Reviews of music shows I've been to. Maybe you've been there too…


Gershwin Prize Ceremony for Billy Joel at DAR Constitution Hall (11/19/14)

13 top-ten hits. Over 150 million albums sold. Six Grammy awards. A monthly sold-out residence at Madison Square Garden. Billy Joel certainly is worthy of a tribute. But judging from the ceremony honoring him as the 2014 recipient of the Library of Congress Gershwin Prize for Popular Song at the Daughters of the American Revolution Constitution Hall on November 19, it was difficult to discern how much actual impact his music has had.

Joel’s legacy rests on a self-deprecating, everyman persona that makes his music, much like that of Tom Petty or Steve Miller, impossible to hate. Think of “Uptown Girl” or “Only the Good Die Young,” and of course “Piano Man,” his show-closing bar-band homage. His middle-of-the-road appeal will have fans singing his songs until the end of time. But does that really qualify Joel as influential as previous honorees like Stevie Wonder and Paul Simon?

Billy Joel Gershwin PrizeSimilar to the Yoko Ono tribute I had attended back in 2009, the Gershwin Prize Ceremony featured a star-studded lineup paying homage to the guest of honor by performing their songs. Yet while it was easy to draw a (nearly) straight line between Ono’s irreverent musical recordings and visionary art to the aural experiments of Sonic Youth or Bette Midler’s deliberately gaudy performances, identifying the connection between Joel and his tributees was not nearly as straightforward.

This isn’t to suggest that there was anything lacking in the performances themselves. Boyz II Men did a great rendition of “The Longest Time,” but it’s hard to believe that they looked to Joel when they were first developing their unique brand of Philly soul. Gavin DeGraw had the entire arena energized with a rocking version of “It’s Still Rock and Roll to Me,” though the power of the performance ultimately derived from the song itself, not its B-level performer.

Josh Groban (“She’s Always a Woman”) and Tony Bennett (“New York State of Mind”) gave the most powerful performances of the evening, belting out the standards in a way that made it seem that Joel had written the songs specifically for them. Meanwhile, Twyla Tharp presented a pair of energetic dance routines from her Joel-inspired Broadway production, “Movin’ Out,” that added a unique bent to the night’s proceedings. The only performer to completely miss the mark was John Mellencamp, whose version of “Allentown,” performed as a lifeless, Nebraska-era Bruce Springsteen protest dirge, utterly failed to move anyone in the crowd.

Interspersed between songs were interviews and concert clips from throughout Joel’s career, along with congratulatory clips from celebrities including Paul McCartney, Barbara Streisand and James Taylor. Once the tributes had finished, Joel himself appeared on stage. After being introduced by Supreme Court justice Sonia Sontamayor, Joel (flanked by House leaders Nancy Pelosi and Kevin McCarthy) said a few words before kicking into a mini-set of some of his crowd favorites. The crowd went wild for “Movin’ Out” and “You May Be Right,” as well as for the predictable finale performance of “Piano Man” (featuring a surprisingly agile Kevin Spacey on harmonica). As usual, everyone was singing along at the top of their lungs. In a way, that might be the ultimate tribute.

Set list:

Library of Congress Chorale

  1. Everybody Has a Dream
  2. Two Thousand Years

Boyz II Men

  1. The Longest Time

LeAnn Rimes

  1. Lullabye (Goodnight My Angel)

Gavin DeGraw

  1. It’s Still Rock and Roll to Me

Josh Groban

  1. She’s Always a Woman

Natalie Maines

  1. She’s Got a Way

John Mellencamp

  1. Allentown

Tony Bennett

  1. New York State of Mind

Billy Joel

  1. Movin’ Out
  2. Vienna
  3. Miami 2017
  4. You May Be Right
  5. Piano Man

Concert For Valor on the National Mall (11/11/14)

Concert for Valor

Events on the National Mall are supposed to embody all things America: democracy, patriotism, unity. In reality, they expose the country’s true underbelly: bureaucracy, apathy and a love of anything free. Sadly, the Concert for Valor on a surprisingly balmy Veterans Day was no different. Despite its lofty goal to “honor the courage and sacrifice of veterans and their families,” the show ended up being more about what didn’t happen than what happened.

