In a recent Substack post, music critic Marissa Moss talks about what she calls “Waxacountree,” music made by artists like Waxahatchee (naturally) and Ratboys. Built on influences like alt-country stalwarts like Lucinda Williams and the Drive-By Truckers, but also singer-songwriters like Fiona Apple, rockers like Sheryl Crow, and alternative bands like Pavement, it’s hard to characterize this music. Moss argues it isn’t quite alt-country; it’s really just rock. This echoes Tyler Mahan Coe’s contention that a lot of alt-country is just rock music.
Whatever you want to call it, it’s compelling, powerful music, and that was reflected at Ratboys’ recent sold-out show at the 9:30 Club. This music is having a moment, but it’s also a reflection of the work the band has put in, releasing great albums and touring hard for years. In the last couple years, I’ve seen them go from opening for Kim Deal at Capitol Turnaround to a split bill with Palehound at the Atlantis to now selling out the 9:30 Club.
Before I continue with this review, I want to get one thing out of the way: frontwoman Julia is not related to the legendary professional wrestlers The Steiner Brothers. (That’s not even their real last name!)
Last month, Ratboys released their best album yet, Singing’ to an Empty Chair. With this album, they moved to the esteemed label New West. With the exception of the closing track, they played the entirety of the record at 9:30 Club on March 6, beginning with “Open Up,” “Anywhere,” and “Penny in the Lake.” Julia introduced “Know You Then” as “a banger about time travel” and “Strange Love” as a song about “staying up all night and pondering. Before “The World So Madly,” she shouted out a music store where, earlier in the day, they’d “found some treasures.”
Watch the official music video for “Penny in the Lake” by Ratboys on YouTube:
Late in the set, they brought out a representative from the DC Alliance Against Racist & Fascist Political Oppression, followed by “Burn It All Down,” which was “inspired by the racist atrocities of policing in this country.”
The set also included a half-dozen songs from their back catalogue, including “Morning Zoo,” “The Window,” “Anj,” and “I Go Out At Night.” Julia described “Victorian Slumhouse” as “it’s like we’re on a geriatric cruise.” They closed the set with “Black Earth, WI.”
This was an early show and, unfortunately, I only caught the last song in Florry’s opening set. But I could tell they were a good pairing with Ratboys, with a similar style of fuzzed out, vaguely alt-country music.
While I wasn’t able to catch most of the opening set (my own fault, really), I was glad this was an early show, because I’m old and recovering from neck issues. I’m glad I pushed through to make it out, because the music was terrific and it really lifted my spirits. I’ve been enjoying Ratboys’ music and live performances for years now, and they just keep getting better. It’s been a great journey, watching them grow and develop, and I can’t wait to see what’s next for this band.
Here are some photos of Ratboys performing live at 9:30 Club on March 6, 2026. All pictures copyright and courtesy of Casey Vock.
