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Photo: Ray Polanco
Photo: Ray Polanco

The Many Lives of Toro y Moi

Chaz Bear has written, recorded and released music under a host of names over the years, but is perhaps best known for his work as Toro y Moi. One of the most successful names to come out of the chillwave movement in the early 2010s, the Berkeley, California-based musician has done much more than simply be part of the larger scene. The release of his most recent effort as Toro y Moi, Boo Boo, saw a more introspective and stripped-down era for Bear. He’s lent his production talents to some of this year’s most exciting up-and-coming artists like Tanukichan (who’s signed to Bear’s label Company Records, an imprint of DC’s own Carpark Records) and Astronauts, etc. We caught up with the artist ahead of his 9:30 Club show on November 12 to chat chillwave, community and what’s next for one of the hardest working names in music.

On Tap: Your album Boo Boo sounded like a slight departure from the more electronic-influenced sounds of your previous efforts. What were some of the themes surrounding this record?
Chaz Bear:
This record was written in 2016, a time when I was going through a change, and that’s what the record is about. It’s not really about a relationship with another person. It sounds like that, but it’s more of a relationship with society and about how to navigate the world in hectic times.

OT: You came onto the scene during the chillwave zeitgeist in the early 2010s. Were you ever worried about being associated with one of the first trendy blog rock genres? Do you care how people classify your music?
CB: It was never intimidating to be part of the genre. I always felt like it was helpful and useful to be connected to a scene. I’ve always used it to my advantage. It’s definitely easy to want to play into it and satisfy the listeners you have, but my goal with Toro y Moi is to explore as much as possible. I want to grow and explore different types, styles and sonic palettes, whether they be lo-fi sounding or shiny and hi-fi. I think that’s the whole challenge for most, if not all, listeners: to take down those sonic barriers and enjoy music from everywhere – all genres, all qualities.

OT: Your background is in graphic design. Has your work in that field influenced your music at all?
CB:
Graphic design initiated the conversation in my head about taste and style – what I think I want to present and how I want to present myself. That carried on to music as well. Before I got into graphic design, my music was more of the times: emo and post-punk stuff. I never really referenced music from the past until I got into graphic design. It taught me how to achieve and maintain a sense of timelessness.

OT: In addition to your own work as Toro y Moi, you’ve been producing work for artists like Astronauts, etc. and Tanukichan. How does approaching these projects differ from your own solo work?
CB:
When working with new artists, the first thing that I’m drawn to is a person and their actual character. If their music is good on top of that, they become a friend who makes dope music and it’s like, “Oh man, we should make more music together,” and we just go from there. The motivation behind making music with friends comes from the idea of building something together within our community. Everyone on Company Records is based in the Bay Area. It’s a label that’s sort of eclectic in the sense of [having] a lot of different genres. It’s also still very honed in with a community vibe.

OT: Speaking of community, Berkeley recently honored you by declaring June 27 “Chaz Bear Day.” What was it like to be recognized by the city in such a public way?
CB:
That was a really big turning point for me because I hadn’t realized that my presence was so impactful. I needed to truly think about how the city was looking at me and where I wanted to go with this. It was truly flattering, and it still is an amazing thing. It was kind of like more of the city recognizing you for your good work. That’s really all I can do: keep working.

OT: You’re also overseeing the aforementioned Company Records. What are your goals for the label, and how are you choosing who to sign and work with?
CB:
There’s two ways to approach it: working with new and younger acts and working with your peers. Everyone I’m working with, I’ve known them first not as musicians. I like that approach more. I do feel like we’re all around the same age – 20 and 30-somethings – and we all started playing music around the same time. But some of us didn’t get the exposure, so I think bringing up the community is what I’m focusing on and making sure there is a solid, level platform for everyone I’m rising with. It will make the city better, it should make the Bay Area better and inevitably it should make (laughs) everything a little bit nicer.

Toro y Moi will play 9:30 Club on Monday, November 12. Tickets are $25 and doors open at 7 p.m. Follow Bear on Instagram and Twitter @toroymoi. His next album Outer Peace will be released on January 18 via Carpark Records. Learn more at www.toroymoi.com.

9:30 Club: 815 V St. NW, DC; 202-265-0930; www.930.com

Photo: Jim McGuire
Photo: Jim McGuire

Banjo Legend Béla Fleck Part of Terrific Trio

With 16 Grammy Awards to his name, Béla Fleck is not your average banjo player. He’s known throughout the world for redefining the instrument, and sits proudly in the American Banjo Hall of Fame alongside notable players like Jim Henson, Steve Martin and Pete Seeger.

“I first heard the banjo on the Beverly Hillbillies theme,” Fleck says about the bluegrass stylings of banjoist Earl Scruggs, who famously played the tune. “Something about the sound hooked me as a little kid, and then my grandfather unexpectedly got me one just before high school. I became obsessed and still am.”

In 1973, Fleck began at New York City’s High School of Music and Art where he studied the instrument seriously. It didn’t take him long to discover he’d play the banjo for the rest of his life.

“I took no steps to do anything else once I got into it, so there was no escape,” he continues. “No colleges were submitted to, I trained for no jobs. I just came out of high school and right into bands. I was fortunate that my mom was surprised and distracted with a new baby when I was a senior in high school, otherwise I never could have gotten away with it.”

His group Béla Fleck and the Flecktones have been touring for 30 years and have released a plethora of music, most famously, the landmark three-disc Little Worlds. Recently, Fleck also moved into the teaching side, inspiring future youngsters to pursue the instrument professionally.

“I’ve just returned to teaching after not doing it for many years. I just hosted my first banjo camp  The Blue Ridge Banjo Camp – and it went very well, with 100 students.”

On November 10, Fleck will join forces with bassist Edgar Meyer and tabla performer Zakir Hussain for a trio performance presented by Washington Performing Arts at GW’s Lisner Auditorium. While each member of the group is expected to play some solo pieces, Fleck notes there won’t be any individual sets as they’ll perform as a band.

“We are adding a wild card this time: an incredible bansuri player named Rakesh Churasia. The music will be sometimes beautiful and sometimes very exciting. There will be a strong groove, with Zakir’s incredible percussive abilities, and a lot of melody and warmth coming from Edgar’s bowed bass and the rich sounds of the flute. And I’ll be fitting my banjo in there somewhere in the middle.”

The trio has known each other for awhile and play together periodically.

“Rakesh is new to the group, but Edgar and I go way way back, and Zakir and Edgar and I go back 10 years or longer. We got together to create a triple concerto to celebrate the opening of the Schermerhorn Symphony Center, home of the Nashville Symphony. After that, we loved playing together and toured quite a bit with the trio.”

They even found time to record The Melody of Rhythm: Triple Concerto & Music for Trio in 2009. The tour marks the first time they’ll reunite on stage since 2013.

“I would say that Edgar and Zakir have both impacted my music making immensely,” he says. “I can learn from everyone, and that always keeps me intrigued and on my toes.”

Once the tour ends in December, Fleck will start performing again with his wife, clawhammer banjoist Abigail Fleck, who recently gave birth to their second child in June. Together, the two won the 2016 Grammy for Best Folk album.

“I have lots of things brewing, too early to say much, except more touring with the Flecktones and Chick Corea. There is something very powerful about the experience of improvising in front of an audience. There are things that I can only pull off in front of a crowd. They are part of the collaboration.”

Béla Fleck, Edgar Meyer and Zakir Hussain will play the Lisner Auditorium on Saturday, November 10 at 8 p.m. Tickets are $40-$50. Learn more about the performance here, and about Fleck here.