To start, there wasn’t a lot of honoring being done by the crowd. Like a majority of attendees, I was drawn to the concert more out of an interest in the entertainment aspect than saluting our troops. In spite of the inspirational profiles of wounded warriors that played throughout the show, there was a surprising lack of emotional sentiment in the air (at least where I was sitting). Not even the rotating cast of celebrity MCs could properly rouse the crowd (Jamie Foxx was particularly lame). Even the palpable energy of the shambolic Jon Stewart/Stephen Colbert “Rally to Restore Sanity” was lacking.

The scattered musical guests, ranging from a worthless opening performance by British artist Jessie J to a remarkably subdued acoustic set from Bruce Springsteen, did little to help with the sagging levels of inspiration. There were no surprises, no spontaneity (save for a couple of F-bombs dropped by closing act Eminem) and hardly any patriotic displays, other than maybe Jennifer Hudson singing the Star Spangled Banner. Clearly there were strict orders not to rock the boat.

It was unclear if the goal of the concert was to honor veterans or merely entertain them (Rihanna? The Black Keys?) Even potential moments of controversy were neutered. Springsteen’s rendition of the decidedly anti-war (and possibly anti-American) “Born in the U.S.A.” was so quiet and subdued that it almost seemed apologetic. Meanwhile, Metallica, a band not known for their flag-waving sentiments, chose to play their best known (though certainly not best) anti-war anthem “For Whom the Bell Tolls” rather than take the opportunity to make a truly overt political statement. The Zac Brown Band’s performance (along with Dave Grohl and Bruce Springsteen) of Credence Clearwater Revival’s anti-military screed “Fortunate Son” was enthusiastically received by everyone, including (ironically) the thousands of service members gathered at the east end of the Mall.

The concert brought to light awareness of a number of veterans’ issues and probably raised some money for them. But at the price of subtle censorship and, dare I say it, boredom. God bless America. I guess.

Set Lists:


  1. The Star-Spangled Banner


  1. Titanium (David Guetta cover ft Jennifer Hudson)
  2. Bang Bang


  1. My Hero (Foo Fighters song)
  2. Everlong (Foo Fighters song)


  1. Yankee Doodle (Violin Solo by Jimmy De Martini)
  2. Free (with America the Beautiful)
  3. God Bless the USA (Lee Greenwood cover)
  4. Chicken Fried
  5. Fortunate Son (Creedence Clearwater Revival cover ft Bruce Springsteen and Dave Grohl)


  1. Howlin’ for You
  2. Fever
  3. Lonely Boy


  1. See You Again
  2. Something in the Water
  3. Before He Cheats


  1. For Whom the Bell Tolls
  2. Master of Puppets
  3. Enter Sandman


  1. The Promised Land
  2. Born in the U.S.A.
  3. Dancing in the Dark


  1. Diamonds
  2. Stay
  3. The Monster (with Eminem)


  1. Guts Over Fear
  2. Not Afraid
  3. Lose Yourself

St. Paul & The Broken Bones @ 9:30 Club (10/16/14)

The art of a live performance is not something that should be taken for granted. Performers must maintain a delicate balance that manages to keep the crowd engaged and entertained, while keeping (and displaying) their musical authenticity. Any bar band can get the crowd to go crazy playing crappy Bon Jovi covers; it takes a truly special band to win over an audience by playing their own music, especially when that music is unfamiliar. It’s a make-or-break lesson for bands who are just starting out

Thankfully, St. Paul & The Broken Bones seem to have been properly educated. Their show at the 9:30 Club on October 16 was one of the most dynamic, energetic performances that I’ve seen, equal parts concert, dance party and revival meeting. While their music (showcasing obvious Stax and Muscle Shoals influences) isn’t anything revolutionary, the entertainment value of their live show is more than enough to make them worth taking seriously.St Paul and the Broken Bones2

The sextet opened with an instrumental jam that got the crowd in the groove, before frontman Paul Janeway made his appearance on stage. While the rest of the band has the taut musicianship of rugged studio veterans, Janeway is far and away the band’s star. His vocal histrionics, which ranged from high-pitched, Al Green-like squeals to soulful enunciations a la Chris Robinson, were only surpassed by his dynamic stage performance. Working the crowd like the preacher he never became, Janeway carried the show through a roller coaster set list that alternated between up-tempo dance numbers and slower grooves that carried an aroma of sweaty romance.

