Live Review: Nation of Language w/ Deeper @ 9:30 Club — 10/30/25
A friend of mine, Virginia’s DJ Neidermeyer, received Nation of Language’s “Inept Apollo” from Promo Only not long ago. Gobsmacked, he listened to the single “30 times a row.”
Preview: The Aces w/ Lydia Night @ 9:30 Club — 11/15/25
The quintessential pop band of it-girls, The Aces, recently released their new album Gold Star Baby via SoundOn. A concept album that doesn’t take itself too seriously, Gold Star Baby is a metaphorical club in every city where if you know… you know. But everyone and anyone is invited to the best party of the year.
The Aces perform live at 9:30 Club on Saturday, Nov. 15. As an added bonus, The Regrettes frontwoman Lydia Night opens the show in support of her debut full-length studio album, Parody of Pleasure.
Live Review: King Princess w/ Sasami @ 9:30 Club — 10/31/25
Picking a spot in the national capital for Halloween can sometimes be difficult as there are numerous events to choose from each year. But making the decision to go to the King Princess late show at 9:30 Club was one of the best decisions you could have made. King Princess, who is currently touring supporting her new album Girl Violence, put on a fantastic show for the sold-out crowd with non-stop energy. It was fun for all, thanks in part to great music and vocals. The band played well together, and they were a joy to watch for the evening.
Live Review: SEVENTEEN @ Capital One Arena — 10/29/25
SEVENTEEN Turns DC into the District of Carats
Words by Micaela Cerball
Photos courtesy The Oriel
“During the soundcheck we actually learned what DC stands for,” said Joshua of SEVENTEEN as he introduced himself during the group’s recent concert at Capital One Arena. “We didn’t know what it stood for, but now we’re going to make it the District of Carats.”
It’s night one of two in DC for SEVENTEEN, the final city of their NEW_ tour, and the group has just performed their intro stage of “Bad Influence,” “HBD,” and “THUNDER” from their 10th anniversary album HAPPY BURSTDAY. These high energy tracks set the tone of the rest of the concert where calls of “Everybody jump!” are frequent and earplugs are needed for the crowd’s cheers alone.
Live Review: The Beta Band @ 9:30 Club — 10/28/25
For a few tantalizing months in the late 90’s, The Beta Band were the Next Big Thing. After the release of The Three EPs, they were being name dropped by the likes of Noel Gallagher and were featured weekly in the NME and Melody Maker. The buzz was palpable. Their strange brew of groovy, percussion heavy indie rock was a breath of fresh air on a stale UK indie scene.
Live Review: Jeffrey Foucault @ New Prospect Theatre (Bellingham, WA) — 10/28/25
As the winter rains come to the Pacific Northwest and the days grow dark and chilly, live music in the cozy environs of the New Prospect Theatre becomes essential. Last week, one of those “dark and stormy” Bellingham, Washington nights was warmed considerably when Jeffrey Foucault took the stage.
Live Review: Magdalena Bay @ The Anthem — 10/25/25
Magdalena Bay is the synthpop duo of Mica Tenebaum and Matthew Lewin. Their sound draws influence from early/mid-2010s dance-pop artists such as Grimes, Charli XCX, and Carly Rae Jepsen — to name a few. They garnered a niche following on TikTok, becoming known for their surrealist and Y2K aesthetics throughout the releases of their mini mixes and the EP A Little Rhythm and a Wicked Feeling (2020).
Their debut album Mercurial World (2021) was an indie pop hit, ranking at No. 7 for top albums of 2021 on Rate Your Music, which is a badge of honor coming from the music nerds of the internet. Magdalena Bay’s sophomore release Imaginal Disk (2024) was no slump — it confirmed that they’re only going up — and is currently the No. 1 album of 2024 on the site. I missed their sold-out show at the 9:30 Club last year, so I knew I had to see them recently at The Anthem. Magdalena Bay played to 5,000+ people — their biggest headlining show to date — and delivered a hypnotizing 25-song set. Seriously, 25 songs have never flown by so quickly at a concert.
Live Review: Lynch Mob w/ Stone Horses @ Tally Ho Theater — 10/31/25
Lynch Mob Thrills Leesburg Crowd on Halloween Night
Words and Photos by Mike Sprouse / OddRocker Photography
There’s something about Halloween night that makes a rock show feel a little more alive than usual, like the air itself’s carrying a low hum of mischief. Leesburg had that kind of charge on Oct. 31, when Lynch Mob rolled into the Tally Ho Theater for a night that felt equal parts nostalgia trip and Halloween-style hard rock revival.
Mostly, this was a gathering of the faithful, the people who still crank their stereos when they hear George Lynch’s unmistakable guitar snarl and know the difference between a real gunslinger and a guy who just fills the space between solos.
Live Review: Thundercat @ The Anthem — 10/28/25
It’s been just over five years since Thundercat released a full-length album, but the Los Angeles bass player and singer is back, dropping two new singles just in the last month — as well as currently being on a tour of spot dates across the country. On Oct. 28, soon after performing on The Late Show with Stephen Colbert last week, Thundercat made his DC stop for a packed crowd at The Anthem and blessed the city with an intimate show with incredible vibes.
Live Review: Gov’t Mule @ Warner Theatre — 10/31/25
On Halloween night, Gov’t Mule turned the Warner Theatre into a southern-fried rock séance — conjuring ghosts of Aerosmith past and the band’s own storied history — for Mule-O-Ween 2025. The two-set performance capped the band’s Back in the Saddle Tour and celebrated 30 years of Gov’t Mule’s evolution from Allman Brothers offshoot to enduring jam-rock institution.
Opening with “Same as It Ever Was,” the quartet immediately asserted their identity: tight, confident, with subtle room for improvisation. The rhythm section of Terence Higgins on drums and Kevin Scott on bass laid a deep foundation, while keyboardist/guitarist Danny Louis added color and texture behind frontman/guitarist/vocalist Warren Haynes. The sound felt full yet controlled.
