March 12, 2007
Weekly Music Agenda
Monday
>> You can be fairly certain that when a rapper takes a stagename that is a play on Hawthorne, you're going to be dealing with a hip-hop experience concerned with more than just the next glass of Courvoiseir. Hesta Prynn and her cohorts in Northern State take the Black Cat backstage with Bitch and the Exciting Conclusion, the new project from half of the fantastic Bitch & Animal. This ought to be a mainstage show, so we recommend you fill up the backstage tonight so that next time around they play the big room. 9 p.m., $10.
>> Keb' Mo' has become one of the most well known of modern blues artists largely by keeping one foot firmly grounded in the genre's distant past. Tonight he opens a two-night stand at the Birchmere, and while tomorrow's show is sold out, there's still time to get into tonight's show. 7:30 p.m., $49.50.
>> Also sold out is tonight's Shins show at Constitution Hall. Provided you didn't get tickets when they went on sale, and didn't feel like lining the pockets of the dirty Craigslist scalpers ($100 for Dismemberment Plan tickets? It's a benefit for a sick kid, people), we wish you luck finding an extra ticket tonight.
Tuesday
>> Hej Hej, D.C.'s only Scandinavian pop DJ night, is teaming up with the Embassy of Sweden to present Ane Brun, a songwriter, guitarist and vocalist from Norway who has lived in Sweden since 2000. She was nominated as best Norwegian Act on the European MTV Music Awards in 2005. Hej Hej fans should note that they are not spinning at this event, but keep your eye out for more collaborations between them and the Swedish Embassy. 7:30 P.M. (Doors at 6:45), House of Sweden, 901 30th Street, NW, $5.
>> Elkridge, MD's own pop-punkers Amateur Phone Hussies (who really need to snatch up that prime URL before some phone sex company takes it first) join up with Kali Celeste and The Greys at the Velvet Lounge.
>> Classical singing prodigy turned unlikely pop phenomenon Josh Groban seems to share in the same mystifying appeal as Celine Dion, Michael Bolton and Andrea Bocelli. If that's your particular cup of tea, though, you can join the masses of Groban fans tomorrow at the Verizon Center. 8 p.m. $38-98.
>> Arlington singer/songwriter Justin Trawick celebrates the release of his new CD, How to Build a Life With a Lemonade Stand with a party at Iota Club & Cafe opening for The Nice Jenkins. 8 p.m., $10.
Wednesday
>> The word "supergroup," is bound to send most listeners screaming for the hills, considering the masturbatory vanity that is usually associated with that term. But The Good, the Bad, and the Queen is no Bad Company. Blur's Damon Albarn fronts a band consisting of Fela Kuti drummer Tony Allen, Verve guitarist Simon Tong, and on bass, Paul Simonon, who used to be in some band called The Clash. And the debut record just happens to be fantastic. So you're saying, "DCist, you had me at 'Damon Albarn,' where do I sign up?" Unfortunately, the show's sold out, so better start pacing the sidewalk in front of the 9:30 Club early on Wednesday looking for that elusive extra ticket.
>> Three Stars alums Pagoda are no more. They haven't broken up, though. They've just decided to change their name, and will be known as Roofwalkers from here on out. If your first thought is how this is going to throw a wrench into your carefully organized and alphabetized CD rack, we feel your pain. The freshly renamed quintet plays the Rock and Roll Hotel with local favorite Meredith Bragg (who we reviewed last fall) and Maria Taylor from Azure Ray. 8 p.m., $10 advance/$12 at the door.
>> Roman Kuebler (aka Romania) of The Oranges Band makes the trek down from the Charm City to play a rare solo set at the Wonderland Ballroom in Columbia Heights. With Impossible Hair. 9 p.m.
Thursday
>> The Lexington, KY-based indie-rock band The Scourge of the Sea, who have garnered some excellent press for their record Make Me Armored, are back in the DC area as part of their national tour for two shows. If you missed them on Saturday at The Velvet Lounge, you've got another shot Thursday at Iota where they open for Howling Hex. 9 p.m., $12.
