Author Archives: Rachel Lange

TVD Live Shots: Robert Plant and Alison Krauss with JD McPherson at Merriweather Post Pavilion, 6/11

A delighted crowd packed Merriweather Post Pavilion in Columbia, Maryland Saturday night to see Robert Plant and Alison Krauss “raise the roof” during a set that showcased the magical pairing of the two music legends.

You might argue it was long overdue. Plant and Krauss first collaborated in 2007, which resulted in the successful Raising Sand. Only in 2021 did we get a follow-up, Raise the Roof, released in November. The setlist drew from the new album and threw in some covers.

Of course, these covers included some Led Zeppelin. Over the years, the retooled, folk rock/country version of “Rock and Roll” has grown on me and I’ve come to appreciate hearing it live. However, this setlist also included two of my all-time favorite Zeppelin songs, “When the Levee Breaks,” which gave guitarist JD McPherson the opportunity to take the spotlight, and “The Battle of Evermore.” I daresay that Krauss’ angelic but powerful vocals on “The Battle of Evermore” rivaled Sandy Denny’s original recording in 1971. I’m not ashamed to admit that it brought a tear to my eye and was what finally got the mostly grey-haired audience on its feet Saturday night.

For his part, the Robert Plant of 2022 is matured and subdued, but there are hints of rock’s Golden God of the past, which manifest these days as the occasional familiar hand gesture, hip thrust, or “ooh yeah.” Mostly he is a lovely, harmonizing, on-stage partner for Krauss. The two elevate and improve upon material they cover together. Live, the duo is supported by an incredible backing band wielding instruments that include mandolin, fiddle, and stand-up bass. It really is magical to witness.

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TVD Live Shots:
The Struts with
Nick Perri and the Underground Thieves
at the NorVa, 5/24

NORFOLK, VA | Watching The Struts’ Luke Spiller, it’s easy to conclude that he is doing what he was born to do, that “Rock and Roll Frontman” is the job description that suits him best. There would be no mistaking him if you ran into him on the street; he is a rock star. Certain comparisons are applied so frequently to him that it borders on the cliché: the hip moves of Mick Jagger, and the audience command of Freddie Mercury. I might even throw in a dash of Rod Stewart. However, it never appears to be an affectation for Spiller. He really does seem like he’s being himself onstage—sweaty, ultra-charismatic, and delighted to have complete command of his audience.

I got to experience this for the very first time in Norfolk, Virginia last Tuesday night, when The Struts graced the stage of The NorVa, the fourth stop on the English band’s Across the Pond tour. The band (Spiller, guitarist Adam Slack, bassist Jed Elliott, and drummer Gethin Davies) took the stage in matching yet personally styled stage costumes and radiated infectious energy as they led the crowd through singalong after singalong.

The impressive setlist balanced older hits such as “Body Talks,” “Kiss This,” and “Put Your Money On Me, with several songs taken from The Struts’ latest effort, Strange Days. Throughout the set, I walked around observing the audience, which ran the spectrum in terms of age. Toddlers with giant headphones where there along with folks who probably saw Queen and the Stones in the ’70s. Many people unselfconsciously danced and sang.

Once the band returned to the stage for their encore, they closed out the night with “Strange Days” and “Could Have Been Me.” This is where I saw the band’s command over the audience in full force as Spiller got the entire house to crouch down on the NorVa’s sticky floor, only to spring up a minute later, with many people breaking into song themselves. It was great to be a part of the fun. I’m no longer a Struts virgin.

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TVD Live Shots: Royal Blood and Cleopatrick at the 9:30 Club, 5/19

The sold out 9:30 Club felt tropical last Thursday night as Royal Blood made a stop in Washington, DC on its Typhoons tour. Canadian rock duo Cleopatrick provided support.

Security provided water to those in attendance; the sold out club felt like a sauna. It hardly seemed to matter to the crowd, which collectively lost its mind over the English rock duo (vocalist/bassist Mike Kerr and drummer Ben Thatcher), touring to support its latest album, Typhoons, the first since 2017’s How Did We Get So Dark?. It wasn’t just a great gig, it was one of the very best I’ve seen in recent years.

Canadian rock duo Cleopatrick kicked off the night. In thirty minutes, they showed they are musical kin to Royal Blood, blasting the crowd with a steady stream of aggressive rock, which was infused with punk energy. While drummer Ian Fraser provided the rhythmic backbone for each song, Luke Gruntz played guitars with an intensity that set the tone for the rest of the night.  The already full club responded with an enthusiasm usually reserved for headliners.