Regardless of the ambiance, the crowd was transfixed: it was the kind of show that you wanted to see go on forever. My only concern is that as the band develops more material, they will find it increasingly difficult to fit it all into one show; Janeway himself might collapse on stage if they ever cracked the two hour mark. But for now, their riveting white-boy soul show is one the best new things going. Consider me a convert.

Set List?

  1. Intro
  2. Don’t Mean a Thing
  3. Sugar Dyed
  4. Dixie Rothko
  5. I’m Torn Up
  6. Shake! (Sam Cooke cover)
  7. Half the City
  8. Broken Bones & Pocket Change
  9. Let It Be So
  10. Down in the Valley (Otis Redding cover)
  11. It’s Midnight
  12. Mighty River
  13. Grass Is Greener


  1. That Glow
  2. Moonage Daydream (David Bowie cover)
  3. Call Me

Spoon @ Lincoln Theater (9/4/14)

Live music is great. Much like comedy, music is just that much better in a communal atmosphere. Whether I’m at a giant arena or a tiny club, listening to rock or reggae or jazz or hip-hop, it takes very little for me to enjoy a show. All I need is a slight shove in the right direction to get me there.

What got me to see Spoon at the Lincoln Theater on September 4 was a combination of the large amount of buzz that had been generated by the release of their eighth album, They Want My Soul and the prospect of going to a brand new venue, one that I had walked past dozens of times but never actually been inside.

Because of the novelty factor, this concert became much more about ambiance than music, meaning I was unlikely to walk away a converted Spoon fan (barring a legendary performance). I therefore entered the Lincoln Theater more as an observer than a music fan, analyzing the building’s architectural details and noticing minute features. The Lincoln was clearly designed for plays rather than music, with rows of seats, great sight lines and high ceilings. A semi-rounded stage allows bands to make great use of the building’s killer acoustics and aesthetic capabilities.

Appearing for a third straight night at the Lincoln, Spoon started the show slowly, despite receiving a rapturous reception. Spoon at Lincoln TheaterThe band lurched between ballads and up-tempo raves, showcasing several synth-pop-inspired new songs that failed to excite a real passion in the crowd. The show didn’t properly kick into gear until “The Underdog” was played midway through the set, which finally threw off the bland atmosphere of serenity that had been pervasive throughout the theater.

In spite of the uneven set list, the band displayed a well-honed musical interplay, kept up by numerous instrument exchanges between the individual band members, who bounced between different arrangements on guitars, keyboards and percussion. A vivid, colored lighting display that projected silhouettes onto screens from various angles was just as visually engaging. Meanwhile, the crowd did their best to keep the energy in the venue up, though the theater’s rigid seating setup prevented anything too wild from happening.

Spoon saved crowd favorites like “Knock Knock Knock” and “The Way We Get By” for the two encores, which excited the crowd to the point of dancing up and down the aisles. By the end, everyone seemed satisfied, if not completely exhilarated. Me included.

Set List

  1. The Beast and Dragon, Adored
  2. Rainy Taxi
  3. Rent I Pay
  4. Don’t You Evah
  5. Small Stakes
  6. Inside Out
  7. My Mathematical Mind
  8. Outlier
  9. The Underdog
  10. Everything Hits at Once
  11. They Want My Soul
  12. Don’t Make Me a Target
  13. I Just Don’t Understand
  14. I Summon You
  15. Got Nuffin
  16. The Fitted Shirt
  17. You Got Yr. Cherry Bomb


  1. Knock Knock Knock
  2. Was It You?
  3. Do You

Encore 2:

  1. The Ghost of You Lingers
  2. I Turn My Camera On
  3. The Way We Get By

X @ Black Cat (8/20/14)

“Loud as fuck!” exclaimed John Doe during X’s show at Black Cat on August 20. Though more a commentary about the venue’s sound system, to a certain extent his words also served to encapsulate everything that is to be expected from punk rock: anger, aggression, energy. Yet X has always been cleverer than your standard punk band, with their scything lyrics and unique fusion of punk and rockabilly obviating the need for extreme volume on which some of their contemporaries relied. These days, while the quality of X’s music still comes across after decades of playing, a little extra volume seems a good thing, keeping the band from being lulled into a sense of complacency and thereby allowing them to maintain the expected level of energy at their shows.

