Watch live from Gordon Sterling Presents: The Gypsysally's Jam via the DC Music Review Facebook page:
Watch live from Gordon Sterling Presents: The Gypsysally's Jam via the DC Music Review Facebook page:
On December 11th, 2018, Trey Anastasio, Phish's frontman, announced he was creating a new side project - Ghosts of the Forest. This new formation will perform nine times in April 2019. Because of high ticket demand and a faithful following throughout the United States, the tour was extended to include two West Coast tour dates from the original seven dates.
This band features several familiar faces that are easily recognizable in the Phish landscape and constellation of stars in the Phish universe.
Joining Anastasio is Jon Fishman (of Phish on Drums), Tony Markellis (of the Trey Anastasio Band on Bass), Ray "The Milkman" Paczkowski (of the Trey Anastasio Band on Keyboards), and two powerhouse vocalists Jennifer Hartswick (the Trey Anastasio Band) and Celisse Henderson.
As of the time of this article, if you want to see this band perform anywhere on the East Coast, you will have to buy tickets for their Anthem performance in Washington DC on April 6. While this indoor venue has a huge capacity of 6500 individuals, tickets for reserved seats have already sold out, and we expect the show to sell out.

If anyone on the East Coast who does not have tickets to this event yet and wants to hear Anastasio's piercing Languedoc guitar, perfectly delivered bass lines of "The Milkman" Paczkowski, incredibly layered texture of Fishman's drumming, and jaw-dropping vocals of Hartswick, you are going to have to come down to The Anthem at the District Wharf and see this band.
A portion of every ticket sold at The Anthem will benefit the Seven Below Fund, part of the Vermont Community Foundation.
DC Music Review can say with full confidence that we expect tickets to this performance to sell out. Please purchase tickets before they are gone and you miss this memorable nine-performance run.
Performance Details
Performance Details
Performance
Details
Saturday, April 6, 2019
Doors: 6:30 PM
Show: 8:00 PM
$75 - Reserved Seats are SOLD OUT
$49.50 - General Admission
Brothers Chris and Oliver Wood brought their three-piece band, The Wood Brothers, with multi-instrumentalist Jano Rix to 9:30 Club for two nights over Martin Luther King, Jr. Day Weekend, treating fans to a pair of fantastic shows with support from singer-songwriter, Priscilla Renea.
Night 1 - January 17
Words by: Karin McLaughlin
Photos by: Jason Herman
Night one started with an angel dressed in blue, as Priscilla Renea dazzled the crowd and her microphone, gaining many new fans in the audience, which was absolutely no surprise considering her performance left many in awe. Priscilla has written radio hits for artists like Rihanna and Diplo, which made it easy for audience members to sing along, but it was the delivery of those hits that put them on a whole other playing field.


“It’s very different than writing to come out and get to perform these songs to a live audience,” she noted when speaking with her after the show at her mobbed merch stand. “I love being able to have that interaction with fans and touring with the Wood Brothers, who are so encouraging and a Grammy nominated group. It's truly an honor.” Onstage with her were an Irish musician who wore two braided pig-tails and played both the harp and banjo, as well as a laid back guitarist who sat towards the edge of the stage, strumming along, wearing shades and a chain. Songs like “Timber,” heard on the radio performed by Pitbull and Ke$ha, and "California King Bed,” a love song that put Renea on the map when it was realeased on Rhianna’s 2011 album, are not necessarily what you would expect to hear from the opener at a Wood Brothers concert, but it was a sheer delight to have her open for the band. Renea's 2018 solo release, Coloured, provided the bulk of material that she wrote and performed that evening, which left a large chunk of the crowd fawning over her after the show.


As snow continued to fall outside, inside the crowd was warmed up and ready for the main act to take the stage and remind them what great music is and that it’s still being made. Opening the show with “Big Boss Man” and then diving right into what is one of their biggest hits, “The Luckiest Man,” audience members knew it was going to be a strong showing for the trio. After finishing up the slower song that had folks swaying along to the words, guitarist and lead singer, Oliver Wood, welcomed the crowd, “We’re excited for two nights here, it’s gonna be a real humdinger.” Speeding it up and then slowing it down again before playing the first song off their Grammy-nominated 2018 album, One Drop of Truth, the crowd was dazzled by fancy footwork and amazing guitar riffs by the first of about a dozen guitar choices that sat on stage waiting to be played.