Singer-bassist Mike Kerr and drummer Ben Thatcher took the stage at 9PM sharp and kicked off their set with two songs from the new album, “Typhoons” and “Boilermaker” (with additional support from a keyboardist who sang backup). The set drew from all three Royal Blood albums, weaving the loud, sexy, metal-edged rock of their early tracks (which famously got the attention of Jimmy Page), such as “Loose Change” and “Out of the Black,” with the more danceable, but equally hot, new material. Wow, does it ever work—the crowd spent 90 minutes nearly bouncing off the walls.

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TVD Live Shots: The Hu with The Haunt at the Warner Theatre, 5/16

Mongolian rock lords The Hu brought their Black Thunder Tour to a packed and rowdy Warner Theatre in Washington, DC on May 16th. Supporting the Black Thunder Tour is Florida rock quartet The Haunt.  

Fronted by siblings Anastasia Haunt (vocals) and her guitar-wielding older brother, Max, along with Nick Lewert (drummer and producer), and bassist Nat Smallish, The Haunt are a very young rock band, like Plush, embracing rock music. The crowd arriving early at the Warner Theatre got to witness their energetic set.  I was particularly impressed with the siblings’ charisma and mature stage presence; I suppose this should be unsurprising as vocalist Anastasia has been in front of an audience since age nine. The Haunt are a promising sign for rock music’s future.

Between sets, the venue—the elegant Warner Theatre, mere blocks from the White House in downtown DC—filled and buzzed with energy. At 9:15PM The Hu took the stage to the now familiar chants of “Hu! Hu! Hu!”

The last time I saw The Hu was on their first U.S tour in 2019 when they played at Baltimore Soundstage, and it was a crowd similar in makeup that gathered in DC Monday night. Seasoned metalheads, grandparents, younger people, even children had come to see this band whose sound mixes the modern and the traditional; that mashup what The Hu really excel at here. The band consists of four core members, standing at the front of the stage, and are backed by a touring band who play percussion, bass, and guitar.

Galbadrakh “Gala” Tsendbaatar and Enkhasaikhan “Enkush” Batjargal play the morin khurr (the horsehead fiddle), a two-string instrument played with a bow. Temuulen “Temka” Naranbaatar plays the tovshuur, a three-stringed lute. Finally, Nyamjantsan “Jaya” Galsanjamts takes on throat-singing, singing melodically, and playing the jaw harp and wood-carved flutes. This mixing of old and new extends even to appearances, as the men mix beads and flowing robes with boots, jeans, and their own band shirts.

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TVD Live Shots: Mdou Moctar with Emily Robb at the 9:30 Club, 3/22

While we were away.Ed.

A packed to the rafters 9:30 Club in Washington, DC hosted Tuareg guitarist and songwriter Mdou Moctar as he wound down the US leg of his Afrique Victime tour on March 22.  

Philadelphia guitar goddess Emily Robb kicked off the night. Performing alone, Robb provided support to this tour promoting her first solo album How to Moonwalk. While some of her instrumentals were fuzzy and, as others have noted, lacking in melody, others had a decidedly blues bent. All were loud and raw and, without vocals, even meditative and hypnotic. Dressed in traditional robes, Mdou Moctar and his backing band (Ahmoudou Mokadassane, Souleymane Ibrahim, and Michael “Mikey” Coltun) then took the stage for a loose and joyful hour-long set.

If you are unfamiliar with the Mdou Moctar’s backstory, gather ‘round. Moctar is based in a desert village in rural Niger, called Agadez. Growing up in a conservative family that disapproved of electric music, Moctar built his own guitar with almost no instructions, using items like bicycle cables, reclaimed wood, and bits from a sardine can. His self-taught shredding—which has earned him the moniker “Hendrix of the Sahara”—spread via mobile phone data cards, a popular local form of distribution. Moctar eventually won approval from his community by writing, producing, and starring in the first Tuareg language film, a remake of Purple Rain.

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TVD Live Shots: Gary Numan with I Speak Machine at the Lincoln Theatre, 3/15

While we were away.Ed.

The elegant Lincoln Theatre in Washington, DC hosted Gary Numan on March 15, where Numanoids young and old, goth and bureaucrat, gathered to greet the electronic pioneer during this stop on the Intruder tour. After four decades, he demonstrates he is still as creative and fascinating as ever.