Lisner Auditorium: 730 21st St. NW, DC; 202-994-6800; www.lisner.gwu.edu

Junglepussy

Music Picks: October 2018

WEDNESDAY, OCTOBER 3

Leon Bridges with Khruangbin
These two Texan musicians are bringing their acts to the East Coast early this month. Khruangbin sources their inspiration from their newest work Con Todo El Mundo from soul and funk music in the Middle East, which I wouldn’t have even considered to be a thing until I looked into this album. Leon Bridges will bring some classic R&B and soul with a country twang to The Anthem from his new album Good Thing. Though they may occupy dissimilar genres, the smooth soulfulness of their music ties them together really nicely and makes pairing them together on tour a fantastic idea. Doors at 6:30 p.m. Tickets start at $55. The Anthem: 901 Wharf St. SW, DC; www.theanthemdc.com

WEDNESDAY, OCTOBER 3 – SATURDAY, OCTOBER 6

Capitol Hill Jazz Foundation’s Hillfest
Hillfest, an all-day, free concert held in Garfield Park, will bring musicians together in an effort to translate performances into policy. The festival begins with a conference addressing policy concerns that directly affect musicians on a local and national level, followed by a day-long concert. Enjoy performances by bands such as Stefon Harris & Blackout, JOGO Project, Cheryl Pepsii Riley and many more. Learn more about music and marketing through the conferences that will take place on Wednesday and Thursday, and enjoy the various vendors showcasing their wares on Friday. Garfield Park: 2nd and F Streets in SE, DC; www.hillfest.org

FRIDAY, OCTOBER 5

Lupe Fiasco
Chicago rap veteran Lupe Fiasco released his new album Drogas Wave in late September. The 24-track album features frequent collaborators like Nikki Jean, Crystal Torres and Simon Sayz, as well as new ones like Damian Marley. Though he’s always been a prominent voice in conscious rap, Fiasco’s work has taken on a new level of self-awareness – especially amid the various controversies and threats of retirement of the past few years. Hopefully, this new album gives fans of his old work something to be excited about again. Doors at 8 p.m. Tickets $30. 9:30 Club: 815 V St. NW, DC; www.930.com 

SATURDAY, OCTOBER 6

Black Masala CD Release Party
Celebrate the release of Trains and Moonlight Destinies from this dynamic live brass band based in DC. One of their many musical influences comes from India in the form of Bhangra music. Even their name refers to a term used to describe a mix of spices often used in Indian cuisine. Their eclectic tunes run the gamut from jazz and New Orleans funk to Balkan brass and free-spirited, Romani-tinged folk with punk-rock vibes. Hopefully, their new album demonstrates a bit of growth when it comes to their liberal use of the “g” slur. It’s 2018 and we need to do a bit better, no? Doors at 7 p.m. Tickets $15. Pearl Street Warehouse: 33 Pearl St. SW, DC; www.pearlstreetwarehouse.com

The Presets with Blood Red Shoes
Australian electronic duo The Presets and English alt-rockers Blood Red Shoes take the stage this month at U Hall. Rolling Stone Song of the Year winners The Presets released Hi Viz a few months back after going years without releasing any big projects. Blood Red Shoes took a similar hiatus right before starting to record their new album Get Tragic, which is set to debut in January. According to a recent Clash interview, their leading single “Mexican Dress” is about the lengths people will go to for attention. “Whether it’s online or in real life, small hits of validation and the feeling of having all eyes on you have become our generation’s biggest drug problem,” says guitarist and vocalist Laura- Mary Carter. Doors at 7 p.m. Tickets $25. U Street Music Hall: 1115 U St. NW, DC; www.ustreetmusichall.com

MONDAY, OCTOBER 8

J Cole, Young Thug, Jaden Smith and EarthGang
There’s so much to be excited about for this tour – for one, you get to see J. Cole. Did you know his album 2014 Forest Hills Drive went platinum with no features? I’m so thankful for Cole’s KOD era so that meme can finally be laid to rest. Also, Young Thug posted bond for the felony charges he stacked up in Georgia, so we can expect to see him on this tour date. Plus, he has a new song “On the Rvn” in the works with the legendary Elton John, 6lack and tourmate Jaden Smith that should be coming out any day now. Smith and EarthGang round out this very comprehensive lineup that represents various facets of the rap world and conveniently places them all together on one stage just for you. Doors at 6:30 p.m. Tickets start at $29.50. Capital One Arena: 601 F St. NW, DC; www.capitalonearena.com

TUESDAY, OCTOBER 9

Nine Inch Nails with The Jesus and Mary Chain
In honor of their ninth album Bad Witch, NIN is joining fellow white noise lovers The Jesus and Mary Chain on The Cold and Black and Infinite Tour in October. Scottish alternative pioneers JMC released Damage and Joy in 2017 – their most recent music prior to that was from 2002, so it’s been more than a decade since any fan has seen them play new music on tour. It’ll be an experience to see these two bands touring together again since it’s been almost 30 years since they’ve shared a bill. Doors at 6 p.m. Tickets $95-$175. The Anthem: 901 Wharf St. SW, DC;
www.theanthemdc.com

THURSDAY, OCTOBER 11

Mija
The mysterious producer is coming to Ten Tigers and bringing her unique sound with her. Some of her musical influences include Björk as well as Chopin, Imogen Heap and Nicolas Jaar. The Just Enough EP, which only features two songs, debuted earlier this summer. With these tracks, Mija delves deeper into the concept of her own genre-bending production that she somehow still manages to fill with sensitivity, introspection and raw emotion. She also has a collaboration with Heelys, which accurately reflects her reluctance to stick to only one medium of expression. Any artist that’s making music while simultaneously designing (and probably wearing) Heelys out here in these streets is someone that is clearly riding their own wave, and I definitely respect that. Doors at 10:30 p.m. Tickets $20. Ten Tigers Parlour: 3818 Georgia Ave. NW, DC; www.tentigersdc.com

MONDAY, OCTOBER 15

Mikaela Davis
Singer, songwriter and classically trained harpist Mikaela Davis dropped her debut album Delivery this July, but it’s definitely not the angels-coming-down-from-heaven harp playing that you’d think. Davis uses her harp as one would use a guitar, and her music takes elements from psychedelic rock, chamber pop and folk. For good examples, check out her songs “Get Gone” and “Other Lover,” and be sure to check out her show when she comes to DC, too. Doors at 7:30 p.m. Tickets $13-$15. DC9: 1940 9th St. NW, DC; www.dc9.com

THURSDAY, OCTOBER 18

Junglepussy
Junglepussy continues to flourish as she steps further into the greatness she claimed for herself on 2015’s Pregnant With Success. Since then, this queen of affirmation, health and self-awareness has catapulted to new heights not only with musical cameos (shout-out to Insecure) but onscreen ones too. The good sis has an IMDb page now and has appeared in shows like Mostly 4 Millennials, the SXSW movie Support the Girls and HBO’s Random Acts of Flyness. If you missed her in any of these roles, you owe it to yourself to check out her live show when she comes to DC to give us a taste of her newest album JP3. Doors at 7 p.m. Tickets $20. Songbyrd Music House and Record Cafe: 2477 18th St. NW, DC; www.songbyrddc.com

Little Dragon
Little Dragon is a Swedish electronic band, or at least that’s how they’re often described. To me, Yukimi Nagano’s vocals and the intelligent musical compositions of her bandmates catapult them into their own realm. The haunting soulfulness in Nagano’s voice makes them able to work with people like Big Boi, Anderson .Paak, Mac Miller (RIP), De La Soul and more. They have a newer song with Faith Evans called “Peace of Mind” up on their website that you should check out if you want to see what I’m talking about. In any case, this is a can’t-miss show especially since it’ll be at an intimate venue like Rock & Roll. Doors at 7 p.m. Tickets $35. Rock & Roll Hotel: 1353 H St. NE, DC;  www.rockandrollhoteldc.com

SATURDAY, OCTOBER 20

Mae
Call me a nerd for this, but I literally did a project about Mae and the concept albums they released back when I was in high school. Oddly enough, it was for a class where we made our own websites from scratch to learn HTML, and my little artist page and bio that I wrote about them turned out really nice if I do say so myself. Maybe it was the precursor that led me to my true destiny of writing tons of mini-artist bios about upcoming concerts for a local magazine. Personal anecdotes aside, I have a tremendous amount of reverence for one of the bands that formed my emotional landscape as a youth, cemented my love of concept albums and earned me an A in my web design class. Doors at 7 p.m. Tickets $22-$40. Jammin Java: 227 Maple Ave. E Vienna, VA; www.jamminjava.com

