Donald Fagen fronted Steely Dan at Wolf Trap recently for the band’s Earth After Hours Tour, and Jason Nicholson photographed the band in action!
Shannon McNally has been performing for 25 years, during which she’s shared stages with jam band artists like Robert Randolph and Derek Trucks, heartland rockers like John Mellencamp, and Americana troubadours like Steve Earle. She’s won acclaim both for her own writing and for her exceptional ability as an interpreter of song.
Shannon’s latest album, the self-produced The Waylon Sessions, delves into the recordings of outlaw country legend Waylon Jennings, and she appeared at DC’s Pearl Street Warehouse recently to tour it. She said it was easy to choose the songs, as she just “picked her favorites.” The album was cut in four days, and featured guitar work from Kenny Vaughan; after she opened the set with “I’ve Always Been Crazy,” Shannon related a tale from Kenny about seeing Waylon at a club in Arizona in 1973.
Legacy Recordings, a division of Sony Music Entertainment, will release BeforeAfter, the first-ever solo retrospective from Rock and Roll Hall of Famer Daryl Hall, as a two-disc set and across all digital platforms, on Friday, April 1.
On the same date, Hall will also embark on his first solo tour in a decade, performing on historic stages like NYC’s Carnegie Hall and Nashville’s Ryman Auditorium, with special guest and fellow Rock & Roll Hall of Famer Todd Rundgren supporting. The show arrives in the DC area at MGM National Harbor on Saturday, April 16.
Rachael & Vilray — the debut album by Lake Street Dive singer-songwriter Rachael Price and composer, singer, and guitarist Vilray — features 10 original songs by Vilray, plus two covers from the era that inspired him: Cuban composer Pedro Junco Jr.’s 1943 “Nosotros” and Drake/Atler’s “I Love the Way You’re Breaking My Heart,” first popularized by Peggy Lee.
Imagine the predicament — you’re one of indie rock’s very best voices, but you’re also a uniquely skilled multi-instrumentalist and a rising star of a producer.
What do you do with all of that? Sam Evian finds himself in that rare position as a wildly talented guitarist and saxophonist in his early 30s with one of the most distinguishable, enticing voices to speak up in the past five years. And he’s also helped some of his friends bring important music to the world through his gift engineering sound.
Hailing from upstate New York’s Hudson River Valley, The Felice Brothers began in the mid-2000s as the musical project of brothers Ian, James, and Simone Felice. They began their career as buskers, and have referred to themselves (who knows how jokingly) as “scumbags.”
Their career got a boost from another area resident, legendary Band drummer and vocalist Levon Helm, who invited them to perform at one of his Midnight Rambles in Woodstock. It’s fitting that the Brothers got a break from him, as their music owes obvious debts to The Band and Bob Dylan, in its mix of humor, surrealistic imagery, and ironic gloss on classic Americana. Their early recordings were rough — one was made in a chicken coop — but have grown more refined over the course of their career. As they toured with acts ranging from Justin Townes Earle to Old Crow Medicine Show to the Dave Matthews Band, the Brothers became more sophisticated artists.
That sophistication was on display in their unique brand of folk country-rock/ Americana in a packed house at DC9 recently.
From an outsider’s perspective, it appears that musicians are best served not so much by pivoting but by adapting and blending their influences, old and new, together as they move along in their career and accumulate critical life experiences on that path.
Though his pursuits in his younger days angled toward punk, Jonathan Linaberry has unabashedly and enthusiastically embraced the direction of musicians whom he happened to hear while finding his way as a self-taught, college-age guitar and banjo player.
When his ears discovered the likes of Blind Lemon Jefferson, Son House, and other blues-belting guitarists from places like Texas and the Mississippi Delta, Linaberry — who hails from Central New York, near Syracuse — began to genuinely mold those sounds from the first half of the century, as well as the spirit and character of the music, into his own song writing style.
While other parts of the country deal with record-breaking heat and wildfires, the DMV has actually had a relatively moderate summer. As I sit here on Independence Day writing this review, my AC is off and my windows are open. This made for a perfect night for outdoor music yesterday evening at Bethesda’s Strathmore Music Center, where folk artist Dar Williams appeared.
Like many venues, the Strathmore is working through putting on shows in the (post-)pandemic world. They’ve moved the performances outdoors, under an awning, and artists are playing two shows — an early and a late set. Dar complimented the venue’s efforts, saying that concerts are a work in progress, and that she felt the Strathmore was doing as good a job with it as she’s seen.
On Friday, pandemic capacity restrictions were lifted in the District of Columbia. When Amy Helm performed at The Hamilton Live, it was the first time in 16 months that venue had been fully open to present live music to eager audiences. It was a special night; the enthusiasm and love from the crowd was palpable, as most of the attendees were at their first show since early March 2020.
For Helm and her band, it was their first time back on the road and being outside of her native New York state. She acknowledged the significance of live music reopening, saying it was an honor to be playing. She joked, “Just to full capacity?” to which her bandmate Connor Kennedy quipped, “You can’t really go further than that.
Acclaimed singer/songwriter and multi-instrumentalist Amy Helm releases her upcoming album What the Flood Leaves Behind (Renew Records/BMG) on June 18. One week prior to that, Amy performs at The Hamilton Live in DC on Friday, June 11!