough to love them. Stephen Malkmus’ unmistakable voice undoubtedly gave all of use indie-nerds a bit of a… umm…. well, you know.
Although the main-stage generally houses the ‘headliners,’ it seemed that many of the festival-goers flocked to the West Stage for bands such as Ludacris and M.I.A. This, in turn, allowed the VIP ticket-holders a chance to get to see Pavement and LCD Soundsystem surprisingly up-close and personal. VIP tickets were clearly the way to go for those of us who were interested in these acts (thank you indie gods!) and I was able to sit only a couple rows back in the center of the seated pavilion with an AMAZING view and very minimal elbow jabs.
Trying to get remotely close to the West Stage for M.I.A. would have been nearly impossible without staking a spot far before the dissident diva took the mic. If you were one of those dedicated to the mission, you got a chance to see MIA in all her badass glory, dark wild hair flowing, rockin gold shades and eventually shedding a gold jacket to reveal a metallic mini-dress. With vibrant dancers adorning the stage and a sea of devoted fans, MIA has clearly become a superstar.
The night ended perfectly with LCD Soundsystem’s mind-blowing performance. As a huge LCD fan and never having had a chance to catch the band in real-life, I was completely captivated by the live show and despite my near exhaustion, danced recklessly for the entire hour-long set. Starting with “Dance Yrself Clean,” James Murphy, dressed simply in a flannel and jeans, unassumingly screamed all of his electro-classics to the elated crowd. Backed by Hot Chip bassist Al Doyle (!!!) and the rest of his dynamic team, Murphy effortlessly delivered hit after hit until finally ending with an encore of “Losing My Edge” and “Home” (love). Murphy had the pavilion bursting with an uncommon energy, reminding us all what it is that we love about music.
All in all, the Virgin Free Fest this year was exceptional, and the day couldn’t have proved to be more perfect. Much love to Richard Branson, the virgin founder and philanthropist, for putting on this Free Festival to help fight youth homelessness. And thanks to all of the artists, and definitely the I.M.P. staff at Merriweather who were all really awesome.
Big shoutout to my sister CARA for providing these fine pics.
Things seem to be manifesting themselves in odd arcs for me recently. For example, last Friday afternoon I was invited to do a short spot on local TV—NewsChannel 8/TBD Network for those of you in DC (which was bizarre as you can imagine) to promote yesterday’s DC Record Fair. I was asked to bring a few diverse records to hold up and chatter through, and in a calculated arc I brought the first record I ever purchased with my own dinero at the Two Guys in Neptune, NJ with my dear ol’ dad. Seemed like a karmic, completed circle at the time.
In addition, if you had asked me way back when at the inception of this time suck – er, blog – what I’d aspire to, it’d be having my absolute favorite bands chiming in about the music they dig and revealing the ins and outs of their own record collections. Big goals set, you’d think.
Well, allow me to present another of those karmic, completed circles:
This week The Posies release their first LP in seven years, the simply stellar BLOOD/CANDY (which you’ll have a chance to win later today) and in full 360-degree mode for us at TVD, they’ll be with us all week discussing the ins and outs of their own record collections. All this week, it’s The Posies’ Vinyl District—and Ken Stringfellow kicks us off…
The Hobbit. On Vinyl. We had a few good record stores growing up in the small city of Bellingham, WA. I moved there with my mom in 1978, and it was there that I started to choose my own records, as opposed to just listening to my parents’ collection or accepting the children’s records they bought me. I went into a pretty cool record store in downtown Bellingham with my mom, and asked the guy behind the counter about a soundtrack album to a movie I’d seen. Yep, it was the Rankin-Bass animated film of The Hobbit, and it came in a multi-LP box that had not only the songs from the movie (“the greatest adventuuuure….is what lies aheaaaaad”) but dialogue etc.
People had their heads down in the crates, flipping thru titles of Jethro Tull and Donna Summer. The guy behind the counter shouted out to a colleague “man, this kid wants, like, the Hobbit Soundtrack—do we even HAVE that?” All heads in the shop in unison raise up and turn, smirks emerge. Yes, I am the fat kid with glasses who wants to listen to Hobbit music instead of Houses of the Holy.
I immediately detect that I have crossed over into a magical kingdom called LOSER LAND. But I stuck to my guns and walked out with the thing, but still, like, completely ashamed. Even my mom was affected—somehow my subsequent trips to the record store were done alone and with pocket money. I’d get on the bus, go downtown, and come back with precious cardboard squares that had seductive, black discs inside, all importantly sheathed in plastic (if you bought the Japanese imports) so it was like, “should I be opening this in a clean room?” or at least paper, like…this was an Important Cultural Artifact.
ELO’s disco masterpiece Discovery was the first purchase I made with my own will and my own money combined. It was rock, of a sort. I had left behind the comfortable colors and shapes of childhood, and was piloting a course into darker waters—soon burning Zeppelins, the withered hand on “Plastic Surgery Disasters,” the wail of “Zen Arcade,” etc. would be the portholes thru which I could look beyond the confines of a small town and imagine what kind of weird, fantastical possibilities might be out there.
