District Fray Magazine | November 2022

ROBERT KINSLER Publisher robert@unitedfray.com

MONICA ALFORD

Editor-in-Chief

monica@unitedfray.com

BRANDON WETHERBEE Managing Editor brandon@unitedfray.com

NICOLE SCHALLER Assistant Editor nicole@unitedfray.com

JAMIE MCCRARY Senior Editor jamie@unitedfray.com

MICHAEL CLEMENTS

Consultant michael@unitedfray.com

JULIA GOLDBERG

julia@unitedfray.com

CLAIRE SMALLEY

claire@unitedfray.com

TOM ROTH

tomroth@unitedfray.com

MARTIN

martin@unitedfray.com

D.C.’S MUSIC SCENE. This month, I decided to forgo my traditional Letter from the Editor for an aggregated playlist of favorite 2022 releases to celebrate our annual Music Issue. While not exhaustive, we put together a robust compilation from our editorial team and some of our contributors, as well as some picks from the larger Fray family on our sports and events teams. From D.C. bands to pop hits to everything in between, we’ve got you covered. Enjoy our very eclectic, a little all over the place Music Issue playlist: spoti.fi/3fdwJ5u.

Cheers, MONICA ALFORD EDITOR-IN-CHIEF

INDIE

“the perfect pair” by beabadoobee

“Weeds” by Beach Bunny “Change” by Big Thief  “Bad Love” by Dehd “Forever in Sunset” by Ezra Furman

“Lost Track” by HAIM

“Broken” by Hot Chip

“Let Us Die” by King Princess “Skin A Rat” by SASAMI

“Freaks & Geeks” by Oliver Tree

“Marvelous” by Wallows  “Lavender Forever” by Jake Wesley Rogers “Wet Dream” by Wet Leg HOMEGROWN

“Heavy Heart” by Bartees Strange

“Sub Poppin” by Black Rave Culture

“Your Ideal” by Cinema Hearts “Finally Fine” by Jack Kays

“Lucky Unlucky” by The North Country

“Tuning In” by Teen Mortgage POP

“Blow Out My Candle” by Betty Who

“Numb Little Bug” by Em Beihold “MADELINE” by INJI “2 Be Loved (Am I Ready)”  by Lizzo

“Unholy” by Sam Smith ft. Kim Petras

“This Hell” by Rina Sawayama “Keep Driving” by Harry Styles

COUNTRY

“I Feel for You” by Charley Crockett

“I Remember” by Cheat Codes + Russell Dickerson

“Good Enough” by Nikki Lane

“I Can’t Love You Anymore” by Maren Morris

“Big Time” by Angel Olsen

“Daytona Sand” by Orville Peck

“Truth About You” by Mitchell Tenpenny

“Tired of Taking It Out On You” by Wilco

JAZZ

“Night Shift” by Mary Halvorson

“Tails Of A Peacock” by William Parker

“Le Nez” by Toc

CLASSICAL

“Lago Escondido” by Samuel Aguilar + Brian Eno

“Navigation IV” by Mathieu Pelletier-Gagnon + Flore Laurentienne “Hoffnung” by Roedelius and Friesz

ELECTRONIC

“Black Hot Soup (DJ Shadow ‘My Own Reality’ Re-Write)” by King Gizzard & The Lizard Wizard + DJ Shadow

“A Yellow Robe” by Sam Prekop + John McEntire

“The Ladder” by Röyksopp

METAL

“Hunter’s Moon” by Ghost “The Dying Song (Time To Sing)” by Slipknot “Mokita” by Violet Cold

ROCK ‘N’ ROLL

“Wild Child” by The Black Keys

“Cannibal” by Marcus Mumford

“Basements” by Mercy Union, Jared Hart

“Black Summer” by Red Hot Chili Peppers

“Burning” by Yeah Yeah Yeahs

HIP-HOP // R&B // SOUL “Tarot” by Bad Bunny ft. Jhay Cortez

“BREAK MY SOUL” by Beyoncé

“Good Morning Gorgeous” by Mary J. Blige

“Power Power” by Duckwrth ft. Shaun Ross

“Twin Flame” by KAYTRANADA + Anderson. Paak

“Big Energy” by Latto

CLOCKWISE. “Hold On Baby” by King Princess. “Blue Skies” by Dehd. “Farm to Table” by Bartees Strange.

For music to have soul, it has to have a story.

dreamcastmoe creates his life’s work according to that mantra. A D.C. singer, songwriter, percussionist and producer, he says his narrative is the most important part of his music.

“[I] started off as just a young Black man growing up in a city that was constantly in motion, in change,” dreamcastmoe says. “I grew up in a city that was predominantly Black, a city of color called the Chocolate City. And it’s changed over the years. I represent the D.C. of the late ’90s and early 2000s.”

dreamcastmoe — Davon behind the scenes — channels the D.C. he knows into his work, which blends R&B, funk, soul, jazz, hip-hop and more. Though he goes by a stage name and prefers to keep his full name private, he doesn’t hold back much else about himself.

“My music is truly a mirror and reflection of who I am,” he says. “So yes, dreamcastmoe is an artist, but dreamcastmoe is also Davon. That’s me. The music represents Davon’s story.”

As for what specifically informed his childhood?

“I’m a child of a single mother,” dreamcastmoe says right off the bat. “She kept me active because she knew she had to work. That’s why I am able to do so much on my own — I really touched a lot of different things at a young age. And she made that possible for me.”

So for enrolling him in activities that helped him to develop into a multi-disciplinary musician, a “big shoutout to Molly Bryant,” he says.

At places like the Sitar Arts Center, dreamcastmoe learned to play the djembe, congas and drum sets. It stuck with him: All these years later, drumming remains a critical part of his musical process. He starts composing a song by getting a rhythm going and then figuring out how he wants the song to progress.

The artist prefers not to define his genre, switching tone and rhythm on each soundtrack while pulling in elements from his own life. On his latest album “Sound Is Like Water,” which he’s releasing in parts, he uses water as a metaphor for rage and calm alike. Part 1 is available now, while Part 2 will drop early November.

“I was trying to give a reflection of my life at the time and how life tends to move like water. Water can [create] some destructive moments and be catastrophic. But it can also be a moment of calm. I love to sit by water. I love hear the sound of water.”

by GRVTY.

And because he’s so connected to his music, he gets personal with some of his favorite lyrics. After his aunt passed away, dreamcastmoe wrote “(301)341-7207” to memorialize her. The title of the song was her phone number.

“(301)341-7207” references one of dreamcastmoe’s favorite athletes, too — Washington Commanders free safety Sean Taylor, who died in 2007 — in a line dreamcastmoe finds particularly poignant.

“Tell me why the best die young / Twenty four laps around the sun,” he sings.

Creating music hasn’t always been easy for the artist, though. During the housing crisis, he sold off his equipment and got another job.

“It’s hard because we live in a city where people can make six figures easily,” he says. “As an artist, I did hit a low point. I sold all my music gear. I needed to pay rent, right? But I didn’t lose faith in my music. I just had a setback. But it was for a major comeback.”

He knows musicians deserve better support to work in D.C. than he did during the housing crisis, so now dreamcastmoe tries to incorporate his activism into his songs.

“True artistry can happen when somebody doesn’t have to worry about their living situation. I think there should be better housing opportunities for artists in the city.”

He points out the world only remembers one side of D.C.: the powerful, the ones who make enough money to easily afford nice homes. But that narrative doesn’t ring true for him.

When dreamcastmoe reads the news, he doesn’t feel like he sees the city he loves. He doesn’t see the city he fights for in his music.

“What the media and the rest of the world sees are white politicians and lobbyists. And what they don’t see are the communities and people who live in the city and struggle, survive and [celebrate] triumphs,” dreamcastmoe says. “That’s my story. My story is very far away from the lobbyist and the politicians. My story is on Georgia Avenue; it’s on U Street. My story represents the people who live and work within the city, who struggle and who win.”

Part 2 of “Sound Is Like Water” comes out November 4. dreamcastmoe’s music is available at dreamcastmoe.bandcamp.com, and you can find him on Instagram @dreamcast.moe.

Virginia Arrisueño of Steadfast Supply.

Photo by Brandon Chen.

DMV SOUNDS

Every night of the week there’s a good reason to leave your couch and catch a show. Every night of the week there’s a good D.C. band on the bill. Our five picks for November include acts signed to Merge Records, acts on tape labels, acts made up of other excellent D.C. indie rock institutions, instrumentalists and hardcore in a house.

11.4

Gauche opens for Tropical Fuck Storm

A little bit jingle jangle, a little bit bubblegum pop, a little bit Le Tigre, Gauche is a fantastic five piece. The Merge Records act opens for the Australian four-piece Tropical Fuck Storm at DC9 on an early November night. This is just a great pairing of head nod-friendly, quality indie rock in a perfectly small room. This is also a great reminder to sign up for your favorite venue’s mailing lists so you don’t have to get your tickets on the secondary market. Visit g-a-u-c-h-e.bandcamp.com. Sold out. Secondary market tickets start at $57. 7:30 p.m. DC9: 1940 9th St. NW, DC; dc9.club // @dc9club

11.5

Divorce Horse opens for Hammered Hulls

I’m a fan of most everything Dream Home records releases and Divorce Horse keeps that trend alive. The two-piece plays low fi nightmare punk noise loud stuff. I’m not exactly sure how to classify it but if you’re going for band-of-the-moment Hammered Hulls, you’ll most likely like at least one aspect of the band with the best name in D.C. The first band on the bill, Saffron, is worth your early attendance too. Learn more at dreamhomemusic.bandcamp.com + thebannedsaffron. bandcamp.com; follow @divorce_horse + @thebannedsaffron. $20. 8 p.m. Black Cat: 1811 14th St. NW, DC; blackcatdc.com // @blackcatdc

11.14

Ecstatic International opens for Smut Ecstatic International features members of Priests, Ex Hex, Bottled Up, Olivia Neutron-John and Des Demonas. Their recently released EP, titled “EP,” was recorded at Tonal Park. It was put out on Sister Polygon. Could this band be any more D.C.? No. The answer is no. If you enjoy Talking Heads, Tom Tom Club and the bands these band members hail from, you will enjoy moving on H Street. See them and get tickets ASAP. This show will likely sell out in advance. Learn more at ecstaticinternational.bandcamp.com; follow @ecstatic_international. 8 p.m. $15. Pie Shop: 1339 H St. NE, DC; pieshopdc.com // @pieshopdc

11.18

CDR opens for ConSec

CDR continues in the tradition of Bad Brains, Dead Kennedys and 7 Seconds. Meant to be enjoyed live, see them in Takoma Park’s finest house venue alongside fellow punk/hardcore/ thrash bands ConSec from Georgia (the state) and Desolus from nearby Georgia Avenue. Visit cdrpunk.bandcamp.com. Rhizome: 6950 Maple St. NW, DC; rhizomedc.org // @rhizome_dc

11.19

The Mantis

Enjoy some instrumental rock in the same vein as Pelican or The Messthetics. The Mantic Trio produces the kind of music that makes you feel like you’re in a very dramatic movie. This is a compliment. Catch them live for visuals from multimedia artist Monica Stroik. The late start time will make the show feel even more dramatic. Learn more at themantisdc. bandcamp.com; follow @the_mantis_dc. 10 p.m. $16. Comet Ping Pong: 5037 Connecticut Ave. NW, DC; cometpingpong.com // @cometpingpong

Gauche. Photo courtesy of Merge Records.

Reading List

WORDS BY BRANDON WETHERBEE

Reading about sex, drugs and rock ‘n’ roll tends to be a safer way to enjoy sex, drugs and rock ‘n’ roll. We asked Politics and Prose Music Buyer András Goldinger for some musical books to add to our reading list. His picks range from modern histories to children’s books and everything in between.

New Histories

“Music Is History”

The last 50 years of music (and history) from a very personal perspective. Written by Questlove.

“Major Labels: A History of Music in Seven Genres”

Rock, R&B, country, punk, hip-hop, dance and pop.

Written by Kelefa Sanneh.

“The Rest Is Noise: Listening to the Twentieth Century”

A classic meditation, from Stravinski to Björk, Monk and Reich. Written by Alex Ross.

“Musical Revolutions: How the Sounds of the Western World Changed”

From the beginnings of notation in the 11th century to contemporary leaps in classical and jazz.

Written by Stuart Isacoff.

New Critical Lenses

“This Woman’s Work: Essays on Music” Novelists, critics, poets and musicians redress the balance. Edited by Sinéad Gleeson and Kim Gordon.

“Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound”

From early blueswomen to Janelle Monáe, Cécile McLorin Salvant, and Beyoncé. Written by Daphne Brooks.

Music + the Brain

“This Is What It Sounds Like: What the Music You Love Says About You”

Susan Rogers is a cognitive neuroscientist (and was Prince’s engineer!). Written by Susan Rogers and Ogi Ogas.

D.C. Music

“DC Jazz”

Great essays on Ellington, 7th Street’s jazz clubs, Howard and UDC, D.C.’s jazz radio and concert scene and more. Edited by Maurice Jackson and Blair A. Ruble.

“Dance of Days: Two Decades of Punk in the Nation’s Capital”

Another classic work documenting punk in words and pictures. Written by Mark Andersen and Mark Jenkins.

“Go-Go Live: The Musical Life and Death of a Chocolate City”

The two complimentary works on D.C.’s go-go. Written by Natalie Hopkinson.

For Young Readers

“Before Music: Where Instruments Come From” A colorful, large-format inventive book that takes a global look at natural materials and the musical impulses which transformed them into instruments, and the way they are played. Written by Annette Bay Pimentel and illustrated by Madison Safer.

“Still This Love Goes On”

Musicians themselves have also transformed their songs into picture books. Written by Buffy Sainte-Marie and illustrated by Julie Flett.

Musicians on Music

“How Music Works”

The ever-curious Byrne on history, philosophy plus tips on producing, performing and surviving the business. Written by David Byrne.

“The Philosophy of Modern Song” Sixty-plus essays, each riffing on a favorite song. Written by Bob Dylan.

Wildcard Pick!

The 33 1/3 Series

Starting with “Dusty in Memphis” (published in 2003) to the latest title, each of the 168 volumes (and counting) of the 33 1/3 series is devoted to one iconic album. There’s something for everyone!

From Halloween to the beginning of the holiday season, D.C. offers opportunities to be both scared and festive. Massive musicals are coming to the Kennedy Center, world-class drag queens are bringing holiday shows to U Street, and comics and bands from across the globe are coming to the DMV. Plan ahead. Most of these picks will sell out in advance.

COMPILED BY OLIVIA JUENGER + ZACH ZIMMERMAN

THROUGH 11.6

SYNETIC THEATER PRESENTS “DRACULA”

Synetic Theater reawakens one of the most acclaimed stories in history, Bram Stoker’s “Dracula.” Synetic’s take on this iconic tale looks evil in the eye and never backs down in a horror-fueled, heart-pounding production that’s sure to get your blood pumping. $20+. 2 p.m. + 8 p.m. Synetic Theater: 1800 S Bell St. Arlington, VA; synetictheater.org // @synetictheater

11.1

CAN I KICK IT?

The monthly movie series at Songbyrd Music House. At each event, martial arts flicks and cult classic action films are screened and scored live (scene-by-scene) with a mix of hip-hop, funk, rock, jazz and more mixed by DJ 2-Tone Jones. Free. 6:30 p.m. Songbyrd Music House: 540 Penn St. NE, DC; songbyrddc.com // @songbyrddc

NNAMDÏ, JOSHUA VIRTUE, SIR E.U

NNAMDÏ has never been able to stay in one place. The Chicago multi-instrumentalist and songwriter set a blistering pace in 2020 with his critically-acclaimed, genre-fusing LP “Brat,” a punk EP “Black Plight” and “Krazy Karl,” a full-length tribute to “Looney Tunes” composer Carl Stalling. His latest album, “Please Have A Seat,” is the result of a much-needed pause. He’s reemerged with the most ambitious and nuanced work of his career. $18.54. 9 p.m. Comet Ping Pong: 5037 Connecticut Ave. NW, DC; cometpingpong.com // @cometpingpong

“PORTRAITS OF FRIDA: A BALLET FOLKLÓRICO PERFORMANCE HONORING FRIDA KAHLO”

Inspired by Frida Kahlo’s vivid perseverance and lasting artistic achievements, Corazón Folklórico Dance Company brings to life on El Día de los Muertos (Day of the Dead) a tribute to her strength, legendary feminism and stoic self portraits. Free. 6 p.m. The Kennedy Center: 2700 St. NW, DC; kennedy-center.org // @kennedycenter

11.3

SLEAZE

A monthly party from DJs Lemz and Keenan Orr blending the darker sides of disco with forward-thinking techno. Host Jane Saw curates the drag show, which features some of the best alternative drag this coast has to offer. 21+. $10. 9 p.m. DC9 Nightclub: 1940 9th St. NW, DC; dc9.club // @dc9club

Discover AMP.

Live music accompanied by curated cocktails and locally sourced small bites in an intimate setting.

WINTER, PEEL DREAM MAGAZINE

“What Kind of Blue Are You?,” Winter’s sophomore release, is an emotional excavation of Samira Winter’s purest self. The LP’s 10 songs reconnect with the earliest incarnation of Winter, once again painting with brushstrokes of distorted guitar but using them to fuel a wiser, more mature form of sonic liberation. $18.54. 9 p.m. Comet Ping Pong: 5037 Connecticut Ave. NW, DC; cometpingpong.com // @cometpingpong

AN EVENING OF COMEDY: EMMA WILLMANN

Emma Willmann is a stand-up comedian, actress and podcaster originally from Blue Hill, Maine. Her vibrant presence, warmth and unflinching honesty make her a comedian to be reckoned with. Free. 6 p.m . The Kennedy Center: 2700 St. NW, DC; kennedy-center.org // @kennedycenter

JUST MUSTARD

“Heart Under,” Just Mustard’s second album and first for Partisan Records, asks you to forget what you know. At every turn, this remarkable record reconfigures and stretches the ideas and ambition of a rock band, turning a year of lockdown and personal struggles into a breathtaking artistic statement. The music the five friends from Dundalk, Ireland make is strikingly untraditional. $16+. 7 p.m. Songbyrd Music House: 540 Penn St. NE, DC; songbyrddc.com // @songbyrddc

Fri, Nov 4, two shows!