SUNDAY, OCTOBER 21

J Balvin
At the time this was written, Colombia’s own J Balvin was the second most streamed artist on Spotify – worldwide. The artist has been working tirelessly to bridge the language barrier of popular music in the American mainstream, and whatever he’s doing is finally paying off. With the recent success of his Cardi B and Beyoncé collabs, and the constant stream of bangers he puts out, I’d say his goal is well within reach. Doors at 7 p.m. Tickets start at $39. EagleBank Arena: 4500 Patriot Cir. Fairfax, VA; www.eaglebankarena.com

Lily Allen
LDN-born Lily Allen is back with her new album No Shame. The last I’d heard from her was about her culturally appropriative video for her single “Hard Out Here,” and since then, I’ve not been able to see her music the same way though I had been a huge fan of hers since 2007. Upon realizing she would be coming to DC, I looked to see what she had been up to. In the four years since Sheezus, it seems the pop star has experienced much growth. Not only has she apologized for the insensitive video, but she wrote a memoir detailing her experiences with motherhood, addiction and the perils experienced since rising to fame at such a young age. In her new album, her maturity is apparent – the cheeky honesty that’s been a hallmark of her music from the beginning now comes forth with a lot more vulnerability and wisdom. Her evolution as an artist makes me proud to be a fan again. Show at 7 p.m. Tickets $35-$40. The Fillmore: 8656 Colesville Rd. Silver Spring, MD; www.fillmoresilverspring.com

TUESDAY, OCTOBER 23 – THURSDAY, OCTOBER 25

NSO Pops Presents Star Wars: The Empire Strikes Back with Live Orchestra
The number one reason to go see this show is to have the once-in-a-lifetime experience of having an orchestra play you the Star Wars theme (and the other songs from the soundtrack that are arguably much less iconic) note for note while the movie plays in real time. The number two reason is that if you go see this, you will be able to brag to your friends about how cool it was – and no one would be able to top it unless, you know, they were in the original film or something. Tuesday’s show begins at 7 p.m. but the other two shows start at 8 p.m. Tickets $34-$149. The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; www.kennedy-center.org

WEDNESDAY, OCTOBER 24 – THURSDAY, OCTOBER 25

Beach Fossils and Wavves
For some reason, I really like surf-inspired rock that’s heavy on the angst and emotion. It makes me feel like I’m lying on the beach next to my surfboard contemplating my life choices (mind you, I’ve never even so much as looked at a surfboard up close in real life). Beach Fossils and Wavves will be joining forces with opener Kevin Krauter, whose music offers a nice change of pace to balance everything out. Wavves will be headlining on Wednesday and Beach Fossils on Thursday. Doors at 7:30 p.m. Tickets $25. Black Cat: 1811 14th St. NW, DC; www.blackcatdc.com

THURSDAY, OCTOBER 25

Nick Cave & The Bad Seeds
I’m going to keep it 100 here and say that what marginal knowledge I have of Nick Cave comes from eavesdropping on the excited chatter of my editor. Quite a few members of our editorial staff really go up for this man and are super excited for him to come all the way from Australia to our little corner of DC. From what a brief jaunt through some Google pages has taught me, this post-punk poster boy and his crew are a very on-brand choice to really amp up the Halloween vibes. Catch them at The Anthem this fall. Doors at 6:30 p.m. Tickets $60-$100. The Anthem: 901 Wharf St. SW, DC; www.theanthemdc.com

SUNDAY, OCTOBER 28

Kllo
Australian duo Kllo is a staple on many “chill” type playlists populating Spotify. The light, airy R&B-inspired vocals of Chloe Kaul and the skillful production of her cousin Simon Lam make for an ambient blend of music that is danceable yet incredibly calming. Come see what all the fuss is about when they travel to DC this month on the U.S. leg of their tour. Doors at 7 p.m. Tickets $15. Union Stage: 740 Water St. SW, DC; www.unionstage.com

Photo: Shervin Lainez
Photo: Shervin Lainez

St. Lucia Brings New Record To Life On Stage

Some bands have the ability to sound great on a record but struggle to bring that same quality of sound onstage. Others are the opposite, captivating in real time but less inspiring later on. Since the release of St. Lucia’s first EP in 2012 to their new record Hyperion, they’ve proven time and time again that they’ve hit the happiest of sonic mediums.

Jean-Philip Grobler (the group’s founder, frontman and primary songwriter) and company make the perfect music to soundtrack an early fall road trip with earworms like “Dancing on Glass” and “Elevate.” They also consistently sell out iconic music halls, including their last run at 9:30 Club. In fact, they sold out two New York City shows at Pier 17 ahead of Hyperion’s release. Grobler is adamant their live show has helped them realize the full spectrum of their music, set them apart from peers and has garnered them a loyal fan base through the years.

“I loved making the album,” he explains. “It’s a grueling process, but it’s necessary. Through that process, I fully rediscover who I am as a person and an artist each time. The record really comes to life onstage, through people seeing and hearing the songs performed live. Sometimes [listening to a record] is too much for people to absorb. It’s like hearing just the audio of a movie and thinking, ‘What exactly is going on?’ and then seeing the movie and hearing the audio, which makes way more sense.”

St. Lucia is preparing to bring even more energy on this tour, which kicked off at the aforementioned sold out Pier 17 dates. Grobler and his bandmates will be back at the 9:30 Club on November 5 and 6.

“I feel like out of all of our records, [Hyperion] is tailor-made to be played live because it was constructed as a ‘band in a room’ kind of record, even though there’s also a higher production value there,” he says.

“We have the craziest production lights and rigs we’ve ever taken on tour, and we have this custom video content.”

Aside from the bells and whistles, their live show is part of their identity at this point.

“We believe in playing music as a band, but we also believe in bringing a show so that people get more than maybe what they would expect from the size venues that we’re playing.”

While their lush, breezy sound will have you dancing in your car on a daily commute as much as in front of the stage in concert, don’t write them off because of their pop-leaning sound – especially in this contemplative full-length effort. The band is more than meets the eye, or the first listen.

“I feel like in music and art in general, it more celebrates what’s f–ked up and negative,” Grobler says. “People, for some reason, believe your art more if you’re a dark person. I’m making this music that’s very positive and uplifting, but I think it’s important that all art has balance – that it explores the dark and light sides of the human condition. Having Indy made me think a lot more about that. To me, it comes across on the record and it feels like it’s a deeper exploration of both ideas.”

Indy is, of course, Grobler’s son with his wife and St. Lucia bandmate Patti Beranek. She was pregnant during the writing and recording stages of Hyperion, and that life-altering experience for both naturally gravitated into the sound of the album. Global chaos and impending first-time fatherhood led him to meditate on what kind of good and bad things in the world would greet Indy when he finally arrived.

“I would definitely call myself an optimistic person. I’m quite romantic and I think the world is beautiful. But I also see how it’s f–ked up in a lot of ways. A lot of the album is just dealing with being that kind of person in this world. We have this very positive vibe to our music. From the outside, I think for people who listen to darker music, it can be difficult for them to make that jump. But I think if they did, they would find something good in it.”

The reciprocal relationship music creates between artist and listener lies at the heart of everything St. Lucia creates. As excited as he is to inspire listeners through a record and in person, Grobler thrives off the energy and excitement fans new and old provide with each new album.

“When you start touring [and] you see people singing along to the words, that’s such a moving thing. There were so many moments of self doubt in making all these records. I think it’s natural for an artist to experience that. You go through this really grueling pilgrimage and process of making a record and then you release it, and you’re f–king terrified of what people might think. But then to just see how it moves people – and we haven’t seen it yet with this record – I’m really, really looking forward to that.”

Move and be moved with St. Lucia at the 9:30 Club on Monday, November 5 and Tuesday, November 6. Doors at 7 p.m. Tickets are $32.50. Learn more about the show at www.930.com, and about the band at www.stlucianewyork.com.