All over the musical map, the trio continued to hypnotize attendees with the dance moves, guitar playing, bass strumming and amazing vocals that came from the stage song after song. A light show to match “Blue and Green” illuminated the 9:30 Club and made the stage look almost dreamy as they explained that being nominated for a Grammy makes them feel both humbled and proud. A jam in the middle of “Atlas,” a song off their 2006 album Ways Not to Lose, had Chris Wood hot-footing over every square inch of the stage as the audience hooted and hollered, cheering him on.
Changing the pace and feel just a bit, all three members gathered around one microphone center stage. “We are living in funny times right now," said Chris as he spoke to the fans, “Back when times were simpler is when most folks singing music like this would only use one mic. We try to do this to remember the better days - for nostalgia.” The cheers returned, signaling that their fans agreed. He went on to point out that when you read the history books, the "old days" weren’t all that great for a lot of people. “You learn the truth about nostalgia and you realize the times then were weird. Now is weirder and the future is gonna be really, really weird.” Some folks laughed and others sighed but his words continued with more encouragement. “So what are we gonna do? We’re gonna protest and we’re gonna vote. No doubt. And tonight, we’re gonna sing and dance.” Hushes echoed throughout the venue as the three band members serenaded us with instruments in hand, unplugged and evoked such emotion that no one made a sound as they performed their intimate and stripped down acoustic mini-set.


It had been a theme throughout the night, but after the silence that fell over the venue during the one-mic stint, the band reiterated again that even though it was Thursday, they were going to try for some Friday or Saturday night vibes during the show. Revving things right back up, “I Got Loaded” breathed life back into the party. Seeming to once again make a statement and let us know that we’re all in this together and that they’re thinking about those of us that are, they dedicated “Postcards From Hell” to anyone who was “furloughed or working for free or cheap”.
Night 2 - January 18
Words by: Seth Gordon-Lipkin
Photos by: Shantel Breen
For the second night of their all-too-brief visit to 9:30 Club, the Wood Brothers mixed up their setlist, but offered an equally beautiful concert for a sold-out crowd. Priscilla Renea opened the night again, providing her another opportunity to wow unfamiliar music-lovers in attendance, and surely picked up another batch of new fans, myself included. Priscilla's remarkable vocal range and endearing stage presence provided an incredible jolt to start the evening. Her song "Jonjo," offered an upbeat, scat-filled swing tune about Renea's "love-hate relationship" with her brother, but got the crowd limber with an energetic dance tune.


Upon returning to the stage, the Wood Brothers picked up right where they left off the night before, opening the show with "Postcards from Hell," with Chris Wood playing his double bass with a bow, sending a gorgeous low hum over the crowd. The band would continue to mix up their setlist, but delivered a similarly glorious show for those who chose to attend both nights.


An unexpected and wonderful feature of the second night was the addition of Priscilla Renea to the brief portion of the set where the band huddled around their decades-old studio microphone. Lending her magnificent voice to the Wood Brothers, Renea is clearly an artist to keep an eye on for great things to come. This portion of the show also featured Jano Rix playing the lesser-known instrument the melodica, adding a unique layer to the band's sound.
Other highlights of the set included an up-tempo, syncopated arrangement of "Mary Anna," a crowd-sung chorus in "Luckiest Man," and a show-closing cover of the Band's "Ophelia" that sent the crowd dancing into the cold Friday night. The Wood Brothers once again left the DC crowd eager for more, and we can only hope 9:30 Club will bring this outstanding trio back to our nation's capital for two nights sooner than next January.

The Wood Brothers and Priscilla Renea close out their two-night run at the 9:30 Club
Audio Recordings
Audio Recordings
Audio Recordings
Enjoy the audio recording by our contributor Alex Leary
Performance Date: January 18, 2019
Photo Gallery
Photo Gallery
Photo Gallery
Enjoy night 1 photos by our photographer Jason Herman of Jason Herman Photography.
Photo Gallery
Photo Gallery
Photo Gallery
Enjoy night 2 photos by our photographer Shantel Breen of These Subtle Sounds.
Associated Albums
Associated Albums
Associated Albums
One Drop of Truth by The Wood Brothers