SHADES OF DJANGO with the Stephane Wrembel Quartet Fri, Nov 11

SOUTHERN CULTURE ON THE SKIDS

Thu, Nov 17 ANAT COHEN QUARTETINHO

Fri, Nov 18, two shows!

NATALY MEREZHUK’S JAZZ ON BONES

Release

Fri, Dec 2

ANA EGGE

Thu, Dec 8

CONNECTING THE DOTS with Josanne Francis, Chao Tian, and Titilayo Ayangade

Fri, Dec 9

KAKI KING

Yesterdays

Thu, Feb 2

Stephane Wrembel by Elon Goodman, Nella by Alessandro Martino,

by Jim Saah, Anat Cohen by Shervin Lainez

Rina Sawayama. Photo by Thurstan Redding.

get the best seats in the house for this show. $112+. 8 p.m. The Fillmore Silver Spring: 8656 Colesville Rd. Silver Spring, MD; livenation.com // @fillmoresilverspring

CHURCH GIRLS, CHERUB TREE, GRADY

Church

write propulsive

and achingly vulnerable lyrics

in the throbbing anxiety of post-punk and joyous aggression of pop-punk. Formed in 2014

Mariel Beaumont, the group has toured extensively across the US, Canada and Europe and been featured at Audiotree, Paste Magazine, Bandcamp New & Notable and more. $16.07.

p.m. Quarry House Tavern: 8401 Georgia Ave. Silver Spring, MD; quarryhousetavern.com

A DIASPORA CAFÉ: READING WITH SIX POETS ON THE AFRO-LATINX EXPERIENCE

RhizomeDC and Day Eight teamed up to present an event with Diaspora Café: D.C., a new anthology of poetry featuring writing on the Afro-Latinx experience. The editors Jeffrey Banks and Maritza Rivera will read alongside four contributors: Christine Williams, Sistah Joy, Stephani E. D. McDow and Nick Leininger. Free. 2 p.m. RhizomeDC: 6950 Maple St. NW, DC; rhizomedc.org

RINA SAWAYAMA

@rhizome_dc

Are you ready to put your hands together and greet rock sensation Rina Sawayama as she takes Silver Spring by storm?

Join the legion of fans who are already lining up to ensure they

11.6-11.8

MATTEO LANE

Matteo Lane is a New York-based comedian whose stand-up special can be seen on Netflix’s “The Comedy Lineup.” He has also appeared on “The Late Show with Stephen Colbert,” “Late Night with Seth Meyers,” HBO’s “Crashing” and “Will & Grace.” Fluent in five languages and with a singing range of six octaves, Matteo lived in Italy as an oil painter and opera singer before starting his comedy career. $30+. Various times. DC Improv: 1140 Connecticut Ave. NW, DC; dcimprov.com // @dcimprov

11.8

MERCYFUL FATE

When Mercyful Fate comes to the The Fillmore Silver Spring, you know the energy and charisma will be delivered en masse. Get set for a wild night as fans are coming from all over the DMV to see the Danish heavy metal band. $65+. 7 p.m. The Fillmore Silver Spring: 8656 Colesville Rd. Silver Spring, MD; silverspringstage.com // @fillmoresilverspring

11.9

PLAINS

Hitting play on the debut album from Plains, the duo composed of Waxahatchee’s Katie Crutchfield and Jess Williamson, we’re immediately teleported into a world of Southern sunsets, wide open spaces and the unapologetic nature of country music. $30+. 8 p.m. Howard Theatre: 620 T St. NW, DC; thehowardtheatre.com // @howardtheatre

11.10

AMERICANA NATIONAL GALLERY NIGHT

Enjoy November’s pop-up talk examining the rich diversity of America and its people, dance to hits from Motown to contemporary pop and challenge your friends to classic board and card games. Free. 6 p.m. National Gallery of Art: 4th Street in NW, DC; nga.gov // @ngadc

11.10-11.12

BRIAN POSEHN

Brian Posehn is a writer, actor and comedian known for “The Big Bang Theory.” His comedy rock album “Grandpa Metal” was released to rave reviews. He co-creates and stars in an upcoming cartoon for Nickelodeon. $20. 7 p.m. + 9:30 p.m. Arlington Cinema and Drafthouse: 2903 Columbia Pike Arlington, VA; arlingtondrafthouse.com // @arlington_drafthouse

DUSTY SLAY

Dusty has journeyed from a trailer park in Alabama to comedy stages around the world. He’s got an optimistic attitude, a great look and tons of stories about the experiences that got him where he is today — ready to make his DC Improv debut. You’ve seen him on “The Tonight Show” and Comedy Central; now see him in person at the city’s best comedy spot. $20+. Various times. DC Improv: 1140 Connecticut Ave. NW, DC; dcimprov.com // @dcimprov

Plains. Photo by Molly Matalon.

TIMMY TRUMPET

Check

this multi-platinum

producer and live instrumentalist at the famed Echostage. Hailing from Australia, Trumpet is known internationally for playing the trumpet live and integrating jazz elements into his dance music. $30+. 9 p.m. Echostage: 2135 Queens Chapel Rd. NE, DC; echostage.com

WHY BONNIE

@echostage

“90 in November,” the first full-length LP from Texas quintet Why Bonnie, crashes into existence with a squeal of feedback and distorted guitar. It’s an introduction to a more raw-edged indie sound from a band who has matured from bedroom dream-pop into a sophisticated rock act, their evolving sound reflecting the journey undertaken by songwriter Blair Howerton. $18.54. 9 p.m. Comet Ping Pong: 5037 Connecticut Ave. NW, DC; cometpingpong.com // @cometpingpong

conversational while dense with jokes.” Her work has appeared in “The Standups,” Comedy Central, late night television, “Strange Planet,” “The Last O.G.,” “I Love You America” and “Crashing.” $30. 7 p.m. Miracle Theatre: 535 8th St. SE, DC; themiracletheatre.com // @themiracledc

MAXWELL

In an age of immediacy, the idea of waiting sounds hopelessly outdated. But that said, there is something to be said about anticipation. Such is the case with Maxwell’s new album. After an extended hiatus, the sexy ambassador of soul has returned with a brand new look and a fresh yet deliciously vintage sound. It is a collection well worth the wait. $128+. 8 p.m. The Theater at MGM National Harbor: 101 MGM National Ave. Oxon Hill, MD; mgm.nationalharbor.com // @mgmnationalharbor

SOCCER MOMMY

BETH STELLING

Beth Stelling’s hour stand-up special “Girl Daddy” on HBO Max had The New York Times calling it the best debut special of the year, adding, “It’s a virtuosic performance,

“Sometimes, Forever,” the immersive and compulsively replayable new Soccer Mommy full-length, cements Sophie Allison’s status as one of the most gifted songwriters making rock music right now. “Sometimes, Forever” is the 25-yearold’s boldest and most aesthetically adventurous work, a mesmerizing collection that feels both informed by the past and explicitly of the moment. $30. 7 p.m. 9:30 Club: 815 V St. NW, DC; 930.com // @930club

BOBBY SHMURDA

Bobby Shmurda presents The Bodmon Tour with special guests Rowdy Rebel, GS9 Gino aka Fat Tony and more. All support acts are subject to change without notice. $45-$60. 8 p.m. The Fillmore Siver Spring: 8656 Colesville Rd. Silver Spring, MD; livenation.com // @fillmoresilverspring

CLAUDIO SIMONETTI’S GOBLIN PERFORMING “SUSPIRIA“

Composer Claudio Simonetti has written and recorded some of the most influential soundtracks in horror, including “Dawn of the Dead,” “Demons,” “Deep Red,” “Tenebre” and countless others. This year, Simonetti’s “Goblin” celebrates the 45th Anniversary of Dario Argento’s iconic picture, “Suspiria,” with a live performance of the score set to a screening of the film. Following the finale of the cult classic, the collective will return after a brief intermission to deliver a set of Goblin material alongside clips from the songs’ cinematic counterparts. $40-$125. 8 p.m. The Howard Theatre: 620 T St. NW, DC; thehowardtheatre.com // @howardtheatre

AMBRÉ

Brooklyn R&B single Alex Mali is doing things a little different this year, unveiling a new sound she has titled Drill&B. She’s now ready to claim her spot as Brooklyn’s princess of R&B. Produced by The Breed, the appropriately titled new single “Addicted” bangs with familiar New York sound that has previously been made popular and reserved for rappers like Fivio and the late Pop Smoke. Born and raised in Canarsie, Alex Mali wants to show people that sound has far reaching influence beyond rap music. $18-$35. 8 p.m. Union Stage: 740 Water St. SW, DC; unionstage.com // @unionstage

REGGIE BECTON

Reggie Becton is a bold storyteller who shoots straight from the heart with every emotion emphatically oozing out. Becton’s music is an audible depiction of the emotional complexities that millennial men face when dealing with love, life and loss. Despite emerging as a voice for men, women continuously find Becton’s music endearing largely due to the honesty found in his lyrics and the vulnerability in his suede vocal tone. His music is a unique fusion of classic R&B, new wave soul and funk rock. $16+. 7 p.m. Songbyrd Music House: 540 Penn St. NE, DC; songbyrddc.com // @songbyrddc

CAKE

CAKE is turning 1, and you’re invited to a night of celebration. DJ Chord will bring a night of remixes, upbeat vocals and dance floor gems hosted by D.C.’s very own Cake the drag queen. Part of all ticket sales will go directly to Capital Pride. $15-$25. 9 p.m. Black Cat: 1811 14th St. NW, DC; blackcatdc.com

@blackcatdc

BARTEES STRANGE

Bartees cut his teeth playing in hardcore bands in Washington D.C. and Brooklyn whilst working in the Barack Obama administration and (eventually) the environmental movement. Now, relinquishing old feelings of guilt, Bartees is hoping to move forward and towards an optimistic future — celebrating the wins even when life can be heavy and hard. $20. 7 p.m. 9:30 Club: 815 V St. NW, DC; 930.com // @930club

A DRAG QUEEN CHRISTMAS

Here we come bigger and better this holiday season with your favorite queens performing live on stage. Hosted by Trinity the Tuck and Monét X Change, it’s a magical night of fun with holiday classics and naughty shenanigans — with our all new production. All ages welcome — but remember, this is the Naughty Tour. $35+. 8 p.m. Lincoln Theatre: 1215 U St. NW, DC; thelincolndc.com // @thelincolndc

“IMAGINING THE INDIAN: THE FIGHT AGAINST NATIVE AMERICAN MASCOTING”

“Imagining the Indian” is a comprehensive examination of the movement to eradicate demeaning and offensive words, images and gestures in the world of sports. The film takes a deep dive into the issues through archival footage and interviews with those involved in the fight. A conversation with a Presidential Medal of Freedom awardee and Native rights advocate, director of the National Museum of the American Indian, Smithsonian Under Secretary for Museums and Culture and National Museum of the American Indian Founding Director will follow the screening. Free. 2 p.m. American Indian Museum: 4th Street in SW, DC; americanindian.si.edu // @smithsoniannmai

LEE FIELDS & THE EXPRESSIONS

Lee Fields is arguably the greatest soul singer alive. In an age when the shelf life of an artist largely depends on posturing and trends, he has proven to be an unassailable force of nature. His body of work continues to garner the attention of pop artists and producers via samples by hip hop heavyweights: J. Cole, Travis Scott, Rick Ross, A$AP Rocky. This October, Lee releases his 21st full-length, “Sentimental Fool” — a soulful, bluesy return to his rhythm & blues roots. $20. 8 p.m. Black Cat: 1811 14th St. NW, DC; blackcatdc.com // @blackcatdc

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THE MOTH

Dedicated to storytelling, The Moth Radio Hour features tales from storytellers from all walks of life. True stories are told live on stage without scripts, notes or props. Prepare a fiveminute story about willpower. Tell us of your iron (or paper thin) resolve. Your battle with smoking, drinking, loving, eating or obsessing. Resisting the urge to check Facebook, read your lover’s diary or sleep in. Temptation versus self control and other epic interior battles. $15. 7:30 p.m. City Winery: 1350 Okie St. NE, DC; citywinery.com // @citywinerydc

THE SMILE

“Not the smile as in ha-ha-ha, more the smile as in the guy who lies to you every day,” Thom Yorke says on the inspiration behind the name of the new trio consisting of himself, his Radiohead bandmate Jonny Greenwood and drummer Tom Skinner of UK jazz outfit Sons of Kemet. $55+. 8 p.m. The Anthem: 901 Wharf St. SW, DC; theanthemdc.com // @theanthemdc

THE WASHINGTON BALLET’S “NUTCRACKER”

BLUEY’S BIG PLAY

When Dad feels like a little bit of Sunday rest, Bluey and Bingo have other plans. This brand-new theatrical adaptation of the Emmy Award-winning children’s TV series features an original story by “Bluey” creator Joe Brumm and music by composer Joff Bush. This is “Bluey” as you’ve never seen it before — brought to real life. $29+. Various times. The Kennedy Center: 2700 St. NW, DC; kennedy-center.org // @kennedycenter

This celebrated production is set in historic 1882 Georgetown with George Washington, King George III and other historical figures. Join The Washington Ballet again with family and friends or start a new holiday tradition with your loved ones. Set to Tchaikovsky’s magical score, this celebrated classic comes to life with intricate, stunning set designs, original period costumes and more than 100 dancers including students and trainees from The Washington School of Ballet. Various prices and times. Warner Theatre: 513 13th St. NW, DC; livenation.com + washingtonballet.org // @thewashingtonballet

Spider Kelly’s is your local neighborhood bar. In 2016, Spider Kelly’s converted parking spaces behind the bar into a huge beer garden. The space has plenty of room to host priviate events.

Spider Kelly’s is your local neighborhood bar. In 2016, Spider Kelly’s converted parking spaces behind the bar into a huge beer garden. The space has plenty of room to host priviate events.

spiderkellys.com | @spiderkellys

Book your next private event at the ‘CLUBHOUSE.’ Email us to learn more about what we have to offer and how its free. sudhousedc.com @sudhousedc

3181 Wilson Blvd. Arlington, VA | 703-312-8888

spiderkellys.com | @spiderkellys

3181 Wilson Blvd. Arlington, VA | 703-312-8888

1340 U St. NW, DC 202-525-4188

ALDN

Twenty-year-old aldn has been prolific in the hyperpop community for his production skills, but it wasn’t until he started laying his own vocals to the self-produced beats that it took off for the Reston, Virginia artist. aldn’s music turns pop songwriting on its head and finds a way to get stuck with the listener for hours on end. With its glitchy production and saccharine melodies, aldn’s dark world is inverted through his music. $15+. 7 p.m. Songbyrd Music House: 540 Penn St. NE, DC; songbyrddc.com // @songbyrddc

MARY PRANKSTER “PRANKSGIVING 2022” WITH JASON BUTCHER Charm City brand ambassador Mary Prankster returns for one night only in an intimate, solo acoustic experience featuring tunes, jokes, swears and a post-apocalyptic figure skater outfit. Prankster is accompanied by Jason Butcher (“Better Days,” “Among Wolves”). $29.50. 7:30 p.m. The Birchmere: 3701 Mount Vernon Ave. Alexandria, VA; birchmere.com // @thebirchmere

CHRIS ISAAK “EVERYBODY KNOWS IT’S CHRISTMAS TOUR”

THE CHUCK BROWN BAND AND EU FEATURING SUGAR BEAR

“The godfather of go-go,” Chuck Brown is the undisputed sole founder and creator go-go music, a hypnotically danceable genre deeply rooted in funk and soul that he developed in the early ’70s and the only form of expressive culture to originate in the District. Foreshadowing rap and many of the major popular R&B styles of the past three decades, Brown’s signature style earned him a place in American musical royalty. $30+. 8 p.m. The Hamilton: 600 14th St. NW, DC; live.hamiltondc.com // @thehamiltondc

In the course of Chris Isaak’s career, he has released nine extraordinary albums, 12 singles, been nominated for two Grammy awards, acted in several motion pictures and starred in his own critically-acclaimed TV series. His legendary shows with his longtime band Silvertone have entertained tens of thousands of people for more than two decades. Even his hair has its own fan club. $115. 7:30 p.m. The Birchmere: 3701 Mount Vernon Ave. Alexandria, VA; birchmere.com // @thebirchmere

POND

Originally formed in the turn of the 2010s as “a Royal Truxcum-Cream power trio” fronted by Allbrook with Jay Watson and Joe Ryan, Pond added Jamie Terry shortly afterward. James Ireland later rounded out the irrepressible five-piece.

Ever prolific, Pond boasts an impressive nine studio albums in their ever-expanding repertoire. $25+. 8 p.m. Union Stage: 740 Water St. SW, DC; unionstage.com // @unionstage

NPR MUSIC CELEBRATES 15 YEARS

Two nights at Washington, D.C.’s historic 9:30 Club to celebrate 15 years of NPR Music, featuring performances from long-time team favorites as well as some of the latest artists we’ve fallen in love with. In addition to the lineup here, the nights will feature special surprise guests and DJ sets from NPR’s own Bobby Carter. $45. 7 p.m. 9:30 Club: 815 V St. NW, DC; 930.com // @930club

RILEY KNOXX: AN ILLUSION OF QUEEN BEY

Riley Knoxx is an performer, actress, fashion designer and activist who rose to fame as the number one Beyoncé impersonator in the world. With more than 21 years of performing experience, she made history as the first transgender woman ever to perform a halftime show in the NBA. Riley has shared the stage with various artists, most notably Taylor Swift at the 2019 MTV Video Music Awards. Aside from her performance career, Riley Knoxx spends time advocating for the LGBTQ+ community. $28+. 8 p.m. City Winery: 1350 Okie St. NE, DC; citywinery.com // @citywinerydc

Tommy Joe’s is a Bethesda tradition; from cold beer and drinks to crab cakes and our famous Poho wings we have what you’re looking for. With 18 TVs on our main level and 11 on our spacious rooftop bar, you won’t miss a minute of the action.