>> The Roofwalkers aren't the only Three Stars alums playing this week. Garage rockers The breakUps, who we profiled in November are at The Red and the Black with The Spoils of NW, 9 p.m., $8.
>> Continuing to bring us top-notch electronic music at venues throughout D.C., Buzzlife presents progressive breakbeat pioneers Hybrid, a duo comprised of Mike Truman and Chris Healings, playing with a full live band (a la D.C.'s own Thievery Corporation), and including guests John Graham of Quivver, Peter Disefano of Porno for Pyros and vocalist Charlotte James. Check out their music here. At the 9:30 club. Tickets $20 in advance, $25 the day of the show. 10pm
Friday
>> If you made it out to Bliss at the 9:30 Club on Saturday night, you may have caught the premiere of local filmmakers Eric Cheevers and Scott Mueller's film, Las Historias Mas Sexy Del Mundo 2, which featured The Raveonettes (along with Matthew Lesko and Ian Svenonius). If that whetted your appetite for more of the Scandinavian rock and roll stylings of The Raveonettes (or if you just like really great vocal harmonies and really excellent nouveau-Velvet Underground songwriting), Rock and Roll Hotel has what you're looking for. 8 p.m., $13 advance/$15 at the door.
>> While you're still waiting for the Monsters of New Age tour featuring Enya, John Tesh, and George Winston to get off the ground, you can catch one third of the holy trinity of relaxation this weekend. Winston rocks the house as only a gentle atmospheric pianist can at The Barns at Wolf Trap on the first of three nights in Vienna. 8 p.m., $35.
Saturday
>> The 9:30 club's late-show will be Blowoff &emdash; the coming together of Bob Mould (formerly of Hüsker Dü and Sugar) and Richard Morel (a D.C. based House music producer/remixer), uniquely blending power-pop, hard rock, electronica and house music. Mould has produced the likes of Interpol and VHS Beta, while Morel has remixed bands such as The Pet Shop Boys, Depeche Mode, New Order, and the Killers. 11:30 p.m., $12.
>> The "Southern Blues/Soul Tour" at the Showplace Arena will not be all about those guitar solos you hear in Budweiser commercials. Instead, expect plenty of lascivious double-entendre lyrics ("Candy Licker") over keyboard beats with Bobby Blue Bland, Marvin Sease, Mel Waiters, Roy C, Theodis Ealey, Latimore, Shirley Brown, and Clarence Carter. 7 p.m., $47.50 and up.
>> Post-rock aficionados would be remiss to miss Austin-based Explosions in the Sky creating their solely instrumental and dramatic soundscapes at the 9:30 club. Though the show is sold out, beyond the craigslist option, you can also hear a live recording of the performance through NPR's All Songs Considered. Early Show, Doors at 6 p.m.
>> Ready for a polka versions of Jimi Hendrix, "The Hustle," and "The Bunny Hop"? Wacky Texans Brave Combo return to Blob's Park. 8 p.m., $16.
Sunday
>> Few, if any, string quartets claim Fugazi and Shellac as influences alongside Terry Riley and the Kronos Quartet, but the Low End String Quartet brings together these disparate sources to their experimental ensemble. Sunday they can be found at the Warehouse with bassist Chris Black, who plays an adventurous solo with upright bass and other instruments. 9 p.m., $7.
>> Ambulette, made up of former members of Denali and Joan of Arc, among others, are riding high on the strength of Maura Davis' voice and excellent reviews for their debut EP. They play the Rock and Roll Hotel, with The New Trust and Gist. 8 p.m., $10.
DCist contributer Steve Kiviat and DCist staff writers EK Eckert and Graham Hough-Cornwell contributed material to this week's Agenda.
Photo of Northern State from their website, uncredited.
Photos of The Good, the Bad, and the Queen and The Raveonettes by Søren Solkær Starbird.
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Panda Head has a Raveonettes interview up today.
"($100 for Dismemberment Plan tickets? It's a benefit for a sick kid, people)"
I understand the visceral reaction to that, but really, how is the sick child any worse off for the fact that someone pays that much to a scalper? Isn't it the Black Cat's fault for not selling the tickets for a lot more?