9:30 Club: 815 V St. NW, DC; 202-265-0930; www.930.com

Photo: Erin Brethauer
Photo: Erin Brethauer

Behind The Audio: NPR’s Yowei Shaw Brings Mystery to Pop-Up Stage

When Yowei Shaw attended her first Pop-Up Magazine show, she was so intrigued by the unique storytelling platform she knew immediately that she wanted in. The current NPR producer for Invisibilia was a freelancer at the time, so she was well versed in the act of pitching proper stories for the right outlets, but after proposing nonfiction after nonfiction stories, Pop-Up proved to be incredibly selective about its performers. Though Shaw is still figuring out the perfect pitching formula, a story based on her personal experience was approved for the fall 2018 issue and is on its way to Warner Theatre in DC on September 25 (she’s also performing in Portland and Toronto for Pop-Up’s international debut).

“I think it was a little bit of a fluke that I got through,” Shaw jokes, but as she describes her upcoming performance, it has all the traits to captivate a listener and keep them tuned in until the end.

The story is based on, “something strange [that] happened to me years ago when I used to run a tiny DIY youth radio project in Philadelphia,” Shaw says. During a workshop she taught to young people about creating radio stories for their communities, “something went totally haywire with one of my students and I haven’t ever been able to get it out of my head.”

Shaw was able to track down her former student who inspired the story, but that’s all she could share with me. Staying true to her background in long form audio content, the story involves an abridged investigation packaged for her live set. Through collaboration with Pop-Up’s team of the artistic and visually-minded, her story will feature animations and documentary photos.

At the time of our interview, Shaw hadn’t seen all the visual elements to her own story but is excited to see what the team comes up with. “Each story presents different opportunities and I feel like they’re always trying to maximize potential and try different things,” Shaw says.

Pop-Up ensures a diverse lineup, starting with shorter, comedic stories followed by heavier, longer stories toward the end. Shaw’s somewhere in the middle.

Shaw’s seen at least four or five Pop-Up shows now, explaining, “it’s really a magical experience. Every time it comes to town I have to go.” She adds that the Pop-Up team are masters of this new medium of storytelling and she’s very excited to meet her fellow performers and watch their own stories come to life.

“I’m a huge fangirl of [Ann] Friedman (Call Your Girlfriend podcast). I subscribe to her weekly newsletter, so that will be personally gratifying to meet her and see her story. I’m really excited to see what Albert Samaha (BuzzFeed) comes up with, Ed Yong (The Atlantic), really all of them. Almost all the rest of the lineup, these are people I admire and respect very much. It’s very strange to see my name [alongside their’s]!”

The storytelling performances are made up of avid note takers by profession – journalists from all media platforms. But what happens at Pop-Up Magazine’s live shows stays at Pop-Up: with its no-recording policy, audiences are left to sit through these performances and leave with just the memory of a night that draws from all bases of the human experience.

Working mostly in the radio world, Shaw was eager to collaborate with other types of journalists, making her both thrilled and nervous to perform a story live instead of producing it in a studio.

“Listening to the audio is a pretty solitary experience so I don’t know what people think really or how they experience it. I don’t know where people laugh, I don’t know where people sigh… I have performed before just a few times, and there’s a high you get from that kind of audience participation and reaction that you don’t get from putting out a podcast or radio show.”

As for what Shaw has planned next, she will produce a longer version of her performance for NPR’s Invisibilia, returning for its next season in spring 2019. “Imagining the audience and how they react in a much more intentional way, that is something I will be bringing back to my work with Invisibilia. Just the thrill of taking people by the hand and in the story and just giving them a ride and an experience.”

Pop-Up Magazine is coming to DC’s Warner Theatre on September 25. Find ticket information and see who’s performing here.

Warner Theatre: 513 13th St. NW, DC; 202-783-4000; www.popupmagazine.com

Photo: Chris McKay
Photo: Chris McKay

MC50 Kicks Out Jams For Freedom

For 50 years, “Kick out the jams, motherf–kers” has been one of rock ’n’ roll’s most ecstatic, transcendent rallying cries. When it was first heard blasting out of the streets of Detroit, it went beyond music. MC5, or Motor City 5, the Detroit rock band that helped paved the way for punk, employed it as a cry to their fellow youth – for energy, for justice, for racial equality and yes, for some righteous, roaring jams.

Does MC5’s music still embody that call to action and exuberance? Can a band that aspired to spark revolutions both political and musical light those same fires today? Those questions lingered in the air as the crowd awaited the group to take the 9:30 Club stage on September 13.

For the latter question, the answer is, “Probably not.” People’s politics and goals change with time. In fact, the most political the group got was when lead guitarist and founding member “Brother” Wayne Kramer sermonized about the participatory nature of democracy, imploring the crowd to go vote before launching into the swinging, proto-punk “The American Ruse” from MC5’s second album Back in the USA. The band has little reason to try and instigate the same musical battles it waged across Midwestern concert halls at the onset of the 1970s because generally speaking, they won.

Kramer and the original MC5’s victory is seen most prominently in the very musicians who currently make up the band. Joining Brother Wayne for the MC50th, the all-star rock supergroup celebrating the Motor City 5’s fiftieth, included Soundgarden’s lead guitarist and human tidal wave of sound Kim Thayil, Faith No More’s Billy Gould on bass, Fugazi’s Brendan Canty on drums and, relative newcomer, Marcus Durant of Zen Guerillas out front as an eerily ideal stand-in for original vocalist Rob Tyner. All of these bands had longer, more successful and prominent careers than MC5’s originals, yet they all joined collectively to revive the music – that’s how deeply ingrained this band is to rock’s DNA.

At the 9:30 Club, these all-star musicians did not gather to fight yesterday’s political battles but to remind everyone in the room – from the graying hippies to the Washingtonians in their finest punk rock threads – how potent this music is. The supergroup ripped through MC5’s breakthrough album Kick Out The Jams, bringing everything from backyard boogie garage rock of “Rama Lama Fa Fa Fa” to the metallic boom of “Come Together.”

Kramer himself best tried to channel the spirit of 1968, leaping and dancing across the stage while unleashing his signature high octane, high register steam whistle solos. Gould and Canty conjured the crushing force of Detroit’s factory days in the rhythm section while Thayil, who usually summons sound waves like tsunamis in Soundgarden, stepped back into rollicking, prototypical rock guitar shedding.

The surprise of the night came as MC50 closed their run through of the famed album with “Starship,” the nine-minute-plus, space-meets-early-noise-rock closer that features a verse of poetry by the Afrofuturist jazz leader Sun Ra. As the song’s familiar verse-chorus-verse structure gave way to amorphous, borderline atonal, pulsating free fusion, the MC5’s spark shone through brightest.

You can hear echoes of “Starship” and “Kick Out the Jams” across the frontiers of rock today. In fact, it was appropriately reminiscent of the avant jazz stylings in some of the work of DC’s own Priests.

As Durant wailed on a miniature saxophone and Kramer wandered cosmically along thefretboard, the MC50th embodied the original message the MC5 pushed, one that punk embraced and spread to a whole generation: freedom. MC50 served a reminder for everyone in the crowd, anyone who would listen, that the central promise of American music – of the United States of America – is to create what you want.

It was a joyful, noisy reminder that American music, from avant-garde jazz and death metal to Lady Gaga and Usher, celebrates at its very core the idea of liberty we all cherish.

For more information about the MC5 and the MC50, check them out here

Photo: Shawn Brackbill
Photo: Shawn Brackbill

Inside the Ever-Evolving Dream Pop World of Beach House

On the day we’re scheduled to chat, Victoria Legrand of Beach House is called to jury duty. Even masters of their craft with incredible work ethic are not immune to the tedious call of bureaucratic obligation.

When I interview Legrand a week later, the vocalist-keyboardist for the Baltimore-based dream pop duo speaks with enthusiasm and insight into everything we cover in our conversation. It was supposed to be a brief 15-minute call, but when I tell her that Beach House is my favorite band, she’s quick to continue our conversation and tells me to ask her anything I really want to know. For someone at the helm of one of the dreamiest bands in the world, she is refreshingly kind and down to earth.

With bandmate and guitarist Alex Scally at her side, the pair crafts ethereal, enigmatic songs with incredible consistency. Beach House is responsible for a colossal catalog, with seven albums and nearly 80 songs to date. Depression Cherry and Thank Your Lucky Stars were released a mere two months apart in 2015, and the band’s B-Sides and Rarities compilation was announced barely two years later. Their seventh album, unpretentiously titled 7, arrived this May.