Ecus apera nonempe liquist, eribear chilitem quati con pore num qui con custem et aborumque voloreratemo bearum autempore, sit occum nia website | @instagramhandle

Ecus apera nonempe liquist, eribear chilitem quati con pore num qui con custem et aborumque voloreratemo bearum autempore, sit occum nia website | @instagramhandle

7676 Standish Place | Rockville, MD | 301-312-8282 tommy-joes.com | @ bethesdatommyjoes

cakes and our famous Poho wings we have what you’re looking for. With 18 TVs on our main level and 11 on our spacious rooftop bar, you won’t miss a minute of the action. 1234 U St. NW, DC | 202-123-4567

1234 U St. NW, DC | 202-123-4567

7676 Standish Place | Rockville, MD | 301-312-8282 tommy-joes.com | @ bethesdatommyjoes

La Bella Vita Continues

BY CHAD KINSMAN

Tradition says the appropriate 30th anniversary gift is pearl. Lustrous, precious, a pearl is the result of time and pressure, thousands of layers in a one-of-a-kind arrangement. No two are ever the same. It’s a fitting metaphor for Café Milano, the Georgetown restaurant which opened its doors November 3, 1992.

Celebrating its 30th year, the elegant eatery has become an institution like no other, beloved by all manner of politicians, pundits, moguls, musicians, actors, athletes and more. According to Franco Nuschese, Café Milano’s affable, subtle owner, like the rarest pearls, it all happened when grit met chance. Born in the town of Minori on the Amalfi Coast, Nuschese cut his teeth managing restaurants for Caesars Palace in the 1980s.

After a decade splitting his time between the casino company’s Las Vegas and Milan offices, he was ready for a change.

“On pure coincidence, a good friend of mine said, ‘Would you be interested in coming to Washington, D.C. and opening a restaurant for us?’” Nuschese recalls.

He had visited D.C. once before and liked what he saw, particularly its small size, and immediately said, “Yes.”

Although his friend’s offer was only for one year, the restaurateur came across an opportunity to extend his stay.

“Very late one night someone asked, ‘Would you be interested in opening a restaurant in Georgetown?’ I said, ‘I don’t know.’ I was ready to go back to the West Coast. But I came to see the space, a former Bread and Chocolate coffee shop. It was small — 52 seats to be precise. A few tables outside. It was off the big street [Wisconsin Avenue], which I liked. There was a parking lot below and across the street, which was helpful, and these apartments above us. I took a walk around, all the way up to the university. There weren’t really any Italian restaurants around. I felt this could be a great causal place for all the students to go.”

Relating this, behind his elegantly curved desk in his creamcolored office full of photos and sunlight, Nuschese displays his keen eyes. His attention to detail is only matched by his sense of hospitality. Both have served him well over his career.

Work got underway Fourth of July weekend and wrapped up just in time for a different constitutional celebration, election night, which saw Bill Clinton win the country’s highest office.

“No plans whatsoever,” Nuschese says of the café’s timing coinciding with election night. “We just happened to be ready by then. Opening night, the bar was packed.”

“I don’t know if people were drinking because they were sad or because they were celebrating,” he continues with a waggish smile. “That’s Washington, right? It was a great, great beginning for us.”

Over the next 10 years, the restaurant grew in size and reputation as the student crowd mingled with an older, better heeled, suburban one. Nuschese credits his staff for creating a sophisticated, welcoming experience for everyone.

“We want to be causal but elegant at the same time. It’s not an easy task. The staff plays a big role, from the managers to the bartenders. Everyone. We have to deal with a lot of elements: the atmosphere, the security, the food. It’s a production. We have to put on a show, and anything can happen.”

Dining at Café Milano, it’s easy to see what Nuschese means. In the pleasant warm-lit rush and thrum of the restaurant, little escapes the attentive staff’s notice, from an empty water glass to a momentarily wobbly table. Everyone smiles and greets you as you walk through the space. Framed silk scarves adorn butter-yellow walls, a nod to Milan’s reputation as a fashion capital of the world and Nuschese’s time living between the city’s famed Via Monte Napoleone and Via della Spiga. A fleet of deep-bellied wine glasses stand glimmering at attention at the bar.

The level of care extends naturally to the food. Ingredients are the best possible quality, imported regularly or sourced locally, all in small quantities. A buyer in Italy researches and recommends olive oil, cheeses, tomatoes and pasta. Everything is purchased in glass jars, not cans. Beyond the perishables, the tablecloths, napkins and hand soap are all carefully considered.

“It’s not easy,” Nuschese says. “If we have the opportunity to take that extra step, push, do something better, we should. I still want to provide the best service and experience we can. From the moment you arrive to when you depart, we will give the best of ourselves.”

To that end, diners can, and frequently do, request offmenu items. Regulars might also find their favorite cocktail waiting at their table, or a personalized note bearing birthday, anniversary, promotion or retirement wishes.

“The service doesn’t stop after you pay the check and leave by the door,” Nuschese continues. “We will remember you.”

While the restaurant, and the man himself, have received much attention over the last 30 years, Nuschese — who is also a philanthropist, father and a Commendatore dell’Ordine al Merito della Repubblica Italiana — is quick to deflect.

“I am more about celebrating others. I enjoy giving back and being able to create a memorable evening.”

Considering 30 years of such evenings, Nuschese takes a moment to speak grandly.

“I feel very fortunate we were able to make people happy. In some cases, we were part of history. We had heads of states and greats from all over the world who chose to come to Café Milano. I was able to host the Pope [Benedict XVI]. That will stay with me for the rest of my life. At the same time, we were able to give this experience to a lot of people.”

There’s no doubt Café Milano has set and will continue to set the example for classic hospitality in the District. Café Milano also has outposts in Dubai and at the Four Seasons Hotel in Abu Dhabi.

As for the next 30 years, Nuschese hints at a boutique hotel in Italy among many other ideas.

“I’m glad I don’t feel old,” he quips, raising his eyebrows. “All this gives me more energy.”

Café Milano: 3251 Prospect St. NW, DC cafemilano.com // @cafemilanodc

Winner Winner, Turkey Dinner

WORDS BY NEVIN MARTELL | PHOTO BY SCOTT SUCHMAN

The field is alive with turkeys. A 250-strong flock of toms (males) and hens (females) cheep-chirp as they peck at tiny insects and the tangle of greenery underfoot, moving between tree shade and swathes of sunshine. They have brown feathers outlined in white, divided by white chevrons; gawky pink necks; beady black eyes twinkling in the late September midmorning sun; and tiny horns protruding from their beaks — reminders of their dinosaur ancestry. When people come near, they’re often more curious than afraid.

These are Broad Breasted Bronzes, first bred in the 18th century by crossing wild American turkeys with European imports. Thanks to their flavorful meat and generous sizing — they can reach 4 feet in length with a 6-foot wingspan; males can weigh close to 40 pounds — they became a popular choice for Thanksgiving and Christmas dinners. Unfortunately, they fell out of favor with large commercial producers because their dark pin feathers make them more difficult to process.

The extra work doesn’t deter the team here at Ayrshire Farm, an 800-acre farm started by Cisco co-founder and philanthropist Sandy Lerner. It’s located in the heart of Loudoun County: north of Marshall and Warrenton, in between the snaking slither of the Shenandoah River and Middleburg, and just south of Mount Weather, FEMA’s underground command bunker. Farm manager Chris Damewood, a 14-year veteran of the operation, oversees the raising of certified organic and humane poultry, along with heritage cattle, Shire horses and Gloucestershire Old Spot pigs.

“I learn something new every single day,” he says. “It’s never dull out here.”

To show off one of the turkeys, Damewood scoops up a passing hen and cradles it against his belly. It promptly shits on his faded navy blue Carhartt sweatshirt. He doesn’t even notice. You know you’re a true farmer when…

Turkey chicks arrive at Ayrshire when they’re just a day old. Because younglings are highly sensitive to temperature fluctuations, they spend the first three weeks in heated brooder sheds. Then they’re moved to larger buildings, and eventually outdoors to a few acres of pasture ringed by a highly charged electric fence to help protect them from racoons, coyotes, bobcats and other predators. Generally, the turkeys are free to roam the field as they please, whether they want to flutter up into a tree or sit in one of the mobile, openfaced roosting houses.

This inquisitive gaggle of Broad Breasted Bronzes are an integral part of the farm’s holistic approach. They eat weeds and insects (as well as vegetable-based feed), so no herbicides or pesticides are required. As they break up dried cow manure from the field’s previous occupants, on the hunt for insects,

they help fertilize the land, and the birds naturally fertilize themselves every time they go to the bathroom anywhere other than Damewood’s Carhartt sweatshirt. Next year, a new batch of turkeys will be on a different field. This one, invigorated by the birds, will be used to graze cattle.

The most difficult part of raising these magnificent creatures is timing. Ideally, they fatten up at the farm for the 16 weeks before Thanksgiving. Procure birds too late, they won’t be plump enough to be an attractive option for a centerpiece dish. Get the hatchlings too early, by the time Thanksgiving arrives they’ll be too big and won’t fit in most ovens. One such bird, a massive Spanish Black, the model for this story’s photo shoot, lingers at Ayrshire because it was too big to be worthwhile killing (#toofattodie). In true farmer fashion — the bird is a product raised to be slaughtered and sold — Damewood didn’t name it and insists he’s not a pet.

“He’s a friend,” he allows.

The turkeys are killed five days before Thanksgiving. Once they’re dressed — aka defeathered, gutted, and their heads, neck and feet removed — hens will weigh 14-16 pounds, while the toms will clock in around 18 pounds. Unlike most grocery store turkeys, these Broad Breasted Bronzes are never frozen and will command $12 a pound; the average butterball sells for $1 a pound.

They’re only available for sale at the farm or through their website. For Damewood, it’s gratifying work.

“I just love to hear the rave reviews from first-time buyers who tell us, ‘I never thought a turkey could taste this good.’”

Diners who don’t want to invest in a full bird can sample them year-round in nearby Upperville at the farm’s sister spot, Hunter’s Head Tavern, an English-style gastropub housed in an 18th-century public house. To honor the birds I spent the morning learning about, I stop in for lunch with the District Fray team after our visit to Ayrshire.

Naturally, I order the smoked turkey club gussied up with cranberry sauce, slivers of Granny Smith apples, Gruyere and crunchy fried onions. The meat is next-level tender and juicy with a pleasing wild gaminess that hints at flavors savored at the earliest Thanksgivings. The families who have these birds on their holiday tables will be enjoying a rare celebration indeed.

Ayrshire Farm: 21846 Trappe Rd. Upperville, VA; ayrshirefarm.com // @ayrshirefarm

Hunter’s Head Tavern: 9048 John S Mosby Hwy. Upperville, VA; huntersheadtavern.com // @huntersheadtavern

The cooler weather season is known for its vibrant produce — beets, pomegranate, broccoli, pumpkin, kale, apples, pears, mushrooms, oranges and so much more. Keep this list handy to sample all the creative local dishes celebrating the bounty of this time of year.

WORDS BY PRIYA KONINGS

Bistro Aracosia’s Kadoo Chalou

Afghan cuisine often incorporates pumpkin or butternut squash. One of the most popular items at Bistro Aracosia this time of year is their kadoo chalou: butternut squash is roasted and mashed, then doused with a super garlicky yogurt sauce and sprinkled with dried mint for some freshness and cayenne for a bit of heat. Served with fragrant saffron rice, this dish is warm, cozy and satisfying — all the elements of a perfect autumn dish. 5100 MacArthur Blvd. NW, DC; bistroaracosia.com // @bistroaracosia

Daru’s Pomegranate Aloo

Pomegranate is gorgeous cold weather fruit. At Daru, you can find it in their unique savory dish in which baby potatoes are roasted, smeared with a spicy sauce and adorned with shiny, sweet pomegranate seeds. Order this dish with a side of za’atar olive naan and any of the other delicious small and large plates at Daru. 1451 Maryland Ave. NE, DC; darudc.com // @daru.dc

Del Mar’s Ensalada de Remolacha

A beet salad may not sound that exciting, but this is not your ordinary dish. Chioggia beets, an heirloom variety that are candy-striped and sweeter than other beets, are beautifully plated with blood orange segments and crunchy Castelfranco radicchio, the perfect crisp and slightly bitter contrast. The salad is topped with a fizzy lemon and thyme espuma. The dish is almost too pretty to eat, but we recommend devouring it and washing it down with a sangria. 791 Wharf St. SW, DC; delmardc.com // @dcdelmar

Il Piatto’s Pera in Camicia

You may think of fresh salads with heaps of veggies as a spring and summer staple, but in fact winter salads have a lot to offer as well. D.C.’s newest Italian restaurant, Il Piatto, situated near the White House, features the perfect salad for the season. Bitter radicchio is chopped and tossed with extra virgin olive oil and balsamic vinegar, sprinkled with warm toasted walnuts and dollops of creamy, tangy goat cheese and then served alongside crescents of succulent poached pear. The combination of bitter, sweet, nutty and tangy makes this salad a treat for your tastebuds. Eat it with a sampling of their warm bread from the restaurant’s bread basket, but save room for one of their hearty pastas, too. 900 16th St. NW, DC; ilpiattodc.com // @ilpiattodc

Muchas Gracias’ Potato and Kale Flautas

Flautas, which translates to flutes in English, are made by stuffing and rolling up flour tortillas that are then deep-fried to make a tasty, crispy snack. At Muchas Gracias, the flautas are filled with a well-seasoned potato and dinosaur kale filling, flash fried and served with a smoky chipotle cream dipping sauce and a garnish of pickled onions. Pair this appetizer with one of their house-made margaritas. 5029 Connecticut Ave. NW, DC; muchasgraciasdc.com // @muchasgraciasdc

The Red Hen’s Mafalde

All you need this fall is a cozy sweater, a glass of red wine and this pasta dish. Mafalde is a wide, flat, ribbonshaped pasta with wavy edges on both sides. At The Red Hen, they toss their fresh mafalde with roasted mushrooms, swirl it in a silky, buttery, cream-laden porcini mushroom sauce and crown it with a sprinkling of crunchy breadcrumbs for a welcome touch of texture and decadence. 1822 1st St. NW, DC; theredhendc.com // @redhendc

Tiger Fork’s Mushroom and Broccoli Dumplings

Easily one of the best items at this Hong Kong street food spot, Tiger Fork’s delightful dumplings feature thin wrappers stuffed with a tantalizing blend of shiitake mushrooms, chewy vermicelli noodles and Chinese broccoli. Served with a heady chili soy sauce, you won’t want to share this dim sum treat. 922 N St. NW, DC; tigerforkdc.com // @tigerforkdc

Unconventional Diner’s Sweet Potato Curry

There is so much to love about Unconventional Diner, particularly right now when this spot has so many seasonal dishes. From roasted cauliflower to fun, crunchy kale nachos to an unbelievably hearty and delicious butternut squash chili, you will find all the best ingredients of the season at Unconventional Diner. One of the best is the sweet potato curry, where sweet potatoes and chickpeas are simmered in a sinfully rich and divine coconut curry gravy and served with coconut rice. Wonderfully aromatic and flavorful, it warms you from the inside out, even in the rainiest fall evenings. 1207 9th St. NW, DC; unconventionaldiner.com // @unconventionaldiner

Tiger Fork dumplings. Photo courtesy of Julep PR.

BY TRAVIS MITCHELL

Order the bubbly, vanilla vodka-based French Art Film cocktail at Ciel Social Club in Mount Vernon Triangle and a bartender will hand you a drink in a matter of seconds. The preparation it takes to realize that moment, though, unfolds hours before guests arrive at the sleek rooftop hangout.

First, vanilla bean and vodka spend two hours together in a sous vide bath. While that’s happening, a stove top vanilla syrup is prepared. The remaining components — Chinola passion fruit liqueur, passion fruit puree and lime juice — undergo a process called milk clarification. The entire batch is strained overnight through a cheesecloth and then batched into a keg with two bottles of Veuve Clicquot champagne.

“The entire process takes about eight hours,” says Hank Bowers, beverage director for Versus, the company that operates the bar.

All that preparation allows for a seamless interaction between customer and bartender, especially on weekends when the bar can see upwards of 500 customers a night.

“By the time the cocktail is tapped on our bar, it takes under 15 seconds to make,” Bowers says.

This behind-the-scenes work happens daily at bars across D.C., with bartenders and owners sweating details from juicing citrus to stocking enough ice for a busy Saturday shift. The tasks and details can seem mundane on their own. Zoom out, though, and they are the foundation for any smooth service operation. And smooth is key, especially with prices rising and staffing at a premium.

Mission Navy Yard is another restaurant where speed is just as important as quality and consistency. The Mexicaninspired hangout juices an average of nearly 21,000 limes per week and can sell close to 10,000 standard margaritas when things are busy.

“We have a whole team who works all morning and afternoon just to get us ready for when customers arrive,” says Fritz Brogan, managing partner and co-founder of Mission Group.

In addition to a dedicated prep staff, Mission’s Navy Yard location was built from the ground up with logistics and efficiency in mind. The space can hold 150 kegs and hundreds of cases of beer, which flow across 16 draft lines and 110 tap handles. Custom-built ice machines churn out thousands of pounds of cubes an hour. And there are seven dishwashers allocated exclusively for cleaning bar glassware.