Featured above is Mourning [A] BLKstar, a "multi-generational, gender and genre non-conforming amalgam of Black Culture dedicated to servicing the stories and songs of the apocalyptic diaspora." They are performing Thurs and again on Fri at 6p and 8p). Photo by Laura Bidwell.
Week Of: January 21 — 27, 2019
Summary: After the Super Blood Wolf Moon
Do we listen more carefully? Do we dance more boldly?
Plenty of opportunity to do both of those this week in the DMV. There is a lot of powerful music happening including some tributes to celebrate the legacy of Dr. Martin Luther King, Jr. listed below that are worth experiencing.
And once again this week, knowing that many people in the DMV are still affected by the furlough and may not have extra money to spend, here is a truncated (and not exhaustive) list of FREE shows for each day:
Plus, a LOT MORE exciting things to see and hear and feel in the links below, with personal choices in bold, along with a list of the DCMR staff top picks and cool "gems" that you don't want to miss.
And feel free to keep gazing at that moon lovingly.
Local Phish tribute, The Last Rewind, plays the Winter Tap Takeover at Union Stage with novo tonight!
We will be on scene to provide a livestream via the DC Music Review facebook page. You can also find the stream on the DC Music Review YouTube page and on the DCMR twitter via periscope. Those of you that would prefer an audio-only stream can find that on DC Music Review contributor Will Urquhart's Mixlr account.
Set times:
6:00 pm - novo
7:00 pm - The Last Rewind (Phish tribute)
Words by guest contributor Katie Whelan
An intimate setting is the best place to get sensual, and last Friday night, Doom Flamingo delivered at The Broadberry. Doom Flamingo, the retrofuturistic child of Umphrey’s Mcgee’s, Ryan Stasik, served up deep bass with a heaping side of sweet keys, nasty sax, sultry vocals, and severe beats that brought the entire crowd to the floor; all of them “hungry for love.” With their frontwoman dripping in silver, Doom Flamingo’s sound was nothing short of pure gold. Electric performance goddess and vocal artist, Kanika “Kay Kay” Moore, commanded the attention of fans through her sensuous stage presence and powerful range of vocals. The crowd “sweat themselves free” to favorites like F-16 and moved their bodies to the sound of a dance party reminiscent of the 80’s while the powerhouse sextet lit the room on fire with the classic She’s a Maniac. Keeping the crowd begging for more were bassist, Stasik, Thomas Kenney (guitar), Mike Quinn (saxophone), Stuart White (drums), and Ross Bogan (keys); all champions in their craft at creating a dancefloor frenzy and radically, nostalgic electrovibe that got the whole floor moving to the beat.


All hailing from Charleston, SC, the group is a musical force to be reckoned with. Thomas Kenney’s penchant for engineering well-rounded, eclectic vibes with his affinity for recording globally-appealing yet spacey sounds can be found in the work of Terraphonics. The group, a creation born out of Kenney’s love for world music, takes you on an auditory tour ofthe Middle East and Asia while maintaining a solid base in hip-hop, soul, and jazz. With that kind of skill set, it’s no wonder Doom Flamingo is able to take their fans on an intergalactic DeLorean ride through naughty lyrics, juicy riffs, and thick rhythms. Ross Bogan, also of RoBo Trio, is the perfect copilot for Doom’s cosmic throwback pop party, bringing the funk to the people. As advertised, the Trio brings “super heavy organ funk,” making it impossible for crowds to not let loose and dig the energy of their groovy tracks. But, if there’s one thing Doom Flamingo fans can definitely feel (outside of the group’s enticing party anthems and luscious musicianship) it’s the connection between the six; a sense of community. This seems to be a quality each member values in all of their musical endeavors. Mike Quinn, who’s brought his peak musical pedigree to the stages of The Charleston Pour House and Proof, has worked on collaborative projects such as Moonwalk on Mars, a live music and dance event that not only brought the people to their feet, but brought the people of the Charleston community together for a night of badassery. Moonwalk was a night to celebrate the music of Michael Jackson and Bruno Mars through fresh, local choreography and unique compositions from Yes Lady, the Charleston funk group featuring both Quinn and Moore.


The word has gotten out that Doom Flamingo is a magnetic, energetic, synth-tidal wave of phenomenal party pleasure and first timers were eagerly converted to diehard fans last Friday. With Moore at the visual helm, the crowd anxiously awaited her next movement, direction, and breath. The whole room melted into the sounds of her voice; each fan eager to be her “Doom Bitch.” Of course, everyone needs more sax in their life and Quinn was able to quench that thirst for more withtracks like Runaway.The night ended with a crowd of satisfied, sweaty dancers ready for the next round. One thing’s for sure – Doom Flamingo can start the party, keep it going, get the people moving, and keep them begging for more.
Photo Gallery
Photo Gallery
Photo Gallery
Enjoy photos by our photographer Sean Chagnon of Eye of The Storm Photography.
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The DC area is rich in music, we all know this. But there's been something brewing here that needs to be amplified.