Legrand and Scally embarked on a world tour for 7 in July – with an upcoming stop at The Anthem planned for August 25 – and they’re allowing fans to select the top three songs they want to hear most at the show they’re attending. Much like the rest of the creative endeavors the pair’s pursued over the course of their 14-year career, it’s an ambitious concept. And with 77 songs to their name, the fan requests are no small feat – but it’s something they’ve been waiting to enact for some time.

“Alex came up with that idea three or four years ago – time flies,” Legrand says. “It’s something that he’d been toying with as a way to get to know our audiences more in every city. You’ll see the list of what songs are being requested over others, and it’s very fascinating. It’s a way for fans to interact with us, so it’s not just this one-sided relationship where it’s like, ‘Band plays onstage in front of audience! Take it!’ It was based off some very innocent ideas on how to make things a little bit more fun and interesting.”

The band’s meticulous approach to everything they do as musicians becomes more evident as Legrand and I discuss the imagery surrounding 7. For previous records like 2010’s Teen Dream, the band crafted a music video for each song. But with 7, they drew heavily from the black and white visuals in the style of op art – the use of black and white geometric shapes to create striking optical illusions – and the iconography of Andy Warhol’s Factory. Each song has its own op art video that marries audio to visual.

“The black and white really connected with the music and was an inspiration for the record,” she says. “I think that we wanted the op art to be something that people would identify with for 7, and it seems to be working.”

Musically and aesthetically, it definitely is. Their label, Seattle stalwart Sub Pop Records, released colored vinyl editions of 7 that sold out the same day the record came out. The album itself received rave reviews and has already clocked in high on many early album of the year lists. Legrand breaks down the cover of 7 for me – a dizzying array of op art, black and white clips, holographic elements, and a woman’s obscured face – all of which she provided creative direction for alongside Post Typography, a design house based in Baltimore.

“You have some psychedelia in there – this hallucinogenic aspect,” she says of the album cover. “There’s bits of chaos in there. Those are some of the themes off the record, especially on a song like ‘Dark Spring,’ which is embodying nature, change, chaos [and] darkness. And then you have glamour and destructiveness. There’s a lot of very cinematic themes throughout the record.”

Cinematic is a word that’s often ascribed to Beach House’s music and unsurprisingly, the band is a go-to for soundtracking movies and TV shows. Their work has appeared in movies such as The Future and the documentary Ivory Tower. You can hear their songs on shows like The OA, Skins, Marvel’s Jessica Jones, Atlanta and New Girl, to name a few.

“I usually make the decision just purely based on the show – the storywriting and who I think the audience will be,” Legrand tells me. “I tend to love and gravitate toward shows for younger people because I really care about young people emotionally and psychologically. I have a great deal of empathy for people who are just trying to survive in the world. Any shows that are about that, I am always happy to let them use our music.”

Beyond their highly stylized album art and impressive soundtracking credits, Legrand says her band has their sights set on breaking into the world of composing.

“We’re literally just waiting for a person to hire us. I think we just really want someone to just say, ‘Hey Beach House, would you soundtrack my film?’ and we would do it.”

Don’t expect the band’s first foray into composing to be another record though. Legrand views entering that universe as a way to incubate ideas outside of the work she and Scally are used to producing and tap into currently uncharted  territory.

“Scoring and soundtracking use totally different parts of our writing process. There’s stuff we would make that probably wouldn’t sound at all like what any of our previous work sounded like. It would be using totally different aspects of our creative writing, which is something that we’re dying to do because we’d be able to develop more of our other unknown creative sides.”

Brimming with creative energy, I can’t help but wonder if Legrand is ever uninspired by the world around her or feels overwhelmed by the pressure to constantly create.

“I personally do burn out and go through great periods of what I call ‘nothingness’ where I am almost forgetting what I do,” she tells me. “I don’t say, ‘I’m a singer, I’m a musician.’ It’s almost like I don’t even identify as that. It’s more like, ‘I’m Victoria, I’m a human being.’ I do whatever, I’m fascinated by many things. Boredom – or whatever that is, the nothingness – is an extremely important part of the process of then being able to have new things start to creep in.”

It’s clear that Legrand has arrived at a place where she can embrace the nothingness. She tells me about the intense writing and recording and touring for their record Bloom about seven years ago, where she experienced her first bout of burnout brought on by “our own insanity, propelling us forward.” Since then, she’s learned to accept these feelings as part of the ebb and flow of existing in the world as a creative person.

“It’s very normal to feel all of the sudden that you’re not a creative person at all. I might not hear a melody or come up with lyrics or have a story in my mind. But I might be going down a rabbit hole of things that lead me, for example, to develop the ideas for the visual of 7. I was into art and just seeing things. I wasn’t into hearing or listening. I was more into looking. It’s important to accept oneself if you feel like you’re all of the sudden flattened. You’ll come up again – you just have to let that moment be.”

Beach House bring their electrifying new album 7 to The Anthem on Saturday, August 25. Papercuts open. Doors open at 6:30 p.m., show at 8 p.m. Tickets start at $38. For more on Beach House, visit www.beachhousebaltimore.com.

The Anthem: 901 Wharf St. SW, DC; 202-888-0200; www.theanthemdc.com

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Stage and Screen: August 2018

THROUGH SUNDAY, AUGUST 5

The Story of the Gun
Politics aside, what is the history with America and guns? Mike Daisey offers a comedy-tinged performance about the controversial conversation. The New York Times-designated “master storyteller” won’t be lecturing you on a specific partisan point. While we’re used to hearing repetitive rhetoric on the gun debate, Daisey’s performative aspect to this topic should offer a fresh conversation to help us all get to the root of America’s polarizing relationship to guns. The show is only available for a week, but this conversation will forever be a hot topic. Tickets are $20-$66. Woolly Mammoth Theatre Company: 641 D St. NW, DC; www.woollymammoth.net

THROUGH SUNDAY, AUGUST 26

The Color Purple
Based on the 1982 book by Alice Walker, this story has won awards as a novel, film and musical. Witness the heart-wrenching story of Celie, who is separated from her sister and children for most of her life but finds a way to stay hopeful and in the end, triumphant. Set in early 1900s Georgia, The Color Purple is told through jazz, gospel, ragtime and blues, and explores different family and relationship dynamics. Don’t miss out on the production awarded with a Tony for Best Revival of a Musical. Tickets are $69-$149. The Kennedy Center: 2700 F St. NW, DC; www.kennedy-center.org

FRIDAY, AUGUST 3

Hey Frase! A Live Podcast Taping
Ever listen to a great podcast and wish you were in on the fun? Hosts Sarah Fraser and Paul Wharton are joined by guests Danni Starr and comedian Rob Maher for this special live taping of Hey Frase! They’ll be trying their hand at standup while recording a hilarious conversation you can relive later on, including their thoughts on pop culture in DC and beyond. Starr is a radio host on 93.9 WKYS and TLC, and Maher has performed with Kevin Hart and is a regular favorite at DC Improv. Tickets are $25-$30. AMP by Strathmore: 11810 Grand Park Ave. Bethesda, MD; www.ampbystrathmore.com

FRIDAY, AUGUST 10 – SUNDAY, SEPTEMBER 2

Melancholy Play: A Contemporary Farce
This refreshing comedy about love isn’t about your typical, gorgeous lead. Yes, everyone is in love with her. But no, it’s not because she’s a bubbly, model-like star. Tilly’s sadness is what makes her so irresistible – no wonder even her therapist can’t get enough. Unfortunately for her admirers, Tilly’s emotions turn topsy-turvy as she discovers true joy. Moving beyond physical affections, Sarah Ruhl’s Melancholy Play will show you a surreal kind of love. Tickets are $19-$45. Constellation Theatre Company at Source Theatre: 1835 14th St. NW, DC; www.constellationtheatrecompany.com

