Daryl Hall and John Oates sailed into DC on Wednesday night, wowing a robust crowd at the Warner Theatre with so much soul that we all couldn’t help but leave feeling very spiritual.
These two talented gentlemen came to croon, and boy did they ever. They made me a happy man opening with “Maneater” and closing the last song of their second (!) encore with “Private Eyes,” satisfying my inner MTV child. Their hypnotizing blend of soul, funk, rock and electronics made for a pleasing musical cocktail.
But they really grabbed my attention and that of the room with the sheer power of their 70s ballads. Forty years ago, the duo released the platinum album “Abandoned Luncheonette,” their second album and two of three on Atlantic Records (for which Hall was surprisingly nostalgic Wednesday night). That album included the super smooth “She’s Gone,” a heartfelt ode to lost love so powerful that it eventually catapulted the two young musicians from Philadelphia to stardom and a permanent place in the American pop culture psyche, where they have continued to sit comfortably for four decades now.
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They’re watching you/
They see your every move!
If hearing that song out and about makes you want to clap along (clap! clap CLAP!), you know you have to go see Daryl Hall and John Oates when they stop at the Warner Theatre in DC this Wednesday, Oct. 2.
Nominally, Hall and Oates are touring on the 40th anniversary of their platinum album, Abandoned Luncheonette, which included ’70s jams like “She’s Gone.” But reports have it that this tour includes a roundup of hits, including those like “Private Eyes” and “Maneater” — songs that caught the zeitgeist of the 1980s and put the duo in heavy rotation on MTV.
The two are still very active, touring together and recently releasing their first box set, Do What You Want, Be What You Are: The Music of Daryl Hall & John Oates. Catching them at the Warner is a nice opportunity to see them play a career retrospective in a classic theater.
Daryl Hall & John Oates
Wednesday, Oct. 2
Progressive rock band Yes stopped at the Warner Theatre Wednesday night, taking the very crowded hall on a journey through mystical rock symphonies that usually ended with a roaring standing ovation from their admirers.
Seriously, there was so much energy among the audience, which largely behaved and listened attentively while Yes revisited three classic albums — Close to the Edge, Going for the One and The Yes Album (in that order). But particularly toward the end of the show for the classic “I’ve Seen All Good People,” the audience could no longer contain itself and broke out into dancing in the aisles.
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Yes (Photo by Rob Shanahan)
Progressive rock band YES is on an ambitious tour of the United States, performing three classic albums in their entirety in a number of shows, including a stop tonight at the Warner Theatre in DC.
In one concert, the band will perform their highly regarded albums, The Yes Album, Close to the Edge and Going for the One. The band is hitting the road with much of its classic lineup, including bassist Chris Squire, guitarist Steve Howe, drummer Alan White, and keyboardist Geoff Downes. Joined by new singer Jon Davison, they have been selling out big shows in Los Angeles, New York and other major cities.
I personally am excited to dive into the rich history of this band, which has declared they are still going to continue to make albums. Howe is one of the greatest living guitarists today; Downes is an innovator who also took his synths to The Buggles (beginning the band’s long and fruitful relationship with producer Trevor Horn).
The influence of the progressive rock movement Yes helped to launch can be seen today in bands from Muse to LCD Soundsystem. Catch the show tonight and hear for yourself!
Wednesday, July 24
Show @ 8pm
Photo: Scott Suchman
My favorite moment of last night’s opening of Monty Python’s Spamalot at the Warner Theatre was at the top of the show after an opening graphic in the familiar Monty Python animation style.
As King Arthur (Arthur Rowan) comes “galloping in” with his trusty porter Patsy (Michael J Berry) who is clapping two coconut halves for effect, the packed house cheered and applauded. What followed was a familiar exchange for anybody that’s seen Monty Python and the Holy Grail:
GUARD: Where did you get the coconuts?
ARTHUR: We found them.
GUARD: Found them? In Mercea. The coconut’s tropical!
ARTHUR: What do you mean?
GUARD: Well, this is a temperate zone.
ARTHUR: The swallow may fly south with the sun, or the housemartin or the plover may seek warmer lands in winter, yet these are not strangers to our land.
GUARD : Are you suggesting coconuts migrate?
ARTHUR: Not at all. They could be carried.
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Photo compliments of the Blue Man Group
Don’t let the blue body paint and vow of silence deter you from the Blue Man Group’s mission. There’s more to the chaotic and childish stage show than one might think. In actuality, Blue Man Group’s intentions are anthropological in nature.
When entering Warner Theatre for opening night of the Blue Man Group’s touring show on Wednesday night, patrons were greeted by a blue screen with the following text projected upon it:
“When meeting people from a foreign culture, offer a few gifts that reflect your interests as a gesture of friendship. Better yet, give things you’ve created yourself. Also, explore their interests and their culture. Ultimately, the best way to forge a lasting friendship is to create something together. Whether it’s a meal, an art project or a spontaneous dance party, when you create something with others, you build a connection that lasts a lifetime.” – International Diplomacy Guidebook
Blue Man Group, as a stage show experience, is a real-time lesson that teaches its audience members that using your imagination isn’t just for little kids. It’s okay to act like a goof. It’s okay to play with your food. It’s okay to make a mess. And, most importantly, it’s okay to have fun. Continue reading →
Not one word was uttered on stage during Tuesday’s debut performance of STOMP at D.C.’s Warner Theatre. That’s when I realized STOMP is a communication tool. This unique blend of musical theatre stage presence combined with choreographed percussion, movement and physical comedy is more expressive than a singular conversation.
What started as a street performance in the UK has grown into one of the biggest international performance sensations of the last two decades, selling out shows in over 350 cities and 36 countries. STOMP takes all of the fun stuff that annoyed your parents when you were a kid and makes it socially acceptable. Why is it socially acceptable? Because it’s art!
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