“It’s a fun but exhausting and never-ending process,” Brogan says.

Planning is a big part of success for fine dining room cocktail programs, too, like at Imperfecto in D.C.’s West End.

“I like to make sure my bartenders are ready for anything,” says Enea Diotaiuti, bar manager at the high-end Mediterranean kitchen. “That’s a tip I recommend to all bar managers who may start leading a busy bar — be ready for the worst.”

Diotaiuti’s team works the night before drying garnishes like orange wheels and pears, spending the couple of hours

before opening preparing juices, syrups and ice for the evening. Each bartender gets an assigned task and their collective goal is to deliver cocktails in five to seven minutes, depending on the number of reservations on a given night.

“If you aren’t organized, you will not make it on a busy night,” he says. “You will be crushed.”

And when things inevitably do end up turning stressful, Diotaiuti says the most important thing is to remain calm, keep pushing out drinks and create a great guest experience.

“Remember you only have two hands and the worst thing you can do is panic,” he says.

Ciel Social Club: 601 K St. NW, DC; cielsocialclub.com // @cielsocialclub

Imperfecto: 1124 23rd St. NW, DC; imperfectodc.com // @imperfectodc

Mission Navy Yard: 1221 Van St. SE, DC; missionnavyyard.com // @missionnavyyard

Ciel Social Club fall cocktail Mad on Vacation. Photo by Jahns Chavez.

Bartees

TAKES HIS SEAT AT THE TABLE

WORDS BY COLLEEN KENNEDY | PHOTOS BY JENNIFER CHASE

“I’m headed to Phoenicia, the home of the Phoenicians, I guess,” Bartees Strange laughs.

He’s driving to the resort town in the Catskill Mountains for a little relaxation and a mini-writing retreat, and he’s earned it.

In last November’s Local Music Issue, District Fray claimed Bartees Strange was “this year’s standout local artist.” One year later, after opening for artists such as Courtney Barnett, Phoebe Bridgers and The National and releasing his second full-length record, the lauded “Farm to Table,” Bartees Strange is a bonafide breakthrough. The week before our conversation, he shot his first magazine cover in the official 9:30 Club

Hall of Records (serenading the District Fray crew between set-ups), and on November 3 he will kick off his first headlining tour across the U.S.

While driving to Upstate New York, Strange reflects on his latest album, how radically his life is changing and why he’s putting down roots in the DMV.

On March 13, 2020, Strange released his first EP “Say Goodbye to Pretty Boy.” Covering five songs by The National, Strange turned these tracks inside out, flipped them around and remolded them into something distinctly his own while paying tribute to his indie forefathers whose lyrics course through his sonic bloodstream.

Six months later, he dropped his criticallyacclaimed, full-length studio debut “Live Forever” on October 2, 2020 from Memory Records. At just 35 minutes, the 11 original songs of “Live Forever” not only defy genre conventions but seem to question the very concept of categorizing contemporary music. The three singles from this ambitious and audacious debut demonstrate this aural diversity: “Mustang” starts with lots of synth and builds to a stomper, a song about violence, fear and being Black in America’s heartland; “Boomer” begins as a Bloc Party-esque party anthem before a bluesy breakdown; and “Free Kelly Rowland” (with Armand Hammer) is an R&B club groove over a stutter beat. “Live Forever’’ landed in many Top 50 Lists including NPR, Paste, Pitchfork, Rolling Stone and Stereogum.

The critical success of “Live Forever’’ caught the attention of several labels, with UK label 4AD taking on Strange for his next album — The National, Deerhunter and Future Islands are just a few of their clients. Recorded mostly at 38 North Studio in Falls Church where Strange works as a producer, he also traveled to London to record the last few tracks.

It’s hard to pin down exactly how this album sounds so different when Strange is already such a musical chameleon. But there is something even more raw and confessional in the lyrics, an exploration of newfound fame, family and nostalgia (“Tours,” “Black Gold”) and love and loss (“Heavy Heart,” “Wretched,” “We Were Only Close for Like Two Weeks,” “Hennessy”). There are songs about the murder of George Floyd and Black Lives Matter (“Hold The Line”) and an exasperated cry against all the madness of the last few years (“Escape This Circus”).

“[This album] is about a specific time in my life, a year-and-a-half ago, realizing and taking stock that things are about to change for me because of a series of choices I’ve made over the last 10 years,” Strange says.

Like Schrödinger’s cat, this is the last moment where Strange is/is not a major star.

“I just didn’t want to lose this moment. I wanted to memorialize it. This is what I’ve always wanted, so the record is kind of just looking at my life, taking stock of [everything] and being like, ‘Wow, this is real.’”

The glitz of Los Angeles pulses through the album. In “Cosigns,” Strange sings over an infectious beat: “I’m in LA / I’m with Phoebe / I’m a genius, damn,” name dropping recent tour mates and collaborators. Strange fanboys for a second, “When you are literally hanging out with Phoebe [Bridgers], Lucy [Dacus] and Courtney [Barnett] and all these people you admire and you’re like, ‘Oh shit, we’re friends.’ That’s amazing, you know?”

But all that glitters isn’t gold. In “Mulholland Dr.,” Strange considers his first trip to L.A. after the success of “Live Forever” and meeting with “all these fancy producers who wouldn’t have been interested [in me] before.” He quickly realized “these people are not better than me, and maybe this isn’t what I want.”

The fakeness and fickleness of Hollywood fame are underscored throughout the catastrophic lyrics: “I’ve seen the ending / It’s all in your face and your eyes / I’ve seen how we die.”

In “Black Gold,” he thinks back to his boyhood home and misses his family while on the road: “Now it’s big city lights for a country mouse.”

The title “Farm to Table” has nothing to do with pasture-raised cuisines and everything to do with Strange’s rural roots and growing up in a small town in America’s Bible Belt as a Black queer kid.

“After ‘Live Forever’ came out and did well, I never thought I’d get to really do

this. I used to literally paint fences, and I grew up in a really rural area in Oklahoma,” Strange shares.

Born in Ipswich, England — the son of a military engineer father and opera singer mother — Strange moved throughout Europe during his formative years before his family settled in Oklahoma when he was in sixth grade. In Mustang, a small town 30 minutes outside of Oklahoma City where less than 1% of the population is Black, Strange’s parents didn’t listen to local radio. Instead, he was raised on their records — soul, gospel and classical music.

His mother taught vocal lessons to students at their home and the young Strange loved music, but felt intimidated as his only exposure was to professional musicians. Strange joined his mother, who worked as the choir director at various churches in the area and would sing in youth choirs and praise teams.

“It was a pretty tough thing for me because I had a hard time grasping some of the basics. I never learned how to read music, but I knew I could sing,” Strange says.

Starting the summer before seventh grade, Strange became involved with two very different youth pastimes: sports and musical theatre.

“I was putting my makeup on in the van, going to [opera] camp and then taking it [off], strapping on my pads and hopping out of the van to go to [football] practice.”

It was also in seventh grade that he was exposed to a new world of music through his classmates and their older, cooler siblings: punk rock. It was the start of many years of trying to please others, to fit in while also knowing that he was meant to stand out. He convinced his mother to let him attend a Christian rock band playing a nearby show; the band just happened to be the hardcore group Norma Jean (whose lyrics are often about salvation and faith but obscured under screaming vocals and slashing guitars).

“And that was kind of my first taste of a band that wasn’t a classically-trained group of musicians,” Strange recalls. “They were making something people are really reacting to in a powerful way. And I just kind of fell in love with that little scene of people.”

Seeing Black-led rock bands such as Bloc Party and TV on the Radio afforded the teenaged Strange to envision himself as part of the scene, slaying onstage and not just cheering from the audience. Strange kept up with sports, too, playing both basketball and football throughout high school. He was even accepted to Kansas’ Emporia State University on a football scholarship. But his guitar was always with him, and he played with country bands, punk bands — any group that would have him.

While majoring in public relations at University of Oklahoma, Strange was offered an internship in Washington, D.C. He felt this was his best opportunity to leave Oklahoma while also heading to the home of one of America’s best hardcore scenes. But it was a devil’s bargain. He had to sell all his musical gear to afford the move. He hustled for several years, working long shifts, finding places to crash and working his way up to a dream job in communications.

“I thought I wanted to move to D.C., get a good job and ultimately work for Obama, the first person I voted for. I remember thinking, ‘I want to meet this guy one day.’ And then when I got that job [as Deputy Press Secretary at the FCC], I realized how much I hated my job. It was weird. As soon as I achieved all that and eased into it, I remember looking in the mirror and asking, “Who am I? This was never who I wanted to be.”

It reminded Strange of his earlier existential crisis while playing college football. Strange knew he couldn’t be shoehorned into others’ expectations of what he could achieve or what success looks like.

“I wanted to be Kele [Okereke from Bloc Party] or Tunde [Adebimpe from TV on the Radio]. I wanted to be Matt [Berninger from The National]. These are the people I listened to and grew up idolizing, but it just seemed impossible.”

That’s when he followed the dream. He quit the federal position with all the health and retirement benefits. He left D.C. and made the required young artist pilgrimage to Brooklyn, where he answered Craigslist ads to play with various bands, such as post-hardcore outfit Stay Inside, while busting his hump at various forgettable day jobs until he established enough of a reputation and community that he could focus solely on music. It was a long, hard journey and just as Strange was establishing himself in Brooklyn, D.C.’s often overlooked but vibrant creative scene lured him back.

“People don’t give D.C. the respect it deserves, discounting what the city means to the artistic landscape of America, especially with guitar-driven music. I want to be a part of the story of the city going forward to refocus the attention on the artists who come out of the Mid-Atlantic because there are a

lot of really talented players here,” Strange shares.

He cites power-pop bands Grady and Bad Moves, as well as multi-instrumentalist Donovan Duvall as just a few of the many great artists playing shows and appearing on tracks all around the District.

“I kind of always felt a sincere connection to this city. I connect with that vibe and there’s not a lot of mostly Black areas in the country that are affordable, chill and creative. It’s a special place to create from.”

Strange — who currently lives in Suitland, Maryland with his siblings while house hunting — is looking to make a home in the DMV with his longtime partner and their border collie/ black lab mix Bobby.

“Now I’m at the table with people I’ve really admired as artists and producers and on my favorite label,” Strange says. “I grew up being the only Black guy playing the guitar. And now I look around and see all sorts of people of color in bands, getting signed and getting opportunities. I see Black artists who are producing, running labels, working in art galleries, putting out interesting music. I feel like it’s a wave.”

The title of his album recalls both Solange’s stellar “A Seat at the Table,” a sonic study in Black excellence, and history maker Congresswoman Shirley Chisholm’s declaration about making space for Black women in politics: “If they don’t give you a seat at the table, bring a folding chair.”

In his first headlining tour, Strange is extending the invitation to that next wave of BIPOC and LGBTQIA+ artists. Pom Pom Squad, Spring Silver and They Hate Change will open for Strange during the tour.

“What does this tour mean to me? It’s building the world you want to see, you know? All the bands I’m bringing on tour, [they’re] queer and people of color. They’re incredible artists. They deserve the world and every opportunity that white bands would get.”

The tour will bring him back to Oklahoma, his childhood home, but also a place of caution and conservatism. Strange is ready.

“I didn’t really get to be my full self when I was in Oklahoma. I was like a shell of who I grew to become. So it’s exciting for me to come home, fully formed in a way and hopefully inspire more people to take adventures.”

And he will also take the stage at 9:30 Club on November 19.

“Even living in D.C., I never thought my first headline tour would include playing the 9:30 Club,” he says. “I’ve seen so many of my favorite bands play there over the years, and I watched countless YouTube videos of my favorite bands play there before I moved to D.C. I am going to try my best to hold every second in my mind.”

The storied music hall looms large for Strange, and like his album, this tour and the last few years, he plans to take a few steps back, savor the moment, then move on to the next project.

“I got a few [new songs] I’m just working out. I don’t want to give too many clues about what’s next, because I don’t even know what’s next.”

Bartees Strange takes the stage at 9:30 Club on November 19. Listen to Bartees Strange on all major streaming platforms and learn more about his music by visitng barteesstrange.com or follow him @bartees_strange.

9:30 Club: 815 V St. NW, DC; 930.com // @930club

NOVEMBER 2022 COVER SHOOT. We hid our excitement as I.M.P. Director of Communications Audrey Fix Schaefer let us explore a closed 9:30 Club at 9:30 a.m. Bartees Strange strummed a guitar and serenaded the group as he posed for cover photographer Jennifer Chase. Words and photos by Nicole Schaller.

District Fray: I’ve been really excited to have this interview and

I’ve had your Black Cat show on the books for a long time.

Jason Balla: I’m super excited to play the Black Cat.

Have you played there before? I don’t think so. But it’s a legendary spot.

I feel like it’s a great venue for your band. Has your tour started yet? We’re on day three of nine weeks. How’s it going so far?

It’s honestly been so nice. We’re from Chicago and the first few shows we’re playing are in the Midwest, so it’s like this nice breath of fresh air. The Midwest has some really happy people.

What was your last tour experience pre-Covid?

We were actually trying to go to SXSW when everything was closing down. That was our last tour and it lasted for four days before we were like, “We should probably just go home. This is really bad, actually.” It was really crazy once that happened because the first show of that tour was one of the best out-of-town shows we had played up until that point.

When did things pick back up for the band?

We got back into it last year and it’s been pretty steady since then. Especially on this tour, we’ve been incorporating a lot more from the new record. It’s the first time we were ever actually able to write a record where we hadn’t played the songs before. It’s a really new experience for us.

How are audiences receiving the new record live?

They seem to like it. Let’s see if it holds up.

I’m sure it will. You have some punk and surf rock undertones and retro influences, but I really think your band is doing something nobody else is doing right now.

The way you layer complex vocals over instrumentation is pretty rare. How do you approach the songwriting process?

The three of us all have pretty disparate influences. There’s this tug and pull between where each of us is coming

from and then we meet in the middle.

Just inherently, we like minimalism and simplicity in the songs but where all the other stuff comes in is how to make that a textured and really interesting thing to listen to. It sounds simple, but there’s actually a lot going on.

There are so many great bops on “Flowers of Devotion.” The album feels very rock ‘n’ roll and filled with big emotions. “Blue Skies” is also emotive, but it feels a lot more subdued. Was that intentional?

I think it’s just where we were. It’s a lot more about hope and optimism and finding peace. Through some of the songs, finding peace worked its way into the fabric of that.

Are there any songs from “Blue Skies” that are particularly near and dear to your heart?

I like “Window” a lot. “Control” is really fun for me. It’s been really wild to play “Clear” and “No Difference.” They aren’t necessarily songs I was expecting would be so fun to play and that people would resonate with. That really adds a new layer of importance to me that it means so much to someone else as well.

Dehd was put on my radar by a Gen Z music nerd, but my mom is also obsessed with “Bad Love” and coming with me to the show on Sunday. I’m guessing that’s no surprise to you, that your demographic is eclectic. We have Gen Zers, we have people I would consider my peer age range, but there’s also people who could be our parents coming to our shows and see some things in us that maybe they recognize from when they were listening to music in their 20s. There’s a cool excitement that people are bringing to it across age ranges. I feel like it’s pretty mixed across the board. You have the weirdos and I don’t know, I feel like a lot of people are represented at our shows and everyone’s just nice and having a good time. There’s no beef going down on the floor or anything.

Right, which is always a good thing. On a more individual level, what sound are you focused on creating with your music?

The thing that is influential to me is when there’s someone who has a really unique voice and a creative spirit that

I recognize and want to aspire to the same sort of spirit in their music. That’s how I want to create stuff. There’s also this free form of expression that feels very personal.

Do you have a favorite memory of playing a D.C. show?

We played this place called the Bathtub Republic, which was a DIY venue. When we came to D.C., you had all these people in suits and business wear. It was just so amazing to see these people who are so serious and focused on affecting change [also] slow down. I thought that was so exciting.

What is your style of collaboration with Emily and Eric?

It’s evolved over time, but I think we have a pretty good balance right now. Everyone really has a lot of space to explore. It’s mainly a generous, communicative experience. We write all the songs together in the same room.

As a song is unfolding, it’s a little bit of a dance between who’s hot on the trail of where it’s going — [to use] the metaphor of football — we let them run with it, and then someone else can take a pass and then we switch the lead. I think it’s very much an ebb and flow. More times than not, we put ego aside and just try to work toward making the best song rather than a song that has all of one of our fingerprints on it.

Is there a song you’ve recorded that you feel completely embodies the band?

We started playing an old song recently called “Fire of Love.” It has the spirit of the band because it’s really wild sounding. It’s been really fun to get back into that headspace and revisit the guitar player I was five years ago. Emily is singing, going crazy and Eric is just pummeling away at the drums and I’m getting to explore all over the guitar.

There’s a lot of unbridled joy in the act of playing that song that I think is at the heart of it.

Learn more about Dehd at dehd.horse and follow them on Instagram @dehdforever.

L to R. Dehd’s Eric McGrady, Emily Kempf + Jason Balla. Photo by Alexa Viscus.

BY COLLEEN KENNEDY

Canadian supergroup Broken Social Scene is touring the globe celebrating the 20th anniversary of their second album, “You Forgot It In People.” The early aughts classic earned the 2003 Alternative Album of the Year Juno Award and was one of the most critically-acclaimed albums of the year. (The Pitchfork review at the time gave the album a 9.2/10 and declared, “I wish I could convey how they’ve made just exactly the kind of pop record that stands the test of time. You just have to hear it for yourself.”)

Broken Social Scene has always been less a band and more of a Canadian rhizomatic organization, a complex interlocking web of musicians and artists whose creations have influenced and inspired the last 20 years of modern rock music. Members come and go — sometimes as few as six or as many as 19 members have appeared together onstage and on albums — and the related side and solo projects include (but are not limited to) Feist, Metric and Stars.