TUESDAY, AUGUST 14

Happy Birthday, LIT!
Recover from your Monday blues with lots of laughs from Laugh Index Theatre (LIT) as they celebrate eight seasons of bringing comedy variety shows and improv to DC audiences. Catch a preview of their new cast as well as performances from their original, seven-year-old comedy team, Hot & Sweaty. Performances will range in comedic style from stand-up to sketches, and even musical improv. LIT boasts eight original teams, and more than 60 overall members dedicated to keeping it funny in the nation’s capital. Show your support for local comedy, and if you like what you see, sign up for a workshop. Tickets are $8-$10. Source Theatre: 1835 14th St. NW, DC; www.laughindextheatre.com

TUESDAY, AUGUST 14 – SUNDAY, SEPTEMBER 23

Passion
After their (yes, passionate) love is deterred by military duty, Giorgio and Clara’s relationship must survive through solely letters during the mid-1800s in Italy. Of course, the handsome soldier can’t avoid admiration even away at camp – his colonel’s cousin, Fosca, stays there too. While longing for Clara, Giorgio befriends Fosca, who suffers from seizures and spends her time solitary, living through the characters in novels. You’ll quickly learn that this isn’t a story about two young people destined to be together. The feeling of passion is a shifting force that can border obsession. This musical explores love and sickness – sometimes to the point that there is no difference. Tickets are $40-$89. Signature Theatre: 4200 Campbell Ave. Arlington, VA; www.sigtheatre.org

THURSDAY, AUGUST 16 – SATURDAY, SEPTEMBER 15

In The Closet
Presented by Rainbow Theatre Project, this world-premiere production crosses time but not necessarily space as we witness the lives of four gay men from various years. This metaphysical comedy delves into the unique stories of an old man, a middle-aged man, and younger men who are “where all gay men begin, in the closet,” according to the DC Arts Center’s description. By playwright Sigmund Fuchs, this production of In The Closet will start up the center’s August season. Tickets are $30-$35. DC Arts Center: 2438 18th St. NW, DC; www.dcartscenter.org

SUNDAY, AUGUST 26

Bollywood Boulevard
Bollywood films are known for their grand song scenes. In one moment, the stubborn heroine will catch herself eyeing the hero in some mundane – but sweet – action (teaching a child, for example). The next scene finds them both atop a snow-capped mountain as they sing about their mutual, unrequited love. These made-for-movie songs quickly become top hits for weddings and sing-along car rides, and now they’re live onstage with Bollywood Boulevard. The upbeat dance styles against vibrant lights and stage sets will have the whole audience clapping and swaying along. This “journey through Hindi cinema” is based on music and dance from different eras of Bollywood, from 20th-century classics to modern day. Tickets are $25-$55. Wolf Trap’s Filene Center: 1551 Trap Rd. Vienna, VA; www.wolftrap.org

Photo: Shervin Lainez
Photo: Shervin Lainez

Lindsey Stirling Shows She’s More Than A Violin Player

It’s not often someone known primarily for her masterful violin skills crosses over to the mainstream pop charts, but Lindsey Stirling is no ordinary star.

Highly skilled in dance, art and of course, her string instrument of choice, the 31-year-old innovative musician bolted to fame thanks to a series of choreographed violin performances on her personal YouTube channel a few years ago.

“The classical arts aren’t appreciated as they once were, so I think it’s exciting that I’m able to put my own twist on it,” Stirling says. “It’s a huge part of the arts that shouldn’t be forgotten and I bring to light classical elements with what I do, and brings to light the violin to people who maybe never thought they would love it.”

She found success with the release of her 2012 self-titled debut album and two other critically acclaimed works followed, including a popular holiday collection was released last year. She’s also won two Billboard Music Awards and finished second on last year’s Dancing With the Stars.

“There was this really cool moment when I was offered to play a show in Italy and my parents came with me and when we arrived, there were all these posters with my face on it, and it was the weirdest thing to realize these people in this small Italian town were looking forward to seeing me,” she says. “People were asking for autographs and giving me fan art and I just knew my life had changed.”

On July 24, Stirling will co-headline a show with Evanescence at Jiffy Lube Live in Bristow, both sets backed by a full orchestra.

“It’s something different from anything I have ever done on tour before, and that makes it really fun,” she says. “It’s been fun to reinvent the music and have it all orchestrated and it will be this cool fusion between live orchestra, rock elements and electronic elements all mixed together. That’s going to make it pretty magical.”

Stirling is excited to be coming back to the area, associating it with the first time she ever had Sweetgreen, her favorite restaurant, and is even more eager to be sharing this tour with Evanescence, as she considers herself a huge fan of Amy Lee and the band behind “Bring Me to Life.”

“I’m going to guest on Amy’s set and she will be on my set for a song as well,” Stirling says. “I have been a fan of hers for years and I wrote a song years ago with her in mind to sing it, but she wasn’t able to because she was on maternity leave, but I think it put me in the back of her mind that we should work together someday. She reached out a year ago and I played on their new album with the song ‘Hi-Lo’ and the reaction of the fans was just unbelievable.”

Touring throughout the summer at amphitheaters like Jiffy Lube Live has been a blast, she says, and she enjoys the “summer vibe” of people coming together as families and enjoying picnics and creating a more personal concert experience.

Although Stirling has been dancing and playing violin since she was little, her aspirations in college was towards a career in film.

“By the time I hit college, I was a little burnt out with music and didn’t know how I felt about the classical violin thing anymore, so I ended up studying film, which was another passion of mine,” she says. “I used to have editing software and was a real nerd about creating my own videos.”

She found the music and film worlds combined really seamlessly, which helped her become one of YouTube’s first breakout artists.

“One art really led the other and it allowed me to not only use my violin skills but also showcase it in a way that was really unique,” Stirling says.

Since then, she had a song on the soundtrack of Pete’s Dragon and also scored a song for a video game and hopes to get more involved with more scores in the years ahead.

Once her tour ends, Stirling will start writing some new music but is also going to pick up where she left off on a theatrical musical she started writing last year.

“I want to focus on that and maybe go to New York and really work on that for a while,” she says. “Until then, I am going to just enjoy this tour. I love putting on a show and anyone who comes out will have a fun time.”

Lindsey Stirling and Evanescence are set to play at Jiffy Lube Live on July 24. Doors at 7 p.m. Tickets start at $18.

Jiffy Lube Live: 7800 Cellar Door Dr. Bristow, VA; 703-754-6400; www.livenation.com/venues/14407/jiffy-lube-live

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Music Picks: July 2018

FRIDAY, JULY 6

Pusha T
The first time I heard about Daytona, the new Pusha T record, was at work. Everyone was talking about the seven-song album – and even the guy who never tweets had to tweet about it. The record is entirely produced by Kanye West, which may rub you the wrong way; however, this side of the studio booth may be better place for him at this point, and he entirely leaves the verses to King Push. The record is a crisp 21 minutes long, but fire from start to finish. This is the album we’ve been waiting for since the 2015 teaser Darkest Before Dawn. Show at 9 p.m. Tickets are $30. Echostage: 2135 Queens Chapel Rd. NE, DC; www.echostage.com

Shy Glizzy
Southeast DC’s own Shy Glizzy is coming to the Fillmore to remind y’all that the Young Jefe still runs things. His summer single “Do You Understand?” featuring Gunna and Tory Lanez premiered last month, and it’s one of the smoother beats he’s taken to rapping over, similar to the track “Dope Boy Magic” from 2017 release Quiet Storm. He may be slowing down the tempo of his music, but he’s keeping high momentum with constant releases, and I’m anxiously waiting to see what’s next for him. Doors at 7 p.m. Tickets $30-$100. Fillmore Silver Spring: 8656 Colesville Rd. Silver Spring, MD; www.fillmoresilverspring.com

Steve Bug
Steve Bug has been on the scene since 1991. That’s before I was even born, and yet his grooves have yet to grow tiresome. Born Stefan Brugesch in Germany, he’s become known over his career as the “Gentleman of Techno” for his professionalism, dependability and consistent sets. His body of work continues to strengthen with 2018’s Paradise Sold, a collaboration with Langenberg, another guru of the German deep house scene. Doors at 8 p.m. Tickets start at $10. Flash: 645 Florida Ave. NW, DC; www.flashdc.com