If I were in charge of using a gig like that to raise money, I'd try to figure out a dutch auction format to sell the tickets. That would be the best way to raise the most money while virtually eliminating the chance of scalpers.
Shins tickets are still available. I just checked. Try ticketmaster.
Those alternatives sort of subvert the traditional spirit of these sorts of benefits in this town, which is that they are generally regularly priced shows (so that the usual people who would go to a normal show can still go). Raising the price or putting it into an auction format might bring in more money, but at the cost of making the music less accessible, which is of large concern to a lot of artists in this town.
And no, in a technical sense, no money is being lost from the benefit fund because of scalpers. They paid their $15 just like everyone else. While I'd argue that scalping in general is in, at the very least, poor taste, that's really a separate issue here. In this case, engaging in an activity that effectively makes profit from the tragic illness of a child is a pretty fucking scumbag move all own its own. One can only hope that karma is a reality.
Of course, since Ticketmaster didn't allow for tickets to be mailed out for that DPlan show, that means they'll have to be picked up face to face from the scalper on the night of the concert. That being the case, I'd encourage all purchasers to let their "brokers" know what pieces of shit they are in whatever manner seems appropriate at that time.
Just checked, EPMD. Ticketmaster says no dice.
I've got tickets for the Shins show, but all I can gather online is that doors are at 7:00 and the show starts at or around 8:00 p.m.
My question is: Who is the opener?
The show, by the way, isn't even listed on Constitution Hall's web site.
Steve-
Viva Voce.
www(dot)vivavoce(dot)com
Thanks. Damn, I like Viva Voce. I caught them at IOTA last year. I better rush through dinner.
Northern State=a shame to any rap group that has ever come out of long island (believe it or not there are a lot.. DE LA SOUL PEOPLE)
word to K! northern state is a hoax of a hip hop group.
dcist is half right: they shouldn't be in the Black Cat backstage--they shouldn't be on stage at all...
"... we recommend you fill up the backstage tonight so that next time around they play the big room."
After listening to both acts--I have a better idea. How about no one show up so they don't come back...
agreed on northern state.
"Raising the price or putting it into an auction format might bring in more money, but at the cost of making the music less accessible, which is of large concern to a lot of artists in this town."
OK, but that has nothing to do with a sick child, so cries to stop scalping for the benefit of the sick child have no merit.
"In this case, engaging in an activity that effectively makes profit from the tragic illness of a child is a pretty fucking scumbag move all own its own. One can only hope that karma is a reality."
Well first I don't believe in Karma, but that aside, the real question is "who is profiting"? Let's just assume these tickets would have a market price of $100 (although I think that market price will drop as the show approaches). Who has profited from the decision by the band to keep the price at $15? The scalper, sure, but why not also the fan that was lucky and got a ticket? They're "profiting" $85 bucks just like the scalper in that they got an asset worth $100 bucks for only $15. If you're going to make such a fuss over "karma" for profiting from a sick child's benefit, shouldn't the fans that bought tickets for only $15 bucks feel just as guilty as the scalpers because deep down inside they know they'd spend more money to go to that show?
Why do people so totally lose all understanding of economics as soon as tickets sell out?
I'll trade anyone 2 dismemberment plan tickets for a peanut butter sandwich, a handfull of longitude penis enlargement pills, the march 92 ish of Club International, a vinyl copy of Skid Row's "Slave to the Grind," and a sixer of Beast Ice. straight up.
"Why do people so totally lose all understanding of economics as soon as tickets sell out?"
I don't know, perhaps you can tell me why people try to constantly shoehorn traditional economic theories into the arts? It's tiresome, when working for a non-profit arts organization to constantly have to explain to board members that some (and often most) events are expected to lose money.
I realize that we're dealing with a slightly different animal in this case, but my point is, don't quote me economic theory in a situation that isn't remotely about cold hard logic.
Plenty of bands in this town could have cashed in long ago by charging far more for concerts and recordings. That they didn't doesn't mean that they don't understand their market value or basic economics. It means that they understand something a little more important, that the scalpers miss just as surely as you have.
