Reviews of shows I've been to (and maybe you have too!)


Descendents @ Fillmore Silver Spring (10/15/16)

Sometimes you just have to take matters into your own hands. Looking out at the capacity crowd at the Fillmore Silver Spring, Fucked Up frontman Damian Abraham must have been appalled at the passive, genteel vibe that was suffocating the entire venue. So, mic in hand, he hauled his 250 pound-plus body down off the stage, across the safety pit, and over the guard rail to start his own mosh pit. By the time he had made his way all the way back to the bar, leaving a trail of moshers in his wake, a sedate gathering had transformed into a true punk show.

DescendentsGiven that boost, Descendents came out firing. Surely the band would have been able to get the crowd going on their own. But Abraham’s actions ensured the massive explosion of energy that was released as the first notes of “Everything Sux” were played was as powerful as humanely possible. For the next hour, Descendents didn’t stop. No banter, no instrument checks. Just one pop-punk nugget after another, spanning the group’s entire 35 year catalog. The “classic” songs from Milo Goes to College got the loudest responses, demonstrating that the band’s legacy would have been secured with that one record alone. But the momentum kept building, even through the new songs. Watching from the rafters, it was hard not to be jealous of the fans on the floor, slamming each other in the rapidly expanding mosh pit.

Towards the end of the main set, a woman surfed her way to the front of the crowd at the end of a song and was escorted to the side of the stage. As the band returned for an encore, she raced back to the pit and somehow convinced Milo to give her the mic, whereupon she proceeded to tear into the band for supposedly promoting a rape culture at the show by playing a song called “Testosterone.” While her outburst was misdirected, the response from the band was disappointing: Milo and Stephen merely mumbled a couple of weak denials before resuming the show. Maybe I expected them to channel their punk roots and say “Fuck off!” Maybe I expected their intellectual side to show through by accepting her right to protest but challenging her to come up with a more worthy response (Kathleen Hanna certainly wouldn’t just whine into a microphone). Or maybe it’s a bridge too far to expect a guy wearing boat shoes and wrap-around glasses to bother with protests when he is basking in the adoration of a room full of fans. To each his own, I guess.

Set list:

  1. Everything Sux
  2. Hope
  3. Rotting Out
  4. Pervert
  5. Victim of Me
  6. Silly Girl
  7. I Wanna Be a Bear
  8. Nothing With You
  9. My Dad Sucks
  10. Clean Sheets
  11. On Paper
  12. Suburban Home
  13. Without Love
  14. Coffee Mug
  15. Bikeage
  16. Shameless Halo
  17. Weinerschnitzel
  18. No! All!
  19. Talking
  20. Myage
  21. Get the Time
  22. I Don’t Want to Grow Up
  23. I Like Food
  24. I’m the One
  25. Testosterone
  26. When I Get Old
  27. Coolidge
  28. Thank You
  29. Descendents


  1. Feel This
  2. Van
  3. Smile

Encore 2:

  1. Sour Grapes
  2. Spineless and Scarlet Red
  3. Catalina

Paul McCartney at Verizon Center (8/10/16)

No one comes to a Paul McCartney show expecting surprises. The point is to revel in five decades of nostalgia, not get blown out of your seat. Even still, I was put off by the sameness of Paul’s show at the Verizon Center on August 10. If you’d seen it once (as I had in 2014, or some guy in the crowd had apparently done 108 times previously), you’d seen it all: the heartfelt yet perfunctory tributes to John Lennon (“Here Today”) and George Harrison (“Something,” featuring Paul on ukulele); the cute stories reminiscing about things that happened during his time with The Beatles, or when song X was recorded; the pyrotechnics accompanying “Live and Let Die;” the crowd sing-along to “Hey Jude.”

None of this is to take anything away from Paul himself. At age 73, he is simply amazing. While never possessing the boundless energy of Mick Jagger or guitar-god histrionics of Pete Townshend, Paul’s dynamic musicality and buoyant enthusiasm are capable of carrying a show all by themselves. His guitar playing remains stellar. His voice, though weakened slightly, was flawless, especially on the quieter numbers like “Blackbird” (though the Verizon Center’s lousy acoustics did their best to drown him out on the louder songs). He did even manage to change things up a bit by throwing in a couple of songs from his 2013 album New, along with the incongruous “FourFiveSeconds.” So I would be a fool to complain about getting nearly 3 hours of timeless music. But still.

When Paul performed in Washington D.C. for the first time all the way back in 1964, the Beatles played for barely 30 minutes, and were nearly inaudible due to the screams of the fanatic teenagers in attendance. Now that those rambunctious teenagers have aged into sedate grandparents, Paul’s performance has likewise settled into that of an age-appropriate cover band. You’ll smile and sing along, but you won’t twist and shout. Me, I’d take the frenetic energy of that first Beatles show. But we’ll see how I feel when I’m 64.

