Thievery Corporation, one of the District's most eclectic musical outfits, takes to the stage this weekend as part of Operation Ceasefire, an anti-war musical event featuring the likes of the Bouncing Souls, Joan Baez, Le Tigre, The Coup, Head Roc, Ted Leo + The Pharmacists, Sweet Honey in the Rock, and others. In anticipation of the show, which may well match the last time we ran into Thievery Corporation, DCist was able to exchange some words with Eric Hilton (above right) on the District's music scene, politics in music, and the group's global soundscape.

In past interviews you've listed Dischord as a formative influence, both for its music and the way it does business. Do you think being based in D.C. has shaped your work in any other ways?

I'm sure it has in many ways. It's hard to escape the growing imperial nature of this city and its relation to the rest of the world. Politics is like air to many here, as you well know. I think it was always Dischord's DIY ethos mixed with their social justice concerns that appealed to Rob and me as we grew up here. Their efforts with Positive Force to organize the massive drum circle sit-ins at the South African Embassy in the 80's were particularly inspiring.

Of course, musically, Thievery Corporation and the classic Dischord sound are quite different. However, as Rob and I became more confident in our songwriting, we too had messages that we wanted to convey that ironically could be found on some Dischord records. Different styles, but similar concerns and sentiments.

What do you think of the music scene in D.C.? A lot of folks seem to think you're from Europe – do you feel like the city supports you?

For its size, I'd say D.C. has one of the top scenes in country and it's getting better all the time. Perhaps the best thing is the diversity of styles to be found here and the general level of talent. There isn't that one mega-band, but it's probably better that way.

D.C. has always been very supportive and our most recent run of 3 sold-out shows at 9:30 was, quite frankly, a career highlight. It always feels nice to be appreciated at home.

Your work started to get more political with The Richest Man In Babylon, and now on Cosmic Game you've continued the trend. How did this happen? And is it a direction you intend to keep pursuing?

I agree that The Richest Man in Babylon was the first clear expression of those messages, but I don't consider our lyrics to be as much political as they are societal critiques. Frankly, there is no political landscape in America to even write about; it's mob-rule via one of two corporate parties, each recently headed by a Skull & Bones member. The political landscape is pretty narrow.

I think these days, we're more interested in love, spirit and revolution. These things seem to matter most.

Coming at it from the other direction – your music incorporates influences from all over the globe. Do you think that this has shaped your personal politics?

I think a general curiosity about the world and eclectic record collections have most influenced that aspect of our music and outlook. It has been incredibly enriching to visit so many new places and see how the rest of the world lives. "If people back home only knew" comes to mind a lot when we're on the road. I think the average American would be shocked with the high quality of life around the globe.

Also, the simple realization that people, at their core, are really the same everywhere has been particularly moving. I was recently in Hanoi, and I couldn't fathom the fact that the US actually carpet-bombed these people. We should certainly resist attempts to dehumanize any people.

Operation Ceasefire is opposed to the Iraq war in general, but a lot of criticism of the war has been anti-corporate. Obviously you guys aren't doing commercials for Halliburton, but you've enjoyed a lot of success licensing your songs to some pretty big companies. How do you decide who gets to use your music?

Honestly, we have pretty simple criteria: no tobacco, fast food, soda, defense contractors, corporate media giants, or energy companies. We have licensed a song once to a big bank; that was probably crossing the line. We have also given songs gratis to progressive groups and companies. It's something that you have to grapple with. I always feel like we're getting the best part of the deal and it totally confounds me that these companies must not even listen to our lyrics.

ESL Music is listed as one of Operation Ceasefire's organizers. How did you become a part of this project?

Rob and I have known Adam Eidinger for a while and he suggested the idea to us at the corner of 18th and Columbia one day. It was a no-brainer and we agreed to commit some funds and time. I think that he, Scott Goodstein and the volunteers deserve the most credit for the event.

You guys are known for including guests and collaborators in your live show. What can fans expect to see on Saturday?

We'll have almost everyone that we had for the 9:30 shows. Six singers, 2 percussion, 2 horns, sitar, guitar, bass, Rob and myself. It's pretty full-on and we're really excited to play.

Thievery Corporation will take the stage at 9:37 p.m. on Saturday, September 24. The concert will be held on the northwestern end of the Washington Monument, along the intersection of Constitution Avenue and 17th Street.