In addition to Sting and Shaggy, I heard lots of other musicians last year – some I'd seen before and some I hadn't. Here are the highlights:
Victory and Rodriguez at Sixth and I Synagogue (March 3)
Rodriguez, the '60s folk singer from Detroit who earned a massive following in South Africa, was the main attraction of this evening at Sixth and I Synagogue. Many in the audience knew him from the 2012 Oscar-winning documentary Searching for Sugar Man. I had just seen that over Christmas with my dad and was surprised to find his name on Sixth and I's schedule a few months later.
Rodriquez is older and needed help getting over to his stool, but he still plays and sounds the same. I enjoyed the music, but I don't know why he felt the need to wear different hats for different songs. Also, the crowd annoyed me! (This is what happens when you allow people to bring drinks into the performance space.) They yelled out song requests and commentary and tried to have conversations with him between songs. The hat swaps and the unsolicited commentary (like suggestions for which hat to wear for the next song and which song to sing) made me feel like we were watching an attraction on display at a carnival. Still, I enjoyed Rodriguez's set. His songs are fantastic, and I felt lucky to have the chance to see him.
The best part of this show for me was Rodriguez's opening act, Victory, a local singer I hadn't heard before. She started singing, and it blew our hair back with fresh air. Everyone paid attention. She invited some family members on stage to join her, and they were equally talented. (She's in a band with them too, called Infinity's Song.) Victory told us that she was discovered by Jay Z, and he was helping her finish her debut album. She said that her EP was available for sale downstairs, and as soon as she finished her set and our roaring standing ovation died down, we all ran downstairs to buy it. Check out her album, The Broken Instrument. She is the future!
Franz Ferdinand at 930 club (April 11)
I have the first two albums by Scottish band Franz Ferdinand, both of which I memorized from start to finish. They are albums that don't require any skipping of songs. Then, I forgot to follow the band. (I need to and will catch up!) When I saw them at 930 club, I felt a little out of touch with the songs until they played ones I recognized.
This concert was almost too loud for 930's small space, and the lights were overpowering at times. (Am I getting old, or did I just have a long, tiring day?) But the band's energy is electric! I love a group bursting with guitars. The set included a disco ball, which fit this band's vibe. And, even the newer songs that were unfamiliar to me were unmistakably Franz Ferdinand, which I appreciated. Still, it wasn't until I heard my favorites like, "Take Me Out" and "Do You Want To," that I lost my mind. It was all worth it.
Lisa Fischer and Grand Baton at Blues Alley (June 16)
I know Lisa Fischer from her participation in the 2013 Oscar-winning documentary, 20 Feet from Stardom, which showcased backup singers for famous rock stars. Then, I saw her in person when she started participating in the annual charity concerts for the Rainforest Foundation at Carnegie Hall. Then, in 2017, I saw that she was going to perform at Blues Alley with a band called Grand Baton. I brought my dad with me to show her off. Now, we will always see her whenever she is in town.
Lisa Fischer is otherworldly! When listening to her sing, it's hard to believe the sounds coming out of her. Her entire body is her instrument, and she makes it seem effortless. Grand Baton matches her talent. While most of the show's set is covers of songs by her more famous friends, like "Gimme Shelter" by the Rolling Stones, "Message in a Bottle" by The Police, and "Addicted to Love" by Robert Palmer, musical arranger JC Maillard makes them almost unrecognizable. Most of the time, I'd know lyrics or a musical phrase before I'd realize what song it was. (It's like when you're trying to think of a particular song while the radio is playing something else.) The Lisa Fischer versions are entirely new and exciting. Check her out for yourself this year at Blues Alley, November 7-10. She'll change your life, or at least how you hear music.
Belly at 930 club (September 29)
I first saw Belly at 930 club in 2016 during their reunion tour, when they played a greatest hits set that featured all the songs I remember from the '90s. They said they'd be back with new songs soon, and they meant it. This time around, they played a mix of new songs from their album Dove as well as classics, like "Feed the Tree." While I wasn't yet familiar with the new songs, they were promising with Belly's guitar-heavy signature sound.
While this show offered new music, the band was steadfastly fun, engaging with the crowd. Instead of having an opening act, they came right out and played for an hour. Then, guitarist Gail Greenwood explained, "We're going to play one more song – because we're douchebags and we open for ourselves. So, we're going to play one more song, take a 10-minute break, come back out, and play for another hour. So call the babysitter and get more drinks at the bar because, as I always say, 'the drunker you are, the better we sound.'" I didn't test out this theory, but the second hour sounded great to me.