More than 20 record dealers from up and down the east coast will be present, plus Guest DJs Sam “The Man” Burns, John Davis (Title Tracks), Larry Grogan (Funky16Corners), Matty Taylor (Tennis System), Ryan Walker (Beanstalk Library) and David Malitz (The Cheniers) on the U-Hall decks.
Also—for the very first time—we’ll have turntables on site for purchase.
The day kicks off at 11AM with a with a special $5 “early bird” hour and continues from noon to 5PM at our regular entry fee of $2. U Hall’s full menu will be available and full bar for those 21+. Download the high-res poster here and feel free to repost it any place you wish.
For close to a year now we’ve been privileged to present the fruits of the labor of Ardent Studios—specifically The Ardent Sessions—in this spot each Friday morning. These efforts howeveraren’t self-supporting and assistance is needed to keep these sounds alive. Ardent Studios founder, John Fry fills us in:
Rachel Hurley and I decided to kick off The Ardent Sessions on BreakThruRadio.com 3 years ago this December. The idea was to give up-and-coming bands some internet radio exposure, and to give them an introduction to the Memphis music tradition and current scene by performing in front of a small live audience in one of our studios.
When possible, I enjoy combining that experience with a personal tour of the Stax Museum of American Soul Music, as Stax is such a huge part of Ardent’s early history. It’s always fun for me to meet these young artists, and I am always amazed at how much they know about what all of us were doing in Memphis almost 50 years ago, not to mention how much they seem to enjoy some of that music.
Ardent Sessions, and its companion show, Ardent Presents (singer/songwriter acoustic) is now available on Ardentsessions.com in addition to BreakThruRadio.com.
Although this may seem like a new idea, it really goes back to the early 70s at Ardent. That’s when we had a pair of 15kHz equalized telephone lines to WMC-FM100, and we would originate live broadcasts from our Studio A with artists like Lynard Skynard, Pure Prairie League, Martin Mull, Big Star, Cargoe, The Groundhogs, Stories, Hookfoot, Elton John’srecording band on Tumbleweed Connection,Ry Cooder with JLD,Wishbone Ash, Nazareth, and Charlie Daniels.
Yes, I do mean live – no delay, no opportunity to bleep or re-mix – no need to, really.
We started The Ardent Sessions because we thought it would be helpful to young musicians, and we have managed to keep it totally free of cost to the artists.
However, in the current economic conditions, this is becoming harder to do. At the moment we have no offsetting advertising income from the shows, so we thought we might ask fans to help us keep this a free service by donating to our Kickstarter Campaign. Let us know what you think. —John Fry, 9/22/2010
We were talking about it a bit and seeing that we’ve already given away The Mynabirds’wonderful debut LP What We Lose in the Fire We Gain in the Flood earlier in the year, why not mix it up a bit and offer you guys some other stuff? (And if you’re hungry from some free vinyl, we suggest you scroll down a bit lower…)
So, for TVD’s Mynabirds Giveaway we’ve got the lovely poster at the top of this post (signed by Ms. Burhenn) and the tee shirt shown below in the size that best fits your male or female frame.
These items will take flight and be sent to the person who comments in this post as to why she or he should win the aforementioned swag. Plead your case for these and the most convincing of the lot shall be named the winner.
Remember to leave us a contact email address, and we’ll choose one winner for both items a week from today, 9/30.
Well, it’s the first full day of Fall (despite it being 90 degrees out there today…) and it’s our very first Fall Vinyl Giveaway—and we’ve got a great one to kick off the our Season O’ Giving:
In support of LCD Soundsytem’s upcoming tour with Hot Chip and Sleigh Bells we’ve put together a stellar prize package which includes the following items:
(1) LCD Soundsystem Tour Poster (1) LCD Soundsystem – “I Can Change” 12″ (1) Hot Chip Tour shirt (1) Hot Chip – “One Life Stand/Do Not Want” 7″
We’ll make it easy to win this one seeing that it’s our first of the season. Hit us up in the comments to this post letting us know why you deserve to win our first Fall Vinyl (and miscellaneous swag) contest. The most convincing up the bunch will find the aforementioned bag of swag crammed into his or her mailbox.
Remember to leave us a contact email address and we’ll pull our winner a week from today, 9/30. Simple, right?
Purchase LCD Soundsystem’s This is Happening at Amazon and iTunes.
“Growing up, my family had an old stereo with a record player in our finished but little-used basement and, as a high-school kid, it was the perfect place for me to go listen to my parents’ old records, alone and undistracted. I would sit cross legged in front of the stereo and, with lyric sheets in hand, listen to the same few records over and over. I had singled out a particular few, absorbed their melodies, words and images; The Beatles’ “Abbey Road”, Laura Nyro with Labelle’s “Gonna Take a Miracle,” and Joni Mitchell’s “Ladies of the Canyon” (as well as a record of Mitchell doing all Bob Dylan covers.)