After reforming their original lineup in the mid-90’s, X, like most reunited groups, have stuck to a standard touring formula. In their case, this means playing material from their first four albums only, so personal favorites like “All or Nothing” and “4th of July” would not be seeing the light of day. Sadly, other personal favorites that do fit the first four album requirement, like “Johnny Hit and Run Pauline” and “We’re Desperate,” also failed to crack the set list. That being said, the show did have its share of highlights: “In This House That I Call Home” remains one of the best live songs in their (or any band’s) repertoire, while “Los Angeles” got a typically head-banging, fist-pumping response.

Nearly 40 years into their musical partnership, Exene and John Doe still harmonize beautifully, X at Black Catparticularly on standouts like “White Girl” and “Motel Room in My Bed.” Meanwhile, Billy Zoom remains both an exquisite guitar player and a complete ham, grinning and posing with his guitar for every smart phone pointed his direction. The rhythm section of Doe and DJ Bonebreak did their maniacal best to energize to the band’s songs, while Exene seems to have regained her presence as punk’s leading chanteuse, having battled through a case of Multiple Sclerosis. In spite of punk rock’s tendency to age poorly, the band’s tight performance gave every indication that X is more determined than ever to continue playing as long as they can, whatever it takes.

In marked contrast to X, openers Not in the Face relied on manic stage behavior as their shtick, in particular David Crosby lookalike Michael Anthony Gibson on lead guitar, who spent the set throwing out every rock star move in the book (wild solos, playing on the floor, going into the crowd). Sadly, all of his histrionics failed to impress the crowd. Maybe they should have just turned up the volume instead.

Set List:

  1. The Hungry Wolf
  2. Beyond and Back
  3. White Girl
  4. We’re Having Much More Fun
  5. Your Phone’s Off the Hook, But You’re Not
  6. Sex and Dying in High Society
  7. How I (Learned My Lesson)
  8. It’s Who You Know
  9. The World’s a Mess, It’s in My Kiss
  10. Los Angeles
  11. The Unheard Music
  12. Year 1
  13. When Our Love Passed Out on the Couch
  14. Breathless (Jerry Lee Lewis cover)
  15. In This House That I Call Home
  16. I’m Coming Over
  17. Poor Girl
  18. Nausea
  19. Sugarlight
  20. Motel Room in My Bed
  21. Soul Kitchen (The Doors cover)


  1. The New World
  2. Some Other Time
  3. Because I Do
  4. Devil Doll

Summer Nationals Tour @ Pier Six Pavilion (7/30/14)

The only place from which to truly enjoy a punk rock show is right up front. The energy, the emotion, that feeling of “us versus them”, they just don’t translate over large distances. So the staging of the Summer Nationals Tour, featuring the Vandals, Pennywise, Bad Religion and The Offspring, at the Pier Six Pavilion in Baltimore was an odd choice. Even if these bands’ shows have been reduced to nostalgic love fests, without a hint of danger or rebellion, the audience at least still wants to feel like the apocryphal target of the songs remains a target of hate, that revolution is still possible. Pretty hard to convey that feeling with lawn seating and pastoral views.

Show openers The Vandals at least have the type personality and stage show that works well in such a setting, so their set went over perfectly in the setting summer sun. PennywisePennywise then ran through a typically abrasive set, highlighted by a cover of “Minor Threat” played with Brian Baker (formerly of Minor Threat, currently in Bad Religion). However, the contrast of a band singing “Fuck Authority” in one breath, and then worrying about the amount of time left in their set in the next, did seem to crystallize the concert’s paradoxical setting.

After watching the opening sets from far away, we headed backstage before Bad Religion went on, having obtained passes through a work connection. Though the backstage area turned out to be much less glamorous than the mythical status it is normally afforded, our disappointment was ameliorated by a brief meet and greet with Dexter Holland from The Offspring, who was completely down to earth (if not exactly thrilled to be talking with us). He generously offered to let us watch the rest of the show from the stage, an offer we readily accepted.