Set List

  1. A Hard Day’s Night (The Beatles song)
  2. Save Us
  3. Can’t Buy Me Love (The Beatles song)
  4. Jet (Wings song)
  5. Temporary Secretary
  6. Let Me Roll It (Wings song) (Foxy Lady outro)
  7. I’ve Got a Feeling (The Beatles song)
  8. My Valentine
  9. Nineteen Hundred and Eighty-Five (Wings song)
  10. Here, There and Everywhere (The Beatles song)
  11. Maybe I’m Amazed
  12. We Can Work It Out (The Beatles song)
  13. In Spite of All the Danger (The Quarrymen song)
  14. You Won’t See Me (The Beatles song)
  15. Love Me Do (The Beatles song)
  16. And I Love Her (The Beatles song)
  17. Blackbird (The Beatles song)
  18. Here Today
  19. Queenie Eye
  20. New
  21. The Fool on the Hill (The Beatles song)
  22. Lady Madonna (The Beatles song)
  23. FourFiveSeconds (Rihanna and Kanye West and Paul McCartney cover)
  24. Eleanor Rigby (The Beatles song)
  25. Being for the Benefit of Mr. Kite! (The Beatles song)
  26. Something (The Beatles song)
  27. Ob-La-Di, Ob-La-Da (The Beatles song)
  28. Band on the Run (Wings song)
  29. Back in the U.S.S.R. (The Beatles song)
  30. Let It Be (The Beatles song)
  31. Live and Let Die (Wings song)
  32. Hey Jude (The Beatles song)


  1. Yesterday (The Beatles song)
  2. I Saw Her Standing There (The Beatles song)
  3. Birthday (The Beatles song)
  4. Golden Slumbers (The Beatles song)
  5. Carry That Weight (The Beatles song)
  6. The End (The Beatles song)

Faith No More @ Merriweather Post Pavilion (8/2/15)

Unlike paintings or sculptures or films, music presents a unique chance for artist and audience to connect face to face. The success or failure of a concert hinges on that connection, something that Faith No More’s show at Merriweather Post Pavilion on August 2 provided a glaring example of.

Having reformed in 2009 after 10 years apart and touring sporadically since, Faith No More started off the show as if they had never left, wading into a powerful version of “The Real Thing” before slamming through a solid half hour of some of their strongest material. Lead singer Mike Patton’s vocals were in top form, the thudding rhythm section of Billy Gould and Mike Bordin were locked in, and keyboardist Roddy Bottum and current guitarist Jon Hudson provided the deliciously singular hooks and melodies that have defined Faith No More’s unique sound.

But this initial burst of momentum eventually petered out, for reasons that were not entirely obvious: the band seemed comfortable and the playing was still solid. By the end of the main set, the energy in the venue had dipped noticeably, to the point that keyboardist Roddy Bottum actually asked the crowd, “Are we connecting?”

Faith No More at Merriweather Post PavilionMaybe Bottum was worried that the docile stage setup, complete with flower baskets and the band dressed in all white, was too disconcerting or tame or confusing for the audience. Maybe he was concerned that songs from the band’s 2015 release Sol Invictus were not going over as well as those from their “classic” late ‘80’s/early ‘90’s period. Maybe he was worried they had been upstaged by Dennis Lyxzén, lead singer for show opener Refused, who spent his band’s entire set pulling out every rock star move in the book (dancing, shuffling, throwing the mic, at one point even wading into and through the pit to sing from within the crowd), to enormous success.

Nevertheless, once the connection between band and audience had been severed, it was gone. Even the encore, featuring the first performance of the power ballad “RV” in 20 years, disappointingly failed to bring it back. People left the show satisfied, but not energized.

And maybe that’s our fault, for expecting the band to rekindle some feeling of nostalgia that would have made the show epic (pun intended) instead of just ok. The audience was ready to revert to their youth and channel the kinetic energy that the band’s music had inspired, but the band refused to pander or settle for clichés (such as playing “Epic” as the show closer). Faith No More should be applauded for trying to earnestly re-establish themselves, even if their quirky, insouciant approach made it tough for band or audience to truly connect. Ultimately, blame for this failure lies with both performer and audience. Patton sang it best: “Without me, you’re only you.”
Set List

  1. The Real Thing
  2. Land of Sunshine
  3. Caffeine
  4. Evidence
  5. Epic
  6. Sunny Side Up
  7. Last Cup of Sorrow
  8. Midlife Crisis (with Boz Scaggs – “Lowdown” interlude)
  9. A Small Victory
  10. The Gentle Art of Making Enemies
  11. Easy (Commodores cover)
  12. Separation Anxiety
  13. Matador
  14. Ashes to Ashes
  15. Superhero


  1. Rise of the Fall
  2. RV
  3. Just a Man

TV on the Radio @ Echostage (5/19/15)

All I wanted to hear was one moment. That breakdown at about the 2 minute mark of “Shout Me Out.” You know, where the song turns from mid-tempo groove into frantic headbanger. That point where I could lose my shit and feel the simmering energy in the venue boiling over. So that whenever I listened to that song again, I would remember that moment, that excitement, that feeling, that one thing I walk away from the best shows with.

And it didn’t happen. No real buzz. No amazement. No peak.

Instead, what I ended up walking away from TV on the Radio’s show at Echostage on May 19 with was a palpable sense of disappointment. Sure, it was a good show. There were moments, flickers when the crowd got going. The highs were most definitely high: “Wolf Like Me” got a huge reception, and it would be impossible to resist “Staring at the Sun.” But nothing rose to that ecstatic level of energy and excitement that makes a truly great show indelible.

Maybe it can be blamed on a set list consisting primarily of “new” songs from their 2014 album, Seeds. Maybe it was the fact that the Tuesday night show ended after barely an hour had passed. Maybe it was because opening band, Japanese import Bo Ningen, had filled their set with so much posturing and rock star clichés that TV on the Radio, despite the manic stylings from lead singer Tunde Adebimpe, had nowhere to go energy-wise but down.

Or maybe it was because they didn’t even play the song.

Set List

  1. Ride
  2. Lazerray
  3. Golden Age
  4. Happy Idiot
  5. Could You
  6. Winter
  7. Wolf Like Me
  8. Careful You
  9. Trouble
  10. Blues From Down Here
  11. DLZ
  12. A Method


  1. Young Liars
  2. Staring at the Sun

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