BY KELSIE EHALT//
Priests’ concert at the 9:30 Club began with two disparate but interesting performances. The first opener, Black Myths, was a drum and bass duo, and each member was individually talented, although I did not think that they went together very well. There were a couple moments where they got into a groove, but it would then dissolve back into a cacophony of jazzy drum and bass altered with loop and octave pedals.
When we first arrived at the venue, a young girl, around 14 or 15 years old, came up to us as asked which band we were there to see. When I replied Priests she told us that she was a student of one of the opening acts and would be performing with her during the set. She was also selling raffle tickets to raise money for Casa Rosa. The winner of the raffle would receive a woven piece of art that Mellow Diamond was to create live on stage. I had no idea what live weaving would entail, but I was certainly interested in the seemingly artsy act to follow.
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BY MORPHEUS// November 5th – a date notable only for the ‘Gunpowder Treason and Plot’ wherein the inventor of the Guy Fawkes mask tried to blow up English parliament 400 years ago. It also happened to be the tour date of Flying Lotus’ obligatory stop in the capital– but unfortunately, there was no plot to blow up the venue. The only target of combustion was the audience’s eardrums, though I regret to say that all attempts at delivering smooth vibes and melodic violence fell on deaf ears so-to-speak.
This big name concert began like any other big name concert: in a headliner-catching venue with high ceilings and at least four staffed bars. The bathrooms were quite nice. They were well staffed with restroom attendants offering paper towels to freshly relieved show goers. Apart from the sounds of Capitol Hill Yupps getting dusted in the stalls, it was a shining star of class inside the well disguised cardboard box that Washingtonians affectionately call E C H O S T A G E [styled ec4ostag3]. The place fills a niche and I have no complaints whatsoever about what Echostage is, does and represents. The only sign of objective depravity I found in the whole place was their barbaric “No Ins and Outs” policy.
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BY: VICTORIA MIDDLETON // Alex Cameron was unexpectedly solemn at points during his performance at Songbyrd Music House Monday night.
“I wrote this song in Vegas while thinking about Tom Petty,” he recalled, lamenting the ways of “the universe” before performing the song “Runnin’ Outta Luck.” However, Cameron never allowed the vibe to to get dark for more than a few seconds, even when an eager fan shouted for him to play one of his slower tracks, “The Hacienda.”
“Oh god, no,” Cameron laughed. “It’s too sad.”
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BY SARAH SOPHER AND SYDNEY SPENCER // Our hope for Crystal Castles’ first DC show of the year was that the group would deliver an original performance laced with raw emotion and passion. That’s what we were used to with Alice Glass, at least.
In front of a giant mural depicting a battered and beaten Madonna, the show opened with clashing noises and flashing green lights taking over the room. Ethan Kath was camouflaged in the corner of the stage delivering the epic beats that Crystal Castles’ fans know and love. However, the performance left a lot to be desired.
Edith Frances joined Crystal Castles in 2015 to replace the group’s former vocalist. Alice Glass, who once performed sick and vomiting between verses, was known for her confrontational and volatile shows. Many would say Glass held a fundamental role in creating Crystal Castles’ wild and unique reputation.
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