District Fray spoke with Kevin Drew, guitarist, singer and founding member of Broken Social Scene, from his hotel room in Omaha, Nebraska.

District Fray: Happy 20th anniversary on “You Forgot It In People.” Why get the band back together at this time, especially considering the diversity and success of different post-Broken Social Scene endeavors and projects?

Kevin Drew: Well, we’re all doing our own things. And honestly, we already knew we were going to honor this album after 20 years. We knew when it was coming and were making plans even before Covid-19 hit. With the tour, we’re just bringing the songs with us, taking them to the people and it’s been nothing but a love fest so far. It’s just honoring music we’ve made and we’re not thinking about it too much. Somehow the title “You Forgot It In People” seems more relevant now than it did 20 years ago.

I think back to when Broken Social Scene first came out and it was this moment in time of these expansive Canadian super groups, such as the New Pornographers, too. When you started this project, did you have any sense of who Broken Social Scene would become or the sort of legacy you would have across a whole generation of musicians?

As Charles [Spearin] in our band put recently, “We were just trying to impress ourselves.” We were trying to make a record we would love. When we were in the studio, we were so happy

to be together just making cool music for our friends. And when we hooked up with [album producer] David Newfield, he was on another plane. He was just doing a whole different style of production than what we were used to. So it kind of created this messy chaos. We were sort of green to a certain extent, and it was initially based on friendships, even though we all came from different musical backgrounds.

Everybody tells those over 40, “Don’t look back. Don’t go backwards. Try to move forward.” But what really dawned on me when we played these Massey Hall shows in Toronto [in April 2022], is figuring out how to continue moving forward while also looking back. We’re on this tour but we’re not chasing our career; we’re honoring our career. That’s something I stand by with this band. If you want to come on stage and join us, you can come and honor it. If you’ve got other shit to do, go do it. So, I feel like we’re on this memory muscle tour. It’s just us going out and saying, “Hey, thank you so much. We’re still here. These songs were part of your life. They’re a part of ours. Here you go. We’re not on TikTok, but we know how to play these tunes.”

When you’re discussing this muscle memory and looking back, I think about the album and how you were in your early twenties, but some of the songs were real teenage anthems. Obviously “Anthems for a Seventeen Year-Old Girl” but also “Late Nineties Bedroom Rock for the Missionaries” capture this cusp of adulthood. Yeah, well, that’s youth. Youth is the drink every artist wants to have on a nightly basis. And I think there’s so much in youth that’s inspired. Obviously as you get older, you change your trajectory of where you’re placing your lyrics because you live, experience, lose and gain more. You have divorces, funerals, weddings and children. And then you’re writing songs for your kids, or your father or mother who passed. But I do believe there’s so much youth in you when you’re coming out of the gates. And in retrospect, those moments of youth and innocence are what form how you want to live your life and if you want to be an artist, to paint, dance or express yourself through creation. It’s always in the youth stages where you start to figure that out. I was 25 when we started working on that album. And that youth was still in my back pocket. Also, I was married and looking ahead. But you know most of us men are Peter Pans just trying to be leaders, relying on what we learned in high school and we take that through the rest of our lives. It’s always good to drink the cup of youth.

The lyrics are very esoteric and dreamlike for some of the songs. I love “Cause = Time,” but I still have no idea what the hell it’s about. What have you been rediscovering or maybe discovering for the first time about the songs?

Well, you know, we are able to rewrite “Shampoo Suicide” every night if we want to. It’s such a freeform with no vocals really, except for “All the lights we were.” I still find a lot of freedom even within the lyrics. The songs have become family. They live inside your lungs, you sing them and off they go — but they’re always around you. So I don’t necessarily find any new meaning in the lyrics themselves. They’re all memories of the time when you look back, but they never get old. Every time I play these tunes, they feel fresh to me. And I think maybe what changes the most are the relationships within the band. That changes; the songs stay the same. It’s more about the interrelationships from being in a band as long as we have been and people come and go. It’s just people choose to live their lives and as you get older, you get more stubborn. But the songs: they’re clear. They’re not changing at all. They know what they’re doing.

How have your relationships with each other changed and evolved?

I think the relationships within Broken Social Scene differ depending on who you’re talking to. Some people have stayed in each other’s lives. Some haven’t. But if we all get in the room now, I believe that room will be filled with love. It’s an open door policy for whoever wants to come back or wants to leave. Even when they leave, the music has stuck around and stayed in our lives. The wonderful thing is that so many careers came from this band. Even before they were trying to get their shit together, it’s kind of like this band locked it in and everyone went and took off. I mean Metric [with BSS members Emily Haines and James Shaw] was so beautiful. They’re playing “Anthems for a Seventeen Year-Old Girl” on their last Canadian run. And that’s just such a sweet thing to hear. We all adore [BSS member Leslie] Feist and the way that she handled herself in that whole situation that went down with Arcade Fire. We were just so proud of her and knew she

was going to land while the people were chirping around as they do, giving all these opinions on what she should do. She’s just being true to herself. And Metric’s got this great record and they’re out there touring. Stars [BSS members Amy Millan and Evan Cranley] dropped an incredible album [“From Capleton Hill”] this year. So we check in with each other and send our love to everyone. We used to all be in Toronto, but we all live all over the place now.

In addition to the tour, this year you also released an album of B-sides “Old Dead Young: B-Sides & Rarities’’ and have a graphic novel “Broken Social Scene: You Forgot It In People, the Graphic Novel” coming out soon. What can you tell us about those two projects?

Well, the B-side record was curated by a guy from our label [Arts & Crafts], Cameron Reed. He really just thought it would be lovely to put that out. And we had a wonderful time with that. The graphic novel was to honor “You Forgot It In People” and my brother brought us to Z2 Comics. We just relied on them and had open conversations about artists and I have yet to read or see anything. But that was because I wanted them to have complete creative freedom, so we just went on the basis of these artists’ work and were quite honored they were working on it. The coolest thing is they followed the sort of mantra of what we were doing, so I knew we were in good hands. I’m very excited to see the finished product.

The tour is winding down. What’s next for you or for the band?

I think we’re going to talk about that after this tour. We’re having such a lovely time. It’s been really great to be back with each other and the vibe is 11 out of 10. It’s gold. So that’s very exciting. I did make a record, and I’m in the process of figuring out when I’m going to put that out. And there’s always things coming down the pipes with everyone else, too. Are we gonna get back in the studio? I think when we’re finished with this tour, we’re gonna sit down and talk and see if we’ll get together and write again. But I just live in the moment. It took me 46 years to be able to do that. So I try to stay in it as much as I can.

To paraphrase your song “Lover’s Spit,” “You’ve grown old and done some shit.”

We certainly have. I wrote that when I was married. What I’ve done throughout those years is just honor who I wrote it for, and I sing it for those who want to hear it now. We’re all growing old and doing some shit. You have to go through all the shit, but there’s a beautiful side of freedom as you get older. I can’t stress that enough to people not sure what they’re supposed to do. There’s a f---ing next chapter. And it’s hard sometimes. But please for the love of God, get to that next chapter.

Follow the band online at brokensocialscene.ca and on Instagram @brokensocialscene

D.C. Unplugged

Inside the minds of 30 local musicians

COMPILED BY AVIVA BECHKY

In clubs and restaurants far from the polished facade of Capitol Hill, D.C.’s best performers come out to play. They might not be what the city is known for — yet — but they’re the beating heart of the capital. Some sing sweet melodies. Others rock out to absolute bangers. Sound by sound, local musicians layer the harmonies that make up D.C. Here’s what they have to say about the inspirations behind their work.

Synae. Photo by Hannah Park.

CANANDAIGUA

Folk

Favorite lyric: “Words penned by mortal men that should deliver us from fear and yet we do find so little room for us here.” — “Lament for John William Henry”

Mantra: The question of American identity. That’s very much what the CANANDAIGUA project is about. It’s an opportunity for me to both challenge and explore what it means to be American through sound and story.

Best D.C. spot for live music: Slash Run

First music-related memory: Driving around with my parents, singing along to stuff on the radio.

CANANDAIGUA is releasing new music in early 2023. Learn more at canandaigua.bandcamp.com and follow @canandaiguamusic.

Grady

Punk, power pop

Favorite lyric: “You’ll work hard and I’ll be sexy” — “Stepfords”

Mantra: We’re doing our best.

Best D.C. spot for live music: Pie Shop or The Pocket come to mind first, but D.C. is packed with wonderful venues, which makes it hard to choose.

First music-related memory: Our first rehearsal was at Sam’s apartment. She played a practice pad while I [Emily Yaremchuk] played an electric guitar unplugged. It was a meager but sustaining harvest.

See Grady at Quarry House Tavern on November 5. Learn more at gradyband.bandcamp.com and follow @gradyband.

Jack Kays

Alternative

Favorite lyric: “I must be blind ‘cause I can’t seem to see the things you swear you see in me” — “When It’s All Over” Mantra: Cook more. It means no matter what you’re doing in life, just make sure it’s something you love and enjoy.

Best D.C. spot for live music: My home studio in NoMa

First music-related memory: My dad and his buddy teaching me how to play my first beat on the drums when I was 5 years old.

Jack Kays is on national tour now and will release the final two songs on his EP “Cessation” November 11. Learn more at jackkays.com and follow @jackkays.

CLOCKWISE FROM TOP. CANANDAIGUA. Photo

by Farrah Skeiky. Jack Kays. Photo by Cagla Akcadag.

Grady. Photo courtesy of the band.

Jenna Camille Genreless

Favorite lyric: “Save a bit of love for me / And soon enough the more I’d see / I am standing here / And maybe that’s a good enough place to be.” — “Revelation”

Mantra: Be yourself. Keep your integrity at all times.

Best D.C. spot for live music: Marvin (RIP), Eaton DC, Small Wooden Box First music-related memory: Being on the open mic scene when I first started out. My favorite was nights at Up and Up open mic at Liv Nightclub.

Stay tuned for upcoming shows and releases. Follow @jennacamillesmg.

Model Home

Not so much a genre as a moment in time

Favorite lyric: “I can’t do it without yeah”

Mantra: Just have fun and keep rocking.

Best D.C. spot for live music: Rhizome DC

First music-related memory: Driving in the car and hearing the radio. See Model Home at Metro Gallery in Baltimore with Special Interest on December 10. Learn more at modelhomedc. bandcamp.com and follow @modelhomedc.

melan Alternative R&B, New Age soul

Favorite lyric: “Insert my wholeness, I chose it / Gentle integration of a whole shift, a little inhibition but it’s ok.” — “The Crone”

Mantra: I believe when we focus on our own healing and self-actualization, that reverberates in so many directions. It helps heal and empower our family lineage, the communities we’re a part of and the planet itself.

Best D.C. spot for live music: Maketto because they always have great music and a nice record collection @coolkidsvinyl, Howard Theatre for concerts and Eaton DC for smaller, curated events.

First music-related memory: In elementary I found a random booklet of mix CDs my dad had. I never knew what songs would be on them, but I always found songs I loved and looked up the lyrics to find the names. I found “Passin’ Me By” by The Pharcyde and that became my favorite song for a while.

melan released her second project, “Heart Lessons,” in October. Follow @melansoulflower.

NØ MAN

Punk

Favorite lyric: “In this pit, it’s a race against the clock / Dive with me. Die with me / Time flies with fresh meat on the butcher block. Won’t you dive with me? Come die with me. / I’m in the deep end. I won’t get wet. I can’t swim. I’ll hold my breath.” — “DIVE” Mantra: Create your own universe. “The truth of art lies in its power to break the monopoly of established reality to define what is real.” — Herbert Marcuse

Best D.C. spot for live music: Black Cat

First music-related memory: Growing up as the daughter of Palestinian refugees, our home was culturally diverse, including music ranging from traditional Arabic songs to Johnny Cash. As a family, we would go to Arabic nightclubs and I have distinct memories of falling asleep on chairs while everyone danced through the night.

NØ MAN is collaborating on an upcoming HIRS Collective release coming out on Get Better Records. The band is booking a European tour next summer and has a song coming out on Secret Voice in June. Go to nomanband.bandcamp.com and follow @nomanband.

CLOCKWISE. Spring Silver. Photo by Caroline Miller-Bruns. Pretty Bitter (clockwise from top: Chris Smith, Zack Be, Emelia Bleker, Brenda Miriam Tyler + Jason Hayes). Photo by Meredith Wohl. NØ MAN. Photo by Daniel Martínez González.

Spring Silver Queer metal

Favorite lyric: “I saw a man engage / In the civil debate of a fist to the face / And the police struck while the iron was hot / They struck it right from the record / They swiped the blood on the sidewalk with wite-out.” — “I Saw Violence”

Mantra: It’s not about being “cool.” It’s about doing what you want.

Best D.C. spot for live music: Black Cat. I just love it. I love the checkered floors and the low stage. It’s a good spot for a good time.

First music-related memory: I remember hearing Weezer’s “Island in the Sun” when I was really young — probably when the “Green Album” first came out — and feeling this wild mix of warmth and melancholy. That song is just perfect.

Spring Silver will open for Bartees Strange and Pom Pom Squad on November 19 at 9:30 Club. Learn more at springsilver.bandcamp.com and follow @springsilvergram.

Pretty Bitter

Synth pop, or more colorfully: crying while jumping

Favorite lyric: Collectively, we all swing between these two as our personal favorites: “You are not a wound or a festival / You are neither and nothing in between / But it is a ribbon and not a noose today / They see it too.” — “BeesWax” and “Our mother’s favorite word is legacy / I wonder if she knows what she passed onto me.” — “[Redacted] Dies at the End”

Mantra: From Zack Be: Focus on sharpening “the knife,” rather than the object you are carving. You are the knife, your output is the carving. So, produce as much art/content as possible and worry less about whether each piece is perfect.

Best D.C. spot for live music: Comet Ping Pong and Black Cat. Also, honestly anywhere Rediscover Fire books shows. First music-related memory: We range from Miri trying to learn a Pink Floyd song on acoustic guitar when she was 10 years old to Em sobbing at “Jesus Christ Superstar” when they were 8.

See Pretty Bitter at Comet Ping Ping on November 4 and at 9:30 Club on December 17. Learn more at prettybitter.bandcamp.com and follow @prettybitter.mp3.

Synae

Alt-pop, alt-R&B

Favorite lyric: “Validate yourself / ’Cause these trends are gonna change / They’ll move on to someone else.” — “Game Over”

Mantra: Life is short and rare. Say what you feel and do what you want. I don’t want to leave this earth with thoughts of what could have been. I want to travel the world, make music I love and surround myself with people I love. There is nothing that could stop me from doing so.

Best D.C. spot for live music: Songbyrd Music House in D.C. and Quarry House Tavern in Silver Spring.

First music-related memory: My first music-related memories are of 8-year-old me dancing for hours every weekend. It was my favorite way of releasing all my pent-up energy without bothering anyone.

Synae’s new EP “Summer’s Worth” is coming this winter. Learn more at synaemusic.com and follow @iamsynae.

Tunnel Indie

Favorite lyric: “Call it a matter of fate, but I could never get back what I wouldn’t take — it’s everything.” — “It’s So Over”

Mantra: The world is f--ked. If you’re lucky, you’ll have the time and space to find what lights you up. Don’t waste it.

Best D.C. spot for live music: Rhizome DC is a solid spot and I’ve discovered some of the coolest bands at Comet Ping Pong.

First music-related memory: My parents got my sister and me one of those keyboards with the pre-loaded tracks. I listened to “Hungarian Dance No. 5” probably like a thousand times.

See Tunnel at Comet Ping Pong on November 4. Go to tunnelll.bandcamp.com and follow @tun._.nel.

TOP. Synae. Photo by Hannah Park. BOTTOM. Tunnel. Photo by Frank Mojica.

ARI VOXX

Genre

Jazzy dream-pop

Next show

November 16 at 8 p.m., Sofar Sounds D.C.

Why you should listen

A haunting voice and beautiful melodies arivoxx.com @ari.voxx

BAST

Genre

Hip-hop inspired, but generally open

Next show

Heading to Brixton Jamm in London

Why you should listen

Picks out hidden gem after hidden gem

@itsbast_

CITY OF CATERPILLAR

Genre

Screamo

New album

Album “Mystic Sisters” out now

Why you should listen

Intense, cathartic, guitar-driven sound cityofcaterpillar.bandcamp.com @cityofcaterpillarofficial

DELIRIANT NERVE

Genre

Hardcore, grindcore

New album

EP “Domed” out now

Why you should listen

Hard-hitting, intense tracks

deliriantnerve.bandcamp.com

@deliriant_nerve

ECSTATIC

INTERNATIONAL

Genre

Post-punk-inspired rock

Next album

Debut EP out now

Why you should listen

Direct lyrics and an ethos of “radical optimism”

ecstaticinternational.bandcamp.com

@ecstatic_international

GEENA MARIE

Genre

Electronic, hip-hop, R&B, soul

Next show

Regular shows on Eaton Radio

Why you should listen

Creates the perfect ambiance with every mix

5050fm.com

@djgeenamarie

MAYA ELIZABETH

Genre Soul

New album

EP “Space to Fill” available now

Why you should listen

Chill coffeehouse vibes with touching lyrics mayaelizabethmusic.com @mayaelizabethmusic

MIKIAH

Genre R&B, soul

Next show + new album

November 3 at 7:30 p.m., Sofar Sounds

D.C. and album “Dahlia” streaming now

Why you should listen

Soulful, honest earworms

@mikiah__

MOOZY

Genre

Alternative rock band

New album

New single “Most Any Drug” out now

Why you should listen

Guitar-centric bops with heartfelt lyrics moozytheband.bandcamp.com

NATTY BOOM

Genre

OUTERLOOP

Genre

PUBLIC FIGURES

R WE ON THE AIR?!