Unfortunately, it turns out that the acoustics backstage are really quite atrocious. With the speakers and amps aimed at the audience, the only instrument that comes through clearly are the drums, which, given the sound delay coming from the speakers, makes the entire musical performance slightly off-beat. So while Dexter’s gesture to allow us to watch the show from backstage allowed us an amazing experience, one that will likely not be repeated (at least for me), having to listen to the show in that manner was slightly disappointing.

Bad ReligionWe ended up watching the second half of Bad Religion’s set from stage right, where I had a great view of touring guitarist Mike Dimkich and not much else, other than when Greg Graffin decided to stroll in our direction. Strangely, despite the plethora of classic punk band t-shirts I saw, very few audience members seemed to be familiar with the band’s material, with most looking like they were just waiting out yet another opening act. It was nice to see Bad Religion throw in a couple of new songs alongside more standard concert repertoire, including a warp speed run through a cluster of songs from Suffer, while the closing trio of “Infected”, “You” and “American Jesus” were as powerful as ever.


The Offspring were celebrating the 20th anniversary of the release of their breakthrough album, Smash, by playing the entire thing straight through. It was definitely great to hear deep album cuts like “What Happened to You?” and “Genocide” get played live, probably for the first time in decades. Meanwhile, standards “Come Out and Play” and “Self-Esteem” were received as rapturously as they have been for the past two decades.

The OffspringGuitarist Noodles bounded throughout the show from front to back, left to right, while Holland continuously stalked across the stage, playing to the crowd but never losing a somewhat distant, yet authoritative, posture. After finishing with Smash, the band kicked through an uneven second set of some of their best known material, with an unfortunate version of “Why Don’t You Get a Job?” redeemed by stronger tracks like “Americana” and “You’re Gonna Go Far, Kid.” By the time they closed with a rampaging version of “The Kids Aren’t Alright,” it was clear that the energy at the venue had finally been raised to a sufficient level, regardless of where you were sitting.

Vandals setlist:

  1. It’s a Fact
  2. Cafe 405
  3. And Now We Dance
  4. Take It Back
  5. People That Are Going to Hell
  6. I’ve Got an Ape Drape
  7. I Know, Huh?
  8. Oi to the World
  9. Anarchy Burger (Hold the Government)
  10. My Girlfriend’s Dead
  11. Don’t Stop Me Now (Queen cover)

Pennywise setlist:

  1. Pennywise
  2. My Own Country
  3. Unknown Road
  4. Peaceful Day
  5. Same Old Story
  6. Restless Time
  7. Minor Threat (Minor Threat cover)
  8. Perfect People
  9. Fuck Authority
  10. Society
  11. Blitzkrieg Bop (Ramones cover)
  12. Bro Hymn

Bad Religion setlist:

  1. Fuck You
  2. Los Angeles Is Burning
  3. I Want to Conquer the World
  4. 21st Century (Digital Boy)
  5. Stranger Than Fiction
  6. Sometimes It Feels Like
  7. Recipe for Hate
  8. True North
  9. Sanity
  10. Wrong Way Kids
  11. Sorrow
  12. You Are (The Government)
  13. 1000 More Fools
  14. Best for You
  15. Do What You Want
  16. Infected
  17. You
  18. American Jesus

The Offspring setlist:

  1. Time to Relax
  2. Nitro (Youth Energy)
  3. Bad Habit
  4. Gotta Get Away
  5. Genocide
  6. Something to Believe In
  7. Come Out and Play
  8. It’ll Be a Long Time
  9. Killboy Powerhead (The Didjits cover)
  10. What Happened to You?
  11. So Alone
  12. Not the One
  13. Smash
  14. Self Esteem
  15. All I Want
  16. You’re Gonna Go Far, Kid
  17. Slim Pickens Does the Right Thing and Rides the Bomb to Hell
  18. Staring at the Sun
  19. Why Don’t You Get a Job?
  20. Americana
  21. (Can’t Get My) Head Around You
  22. Pretty Fly (For a White Guy)
  23. The Kids Aren’t Alright