Along for the tour is Tara Busch, performing as I Speak Machine, an experimental music and audio-visual project. I Speak Machine is due to release a new album in April (War) which is described as visceral and honest. As an example, the single “The Metal Of My Hell,” examines Busch’s battle with addiction. On stage, Busch managed to command the audience with her presence and charisma during her 30-minute set, an impressive feat given her minimal stage setup of computers and synths.

Taking the neon lit stage shortly after 9PM, Gary Numan and his fellow musicians dressed and sounded like a house band from a Bartertown bar, which felt fitting given our modern times. Long gone is the “android” look from yesteryear; it is a visual signal of his ability to evolve as an artist. After all, he is known for not only influencing younger bands like Nine Inch Nails, he also is open minded enough be influenced by those musicians in return.

This tour is in support of Numan’s latest album Intruder, which Numan has characterized as something of a companion piece to 2017’s Savage (Songs from a Broken World); both albums address themes of the Earth’s pending climate disaster. The set list was sprinkled with songs from Intruder, including the title track. While it’s exciting to hear Numan perform his early songs like “Cars,” “Films,” and “Down in the Park,” in concert his more recent work more than holds its own. The song I was the most stoked to hear, “My Name is Ruin,” is from Savage (Songs from a Broken World) and happens to be one of my favorite songs of the last ten years by any artist.

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TVD Live Shots: Slash featuring Myles Kennedy & the Conspirators with Plush at the Fillmore Silver Spring, 3/9

Slash featuring Myles Kennedy and the Conspirators’ highly anticipated River Is Rising tour made a stop at the Fillmore in Silver Spring, Maryland on Wednesday night, much to the thrill of rock fans in the Washington, DC area.The River is Rising tour is in support of SMKC’s fourth album release, simply titled 4. Young rockers Plush are on the tour in support of the October release of their self-titled album. Both bands stoked the already brimming energy of a full house eager to once again hear rock and roll played live. DC knows how to show up for a gig and we (one of “the best crowds of the tour”) ate this up.

On the heels of International Women’s Day, it was great to see a band like Plush—four young women who describe themselves as being on a mission to bring rock back to the forefront of the music industry. It’s a goal I wholly support and, given the crowd’s reaction to them, I’m not alone. They were entertaining and energetic. In 2022, it’s great to see such young bands (Dirty Honey is another that comes to mind) embrace rock and roll once more. As if their hard sound weren’t enough to let us know their goal is to bring rock back, they underscored this commitment by blazing through a rendition of Heart’s “Barracuda.” It was a raucous thirty-minute set and, as these women continue to mature (they range in age from 19-21), they will get even better.

Nearly thirty-five years after the release of Appetite for Destruction, rock legend Slash took the stage along with Myles Kennedy & the Conspirators. The gentlemen took the crowd on a hefty 21-song journey of some of their best tunes, with a few surprise covers thrown in (don’t expect any GnR, however). Along with some of the band’s earlier greats like “Anastasia” and “You’re a Lie,” they’ve also thrown in “The River is Rising” and—a personal favorite—“Spirit Love,” both from 4.

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TVD Live Shots: Judas Priest with Queensrÿche at the Peoria Civic Center, 3/4

PEORIA, IL | March came in like a metal god when legends Judas Priest made a triumphant return to the stage, rebooting their 50 Heavy Metal Years tour in Peoria, IL six months after guitarist Richie Faulkner’s terrifying health emergency. With Priest for this march across the US is Queensrÿche, taking Sabaton’s place as support. Both bands were welcomed with a full house of horns held high.

Metal vets Queensrÿche kicked off the night with a setlist that genuinely seemed to delight the band’s many fans in attendance. There was no “Silent Lucidity,” no “Jet City Woman,” and the crowd was there for it. “Screaming in Digital,” from the band’s 1986 album Rage for Order, got the most enthusiastic response from the fans around me after singer Todd La Torre annihilated it, and I’ve been listening to “Eyes of a Stranger” (from 1988’s Operation: Mindcrime) on an endless loop since I arrived home in Washington, DC.