THFCTRY

Genre

Why

Tropical bass,

pop, house, hip-hop

Why

should listen

Blends music with an aim toward

people together

Paying Tribute

The

White Ford Bronco. Photo courtesy of the

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BLACK DANCE CULTURE IS INCLUSIVE POWER

How Black Rave Culture and Black Techno Matters are fostering diverse and innovative spaces for EDM in D.C. and beyond

WORDS BY MAYRA MEJIA

If you are a house or techno fan in D.C., chances are you’ve heard of Black Rave Culture, a trio of DJs and producers — Amal, Nativesun and James Bangura — creating innovative, genre-blending music that is impossible not to dance to. Or perhaps you’ve stumbled upon Black Techno Matters’ free dance parties in Malcolm X Park where guest DJs play hypnotic tunes in the middle of nature to the delight of everyone around. These artists are creating inclusive spaces for people to come together and enjoy electronic dance music (EDM) by actively celebrating and amplifying EDM’s Black and queer influence and origins. EDM was birthed by Black people. House music was created in Chicago in the

late ’70s, techno in Detroit in the early ’80s and from there, many subgenres emerged. However, considering the artists who get top billing at shows and festivals, the lineup hardly reflects the genre’s rich multicultural history. What can we as consumers of culture in the city do to change that? We talked with Bernard (also known as Outputmessage and currently, B_X_R_N_X_R_D) of Black Techno Matters and Amal, Nativesun and James Bangura of Black Rave Culture to get their takes on D.C.’s club scene, and how they’re helping shift the perception of how local dance looks and sounds.

Rave Culture’s James Bangura, Amal

Nativesun.

District Fray: How would you describe D.C.’s dance scene?

Amal: I think we [Black Rave Culture] have brought more people in who aren’t necessarily into dance music and opened up a [new] world for them. There’s the whole stigma [around] the dance scene: People automatically think of EDM, especially in D.C. because that’s the commercial scene. So when people experience our kind of sets, it changes their minds. We’re starting to see the audience grow. It’s definitely different than it was just last year.

Bangura: There are people trying their hardest to bring underground music to the forefront. DJs and groups like 140

Plus and Friends With Benefits DC bring in underground acts, as well as Black Techno Matters. Hast du Feuer are the new kids who are motivated and inspired and want to participate in the dance community here in a healthy way. And then you’ve got 1432 R. Their thing is locals only, which is good because it helps highlight people who weren’t necessarily highlighted before.

Nativesun: It’s changing a lot. And I think people are starting to realize, especially after the pandemic, that things can’t go [back to] how they used to. I see a lot of different and diverse lineups, like all those crews James mentioned.

How would you describe the layers of D.C.’s culture?

Bernard: D.C. is a very interesting place. I’ve always been attracted to the layers of this city. For example, if you’re a tourist, you come here and see the very top layer. You see the monuments, museums and parks, and that’s what you think D.C. is.

D.C. also used to be a majority Black city and still has a pretty high percentage of Black people. Last I checked, it was 45.8%. So, there’s also that layer. There’s a lot of rich culture that started here, like go-go music. Then there are people who live in the city for years and don’t know what go-go is. It’s hard to believe. There’s also definitely an underground queer and techno scene. That’s probably my favorite layer, and the layer I keep coming back to.

What inspired you to create Black Techno Matters?

Bernard: As an artist, I chose to stay pretty local. For a while I was really only playing shows in D.C. And, even still, being here for some years, I kept finding myself as the only Black or queer artist on the lineup. So, around fall of 2019, I thought, “Why don’t I have a party called Black Techno Matters with all Black artists, because it wasn’t happening at the time, at least not in this city. Since then, I’ve been so lucky to be a part of organizing many all-Black lineups.

The way the industry is now, there are lots of lineups with white males on the roster. They can come together and share

their connections, communities and tips with one another. But, because there’s often this kind of tokenism with Black, queer, trans and nonbinary artists, they end up getting very separated. There’s this loneliness to it when you go to a show and you’re the only Black person in the lineup. More than likely the audience reflects this as well. So, that’s been one of the most rewarding things about Black Techno Matters. It’s about bringing Black artists together. This is now a space where these artists, potentially coming from different parts of the world, are physically in the same space talking to each other, sharing their experiences and building community.

Learn more about Black Rave Culture at blackraveculture.com or follow them on Instagram at @BRC_DC. You can find Amal, Nativesun and James Bangura on Instagram @_amaldc, @nativesun_ and @_james_bangura.

Learn more about Black Techno Matters at blacktechnomatters. org and follow them on Instagram @BlackTechnoMatters. Follow B_X_R_N_X_R_D on Instagram @b_x_r_n_x_r_d.

Want to explore more underground music groups? Check out 140 Plus (@140.plus), Friends With Benefits DC (fwb_dc), Hast du Feuer (hdf.dmv) and 1432 (@1432r_).

Bernard. Photo by Kris Pritchard.

JAZZ LIVES

Back in the 1940s and ’50s when U Street was Black Broadway, you could throw a quarter down the street and it would probably land in front of some jazz club, the music blaring and swinging. Fifteen years ago, the corridor was still a musical center, hosting keystone houses built for jazz like HR-57, Twins, Café Nema and Bohemian Caverns. Even before then, and certainly now, jazz music — whether played with shiny horns by sharp-dressed bands or grooved by synthesizers and percussion — has found homes wherever possible. Part of this was by necessity as the “jazz clubs” closed down; but it was also a result of the music democratizing, becoming less stylistically rigid and developing broader palettes that could be accepted in different neighborhoods.

The seven venues listed below represent that idea. More importantly, they are where the music is happening — truly happening — in Washington, D.C. today. There are others, like Takoma Station Tavern, Green Island Café or Alice’s Jazz and Cultural Society (and you should check out their programming), but at some point, these lists get nitpicky and things need to be cut for space. So, here’s an introduction to seven key spots where you can experience D.C.’s jazz scene, with some testimony of importance by the very musicians who make them great.

Blues Alley

Some of the top commercial jazz performers in the world and a diverse array of local acts playing in that classic, low-lit, cramped, storied “jazz club.”

Senator Tim Kaine of Virginia has played with violinist and bandleader Dave Kline there several times over the past few years. Here’s what he exclusively told District Fray about his fondness for the place: “I love Blues Alley. Not just the actual Blues Alley but the legendary Blues Alley, a place of mystique down an alleyway where the best of the best have played for decades. And I really grew to love it as it fought to stay alive during a pandemic that shut down classic live music venues all over the country. Last fall, when I played a live show [at Blues Alley] after it had been closed for more than 500 days, I felt a real joy. And everyone in the audience felt the same way.” 1073 Wisconsin Ave. NW, DC; bluesalley.com // @bluesalleydc

Jojo Restaurant and Bar

Heavy R&B and soul influenced jazz that grooves smooth, as well as a mix of classic jazz, blues and young cats trying something new.

Bassist and bandleader Steve Arnold is one of the leading figures for younger generations of D.C. jazz musicians. You can find him playing just about anywhere around the city with any kind of band, from punk jazz to classic vocal performers. But Jojo’s has a special place in Arnold’s heart: “Jojo’s is where I got my start in D.C. playing the old jazz singer’s jam session. It is one of the few clubs where musicians can present their original projects, but there is also usually an open bandstand so it is a great place for musicians to listen to each other, meet and play. Jojo’s is the last real jazz club on U Street, and it is completely vital to the scene.” 1518 U St. NW, DC; jojodc.com // @jojoustreet

The Kennedy Center

Legends, up-and-comers and true masters of jazz in comfortable, elegant settings.

Pianist Jason Moran, artistic director for jazz at the Kennedy Center, truly has his finger on the pulse of the music, bringing artists who push the boundaries of jazz while also showcasing new explorers. He says he inherited his approach to curation from his predecessor Dr. Billy Taylor: “[Taylor] had a historical approach; but also, he was a modernist. He understood the relationship between music’s language and the language around the music, and activism and music. As the nation’s performing arts center, we have to make sure we keep tabs on how the music feels, what the country is moving toward and what music suggests about our future.” 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

Mr. Henry’s

Jazz vocalists and the weekly D.C. jazz jam, a great intersection for many jazz players in the city in an explicitly queerfriendly environment.

Mr. Henry’s has been around since the late ’60s and has hosted music for just as long. Roberta Flack frequented the spot when she lived in D.C. You can even see its woodpaneled walls on the cover of her debut album. Singer and activist Aaron Myers co-leads the jam and has graced its stage often for the last several years. He says, “When you play Mr. Henry’s, you’re surrounded by history. You never know who’ll show up and it is a welcoming space. There’s a sense of community

WORDS BY JACKSON SINNENBERG

any artist would be grateful to have.” 601 Penn Ave. SE, DC; mrhenrysdc.com // @mr.henrys.dc

Rhizome DC

Experimental, free-form and creative, highly original music that will challenge you — but it’s always worth it.

Janel Leppin-Pirog is a cellist and bandleader who crosses many paths in D.C. She played with hometown punk heroes Priests, makes ethereal, ambient music with guitarist Anthony Pirog, and leads her own groups like Mellow Diamond that exist at the crossroads of chamber music, jazz and experimental music. A favorite at Rhizome, here are her words on the importance of the space: “Rhizome is a DIY community center where any musician can organize a gig. It is democracy actualized where art can breathe. I wouldn’t have recorded ‘Ensemble Volcanic Ash’ in winter 2022 without a residency there. Long live Rhizome.” 6950 Maple St. NW, DC; rhizomedc.org // @rhizome_dc

St. Vincent Wine

Rising stars, established bandleaders and a wide host of local jazz musicians performing a mix of their original music and traditional jazz songs.

D.C. native Alex Hamburger, a vocalist, flautist and composer who released her first album “And She Spoke” in 2021, is a regular performer and audience member at the wine bar. Here’s her take on the spot: “St. Vincent has become a place in D.C. I not only love playing, but [a spot where I love] hanging out and seeing fellow musicians. The warm vibe the crew creates with great food and drink, alongside the fact that they’ve found a way to make it a listening room without putting pressure on the audience, is special and needed. It’s not a background gig or a show; it’s just a great bar and restaurant where people can dig in musically, as well as enjoy and be social.” 3212 Georgia Ave. NW, DC; stvincentwine.com // @stvincentwine

Westminster Presbyterian Church

D.C. jazz elders playing the classic version of the music: think 1950s, sharp-suits, swinging bands, shiny horns; the homecooked fish fry in the basement; and a true education in the history of jazz.

Bassist Michael Bowie, who has played with everyone from soul icon Isaac Hayes to legendary vocalist Betty Carter, has played the church many times. He says: “It has become a mecca of music in D.C. There is something magical about that stage. Maybe it’s the ‘pulpit effect,’ but the connection between the audience and the musicians is quite often electric. [It’s] a comfortable listening atmosphere for the aficionado and the newbie.” 400 I St. SW, DC; westminsterdc.org

FROM

Andrew Musselman, Herb Scott, Dave Manley, Aaron Myers + Colin Chambers perform at Mr. Henry’s. Photo by Nick Moreland.

+

BY ANDREW J. WILLIAMS III

Vinyl is having a moment. Its swift resurgence signals the medium has recaptured some major cultural currency; if retro is in vogue, then for many audiophiles, vinyl stands at the zenith of cool.

For casual enthusiasts, what defines “cool” might be up for debate.

For collectors like Sandy Coburn, who’s amassed more than 350 records in four years, it’s about consuming music in its purest, most preserved form.

“There is this richness to records; this romanticism [around] the large format of vinyl, the needle hitting the vinyl and [setting] up your speakers to capture all of these deeper tones,” Coburn says.

As we meet on an early fall evening in her Northwest D.C. hideaway, I’m transfixed by the chaotic harmony of her sanctum: various flora and fauna, disco balls, a menagerie of earth tones, a splash of pink from her Hello Kitty guitar case, a cherished framed Björk poster, a plush camel leather couch, an authentic Moroccan rug and lamp, a Tibetan cabinet, other tchotchkes procured from around the world and her pet rabbit, Truman.

It’s the perfect backdrop for a wide-ranging exploration of her musical beginnings and eventual foray into vinyl.

The Birth of Cool

Coburn hails from Lee’s Summit, Missouri, a suburb of Kansas City with a population of just over one hundred thousand. The humble suburb is a far cry from her flowing purple and black hair.

Kansas City, which Coburn describes as “frozen in time hipster,” carries some clout in music circles. The city was once predicted to become the next great music scene following the end of Seattle’s iconic ’90s era, a prophecy that never came to fruition.

Still, music is dyed into the region’s fabric; Coburn recalls how commonplace it was for people you knew to be in a band or spend their weekends seeing different live acts.

As a child, Coburn’s mother wanted her to be a concert pianist and she began playing the instrument at the age of 4, including enduring what she describes as “very long lessons” up until 17.

“I’ve always been very attuned to music,” Coburn confesses.

In those early days, ever the revolutionary soul, she took her cues from rock, pop, the radio and old piano books that exposed her to a variety of ’80s songs, and poured them into her mastery of the piano. Key by key, her curiosity grew.

As she got older, she added the violin and guitar. She also soaked up influences from family on her mother’s side, including an uncle, Bobby McCarty, who was a member of the semi-famous ’70s band The Fun Company, and her great aunts, who formed a musical trio called The McCarthy Sisters.

“I remember staying over at my grandparents’ house and people would get out guitars and that would be what you would do on a Saturday afternoon; people would sit around playing guitars and my grandpa would usually be singing along to Willie Nelson.”

Though, the definitive era in her musical timeline was her teens.

“I started realizing that a lot of friends had these cool older siblings,” Coburn admits, who she remembers owning very eclectic music palettes.

They introduced her to one of her greatest musical influences, MTV’s “120 Minutes,” a television program dedicated to alternative music that ran from 1986 to 2000.

It was this same group of seasoned connoisseurs that gifted her albums like The Smiths’ “The Queen Is Dead,” a group who’d long ago broken up, and Jane’s Addiction’s “Ritual de lo Habitual,” alongside an anthology of bootlegged albums and playlists, offerings Coburn eagerly devoured and used to shape the foundation of her melodic tastes.

The Lost Spotify

Decade

Fast forward to 2011 and Coburn’s decision to move to D.C. To ease the transition, she digitized her collection of music and books. Then, a year into arriving in the DMV, the unthinkable happened: a hard drive crash.

“A lot of those unique things from my youth — [one-night only] performances and bootlegs — were lost forever,” Coburn laments. “That reemphasized the need for having a physical collection.”

For years after the agony of losing an irreplaceable digital library, Coburn leaned into streaming platforms to quench her thirst for new music. She considers it The Lost Spotify Decade, a time of purely digital consumption and the genesis of her “at the

moment” playlist, where, on a weekly basis, she continues to rotate tracks on and off — currently clocking in at 33+ hours and 520+ songs.

Coburn, meanwhile, continually yearned to shrink the physical distance between herself and her music, getting her fixture from the energy of live performances until she couldn’t anymore.

A Sea of Black Tees

Coburn, who is a bonafide melomaniac and attends three concerts nearly every week — as she has since arriving in the District — recently traveled to New York to see the popular alternative pop band Japanese Breakfast, American indie rock band the Yeah Yeah Yeahs and the all-girl rockers The Linda Lindas on tour together.

“I started realizing [in 2018] my wardrobehad turned into a sea of black concert tee shirts,” Coburn jokes.

This fueled her decision to purchase vinyl as an alternative way to support bands, rather than stockpiling more concert tees, which gave birth to a full-blown love affair.

“I started remembering some of the things I really enjoyed about having a physical collection,” Coburn says.

She describes her affection for album art and “feeling more in tune with her music” through access to visual lyric books, which add a welcomed layer to the internalizing of verses, hooks and lyrical emotion. She appreciated the space to interact with her vinyl on multiple levels: touching, hearing and sensing.

Sandy Coburn + her collection.

In the process, she also recaptured “experiencing an album in its holistic form as the artist intended,” a sentiment often lost when songs are ingested through patchwork playlists.

“I try to get familiar with a number of artists, so having a ton of playlists is really important to me,” Coburn explains. “But [you lose] this degree of intimacy you have with vinyl. An album really should be a collection that’s cohesive; some albums tell stories from start to finish.”

Drop the Needle

Then came the onset of Covid-19 and with it the emptying of music venues. Unable to see up-and-comers in the flesh, the new reality accelerated the growth of Coburn’s collection.

“I was no longer going to those two to three concerts a week,” Coburn says. “And that was what made me realize I wanted a [deeper] musical experience [while isolated]. I started leaning into the vinyl collection pretty heavily.”

The experience filled the concert void and soothed pent-up anticipatory energy, the kind that manifests when hearing a favorite artist for the first time on the stage. It also inspired Coburn and her friends to begin hitting the road, scouring the East Coast in search of vinyl shops, in towns big and small.

The current iteration of Coburn’s meticulously alphabetized and organized collection is an amalgamation of indie, dark wave, synth pop, punk, garage rock and electric. There’s also a spattering of dance, disco, R&B, classic

’90s, early 2000s and a dash of J-Pop.

The versatility of Coburn’s compendium gives it adaptability to her mood.

“I’ve got this room set up as a library; it’s got my books, vinyl and comics. I tend to put on a record and try to read. But I have a lot of rock, punk and dance and that doesn’t work for sitting around — there’s also [music for] dancing around the apartment or playing with the bunny.”

The collection is a living, breathing assemblage. As she considers how best to guide fledgling collectors, Coburn points to places like yard sales as gold mins for rare finds from bygone eras.

“That’s the fun thing about vinyl: You’re [always] hunting for that next thing.”

Yet, vinyl stores and vinyl store staff remain tried and true resources, where the search for one record

can easily spitball into the purchase of several albums.

For Coburn, collecting vinyl must be a subjective journey.