SATURDAY, JULY 7

Airøspace
Airøspace, the Southeast DC raised MC, is one we’ve been waiting for– at least those of us spending too much time listening to lo-fi beat tapes, as the instrumental tapes tend to grow stale quite quickly though, but he gives them the breath they need. Not all his tracks are lo-fi, though. On his latest release Hitagi, Vol. 3.1, you can find tracks that cull together a range of influences from trap to OSTs. Doors at 7:30 p.m. Tickets $10. Velvet Lounge: 915 U St. NW, DC; www.velvetloungedc.com

Honey
DC rock trio Honey has a sound that’s much fuller than their lineup of guitar, drums and bass alone might lead you to think. I got to play with them once and what I realized is they are perfectly balanced; none of the voices are competing with one another. The chorus heavy guitar gives a real sense of depth, allowing the melodies in both the bass and vocals to stand out and the drums fill in the space between. From that show at Looking Glass Lounge to their EP release, they’ve come a long way in a short while. Doors at 8:30 p.m. Tickets are $8. DC9: 1940 9th St. NW, DC; www.dc9.club

SUNDAY, JULY 8

The Miseducation of Lauryn Hill 20th Anniversary Tour
For fans of hip hop and neo-soul, Lauryn Hill is a household name, along with Erykah Badu and D’Angelo. Hill’s debut record The Miseducation of Lauryn Hill propelled her to international stardom in a way no one could have predicted. Twenty years later, Hill is touring the record most responsible for her enduring legacy once again. Her live shows have been said to lack the swagger you hear on the record, but hopefully the Hill from the studio will show up for this one. Doors at 6 p.m. Tickets start at $20. Jiffy Lube Live: 7800 Cellar Door Rd. Bristow, VA; www.livenation.com

Rodriguez Jr.
Rodriguez Jr. is the latest project from south of France native Olivier Mateu. Previously he’s made music with the Youngsters, but Rodriguez Jr. seems to be the best iteration of his production yet. He makes dance music informed by both vintage synthesizers and avant-garde western art music, from Satie to Stockhausen. The latter influences are not clear, given how danceable the music is. Maybe they’re related in an emotional sense, but I find Rodriguez Jr. as more of a cinema-informed electronic musician. Doors at 4 p.m. Tickets $8. Flash: 645 Florida Ave. NW, DC; www.flashdc.com

MONDAY, JULY 9

The Octopus Project
The Octopus Project, if you couldn’t tell from the name, are an incredibly hipster group, as hipster as the Wes Anderson movies their music videos feel inspired by. That said, I’m excited for these psychedelic rockers to come through DC. From Austin, Texas, they describe themselves as indietronica for the number of synthesizers they use and their role in shaping the sound – though it’s a label which only becomes apparent after you hear it spoken. Doors at 7 p.m. Tickets $13. Union Stage: 740 Water St. SW, DC;
www.unionstage.com

WEDNESDAY JULY 11

Dent May
The “softest boy in Mississippi” is bringing “Across the Multiverse” to our neck of the woods this month on his tour supported by singer, guitarist Shannon Lay. This is his first release since making the move to Los Angeles, and for the label Carpark Records; he was previously signed to Animal Collective’s Paw Tracks label for his debut album in 2009. Across the Multiverse provides some chill, beachy summer vibes and May knows it. He even added some beer cozies and SPF 15 ChapStick to his merch offerings to emphasize the feeling, or perhaps as a nod to his own habit of applying lip balm every five minutes. Upon first listen to his newest album, this multi-instrumentalist, producer and self-described hotel bar lounge singer, gives me Elton John vibes with leading track “Hello Cruel World,” though his haircut and specs may have solidified that comparison a little more than I’d like to admit. Nevertheless, it’ll be a great show. 8 p.m. Tickets $12. Jammin Java: 227 Maple Ave. Vienna, VA; www.jamminjava.com

SATURDAY JULY 14

Now, Now
After a few years of self-discovery and a battle with writer’s block, KC Dalager and Brad Hale (a.k.a. Now, Now) are back with their most heartfelt and personal album yet. Saved is the follow up to the almost five-year radio silence after Threads, a record that earned them a coveted slot performing on Late Night with Jimmy Fallon in 2012. I’m going to be completely transparent here and say I assumed this band had broken up before hearing of this show, but I’m glad to hear the duo’s new music. “SGL” and “Yours” are the standout tracks from the album, but “Know Me” depicts the evolution of the band’s sound, while hearkening back to the hollow production and airy vocals that made their first impression on me on the Neighbors EP. Doors at 7 p.m. Tickets $15. Songbyrd Record Cafe and Music House: 2475 18th St. NW, DC; www.songbyrddc.com

SUNDAY, JULY 15

Halsey
You know her, you love her and you probably hear her singing whenever you enter a store geared to people under 30 or turn on the radio. Halsey is coming to Wolf Trap on the North American leg of her worldwide tour for her 2017 release “hopeless fountain kingdom,” which reached #1 on the Billboard 200 this time last year. Jessie Reyez is joining her on a majority of the U.S. dates, which makes a lot of sense because they both have a similar rawness to their lyrics, and feature a comparable vocal tone, despite being categorized as pop music artists. I’m looking forward to seeing what other surprises Halsey has in store for us, too. 8 p.m. Tickets $40-$80. Filene Center at Wolf Trap: 1645 Trap Rd. Vienna, VA; www.wolftrap.org

Outer Spaces
Balitmore-based Outer Spaces may be the headliner here, but this show includes a couple different acts, including DC’s Bacchae and Los Angeles-based Goon. Look for the post-punk band about as wild the revelry their name, ahem Bacchae, suggests. Goon’s provides a more downtempo way to follow up, but their songs are lush, even if not so Dionysian. Outer Spaces are more straight forward indie pop, but don’t let that be a deterrence; they’re the reason to be there. 9 p.m. Tickets $12. Comet Ping Pong: 5037 Connecticut Ave. NW, DC; www.cometpingpong.com

Wild Moccasins
Could you start a band with the person you love? Could you be in a relationship with them for a decade all while keeping the band together? Could you end that relationship amicably and remain bandmates that still co-write songs that may or may not be about each other and/or your potential new flames, and then go on tour together? Zahira Gutierrez and Cody Swann could, in fact that’s exactly the basis of their new release Look Together that debuted on June 29. Just the backstory alone made me give them a listen, but their glamorous, catchy, synth-filled pop kept me around. Doors at 7:30 p.m. Tickets $15. Black Cat: 1811 14th St. NW, DC; www.blackcatdc.com

WEDNESDAY, JULY 18

Jake Clemons
Saxophone player Jake Clemons comes to DC not too long after finishing up a tour with Bruce Springsteen and the E Street Band. That’s right, Jake Clemons is none other than the nephew of the Big Man, Clarence Clemons, and he’s been performing in his stead since 2012, even playing his “Jungleland” solo. But the younger Clemons has his own music as well and released a solo record in 2017 titled Fear & Love. Doors at 6:30 p.m. Tickets $20. Union Stage: 740 Water St. SW, DC; www.unionstage.com

Slum Village
If you’re surprised about this show, don’t worry, I was too. I had no idea Slum Village was still slumming. The group, now comprised of Young RJ and T3 are touring their 2018 release The Lost Scrolls, which contains previously unreleased “relics” from the twenty-year-old classic Fantastic Vol. 2. Of course, Young RJ was not part of the crew back then; however, T3 was, and Young RJ was mentored by Slum Village original J Dilla. Doors at 7 p.m. Tickets $22. Songbyrd Record Cafe and Music House: 2475 18th St. NW, DC; www.songbyrddc.com

TUESDAY, JULY 19

Mourn
Three things come across in Mourn’s music videos: they’re very young, they’re very punk and they’re unabashedly Spanish. The quartet comes from Barcelona. In fact, they recently released a song “Barcelona City Tour,” one of the three singles released in anticipation of their latest record, Sorpresa Familia. From the music videos to the singles, you can tell the quartet finally has a bit of cash flow, and with that you can feel they’ve really come into their own. Doors at 7:30 p.m. Tickets $12. DC9: 1940 9th St. NW, DC; www.dc9.club