Queensrÿche complement Judas Priest nicely and were a good choice for the 50 Heavy Metal Years tour.  They have been around long enough to have been contemporaries of Judas Priest in the 1980s and have their own solid fan base all the way into 2022 (even those fans grumpy about line up changes over time). However, Queensrÿche’s sound and history as a Seattle progressive metal band makes them different enough so the music isn’t competing with that of Judas Priest.

At 9:00PM sharp, the house lights dimmed and the Metal God himself, Rob Halford, was escorted to center stage. As in fall 2021, the stage is set up to resemble a steel mill, an homage to the band’s industrial Birmingham roots. After 50 years of some of the greatest heavy metal ever created, Judas Priest still bring it. Rob Halford still has the pipes to tear through a hefty 18 song set spanning from the band’s infancy (“Rocka Rolla”) toLightning Strike,” from the band’s latest album Firepower, the highest charting album of Judas Priest’s career in the US.  The Priest is back, indeed.

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TVD Live Shots: Avatar with Magic Sword at Brooklyn Bowl, 1/18

NASHVILLE, TN | After experiencing COVID-related setbacks last fall, Swedish metal lords Avatar restarted the Going Hunting tour in Nashville on January 18. To no one’s surprise, they were amazing.

Providing support for this tour is Boise, Idaho’s Magic Sword. As much of a multimedia entity as an electronic band (they release comic books along with their albums), they are known for their mysterious stage presence. Arriving on stage, The Keeper (keyboards), The Seer (the guitar), and The Weaver (drums) are shrouded in long robes, their only differentiating feature the slash of color across the masks hiding their faces.

In less capable hands, this combination could end up being tossed into to the novelty music bin. But these guys make it work. The music reflects the band’s affection for John Carpenter and other soundtracks to ’70s and ’80s films; it’s been likened to something you’d hear while watching Stranger Things on Netflix. In other words, it’s a lot of fun! The crowd cheered as The Keeper held up the magic sword during the set, picking up new fans as the glowing blade pierced the air.

Headliner Avatar took to the stage in front of an enthusiastic group of fans, many of whom wore makeup and costumes in tribute. Stone faced and gathered at the front of the stage, Avatar kicked off their set with the incredible “Colossus,” from 2020’s Hunter Gatherer. The band then unleashed their headbanging glory, blazing through a list of new songs from Hunter Gatherer and band classics, finishing everyone off with “Hail the Apocalypse.”

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Save Our Stages: Reignwolf and JJ Wilde at U Street Music Hall in Washington, DC, 8/10/19

During this period of historic uncertainty, the fight for the survival of our independent record stores is directly mirrored by the dark stages of our local independent theatres, clubs, and performance spaces which have been shuttered due to the COVID-19 pandemic. It’s been cited as well that 90% of these concert venues may never, ever return.

Enter the National Independent Venue Association (NIVA) whose #SaveOurStages campaign has provided a spotlight on this perilous predicament with a unique mission to “preserve and nurture the ecosystem of independent live music venues and promoters throughout the United States.” Without help from Congress the predictions are indeed quite dire and TVD encourages you support the S. 3814/H.R. 7481, the RESTART Act, by telling your legislators to save independent music venues via the form that can be filled out and forwarded right here.

This week as we did last week, we’re turning our own spotlight onto previous live concert coverage as a reminder of the need to preserve the vitality of live music venues across the country—and indeed across the globe—and while we’re at it to celebrate the work of the fine photographers and writers at TVD who are all itching to get back into the pit. 

On Saturday, August 10, Reignwolf, with support from JJ Wilde, brought their headlining tour to an intimate crowd at Washington DC’s U Street Music Hall in support of the band’s new album Hear Me Out. Stirring up fans with their charisma and blistering fuzzy blues rock, they tore through the roughly hour-long set of new songs and old favorites, leaving fans and themselves worn out and sweaty.

Reignwolf (songwriter/singer/guitarist Jordan Cook, bassist S.J. Kardash, and drummer Joseph Braley) released Hear Me Out, the band’s first LP, in March. Prior to this, Reignwolf had only released a handful of singles over seven years, developing an enthusiastic following while maintaining an air of mystery among fans.

This mysterious air was underscored in the darkened, underground room at U Street Music Hall. The band played shrouded in smoke and back-lit by bright white lights, allowing those in attendance to see Cook and Karsdash in silhouette, and Braley not at all. No matter, as songs like the ferocious “Wanna Don’t Wanna” and Gary Clark Jr-ish “Black and Red” were loud and energetic as the blazing fires of Hell. During those moments when Cook emerged from the smoke and could be seen, he revealed a look that calls to mind 1970s Bruce Springsteen or even a black leather-clad Cat Stevens, while the band’s sound could be compared to Jack White, the aforementioned Gary Clark Jr, or the barely contained insanity of Black Pistol Fire.