“A vinyl collection is like a book collection,” Coburn insists. “It’s supposed to be something you have with you for the rest of your life, that you’re going to enjoy for the rest of your life. So don’t hop on the latest trend or what you think is going to be valuable. Think of what’s valuable to you and purchase that.”

Visit discogs.com to begin cataloging your vinyl collection and/or locate hardto-find albums from among the hundreds of thousands of contributors. You can follow Sandy Coburn on her Instagram @sandy_coburn.

Just Eat It

The best pre- and post-concert options near D.C.’s best music venues.

WORDS BY BRANDON WETHERBEE

Before or after 9:30 Club or Howard Theatre, get caffeine + arepas at The Royal

Whether you’re meeting a friend for a quick bite before set times or really, really need nourishment because you spent the past few hours dancing and sweating at a show, you need to eat. Here are five great food options before and after shows at five of D.C.’s best venues. Before we begin, you may want to visit certain venues for the food. There’s absolutely no reason to travel to a second location if you’re seeing a show at Comet Ping Pong, DC9, Quarry House Tavern, Slash Run or The Runaway. These five venues/restaurants/bars have some of the best burgers and pizza in the D.C. region. And most of the following venues have quality food options, too.

Before or after The Anthem, grab a sandwich at Grazie Grazie

The Wharf has no shortage of fine dining. I do not want fine dining after hours at The Anthem. I want a sandwich that’ll taste great right away and the next morning. You can’t do much better than Grazie Grazie. Order a Russoniello and pasta salad, eat what you need ASAP and save the rest until the a.m. 11 a.m. - 11 p.m. 85 District Sq. SW, DC; graziegrazie.com // @graziegrazie_

Before or after Black Cat, order off the snacks + small bites menu at Bar Pilar

Black Cat had the ideal post-show option with Amsterdam Falafelshop conveniently located across the street. Dumb pandemic ruined early a.m. falafels and fries. Lucky for you, Black Cat still has a fantastic pre-show option with Bar Pilar. Their happy hour menu is worth a visit alone, specifically the fried chicken slider. Wednesday and Thursday 5 p.m. - 2 a.m., Friday 5 p.m. - 3 a.m., Saturday 12 p.m. - 3 a.m., Sunday 12-4 p.m. 1833 14th St. NW, DC; pilardc.com // @pilardc_

Always a good option, Royal has become even more valuable with the closing of Hazel, formerly located across the street from 9:30 Club, now closed due to the dumb pandemic. Anyway, Royal is great for getting up for the show (their coffee options are some of the best in Northwest) and wonderful post early shows (shows with 6 p.m. doors). The Ledroit Park neighborhood restaurant is what every neighborhood deserves and a great place to calm down after hours of moving. Monday through Thursday 10 a.m. - 10 p.m., Friday and Saturday 10-12 a.m., Sunday 10 a.m. - 9 p.m. 501 Florida Ave. NW, DC; theroyaldc.com // @theroyal_dc

Before Fillmore Silver Spring, grab a craft beer + sausage at Silver Branch Brewing

Located a stone’s throw from the Silver Spring Metro stop, Silver Branch is the perfect place to meet up with fellow concertgoers before shows at the Fillmore, especially if those friends are taking public transportation. Drink some seasonal beer (they produce a ton of limited ales) and eat some Bavarian sausages before walking a few blocks for the Fillmore. Monday and Tuesday 4-9 p.m., Wednesday and Thursday 4-9 p.m., Friday 3-11 p.m., Saturday 12-11 p.m., Sunday 12-9 p.m. 8401 Colesville Rd. #150 Silver Spring, MD; silverbranchbrewing.com // @silverbranchus

Before or after the theater at MGM National Harbor, eat a burger + fries at Shake Shack

KISS stands for keep it simple, stupid. (It would be cool if it actually was Knights in Satan’s Service but Gene and Co. know the money is in the perception of evil, not the embrace of evil.) Why leave the premises hungry when you can get burgers and fries from one of the best burger chains? Related, their Brooklyn Brewery pours are the smartest beer option at MGM National Harbor. Keep it simple, stupid. 11-1 a.m. 101 MGM National Ave. Oxon Hill, MD; shakeshack.com // @shakeshack

Courtesy of The Royal.

WORDS BY BRANDON WETHERBEE

Our music issue is the ideal time to explore some must see music docs. We reached out to AFI Silver’s Director of Programming Todd Hitchcock to talk about the extremely malleable art form. From classics to coming attractions, films made from archival footage to stuff shot specifically for celluloid, here are 11 films that may be considered documentary films, may be considered concert films, may be something in between. Regardless of classification and categorization, all are worthy. As told to Brandon Wetherbee; edited for length and clarity.

“Gimme Shelter” (1970)

I’ve seen this 1970 film by the Maysles brothers many, many, many times over the years and I still find it revelatory. Not only because I happen to be a Stones fan, but what the Maysles do with the documentary form somehow captures the Stones both at their peak and at their nadir. That’s an interesting thing. You’re getting a look behind the scenes, maybe in some surprising, not always flattering ways.

“The Velvet Underground” (2021) I’m recommending this one because I love The Velvet Underground and I love Todd Haynes’ filmmaking. I think he did something extraordinary with this project. There’s an artistic achievement just in his approach to telling the story. I think it’s just perfectly well judged, how he’s also showing us the scene of New York in the ’50s and ’60s that this band came out of and how he’s appropriating some of the visuals. Yes, he’s working on archival material, but he’s also very intentionally doing some things compositionally that harken to other

visual arts of that era. I was just blown away by how beautifully done it was.

“Jazz on a Summer’s Day” (1959) We getting treated to a selection of the performers on stage at that year’s edition of the Newport Jazz Festival, which includes many, many big names (Thelonious Monk, Dinah Washington, Chuck Berry, Louis Armstrong, more).

Woodstock was a long ways away; there wasn’t this infrastructure of large scale music festivals. It’s a concert doc by Bert Stern, who was a commercial photographer in fashion and magazines, so he’s got a great eye. And as much as I treasure the performances it’s an amazing film for the people watching whenever it goes out into the audience. It’s like time travel.

“Anita O’Day: The Life of a Jazz Singer” (2007)

I was inspired to know more about her because she’s one of the stand up performances at Newport. This doc is from 2007. Not only is she a great jazz singer; she’s got an amazing life story with some highs and some lows. It typifies a certain kind of thing that you can get with a music doc where maybe you didn’t know that much about this person and this is your introduction. I would group it with “30th Century Man,” the Scott Walker doc and “Wild Combination: A Portrait of Arthur Russell.”

“Summer of Soul” (2021)

Beyond everything that’s great about the archival footage and the telling of the story, it’s a masterclass in editing. There’s so much covered in the length

of a normal feature length documentary, very skillfully interwoven between the music performance and the interviews. It’s an incredible piece of filmmaking, as well as being really fun.

“Stop Making Sense” (1984)

Yes, it’s universally understood to be a great documentary. But the way it shows you another side of the band, the band beyond what you’re getting off the record, you know that the live show is something else in its own category.

“Prince: Sign ‘O’ the Times” (1987)

It’s amazing and now people can actually see it after not being able to see it for decades (it’s currently streaming on Peacock). And my goodness, it captures him absolutely at the height of his powers.

“Soul Power” (2008)

The documentary “When We Were Kings,” which won the Oscar, is about the Rumble in The Jungle fight. What also happened and was also photographed on the same shoot where we get the footage for “When We Were Kings” is the Zaire 74 music festival featuring James Brown, Miriam Makeba, Bill Withers, The Spinners, Celia Cruz, The Crusaders, this amazing showcase of acts. This concert was in the week leading up to the fight and the footage never made into a finished product for decades. I feel like not enough people have seen it. It’s just this incredible showcase of these acts in 1974 playing a concert.

“Punk the Capital: Building a Sound Movement” (2019)

The movie showcases amazing Super-8 footage of punk bands playing at Madams Organ, The Collective Commune House back then (1976–1983) and performance footage of Bad Brains and others. It’s unbelievable how good the footage is. It’s such a you-had-tobe-there kind of thing, but they were there and now we get to have a glimpse of it. You cannot forget that imagery. It’s incredible.

AFI Silver Theatre and Cultural Center: 8633 Colesville Rd. Silver Spring, MD; afisilver.afi.com // @afisilvertheatre

COMING ATTRACTIONS

“Louis Armstrong’s Black & Blues” (2022)

From director Sacha Jenkins, it just premiered at the Toronto International Film Festival and it’s really good.

“Meet Me in the Bathroom” (2022)

There’s a one-night-only screening on Tuesday, November 8 here at AFI Silver. This premiered at the Sundance Film Festival earlier this year. It’s based on the book by Lizzy Goodman and it’s covering the early 2000s New York City indie rock scene so you get The Strokes, LCD Soundsystem, Interpol and others. I was surprised how it was able to communicate more to the story that wasn’t widely understood at the time. I found it really worthwhile.

CULTURE

THE MYTHIC + THE MODERN

Shakespeare Theatre Company’s artistic director Simon Godwin discusses “Much Ado About Nothing.”

WORDS BY COLLEEN KENNEDY

Shakespeare Theatre Company’s (STC) upcoming production of “Much Ado About Nothing” finally opens at Sidney Harman Hall this November. First announced to end artistic director Simon Godwin’s inaugural season at STC in May 2020, the production was halted because of the pandemic. This play was altered specifically for D.C.’s media-savvy audience. Set in a contemporary cable newsroom, the script — adapted with Godwin’s frequent collaborator Emily Burns at the National Theatre of London where he remains an associate director — contains news breaks about tragic deaths in Verona and news tickers expressing the latest about the Wars of the Roses in England. Godwin took advantage of his D.C. surroundings and completed his political media homework in preparation, attending a pre-pandemic (and pre-signoff) taping of “Hardball with Chris Matthews” and a special segment of “Morning Joe” with Joe Scarborough and Mika Brzezinski at the Atlantic Festival event held at Harman Hall. The formerly politically opposed co-hosts seem the perfect analogue for Shakespeare’s sparring cable news co-hosts Beatrice and Benedick, as played by Broadway veterans Kate Jennings Grant and Rick Holmes.

Godwin is known for his modern, streamlined takes on Shakespeare, cutting and adapting the scripts, and updating costumes and settings. He judiciously removes hackneyed jokes and archaic dirty puns. If it’s confusing to watch an old episode of “The Daily Show with Jon Stewart” or “Saturday Night Live’s” Weekend Update and understand the references made a decade ago, why would we care about an Elizabethan jab about the French dauphin? Gone. Godwin’s taut scripts and clear directorial vision allow for deeper explorations of the human spirit and our interconnectedness.

Many characters in his Shakespearean productions are fleshed out in exciting new ways, from the Malvolia (Tamsin Grieg), a closeted woman who pines after her younger employer in “Twelfth Night,” to the overly generous philanthropist Timon of Athens (Kathryn Hunter), who goes goblin mode after her friends all abandon her. Godwin has a power in making Shakespeare feel modern, immediate and accessible. Just look at the neon-hued, graffiti-covered Elsinore castle and the startling likable prince (the magnificent Paapa Essiedu) he directed in the Black cast of “Hamlet” for the Royal Shakespeare Company, which toured across the U.S. and visited the Kennedy Center before his tenure at STC.

Or check out his incredibly sexy “Romeo & Juliet” starring bright young things Josh O’Connor and Jessie Buckley. Filmed on a minimal soundstage at the National Theatre of London (after the stage production was canceled due to the pandemic), this adaptation collapses time so when the lovers’ hands or lips touch, we see first flirty glances, deep kisses and their deaths all intercut. Verona is claustrophobic and the film also follows a second tragic love story between Mercutio and Benvolio.

Airing on PBS as part of the Great Performances series, this is not a production for all time, but of a particular time when touching could be deadly. Kisses and shared air were even deadlier, and quarantines and lockdowns were our daily routines. We all lived — and some died — in this 2020 Verona.

Expect the Unexpected

“I just aim to make his plays speak vividly and entertainingly today,” Godwin states about his Shakespearean adaptations.

That is, expect the unexpected in “Much Ado.” Go in knowing Godwin has paved new avenues of exploration while cutting some superfluous archaisms. For example, Godwin sees this production as “the original fake news story.”

Despite the comedy’s meet-cutes and multiple weddings, Godwin also explains there is a “darkness and light both within the play, a tension between these forces. In the second half of this play, there is a certain degree of psychological violence. Yet it is undeniably a ‘Much Ado About Nothing.’”

At the climax of the play, the faithful bride Hero is accused of adultery with dire consequences. We can see how the sexual politics of 400 years ago may continue to inform modern productions of the play. In modern terms, the vicious rumor against Hero is fake news and she is slut shamed. And if the dastardly Don John isn’t an incel, he is at least the worst offender in a culture of toxic masculinity.

But Godwin warns about looking for too many contemporary resonances as 21st century Easter eggs.

“My drift is always toward the mythical or the archetypal,” Godwin says. “I’m not exact about these [modern] references

because sometimes they can be traps; someone will want to disprove your idea.”

“In a way, all the worlds one creates for Shakespeare will be an amalgam of Shakespeare’s world, your own influences and the influences of the actors or the design team,” he continues. “There’s probably a little bit of a retrograde quality to this world because I’m consciously using stock characters. The news, the sports, the weather: There’s something archetypal even in our world about these types.”

Within this Jungian approach, Godwin considers the universal appeal of Beatrice and Benedick’s love story as a “story of transformation from the sort of contained and fearful relationship of the two protagonists to opening their hearts and bodies to each other. This has taken on a new poignancy as we culturally — and as a planet — also learn to trust each other.”

In that sense, Beatrice and Benedick are the archetypal willthey-or-won’t-they couple. So many of our romantic comedies that pair up two former enemies — “Philadelphia Story,” “When Harry Met Sally,” “How to Lose a Guy in Ten Days”— are indebted to Shakespeare’s romantic jousting between the incredibly witty Beatrice and the (almost) as clever Benedick.

An Inexhaustible Variance

This summer at the National Theatre of London, Godwin even directed a completely different production of “Much Ado About Nothing,” set in the Italian Riviera during the 1930s at seaside resort Hotel Messina.

“I’ve certainly never been in situations where I presented the same play in the same year and setting on two different continents,” Godwin says. “It’s a tribute to the inexhaustible variance and colors of Shakespeare I remain fascinated about. There’s just an endless degree of surprises. There was a certain romance and historicism in this [National Theatre] version. And there’s a much greater commitment to making something more immediately prescient in Washington, D.C. with the newsroom. It’ll be interesting taking on an edgier version of this play.”

Later this season, Godwin will direct one of Shakespeare’s greatest tragedies: “King Lear.” Starring Broadway’s favorite villain Patrick Page — who was also the solo actor in STC’s streaming production of “All the Devils Are Here: How Shakespeare Invented the Villain” — Godwin finds “King Lear” offers timeless stories about personal transformation, familial angst, filial devotion and “how suffering brings us terrible knowledge.”

But, without going into specifics, Godwin finds political significance ripped from the headlines, too.

“We are in the grip of certain situations where older statesmen are territorially ambitious in ways that are causing geopolitical conflicts,” he says. “‘King Lear’ is both a domestic tragedy but also a geopolitical play. One can’t help but think of these conflicts we’re all trying to understand today.”

“Much Ado About Nothing” opens at Shakespeare Theatre Company on November 10. Purchase tickets at shakespearetheatre.org

Sidney Harman Hall: 610 F St. NW, DC shakespearetheatre.org // @shakespeareindc

Photo by Catherine Ashmore.

KINGSLEY MODELS TURNS FIVE. Kingsley Models, a local premier model and talent agency, celebrated their fifth anniversary at Shibuya Eatery and Death Punch Bar last month, which included a private dinner, craft cocktails, a lively DJ, dancing, and ubiquitous warmth and laughter. Photos by Erich Morse.

NICOLE

An ideal weekend getaway is a place that transports me from the daily grind. A place where I can both explore and unwind, but still be back in D.C. by Sunday night without feeling exhausted from travel. Eighty miles from D.C. on the Eastern Shore of Maryland — about a two-hour trip give or take traffic — the charming town of St. Michaels offers this respite.

When first visiting the area with my friend Ryan, I rolled my dinged-up car onto the red brick paved driveway leading to the Inn at Perry Cabin, and I began to worry I was out of place. I had envisioned the inn as a quaint lodge. Instead, the tree-lined path led to an 19th-century estate on the water surrounded by lush gardens, tennis courts, a spa and luxury cars. Luckily, the beauty of its exterior was not surface level. Throughout my stay, the whole staff at Perry Cabin, as well as the people we met along the way, were kind, welcoming and eager to share stories of their historic home.

From food to activities to scenery and history, there is something for everyone. Here’s what to expect when visiting this idyllic town.

The History

The inn’s structure was built based on a U.S. naval officer’s ship cabin from the War of 1812. Commodore Oliver Hazard Perry played a pivotal role in the war and fought off the British from capturing the Great Lakes. Samuel Hambleton served as Perry’s right-hand man and following the war, the government awarded Hambleton a small land grant for his efforts. With the grant, he built an estate and tobacco farm where he grew up in St. Michaels, which would later become the Inn at Perry Cabin. In honor of Perry, Hambleton named the estate “Perry Cabin” with most of the nautical interior resembling Perry’s ship, the USS Niagara. The inn carries a myriad of stories that are as interesting as its founding, including a more recent fact that the “Wedding Crashers” wedding scene was filmed there.

Beyond the inn, the town boasts several free historical stopping points, like a replica small boat from the 17th century. Next door is the Chesapeake Bay Maritime Museum that takes a comprehensive dive into the history of all the type of boats that sailed the bay.