SATURDAY JULY 21

Deafheaven
This California-based sometimes duo, other times full band, makes a beautiful marriage of metal and shoegaze. The band has been camped out in Oakland recording their highly anticipated fourth studio album, Ordinary Corrupt Human Love. Their live shows are known for being so intense, they’ve inspired fans to leap onstage and lick frontman George Clarke’s shoes, so if that’s something you might be into here’s your chance to make it happen. Doors at 8 p.m. Tickets $20. 9:30 Club: 815 V St. NW, DC; www.930.com

SUNDAY JULY 22

DC101 Kerfuffle: Fall Out Boy, Rise Against, Awolnation, AJR, Robert DeLong, Mt. Joy, L.I.F.T.
DC101’s annual Kerfuffle returns with another stacked lineup. With legends like Fall Out Boy (who recently joined us here in DC to celebrate the Caps during the playoffs) and Rise Against, to the next great voices in alt-rock like AJR and Mt. Joy, there’s something for all music lovers at this all-day affair. Doors at 12:30 p.m., show begins 1:30 p.m. Tickets $55-$95. Merriweather Post Pavilion: 10475 Little Patuxent Pkwy. Columbia, MD; www.merriweathermusic.com

MONDAY, JULY 23

Del Florida
Del Florida, so far as I can tell, has almost little or nothing to do with Florida, and that’s ok. The half-neo soul, half-dream pop act was formed in Liverpool, and is now based in DC. The group is carried by the powerful pipes of lead vocalist Leela Dawson and the funky rhythm guitar. DC based Bottled Up will open for the group. Doors at 7:30 p.m. Tickets $10. Velvet Lounge: 915 U St. NW, DC; www.velvetloungedc.com

TUESDAY JULY 24

Courtney Barnett
While one of her most biting lyrics may be “put me on a pedestal and I’ll only disappoint you,” we’re sure you won’t be disappointed by Australian singer-songwriter Courtney Barnett live. She returns in support of her incredible sophomore album Tell Me How You Really Feel. While her collaborative album Lotta Sea Lice with fellow folk rocker Kurt Vile brought her to the District in 2017, we’re excited to see Barnett’s solo guitar slaying and acerbic lyrics when she headlines The Anthem solo. Joined by Julien Baker and Vagabon, don’t miss out on this night of incredible talent. Doors at 6:30 p.m., show at 8 p.m. Tickets $40-$60. The Anthem: 901 Wharf St. SW, DC; www.theanthemdc.com

WEDNESDAY JULY 25

Echo & the Bunnymen and Violent Femmes
Two iconic 80s acts join forces on the same bill for one retro night. What better way to cure your mid-week blues than by trekking to The Anthem on a Wednesday to sing along to classics like “The Killing Moon” and “Blister in the Sun”? Doors at 6:30 p.m., show at 8 p.m. Tickets $55-$75. The Anthem: 901 Wharf St. SW, DC; www.theanthemdc.com

THURSDAY JULY 26

Shannon & the Clams
Cal Arts student turned bass guitarist Shannon Shaw and her band are bringing their 60s inspired psychedelic pop to DC for the release of their fifth album Onion, supported by Big Huge and Australian experimental pop band Gauche. Of the title track and album name, Shaw says, “I had this epiphany that was likening an onion to being human and how you’re nothing without layers of experience. Each time you have an experience it creates another layer in the onion […] Each song on this album is about problem-solving and having realizations about yourself.” 7 p.m. Tickets $15. U Street Music Hall: 1115 U St. NW, DC; www.ustreetmusichall.com

FRIDAY, JULY 27

Frass Green
The bio for Frass Green on Spotify simply reads “joe tyler matt antonio,” which is about as opaque as their music or their artwork. But this lo-fi dream pop act is DC based and quite young. Joe Antoshak is the lead songwriter and began the project in his garage, the quality of which still seems to come through in the music. Be sure to check out their garage rockabilly tunes as they climb the ladder of DC venues. Doors at 7 p.m. Tickets $13. Rock & Roll Hotel: 1353 H St. NE, DC; www.rockandrollhoteldc.com

Glue Factory
What I like about the lead single off DC band Glue Factory’s debut record S/T is the contrast between what’s being said and what you’re hearing. First there’s the post-punk verse, which feels good, even if it feels familiar, but then it goes into a similarly familiar chorus. It’s more melodic and more pop, but still has the feel-it-in-your-bones punk element. At the same they’re singing about having “maggots in your eyes.” I never thought I would be lulled into singing those words. The show also features Positive No and Warm Sun. Doors at 10 p.m. Tickets $12. Comet Ping Pong: 5037 Connecticut Ave. NW, DC; www.cometpingpong.com

SATURDAY JULY 28

David Byrne
If you missed the Talking Heads frontman at his sold-out show at The Anthem in May, fear not! The icon is back and not to be missed. I was wildly lucky to catch him on the first run, and it was nothing short of magical. Byrne achieved setlist nirvana, with a healthy combination of solo songs, Talking Heads classics and more from his ever-growing catalogue. If you’re still not convinced, every ticket purchased online for David Byrne includes a CD of the new album American Utopia. You’ll receive instructions via email on how to redeem your album shortly after ticket purchase. Plus, he’s supported by Benjamin Clementine, who just happens to have the voice of an angel. Doors at 6:30 p.m., show at 8 p.m. Tickets $60-$130. Merriweather Post Pavilion: 10475 Little Patuxent Pkwy. Columbia, MD; www.merriweathermusic.com

SUNDAY JULY 29

Lightmare
From their first show at Looking Glass Lounge (with the aforementioned Honey), Lightmare has had a quick ascendancy on the DC scene. The six-person, soul-punk arrangement will ask if you’ve ever been in love and if you wonder where the wild things are, and then prompt you to look for their debut record soon thereafter. The show also features the Prabir Trio and Wooden/Apple/Heart. The Richmond based trio writes psych-rock rooted in the Beatles “drenched in enough Tequila to make it slouch,” while Wooden/Apple/Heart is another DC band with an innovative take on folk. Doors at 7 p.m. Tickets $10. DC9: 1940 9th St. NW, DC; www.dc9.club

Warped Tour
I feel old as hell writing about the absolute last Warped Tour in history. I never got to experience the magic of Warped when I was a teenager and then it would’ve mattered more to me, but if this particular music scene was ever important to you, you should come out for this bittersweet last hurrah. Close the book on your teen angst the right way with bands like Simple Plan, 30H!3, The Maine, Mayday Parade, Four Year Strong and August Burns Red with many, many more. Doors at 11 a.m. Tickets $39-$55. Merriweather Post Pavilion: 10475 Little Patuxent Pkwy. Columbia, MD; www.merriweathermusic.com

WEDNESDAY AUGUST 1

Rico Nasty
One of the most exciting new rappers to rise out of the DMV is none other than Rico Nasty. She’s a versatile artist with a killer fashion sense and several aliases who pioneered her own sound called Sugar Trap, which is sweet as pie and tough as nails at the same time. She takes inspiration for her music from many genres, citing Slipknot as one of her influences, and using piano samplings that eerily resemble Vanessa Carlton’s iconic “1000 miles” in one of her older tracks “Brandon.” Her show at the Fillmore is one of the first few on her “Nasty” tour, and this album marks her first release after signing with Atlantic last month. This is a can’t miss show, so come out and see her live because I already know it’s gonna be “Poppin.” Doors at 7 p.m. Tickets $20-$50. Fillmore Silver Spring: 8656 Colesville Rd. Silver Spring, MD; www.fillmoresilverspring.com

THURSDAY AUGUST 2

Father John Misty
For those not familiar with his career, Josh Tillman went from unassuming Fleet Foxes drummer to sweet and understated solo artist before exiting whatever weird cocoon he had to live in to become his alter ego Father John Misty. Say what you will about his general attitude and reputation for making headlines throughout the blogosphere for his caustic comments – the man can write a damn good song. His most recent album God’s Favorite Customer sees him breaking character and getting a bit more personal. We’re still not entirely sure what to expect from this show, other than the excitement of knowing anything’s possible with this enigmatic and abrasive artist. Doors at 6:30 p.m., show begins at 8 p.m. Tickets $45-$55. The Anthem: 901 Wharf St. SW, DC; www.theanthemdc.com