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TVD Live Shots: Alter Bridge with Deepfall
and Clint Lowery at the Ogden Theatre, 2/17

DENVER, CO | On a snowy, cold night in Denver, Alter Bridge brought down the house in the charming, somewhat decrepit confines of the Ogden Theatre. Sharing the bill on this leg of the Walk the Sky tour is Deepfall and Clint Lowery.

A sextet hailing from Grand Rapids, Michigan, hard rockers Deepfall (Rich Hopkins, Anthony Battista, Max Carrillo, Tim King, Nick Gray, and Taylor Brandt ) kicked off the night. Reviewing the band’s website and Facebook page, one gets the feeling the band, still relatively new, experienced some recent lineup changes. It’s notable that this was not reflected in their 30 minute performance as, up close, they appeared cohesive and very hard-working. The crowd offered their support, fist pumping as the band tore through its set, which included a cover of Journey’s “Separate Ways.”

Clint Lowery is best known as the lead guitarist of metal band Sevendust; he’s joined the Walk the Sky tour to promote God Bless the Renegades, his first solo album. Live, he’s impressive, physical, and intense as a solo performer. His songs, like “Kings,” which explores themes of redemption and empowerment, are introspective. His backing band (Ryan Bennett on drums, Pat Seals on bass, and Jon Jourdan on guitar) proved equally capable. Seals, in particular, possesses great stage presence; my attempts to photograph him airborne mostly failed.

I’m baffled by the fact that Alter Bridge play small venues in the US. Yes, as opposed to London’s O2 (where Alter Bridge Live at the O2 Arena was recorded in 2016), a smaller venue such as the Ogden Theatre provides unmatched intimacy. However, Alter Bridge are just too damned good to be slumming it with the rest of us in reaching distance. Make no mistake—I’m not complaining. I adore the golden throated Myles Kennedy; seeing him up close, along with beast Mark Tremonti, remains a huge thrill. Shooting this band from the pit is a fantastic experience and seeing them anywhere a delight.

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TVD Live Shots: Vinyl Record Preservation Society presents Billy Gibbons, Carmine & Vinny Appice, and Ron Holloway at Pearl  Street Warehouse, 1/30

Did you know that the Library of Congress has an extensive vinyl record collection, and that when that collection gets periodically culled, the records get tossed in the bin? Enter the Vinyl Record Preservation Society, a DC based non-profit that places these otherwise doomed discs in the possession of schools and senior care facilities for folks to enjoy. A humble but noble effort, and one that needs funds to keep moving.

Enter the fine folks at DC’s Pearl Street Warehouse, a smaller room in the city’s Wharf which hosted a benefit for the organization on the last Thursday in what felt like a never-ending January. In addition to local rock and ska bands, the night’s lineup included saxophonist Ron Holloway, vocalist Franky Perez, Carmine and Vinny Appice and, much to my delight, the one and only Billy Gibbons.

After DC locals The Deplorables kicked the night off with a bite sized, three song set, ska band Free Lobster Buffet took the stage. I’m not a ska fan normally, but this was a fun one. Bassist Chris Boesen is also the head of the Vinyl Record Preservation Society, so the band was a natural fit for the night.

Cramming eight musicians onto the Warehouse’s tight stage, they got the crowd’s excitement up with a fun, high energy set. My own favorite was their jam “Nude Beach.” In addition, they brought out Holloway for a few tunes as well as Perez, who sang alongside FLB’s own Joan Bishop. This is a talented lot—great to catch them on one of their mid-Atlantic/East Coast dates. The tuba player gets sweaty and undressed during the set if that tells you anything about the fun levels. Boesen acted as emcee for the remainder of the night.

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TVD Live Shots: The Budos Band with Paul
& The Tall Trees at the 9:30 Club, 1/18

We burned the midnight (Old Engine) oil in DC when The Budos Band presented its funk/rock/soul party as a burnt offering at the 9:30 Club on a cold, wet Saturday night.

