The War On Drugs Ends First Leg of US Tour, The Anthem Shines As D.C.’s Newest Venue
The War On Drugs, live at D.C.'s new The Anthem(October 23, 2017) The Washington, D.C. live music scene has long been dominated by the cavernous Verizon Center (now Capital One Arena) and legendary 9:30 Club, supplemented by an honor roll of smaller venues and theater environments. Earlier this month, the face of the city’s musicscape was forever changed as The Anthem opened its doors for a sold out Foo Fighters extravaganza. Boasting 57,000-square feet of ultra-modern appointments and a maximum capacity of 6,000 fans, the new $60 million venue has instantly become the hottest music spot in the Metro area.
On the outside, The Anthem is part of a massive rejuvenation project along the city’s southwestern waterfront, surrounded by world-class restaurants and pristine high-rises. On the inside, it delivers a concert going experience that’s hard to top. The venue’s large (yet intimate) space is dazzling, with a clean blackness that pops with warm chandeliers and shimmering metallic facades facing its two tiers of upper seating areas. And fans are serviced by seven large bar areas offering food and drink – not to mention more than ample facilities.
This week, Philadelphia’s The War On Drugs took the stage for one final U.S. date before heading off to Europe.
Only three years removed from its groundbreaking third album, A Deeper Understanding, the band is touring to support its new 2017 full length release. The six-member cast is headed by axe wielding front man Adam Granduciel, who’s joined by an arrangement that features drums, keyboards, a saxophone, and two additional guitars.
The Anthem features seven full service bars
On record, The War On Drugs presents itself as a melting pot of classic American rock, often times expressing the likes of Don Henley and Dire Straits amongst its modern rhythmic soundscapes. The band’s fluid tunes are mesmerizing, popping with moments of toe tapping beauty and clarity. Live, the band assumes a similar role, but with a far sharper edge and a penchant for heading toward chaotic crescendos.
With drummer Steven Urgo patiently keeping the time, the band’s set kicked off with a tame buzz. It was a slow burn for several songs until “An Ocean in Between the Waves” set the event on fire, showering the crowd with a much-welcomed pulse of unifying energy. Granduciel was the unmistakable leader of the group, having assumed a center stage position atop an oriental rug surrounded by an impressive array of pedals and stomp boxes. As the set progressed, Granduciel let the music’s momentum invade his on-stage presence, sending him into graceful dances, hunched over and cradling his guitar.
Much like their recordings, The War On Drugs’ live presence is a layered experience that rises and falls in predictable patterns. Lengthy song times and ear-splitting distortion are all part of the shtick, as are Granduciel’s vocals (which are largely inaudible). Once in full stride, the band can issue brilliant moments of harmony, with a rather basic synchronization that’s magical when perfectly aligned. While its sonic wash walks dangerously close to an acquired taste, it carries just enough of a hook to be accessible to the casual ear.
The set’s final two songs (“Under the Pressure” and “Clean Living”) were statement highlights of an evening that easily could have ended without an encore. The band, however, returned to the stage for a rather uninspired three song bonus set that lacked sizzle and pop. The slow drone of the night’s final song, Neil Young’s “Like a Hurricane,” carried a bit too much weight to successfully cap what was otherwise an enjoyable show.
Great views from The Anthem's box seats, but sound quality was lacking
The Anthem certainly lived up to its billing, feeling large and spacious despite the show’s massive crowd. Acoustically, the sonic sweet spot was on the general admission floor, trumping the sound experience of the room’s first tier side box seats (which presented an overly smeared sound). And while the pricier box tickets allow concert goers to skip the lengthy general admission lines, buying the least expensive ticket definitely delivers the ears to a better place.
The War On Drugs, live at D.C.'s new The Anthem(October 23, 2017) The Washington, D.C. live music scene has long been dominated by the cavernous Verizon Center (now Capital One Arena) and legendary 9:30 Club, supplemented by an honor roll of smaller venues and theater environments. Earlier this month, the face of the city’s musicscape was forever changed as The Anthem opened its doors for a sold out Foo Fighters extravaganza. Boasting 57,000-square feet of ultra-modern appointments and a maximum capacity of 6,000 fans, the new $60 million venue has instantly become the hottest music spot in the Metro area.
On the outside, The Anthem is part of a massive rejuvenation project along the city’s southwestern waterfront, surrounded by world-class restaurants and pristine high-rises. On the inside, it delivers a concert going experience that’s hard to top. The venue’s large (yet intimate) space is dazzling, with a clean blackness that pops with warm chandeliers and shimmering metallic facades facing its two tiers of upper seating areas. And fans are serviced by seven large bar areas offering food and drink – not to mention more than ample facilities.
This week, Philadelphia’s The War On Drugs took the stage for one final U.S. date before heading off to Europe.
Only three years removed from its groundbreaking third album, A Deeper Understanding, the band is touring to support its new 2017 full length release. The six-member cast is headed by axe wielding front man Adam Granduciel, who’s joined by an arrangement that features drums, keyboards, a saxophone, and two additional guitars.
The Anthem features seven full service bars
On record, The War On Drugs presents itself as a melting pot of classic American rock, often times expressing the likes of Don Henley and Dire Straits amongst its modern rhythmic soundscapes. The band’s fluid tunes are mesmerizing, popping with moments of toe tapping beauty and clarity. Live, the band assumes a similar role, but with a far sharper edge and a penchant for heading toward chaotic crescendos.
With drummer Steven Urgo patiently keeping the time, the band’s set kicked off with a tame buzz. It was a slow burn for several songs until “An Ocean in Between the Waves” set the event on fire, showering the crowd with a much-welcomed pulse of unifying energy. Granduciel was the unmistakable leader of the group, having assumed a center stage position atop an oriental rug surrounded by an impressive array of pedals and stomp boxes. As the set progressed, Granduciel let the music’s momentum invade his on-stage presence, sending him into graceful dances, hunched over and cradling his guitar.
Much like their recordings, The War On Drugs’ live presence is a layered experience that rises and falls in predictable patterns. Lengthy song times and ear-splitting distortion are all part of the shtick, as are Granduciel’s vocals (which are largely inaudible). Once in full stride, the band can issue brilliant moments of harmony, with a rather basic synchronization that’s magical when perfectly aligned. While its sonic wash walks dangerously close to an acquired taste, it carries just enough of a hook to be accessible to the casual ear.
The set’s final two songs (“Under the Pressure” and “Clean Living”) were statement highlights of an evening that easily could have ended without an encore. The band, however, returned to the stage for a rather uninspired three song bonus set that lacked sizzle and pop. The slow drone of the night’s final song, Neil Young’s “Like a Hurricane,” carried a bit too much weight to successfully cap what was otherwise an enjoyable show.
Great views from The Anthem's box seats, but sound quality was lacking
The Anthem certainly lived up to its billing, feeling large and spacious despite the show’s massive crowd. Acoustically, the sonic sweet spot was on the general admission floor, trumping the sound experience of the room’s first tier side box seats (which presented an overly smeared sound). And while the pricier box tickets allow concert goers to skip the lengthy general admission lines, buying the least expensive ticket definitely delivers the ears to a better place.
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