The Food

What can easily make or break a trip is the food. It’s one of the first things people ask when they know someone just came back from traveling. Executive chef Gregory James of the Inn at Perry Cabin’s fine dining restaurant Stars does not disappoint. A recent winner of Maryland’s Chef of the Year award, James has a long resume filled with accolades and prestige, including a stint at Jont and working under Marcus Samuelsson. At Stars, he’s developed a sustainable culinary program that focuses on using fine dining techniques and applying them to local dishes and ingredients. He takes painstaking care to build relationships with local fisheries and distributors to ensure quality. Working with the inn’s horticulturist, James has built a garden full of regional ingredients on the grounds.

While walking the docks, we spotted James pulling a crab cage from the water. When the cage reached the dock, it was brimming with blue crabs — the mascot of the region next to Old Bay. The same crabs were then steamed and served imperial style for an appetizer that night. It’s easy to label a

restaurant farm to table, but Stars embodies this ethos by taking the extra step and cultivating many of the ingredients themselves.

Similar to their sourcing, the Stars’ dining experience is just as exceptional. Each dish is crafted with detail and balance. Standout dishes include the Eastern Shore crab dumplings, crescent pan seared duck and the dry-aged mahi mahi. The dry-aged method provides a meatier texture than the otherwise flaky fish texture. It is a Japanese method of curing fish that James is passionate about making more well-known in the States. Staying true to form, the duck and a dry-aged fish dish are on the menu every night, but the accompanying ingredients and the type of fish are subject to change based on seasonality.

The Amenities

It is very easy to stay at the inn without leaving the ground. While I strongly recommend exploring the town itself (see below), definitely take advantage of what the inn has to offer for activities, which include morning yoga classes, private tennis lessons, golf, lawn games, sailing trips, a spa and a zero edge pool.

The Highlight

Our favorite part of the trip was wandering around the town. There were many standard tourist gift shops, but also a year-round Christmas shop, a shop focused just on runners and a husband and wife owned apothecary, The Mill, which makes many soaps and salves in-house.

Two additional things became very clear when walking the town’s mile-long strip: St. Michaels loves booze and ice cream. Despite its small size, St. Michaels has four ice cream parlors and a dozen alcohol-based shops. From wineries and breweries to a rum distillery, you can easily find your poison of choice.

We landed on Lyon Rum, which is a millennial paradise, equipped with a pink and turquoise feather collaged wall, gold accents and succulents aplenty. Their coffee rum was a highlight, as well as an elderflower-infused gin they carried from another local distiller, Gray Wolf. The store offers free samples and we left with purchased bottles of both aforementioned, and a nice buzz.

Looking Forward

Perry Cabin recently acquired a 48-foot sailboat dating back to 1902, known as the Stanley Norman. Listed on the National Register, it is one of the 35 surviving traditional Chesapeake Bay skipjacks, a style of fishing boat specific to the region. The still functioning ship is currently going through upgrades to accommodate a working bar and space for guests to stand comfortably. By next spring, people will be able to go onboard for a cocktail hour on the water or reserve it for small events.

The Inn at Perry Cabin: 308 Watkins Ln. St. Michaels, MD; innatperrycabin.com // @innatperrycabin

The Mill: 605 S Talbot St. St. Michaels, MD; themillstmichaels.com // @themill_apothecary

Lyon Rum: 605 S Talbot St. Apt. #6, St. Michaels, MD // @lyonrum

The German themed beer garden’s Oktoberfest will feature four weekends chock-full of German cuisine, live bands, Bavarian games, DJ parties and of course lots of beer. The event is held from September 16 to October 9. More information can be found on our site.

Hamilton’s Bar and Grill has great drink specials, fantastic comfort food and top notch service. Come check out our ALL-DAY Friday happy hour with $2 PBRs and High Lifes and you’ll see why we’ve been a Capitol Hill institution since 2006.

wundergartendc.com | @wundergartendc 232 2nd St. NW, DC | 202-347-6555

1101 1st St. NE, DC | 202-123-4567

hamiltonsdc.com | @hamiltonsdc

Enjoy a coastal getaway whatever the season with beach-inspired bites and arcade games galore. Book your next company Happy Hour or birthday celebration at the biggest indoor/outdoor bar & arcade in the nation’s capital!

boardwalkwharf.com | @boardwalkbarddc

Wharf St SW, DC | 202-481-0044

Kelly’s Irish Times is a quaint, sometimes boisterous Irish pub, with great food, perfect cold pints, a wicked cast of characters behind the bar and a world-class jukebox.

kellysirishtimesdc.com | @KellysIrishTimesDC

F St. NW, DC | 202-543-5433

MEMBERS

Taking the leap with Maurisa Potts

BY ANNE WALDRON

We love our members, so we’re highlighting them in our Members Only series. A District Fray member since 2020, Maurisa Potts is a marketing connoisseur who lent us her expertise for how to achieve your dreams. Become a member at districtfray.com/subscribe.

Maurisa Potts knows how to get “spotted.” As an ace in the PR world, Potts has tackled a wide range of sectors: fashion, nonprofit, culture, tourism and economic development. She serves on the executive board of the Alexandria Small Business Development Center and is involved in organizations such as ColorComm (women of color in communications), RunningBrooke, Fashion Group International and the American Marketing Association DC Chapter. Potts used her vast knowledge and experience in corporate marketing to become the founder and CEO of Spotted MP. We talked with Potts about becoming a jack of all trades.

District Fray: How did you get into marketing, communications and event planning?

Maurisa Potts: This year marks 14 years of going out on my own and leaving corporate America. I continue doing marketing and PR as my profession because I’m a very creative person. I’m also very strategic and love to tell stories. I work with clients to share their stories through various marketing communication strategies for what they need.

What led you to jump from being a member of a corporate firm to starting Spotted MP?

When they say I can’t do anything, I have that Kobe Bryant mentality where I say “Game on” or “Challenge me.” What’s important to raise as a woman of color is that when I decided to go out on my own and continue to do marketing and PR, I was told there was no chance I would succeed — that changing myself into an entrepreneur was only going to be a hobby. Many individuals, especially Black women, are afraid to take that leap of faith, but they [still] take it and go for it.

Photo by Sarah Marcella.

If you could advise your younger self, what would you say?

One tool you have is your voice. Do not be silent or back down when you want to pursue your career or dream job. Many women of color or minorities are very quiet in sharing their dream and do not stand in their power or use their voices when they want something. Do not silence yourself.

Have you faced an area in which you might not have been so well-versed? How do you tackle it?

Study up. Do your research. I have worked in various sectors, from law firms to corporate accounting to retail. What is in all these industries is marketing communications tactics, and styles can easily be applied in all those industries. I was in a law firm for about seven years, and it was very intimidating because I did not know a lick about legal. I would review the firms I was working with and some of the terminology and ask many questions. Do not be afraid to ask those questions to help you grow, learn and improve your position.

What made you become a District Fray member?

District Fray has created a wonderful space where they put a spotlight on a variety of unsung creatives, changemakers, disruptors, do-gooders and innovators who are the heartbeat of this region. Its inclusive, rich, eclectic style speaks to me, and I have learned so much about people featured in District Fray. Some of them I have reached out to for collaboration.

What’s your favorite District Fray article?

I feel people know we are an art, culture and now a foodie town, but I love anything fashion-related. It’s a pet peeve when people don’t think D.C. is fashionable and just government.

Learn more about Maurisa Potts by visiting maurisapotts.com or follow her on Instagram @mtpotts.

Fans can expect to see lots of changes as the Washington Capitals embark on the season ahead after a somewhat disappointing 20212022 campaign, which found the team exiting the playoffs in the first round for the fourth straight year following their 2018 Stanley Cup championship.

With Nicklas Bäckström, Tom Wilson and Carl Hagelin all out on long-term injury reserve, the Caps made moves to add some strong forwards over the offseason, bringing in Dylan Strome and Connor Brown. Strome, coming off a 48-point season with the Chicago Blackhawks last year, signed a one-year deal with the Caps. Brown, who registered 39 points with Ottawa, was swapped for a second round pick in next year’s draft.

The early signs have been good, with both players contributing two goals and four assists total in the Caps’ first four games, resulting in a 2-2 record the first week of the season.

“It’s always exciting when you get some new faces,” says defenseman Trevor van Riemsdyk, now in his third year with the team. “I know when I first came here it was a little intimidating because there are some big names, but they are all great guys. With new players, you have potential for success; we just have to do the right things to achieve it.”

Naturally, long-time superstar Alex Ovechkin continues to lead the team with two goals and three assists in those first four contests. The perennial all-star winger is expected once again as the main scoring threat as the Caps look to advance further this season. Washington’s captain is also set to make history this season, as of this writing is 20 goals away from passing Gordie Howe for second place on the all-time goals list, with 782 goals to his credit.

Then there’s Evgeny Kuznetsov, who arguably is one of the strongest puck carriers in the league and continues to be a gifted passer, coming off a 78-point season. Between him and Ovie, the Caps should have no trouble finding the net.

The biggest change for the team this year is in goal, where the former two-goalie tandem of Ilya Samsonov and Vitek Vanecek are now gone, replaced by Darcy Kuemper, fresh off leading the Avalanche to a Stanley Cup championship last season. Washington signed the 32-year-old netminder to a fiveyear, $26.25 million contract after he went 37-12-4 with a 2.54 goals against average and a .921 save percentage last season.

“It’s huge to have that consistent play back there and Kuemper’s obviously proven he can take a team as far as they need to go,” van Riemsdyk says.

Charlie Lindgren was also brought in this offseason to back up in net.

With a veteran core led by Ovechkin, John Carlson, T.J. Oshie, Kuznetsov, Dmitry Orlov and Backstrom (when healthy), the Capitals are one of the oldest teams in the league and will need some of its youngsters to step up and take some valuable ice time to keep the guys fresh come playoff time.

“When you have a veteran team and you’re in the middle of the season — game 50, game 60 — and you’re getting a little run down, having that experience to draw on to get you mentally ready is great,” van Riemsdyk says.

Rookie Joe Snively from Herndon, Virginia, became the first Virginia-born player to play for the team last year, making a strong impression on Coach Peter Laviolette in his 12 games. Snively should garner more ice time this year as the season wears on. Then there’s 21-year-old Connor McMichael who returns for a second year looking to build on his rookie season. The team will need more from its young defenders, though, including 23-year-old Martin Fehérváry, who is going to have to earn his ice time.

Defense continues as one of the weaker parts of the team since both Ovechkin and Kuznetsov are much more offensive-focused and considered liabilities on the other side of the puck.

Thankfully, Orlov continues to impress from the blue line and Carlson is a strong twoway player and a force on the defensive end. Nick Jensen is another name that deserves praise, as he brings defensive stability and wracks up important minutes and van Riemsdyk is a solid veteran.

The biggest question mark for Washington is whether age will finally catch up to Ovechkin and company, and whether the trio of Backstrom, Wilson and Hagelin will be healthy enough to log some valuable ice time as the season goes on.

“Those are huge losses and guys you can’t replace individually, and it’s going to take everyone stepping up,” van Riemsdyk says. “You still see their faces around the rink and they’re a huge part of the team whether they are playing or not.”

The team is obviously built to win and with the addition of Kuemper in net, will hopefully shake their first-round demons and play for Lord Stanley once again come June.

“It’s great to see the fans excited for the new year,” van Riemsdyk says.

Learn more about the Caps and their 2022-2023 season at nhl.com/capitals. Follow them on Instagram @capitals.

Alexander Ovechkin. Photo from Getty Images.

CLUB

WORDS BY EMERSON DAMERON

We love our DC Fray sports leagues, so we’re highlighting players in our Players’ Club series. This month, we’re featuring DC Fray superstar Madison Albornoz. Learn more about our leagues at dcfray.com/leagues.

Madison Albornoz is one of the more versatile starts in the DC Fray firmament, with serious skills in softball, skeeball and kickball. As a public health professional, she was also on the front lines of the Covid-19 pandemic, working with Fairfax County officials to provide much-needed assistance. We’re honored that she made time for a chat. Read on to learn more about Albornoz’s experience with DC Fray.

District Fray: When did you first play sports, and when did you get hooked?

Madison Albornoz: I have been playing sports for as long as I can remember. After a period of not playing, I reconnected with competitive sports in the spring of 2022. Returning to my competitive and active roots absolutely has me hooked again. Fray has allowed me to engage my competitive side and, more importantly, it’s given me a low-stakes place to try new sports.

How did you get started with Fray?

While looking for athletic outlets and more queer-friendly spaces, a friend of mine recommended the longstanding kickball league on Thursday nights. I found my way to Fray through word of mouth and moving into the city at the right time. Also while I faced a period of unemployment, Fray welcomed me in to host or ref many leagues. I have made friends and gotten to know the city better through hosting.

How does your team get along?

Through intentional community building, our team became a tight-knit group. Many of us were looking for connection and a place to have fun. We ended up finding each other. Our team is a group of people who value our connection and mutual support above all else.

How do you postgame?

Postgame, we can be found supporting both our sponsor bar and other local (queer) bars. We use this night to connect with each other and to unwind in a space that is completely disconnected from our day-to-day stressors.

Do you hang out with your team outside of Fray?

I see at least one of my teammates every day of the week. The group often connects to take walks, picnics, hike and, potentially most importantly, we dance our struggles away at our favorite local queer bars. It is a normal occurrence to

Photo courtesy of subject.

receive an invitation to a random event on any given night in our team group chat. We also plan team events like tie-dying, pumpkin carving and group dinners. We are really more of a group of friends who play sports together than a team who hangs out outside of the sport.

If you had to pick one: kickball, softball or skeeball? Kickball.

Neighborhood: Petworth. Favorite D.C. museum: Hirshhorn . Favorite D.C. restaurant: Whichever has the best offer on Too Good To Go. Favorite bar: As You Are DC. Best part of living in the DMV: Having access to nature, the city and my family

CAN YOU SPOT THE 5 DIFFERENCES? Cover star Bartees Strange spent a morning with us at the 9:30 Club, including in the venue’s Hall of Records. Do your best to find the differences between the original and the cover version. Hint: We did not alter the spines of the hundreds and hundreds of CDs in the Hall of Records. That would have been too many changes. There are only five differences. Check districtfray.com for the answer key.

Photo by Nicole Schaller.

MUSIC

BY MYLES MELLOR

BY MAYRA MEJIA

Venture into the secret speakeasy at Capo Deli on Florida Avenue Northwest every second and fourth Wednesday night and you’ll find Jerome Baker III and Mathias Broohm spinning to a packed crowd as Darling Nikki, a collective project that is a certified crowd pleaser. With each DJ having more than 10 years of experience playing in D.C., they’ve curated a party that focuses on good vibes, incredible music and getting down on the dance floor with strangers who will become friends by the end of the night. One of the reasons Darling Nikki parties are such a hit with locals is because the DJs perform an open format set with a combination of genres, including songs you may not have heard since 2006 mixed with current hits. If you love to dance and sing the night away, grab your friends and head to the next Darling Nikki party and tell them District Fray sent you. In the meantime, get to know Darling Nikki’s Mathias Broohm and Jerome Baker III in their own words.

District Fray: What inspired you to join forces and create Darling Nikki?

Darling Nikki: Our shared appreciation for music, nightlife and having similar interests when it came to parties. We aim to provide a different experience with the music and vibes in a small room where everyone is a VIP.

What sets Darling Nikki apart from other parties in D.C.?

Darling Nikki stands on its own because we have the ability to play music from the last 50 years very well. We also have an immense understanding of the business of nightlife and are excited to help the brand of DN exist as a party, and more.

How do you want folks to feel after leaving one of your parties?

Intoxicated by love, music and tequila — as well as excited to

re-listen to a song they Shazam’d in the party once they get in their Uber.

What is your favorite thing about being a DJ in D.C.? Baker: D.C. is the toughest market in the country. You have to be able to play everything at an expert level and still stick out on your own.

Broohm: Like Jerome said, D.C. trains you to read a room within the blink of an eye, which pays off when you play other cities.

What is your least favorite thing about DJing in D.C.? Baker: Clubs that only have controllers. Cringe.

Broohm: Crowds being behind on music compared to cities like London, Brooklyn, Toronto, Lagos, etc. This causes you to be limited to playing brand new sounds in a lot of places in the city. I’m thankful for the collectives that thrive while sticking to their guns.

You both have years of experience under your belt. What advice do you have for aspiring or new DJs?

Baker: Practice really does make perfect, so put those 10,000 hours in. Having genuine relationships is key to your success as well. And don’t be afraid to take chances with the music — give your sets personality.

Broohm: Practice is absolutely important. Record mixes showcasing your talent and knowledge. SoundCloud or Mixcloud is literally your DJ business card. Also, going out and supporting the functions in your city. Strike up a conversation with the DJs and hosts. Don’t go in expecting anything without a sort of relationship. That’s when you blackball yourself.

Most underrated song? Baker: “Coolie High” by Camp Lo. Broohm: “Running Back to You” by The Juan MacLean. Most overrated song? Baker: Hmmm. Broohm: Anything Bruno Mars. Preferred beverage while behind the booth? Baker: Tequila on the rocks. Broohm: Ferrari. Favorite celeb sighting at Darling Nikki? Baker: All the homies. Broohm: Bun B. Favorite day off activity? Baker: Day off? What’s that? Broohm: A long bike ride on a nice day or laying around being lazy. Best after-hours spot to grab a bite? Baker: The Diner in 2010 or any of the places in Chinatown. Broohm: Same as Jerome’s answer, especially since the Wendy’s on Florida Avenue is gone. Worst song request ever received? Baker: “Can you play some hiphop?” while A Tribe Called Quest was playing. Broohm: “It’s Hispanic Heritage Month and you’re not playing enough Bad Bunny” while playing Alexis & Fido. Coolest gig ever played? Baker: Very first Darling Nikki party at Capo — so good. Broohm: Tie between opening for Rusko or Kaytranada at U Street Music Hall in 2014.

Broohm.

by DJ Tnyce.

For

Darling Nikki

Instagram @darlingnikkidc. Follow Broohm @mathiasxdc

Baker @jeromebaker3rd