Kicking off the late night party was Paul & The Tall Trees. Led by Paul Schalda who, like the Budos Band, hails from Staten Island, NY, Paul & the Tall Trees are described as an intersection of classic bands like Buffalo Springfield and The Band. These are apt comparisons; live I also heard hints of Neil Young. It’s a poetic, occasionally tortured, but ultimately warm sound. Underscoring that warmth was Schalda’s frequent references to his father, a member of his own band.

The Budos Band (Jared Tankel, Thomas Brenneck, John Carbonella Jr, Mike Deller, Daniel Fodor, Andrew Greene, Rob Lombardo, Brian Profilio, and Dame Rodriguez) took the stage at the stroke of midnight. I’ve been a Budos fan for ages, having discovered them when I was taking a walk on a summer evening in Milwaukee. They were performing in a park near the Milwaukee School of Engineering and I stopped for a listen. After ten minutes, I bought up half the merch table and never looked back, having fallen hard for the band’s ’70s Afro-funky instrumental sound. Saturday night marked only the third time I’d seen them since that first evening in Wisconsin years ago and I couldn’t have been more stoked.

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TVD Live Shots: Clutch with The Steel Woods and Damon Johnson at the 9:30 Club, 12/29

Maryland’s Clutch received a hometown-style welcome when it sold out Washington, DC’s legendary 9:30 Club during the last weekend of 2019, bringing with them The Steel Woods and Damon Johnson.

Damon Johnson, known for his work with Brother Cane, Thin Lizzy, Alice Cooper, and Black Star Riders, kicked off the night. I was looking forward to seeing Johnson again as, while I’m old enough to have heard Brother Cane on played on the radio back in the 90’s, I never got to see Damon until he toured with Black Star Riders in 2018 when they supported Judas Priest. Stepping out of the shadow of that band, we got to see Damon taking the lead, showcasing some new tracks and setting hits from his back catalog aflame including Brother Cane tunes “And Fools Shine On” and “Got No Shame” along with a very fun cover of Thin Lizzy’s “Johnny the Fox Meets Jimmy the Weed.”

The Steel Woods then took the reins. Donning cowboy hats and turquoise jewelry, the Nashville-based band appears to embody the Southern rock tradition, mixing blues-rock with an outlaw spirit and giving a nod to their brethren during a muddy cover of “Whipping Post.” Lest they be pigeonholed however, influences on their 2017 debut Straw in the Wind are said to include Metallica and Led Zeppelin. The band formed after guitarists Wes Bayliss and Jason “Rowdy” Cope met in Nashville and became friends, later collaborating musically and adding bassist Johnny Stanton and drummer Jay Tooke to the lineup. The band added a dark country outlaw edge to the rock lineup and it worked well.

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TVD Live Shots: Daughters with HEALTH and Show Me the Body at the 9:30 Club, 12/18

Daughters made a triumphant appearance on December 18 at Washington, DC’s 9:30 Club, bringing their critically acclaimed noise rock to an exuberant crowd. Along for the journey were Show Me the Body and HEALTH.

Kicking off the night were Show Me the Body, appearing in DC for the second time this year after a headlining show in the spring at Union Stage. After the New York trio (Julian Cashwan Pratt, Harlan Steed, and Noah Cohen-Corbett) thanked DC for its welcome, they launched into their roughly half hour set of hardcore punk. They tour in support of their new album Dog Whistle, which notably features the song “Camp Orchestra,” inspired by a visit to Poland’s Auschwitz-Birkenau Memorial and Museum.

Being the first band of the night, one might anticipate a slightly more subdued interest from the crowd. That was not the case at all here. Standing in the photo pit, I could feel gusts of wind hitting me in the back of the head. I turned around to see the front row of fans headbanging, many of whom were wearing the band’s merch, easily identifiable by the three coffin logo.

Adding to the intensity were LA noise rockers HEALTH (Benjamin Jared Miller, Jake Duzsik, and John Famiglietti) who took the stage shrouded in relative darkness. That darkness was punched, however, by the strobe lights on the stage (beware of this if you are sensitive), leaving the band in a near-constant state of silhouette.

Famiglietti, when he wasn’t playing bass, hovered over an array of pedals and switches, headbanging so hair swirled in time. Touring on the heels of their February 2019 release Vol 4: Slaves of Fear, HEALTH are notable for contributing to film soundtracks such as Atomic Blonde but also video game soundtracks, composing the soundtrack to Max Payne 3 in 2012. Like with Show Me the Body, the crowd responded with rabid support.

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