Jain at 930 club (October 29)
I first saw French singer/songwriter Jain on Late Night with Stephen Colbert, where she made her U.S. television debut, singing her first single, "Come" from her album Zenaka. It was love at first sight! Her music is infectious, her ideas are fresh, and her style is unique (and so French). In the days that followed, I told everyone I knew about her, but she's probably known more because of the Levis commercial that features her awesome song, "Mekaba."
For her performance at 930 club, which was in support of her second album Souldier, Jain wore a navy jumpsuit that had five or six lighted buttons on one sleeve. These buttons corresponded with the DJ controller podium at the center of the stage. Jain sang and danced around the stage, using her sleeve buttons like a remote control to add layers of beats and harmonies to her songs. She had interesting lighting patterns and a large screen in the background that displayed images and graphics behind her. Her style reminded me of David Bowie in that she presented a full picture or feeling to correspond with each song.
But it wasn't all about art. It was about the music. I love Jain's positive energy and the worldly influences heard in her songs. She asked us if we were ready to do some happy dancing, and we were! We jumped around and sang along with her the entire time. It's my new favorite workout.
Edie Brickell and New Bohemians at Lincoln Theatre (November 3)
I loved Edie Brickell and the New Bohemians when they first arrived on the scene in 1989. Their 1990 sophomore album, Ghost of a Dog, is still one of my favorites. I lost track of the band, but I bought a few of Edie Brickell's solo albums over the years. Most recently, she'd been working with Steve Martin on the great Broadway show Bright Star as well as a couple of folk albums. But, now, I was thrilled that she reunited with the New Bohemians, and I brought my dad along with me to see them.
Supporting their latest album, Rocket, the band played mostly new songs. They were good but unfamiliar to me. I counted three songs that I knew from the old days – "What I Am," "Circle," and "Ghost of a Dog" – to which everyone sang along so loudly that the voices drowned out the singer. The musicianship, though, was as great as I imagined.
Unfortunately, the fan-filled crowd, at least near us, was drunk and stupid. Even though dad and I had arrived early to get a good seat up front at this general admission show, we still had to stand the entire time, peering over rows of bobbing heads because people rushed to stand, jump, and dance by the stage and in the aisles and rows just as the first notes started. I guess I should have researched and been warned all the YouTube videos that show similar enthusiasm, but I hadn't experienced this before at Lincoln Theatre and didn't expect it. The crowd kind of ruined it for both of us. Even Edie Brickell seemed baffled: "Where did that come from?" she asked, when a giant balloon magically appeared in the middle of the audience and began bouncing around the room. Where did all these people come from, I wondered.
In any case, it was exciting to see what I could of the band performing. They've picked up where they left off and still got it!
Rufus Wainwright at Strathmore (December 8)
Rufus Wainwright's tour, All These Poses, celebrated the 20th anniversary of the release of his self-titled debut album and follow-up album, Poses. I don't have these albums or know their songs, but I still loved this concert. Serving as opening act was fellow band member, Rachel Eckroth, who could be a one-woman band. In the band, though, she served as backup singer and played keyboards, piano, and guitar.
As always, Rufus Wainwright was entertaining, funny, charismatic, and stylish. He made some costume changes throughout the show, including a pair of cool black pants that had a mid-leg section of sparkly geometric designs. At different points, he also wore an ornate black cape or a sleeveless silver sequined top. He gave insight into song origins through stories about his life and musical family too.
Commentary and fashion aside, Rufus Wainwright's hard work and startling talent are what's kept him going all these years. Whenever he performs, he commands attention, and I love how he puts his entire body into his singing, swaying with every note like an inflatable sky dancer. At Strathmore, his unique musicianship, musicality, and voice were enhanced in the fantastic acoustic-friendly space. While listening to him, I found myself leaning in so that I wouldn't miss a sound. But he also sang two covers – Joni Mitchell's "Both Sides Now" and the Beatles' "Across the Universe" – that made me melt.
Here's to another 20 years (and more)!
Meshell Ndegeocello at the Kennedy Center (April 26 and December 16)
Dad and I saw Meshell Ndegeocello twice last year. In April, her concert showcased her latest album, Ventriloquism, an eclectic collection of cover songs. As usual, her sweet and silky voice was flawless, and the lush music enveloped the space. This show felt relaxed and intimate. The lighting was low because, she explained, the focus should be on listening to the music rather than watching her and the band perform it.