But my favorite was a somewhat obscure record by a 60’s era folk duo called “Lily and Maria.” What grabbed me about them were their unsettling harmonies and almost creepy psychedelic touches. It was my mom’s record—turns out it was reissued in 2008—and she didn’t remember much about them other than that they never made it very big. The picture on the album cover was of the two women resting their heads against one another and staring hauntingly into the camera. The image was overexposed and washed out, so much of their features remained indiscernible other than long, straight hair, and no makeup other than looong lashes. My mom would tell me “that was the style back then,” and I would get her to elaborate on stories about being a teen in the 60’s – like when her older sister, my aunt Bonnie, ran away and hitchhiked to Woodstock at 16.
There was no lyric sheet for the Lily & Maria album, and no Google search I could do to get more details, so the record remained a delicious bit of mystery which seemed to be my own personal revelation. Although I was discovering different kinds of music at that time, and while in my bedroom I would listen to Nirvana and Sonic Youth, I looked at the basement and its records as my sanctuary when I wanted to be alone and reflect. During those confusing and overwhelming years of being in high school, the basement was not only the perfect place for me to get lost in these old recordings, but also to play and write my own music on our old piano.
Now that I’m reflecting on Lily & Maria, I suppose the song “Time to Listen” on our new album must have been inspired partly by their aesthetic…” —LoreleiPlotczyk(Bass)
“I didn’t have an older brother or sister to guide my music taste as a kid so I had to turn to cues from classmates. This led to an “interesting” exploration in music in my youth. I was actually all over the map as a kid, but the first album I remember asking my mom to get for me was Iron Maiden’s Number of the Beast.
It’s comedic now to think about my 5’4″ mom walking into a record store asking for Iron Maiden’s Number of the Beast, which was probably written on her “to do” list. Moms are great, right? I have to actually write out the opening lyrics to Number of the Beast so anyone who isn’t familiar with this song and album will get an idea of what’s going on. This is read before the song begins in a demonic, frog-like voice:
Woe to You Oh Earth and Sea For the Devil sends the beast with wrath Because he knows the time is short Let him who have understanding Reckon the number of the beast For it is a human number Its number is six hundred and sixty six.
I mean, wtf? Music for kids, clearly! I also had the black light poster.“ —Greg Bertens (Vocals)
Nicole Atkins—who held the fort down here fora week last year in the same manner Laura Burhenn of The Mynabirds is doing this week—returns with her sophomore release Mondo Amore in January, 2011—and we’ve got the first track kicking around the internet (as of just yesterday) streaming below.
Nicole’s currently giving the track away as a free download on herwebsite, so head on over there to add the quite excellent ‘Vultures’ to your ipod.
What the rest of the internet doesn’t have however is an advance 7″ of ‘Vultures’ which we’ll award to one of you in exchange for your comment to this posting. Stream the track above and offer your critique in the comments and the most insightful of the bunch will take home the 45.
We’ll keep this one open for a week and choose our winner next Wednesday, 9/29. Remember to leave us a contact email address as well!
Join the conversation about the future of music in DC!
The Future of Music Coalition (FMC) celebrates a decade of fighting for musicians this October with their empowering three day flagship conference, at Georgetown University from October 3-5. The 10th Anniversary Future of Music Policy Summit unites the brightest minds in the music industry to discuss the key issues affecting the entire music ecosystem.
This is a can’t-miss event for musicians, songwriters, composers, students, and music industry professionals. The conference will feature presentations and panel discussions from T Bone Burnett (renowned musician, composer and producer), Chuck D (Public Enemy), Damian Kulash (OK Go), Craig Finn (The Hold Steady), Eric Garland (founder, Big Champagne Media Measurement), musician Erin McKeown, independent label legend Tom Silverman of Tommy Boy Records, plus representatives from YouTube Music, Facebook, Google, Pandora, and TopSpin to name a few!
There is a special musician and student scholarships available starting from $20 upward. Hurry now as tickets are going fast.
A must is the “Musicians Education Day” on Sunday October 3 which will feature a host of exciting panel discussions empowering musicians at every stage of their career. The day will kick off with a master class by music PR supremo Ariel Hyatt, followed by “To-Do’s And You: The New Artist Check List” which will focus on 12 things all new artists should do at the beginning of their career. There will also be a panel discussion on “The New Hustle: Direct to Fan Case Studies” and “Indie Labels in 2010.”
There will also be various informal “supersessions” throughout the conference which will encourage interactive discussions on topics including Music Access on Campus, Live Music and Social Networks, Artists Activism, and Music in the Clouds. Plus a host of networking opportunities with label representatives, managers, media, and promoters, including the traditional FMC Pho Welcome Dinner on Sunday October 3.
The full conference line-up can be found right here.
I can hear you now, “What ever will I do after the DC Record Fair on Sunday?” Well, we’re looking out for you.
Pop/punk legends (that’s right – after 27 or so years, I can call them legends) Shonen Knife play the Rock and Roll Hotel on Sunday night and we’ve got a pair of tickets for you to enter to win so you can end your weekend on a high note.
Tell us why they should be yours in the comments to this post, and the most convincing of the bunch will score the tickets to Sunday’s show. Be sure to leave us your full name and email address and we’ll choose our winner this Friday (9/24) at noon!
Remember, we’ve teamed up with ReadysetDC for all of our ticket giveaways so you can enter to win either here at TVD or at ReadysetDC.
Photo: Jim Wright