"It's tiresome, when working for a non-profit arts organization to constantly have to explain to board members that some (and often most) events are expected to lose money."
Perhaps the problem is that you think that non-profits operate outside the world of economic theory, when in reality they don't. It's just that, unlike most industries, their primary customers (i.e. donors) aren't necessarily their primary consumers (i.e. audience). Or maybe you understand that perfectly and it's your board members that don't.
"but my point is, don't quote me economic theory in a situation that isn't remotely about cold hard logic."
How is this not about cold hard logic? There's a scarce resource with an artificially low fixed price in the primary market. How can anyone possibly not expect a secondary market to arise? That the resource is art doesn't obviate that.
"That they didn't doesn't mean that they don't understand their market value or basic economics. It means that they understand something a little more important, that the scalpers miss just as surely as you have."
Well now you're just going scattershot. You have yet to explain why you thought it justified to use a holier-than-thou attitude and reference the charitable nature of the event to condescend to the secondary market. Now it's all about bands not selling out (a completely broken-up band, at that).
I understand quite well the motivations of these bands. I've been in a fair share of them myself. But the thing is that their actions can be explained by economics as surely as the actions of any rational actor. Keeping authenticity and not selling out has enough value to them to forgo the potential short term gain associated with hiking up ticket prices, etc. I agree it's a clinical way of putting it, and I'm sure they don't necessarily think of it quite in those terms, but really that's at the heart of any band's decision not to "cash in". It's a very similar thought process that I presume leads you to take a job at an arts non-profit when you could probably make more money doing something less interesting. It's a perfectly rational choice.
It takes no shoehorning to get economics into the arts. It's there without trying.
"Perhaps the problem is that you think that non-profits operate outside the world of economic theory, when in reality they don't. It's just that, unlike most industries, their primary customers (i.e. donors) aren't necessarily their primary consumers (i.e. audience). Or maybe you understand that perfectly and it's your board members that don't."
No, it's that those board members are forever unable to comprehend why an organization would stage concerts wherein ticket sales do not even cover the basic operating costs. We understand that philanthropy is our lifeblood, they are still stuck in "goods for services" land. I will let you in on a little secret, though: the basic day-to-day of working in an office in an arts non-profit is no more interesting than working in an office anywhere else.
The "artificially" low price in the primary market for ticket sales exists because the artist dictates that is what they want that price to be, because they want their "product" to be accessible to people who may not have the means to purchase them at the "real" value. I support the artist's right to dictate AND MAINTAIN that price, which is why I also support the wholesale outlawing of ticket resale with inflated prices in any forum. If it's illegal in front of the club, it should be illegal elsewhere. And maybe that means that I "hate freedom", but if that's the case, I'm comfortable with that.
As for the rest, you're still missing my point. I wasn't even trying to speak to the issue of "selling out". I'm simply trying to point out that, in this case particularly, there are issues of humanity, sympathy, decorum, and simple fucking honor, that outweigh the vulgar logic of economics.
At the end of the day, it's a fairly pointless debate, because we're arguing from completely different philosophies of what's most important. We're about as likely to come to a middle ground as a pro-choice activist having it out with a devout Christian pro-lifer.
Also worth mentioning is that scalping is against the stated policy of the club. From the Black Cat website:
"If you're going to make such a fuss over "karma" for profiting from a sick child's benefit, shouldn't the fans that bought tickets for only $15 bucks feel just as guilty as the scalpers because deep down inside they know they'd spend more money to go to that show?"
If they feel guilty, they can donate directly to the Callum Robbins family fund: desotorecords.com/cal/ . No doubt there will also be places to donate at the actual concert.
And to answer your question, I think believing you have underpaid for a benefit show may bring the slightest tinge of guilt. However, profiting fivefold from a ticket whose original price (mainly) goes to the benefit of an ill child should leave a burning hole of shame in the stomach of a person with any decency.
This is not a question of economics, but one of morals. The visceral reaction outweighs the economics--though I'll be the first to note that economics never makes itself scarce.
Arctic Monkeys at the 9:30 Club on May 16. Tickets are on sale already.