In December, Meshell Ndegeocello returned to the Kennedy Center to perform an homage to James Baldwin. Dad and I didn't know this at the time, but in 2016, she presented a stage musical inspired by James Baldwin's book, The Fire Next Time. (Check out some highlights of the stage musical here.)
This concert was a version of the stage musical (without costumes and props), titled, "No More Water | The Fire Next Time: The Gospel According to James Baldwin. The show included music – performed by her band with a few backup singers, including the wonderful Justin Hicks – and spoken word, powerfully narrated by poet Staceyann Chin. Despite Baldwin's book being more than 50 years old, his writing is as relevant today as it was in the '60s. This concert was an uplifting call to action that left us exhilarated.
At the end, Meshell thanked us for coming, saying she knew none of us knew what to expect. That may be true, but none of us were worried or disappointed.
Victory and Rodriguez at Sixth and I Synagogue (March 3)
Rodriquez is older and needed help getting over to his stool, but he still plays and sounds the same. I enjoyed the music, but I don't know why he felt the need to wear different hats for different songs. Also, the crowd annoyed me! (This is what happens when you allow people to bring drinks into the performance space.) They yelled out song requests and commentary and tried to have conversations with him between songs. The hat swaps and the unsolicited commentary (like suggestions for which hat to wear for the next song and which song to sing) made me feel like we were watching an attraction on display at a carnival. Still, I enjoyed Rodriguez's set. His songs are fantastic, and I felt lucky to have the chance to see him.
"Crucify Your Mind" by Rodriguez on Later with Jools Holland in 2012
The best part of this show for me was Rodriguez's opening act, Victory, a local singer I hadn't heard before. She started singing, and it blew our hair back with fresh air. Everyone paid attention. She invited some family members on stage to join her, and they were equally talented. (She's in a band with them too, called Infinity's Song.) Victory told us that she was discovered by Jay Z, and he was helping her finish her debut album. She said that her EP was available for sale downstairs, and as soon as she finished her set and our roaring standing ovation died down, we all ran downstairs to buy it. Check out her album, The Broken Instrument. She is the future!
"Open Your Eyes" by Victory from The Broken Instrument
Franz Ferdinand at 930 club (April 11)
I have the first two albums by Scottish band Franz Ferdinand, both of which I memorized from start to finish. They are albums that don't require any skipping of songs. Then, I forgot to follow the band. (I need to and will catch up!) When I saw them at 930 club, I felt a little out of touch with the songs until they played ones I recognized.This concert was almost too loud for 930's small space, and the lights were overpowering at times. (Am I getting old, or did I just have a long, tiring day?) But the band's energy is electric! I love a group bursting with guitars. The set included a disco ball, which fit this band's vibe. And, even the newer songs that were unfamiliar to me were unmistakably Franz Ferdinand, which I appreciated. Still, it wasn't until I heard my favorites like, "Take Me Out" and "Do You Want To," that I lost my mind. It was all worth it.
"Take Me Out" by Franz Ferdinand from self-titled debut album (2004)
Lisa Fischer and Grand Baton at Blues Alley (June 16)
I know Lisa Fischer from her participation in the 2013 Oscar-winning documentary, 20 Feet from Stardom, which showcased backup singers for famous rock stars. Then, I saw her in person when she started participating in the annual charity concerts for the Rainforest Foundation at Carnegie Hall. Then, in 2017, I saw that she was going to perform at Blues Alley with a band called Grand Baton. I brought my dad with me to show her off. Now, we will always see her whenever she is in town.
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| Photo: C. Elliot |
Belly at 930 club (September 29)
I first saw Belly at 930 club in 2016 during their reunion tour, when they played a greatest hits set that featured all the songs I remember from the '90s. They said they'd be back with new songs soon, and they meant it. This time around, they played a mix of new songs from their album Dove as well as classics, like "Feed the Tree." While I wasn't yet familiar with the new songs, they were promising with Belly's guitar-heavy signature sound.
"Feed the Tree" by Belly from their debut album, Star (1993)
Jain at 930 club (October 29)
I first saw French singer/songwriter Jain on Late Night with Stephen Colbert, where she made her U.S. television debut, singing her first single, "Come" from her album Zenaka. It was love at first sight! Her music is infectious, her ideas are fresh, and her style is unique (and so French). In the days that followed, I told everyone I knew about her, but she's probably known more because of the Levis commercial that features her awesome song, "Mekaba."For her performance at 930 club, which was in support of her second album Souldier, Jain wore a navy jumpsuit that had five or six lighted buttons on one sleeve. These buttons corresponded with the DJ controller podium at the center of the stage. Jain sang and danced around the stage, using her sleeve buttons like a remote control to add layers of beats and harmonies to her songs. She had interesting lighting patterns and a large screen in the background that displayed images and graphics behind her. Her style reminded me of David Bowie in that she presented a full picture or feeling to correspond with each song.
But it wasn't all about art. It was about the music. I love Jain's positive energy and the worldly influences heard in her songs. She asked us if we were ready to do some happy dancing, and we were! We jumped around and sang along with her the entire time. It's my new favorite workout.
"Come" by Jain in 2017
Edie Brickell and New Bohemians at Lincoln Theatre (November 3)
I loved Edie Brickell and the New Bohemians when they first arrived on the scene in 1989. Their 1990 sophomore album, Ghost of a Dog, is still one of my favorites. I lost track of the band, but I bought a few of Edie Brickell's solo albums over the years. Most recently, she'd been working with Steve Martin on the great Broadway show Bright Star as well as a couple of folk albums. But, now, I was thrilled that she reunited with the New Bohemians, and I brought my dad along with me to see them.
Supporting their latest album, Rocket, the band played mostly new songs. They were good but unfamiliar to me. I counted three songs that I knew from the old days – "What I Am," "Circle," and "Ghost of a Dog" – to which everyone sang along so loudly that the voices drowned out the singer. The musicianship, though, was as great as I imagined.
Unfortunately, the fan-filled crowd, at least near us, was drunk and stupid. Even though dad and I had arrived early to get a good seat up front at this general admission show, we still had to stand the entire time, peering over rows of bobbing heads because people rushed to stand, jump, and dance by the stage and in the aisles and rows just as the first notes started. I guess I should have researched and been warned all the YouTube videos that show similar enthusiasm, but I hadn't experienced this before at Lincoln Theatre and didn't expect it. The crowd kind of ruined it for both of us. Even Edie Brickell seemed baffled: "Where did that come from?" she asked, when a giant balloon magically appeared in the middle of the audience and began bouncing around the room. Where did all these people come from, I wondered.In any case, it was exciting to see what I could of the band performing. They've picked up where they left off and still got it!
Rufus Wainwright at Strathmore (December 8)
Rufus Wainwright's tour, All These Poses, celebrated the 20th anniversary of the release of his self-titled debut album and follow-up album, Poses. I don't have these albums or know their songs, but I still loved this concert. Serving as opening act was fellow band member, Rachel Eckroth, who could be a one-woman band. In the band, though, she served as backup singer and played keyboards, piano, and guitar.
As always, Rufus Wainwright was entertaining, funny, charismatic, and stylish. He made some costume changes throughout the show, including a pair of cool black pants that had a mid-leg section of sparkly geometric designs. At different points, he also wore an ornate black cape or a sleeveless silver sequined top. He gave insight into song origins through stories about his life and musical family too.Commentary and fashion aside, Rufus Wainwright's hard work and startling talent are what's kept him going all these years. Whenever he performs, he commands attention, and I love how he puts his entire body into his singing, swaying with every note like an inflatable sky dancer. At Strathmore, his unique musicianship, musicality, and voice were enhanced in the fantastic acoustic-friendly space. While listening to him, I found myself leaning in so that I wouldn't miss a sound. But he also sang two covers – Joni Mitchell's "Both Sides Now" and the Beatles' "Across the Universe" – that made me melt.
Here's to another 20 years (and more)!
"The Tower of Learning" by Rufus Wainwright at Strathmore in 2018
Meshell Ndegeocello at the Kennedy Center (April 26 and December 16)
Dad and I saw Meshell Ndegeocello twice last year. In April, her concert showcased her latest album, Ventriloquism, an eclectic collection of cover songs. As usual, her sweet and silky voice was flawless, and the lush music enveloped the space. This show felt relaxed and intimate. The lighting was low because, she explained, the focus should be on listening to the music rather than watching her and the band perform it.
 |
| Photo: Jordi Vidal/Redferns via Getty Images |
This concert was a version of the stage musical (without costumes and props), titled, "No More Water | The Fire Next Time: The Gospel According to James Baldwin. The show included music – performed by her band with a few backup singers, including the wonderful Justin Hicks – and spoken word, powerfully narrated by poet Staceyann Chin. Despite Baldwin's book being more than 50 years old, his writing is as relevant today as it was in the '60s. This concert was an uplifting call to action that left us exhilarated.
At the end, Meshell thanked us for coming, saying she knew none of us knew what to expect. That may be true, but none of us were worried or disappointed.