Cat Janice (Photo Credit: Donald Holmes)

Cat Janice, Photo by Donald Holmes
Shows like this one on Saturday night featuring the soulful, vocally mesmerizing, smudged yet clean indie licks of Cat Janice and The Band, the sonically satisfying punk-pop, want-to-sing-along sound of RadaR, and the mostly acoustic, highly impassioned, folk and blues infused Selena Benally — all bands/artists with women leaders that according to Cat Janice, "represent the strong female presence of DC music that's often overlooked."
A couple of months ago DC Music Review did a piece on This Could Go Boom! (TCGB), a new non-profit started in (but not limited to) the DMV that "envisions a world where music informed by and created from gender diverse perspectives is normalized rather than tokenized, fetishized, or marginalized."
Part of their vision also includes a world where gender diverse perspectives have, "equal representation on the airwaves, online, at music festivals, and in positions of power and influence throughout the music landscape."
When Cat Janice set up this show for Saturday, she did so with the intention to make it women-centric. She connected with the This Could Go Boom! team to source acts to participate and identify women to promote and do sound for the show.

RadaR , Photo by Legendary Inc Studios

RadaR , Photo by Legendary Inc Studios
According to Robzie Trulove, drummer in RadaR, The OSYX, and a co-founder of This Could Go Boom!, "This is a show to lift up and highlight women in music. It's the first show I've ever played where not only is every act led by women, but also the key components like the sound engineer and promoter are women."

Selena Benally, (Photo Credit: Roxplosion)

Selena Benally, Photo by Roxplosion
Selena (More AM Than FM and The OSYX) and another This Could Go Boom! co-founder agreed, "I'm 110% here for all of the women running this show. I have the opportunity to work and create music with so many powerful women, and can't wait to continue to do so and expand our circle."
And there's more movement like this happening all over the DMV. This Could Go Boom! Presents series is a monthly showcase of often under-represented, gender diverse artists. Another group, Project Hera, hosts a yearly female fueled music festival and a monthly Songbyrd Ladies Night Open Mic & Networking Event.
According to Cathi DiToro, founder of Project Hera, "Hera was founded in response to a need to provide opportunities for women and girls in music to be showcased more in the DC area. We work to provide inclusive events where women in music are celebrated, promoted, and supported and also where the younger generation can not only have chances to perform, but become inspired to chase their own musical dreams."

Every month, TCGB! hosts a night of music in line with its mission. Next one is on Feb 9.

Every month, TCGB! hosts a night of music in line with its mission. Next one is on Feb 9.
To this point and to the mission of This Could Go Boom!, there are a lot of sponsored and independent womxn-led shows coming up in the DMV. (DC Music Review always tries to feature these in our weekly list of shows.)
A sample of events coming up in the next few weeks include:
In the meantime, start with this sparkling trifecta of Cat, RadaR, and Selena show on Saturday night. It's a show where a stellar artist like Cat Janice saw the vibrancy and value of This Could Go Boom! and made a pointed decision to be a part of it by sharing the stage with other women. The music, the vibe, the connectivity in the room will be worth it.
Videos
Videos
Videos
The following videos are provides courtesy of Cat Janice's and RadaR's YouTube Channels.
Performance Details
Performance Details
Performance
Details
Saturday, January 19, 2019
Doors: 7:00 PM
Show: 8:00 PM
$12 - In Advance & Day of Show
Related Articles
Related Articles
Related Articles
Suga Grits and Pleasure Train are set to rock Gypsy Sally's tonight, fresh on the heels of the announcement that Suga Grits will be competing in the ROCKN' to LOCKN' contest in February.
We will be on scene to provide a livestream via the DC Music Review facebook page. You can also find the stream on the DC Music Review YouTube page and on the DCMR twitter via periscope. Those of you that would prefer an audio-only stream can find that on DC Music Review contributor Will Urquhart's Mixlr account.
20 years is a long time in the scheme of things for humans. That’s about twenty five percent of an average human life. There are a lot of folks who spend that time doing the Monday through Friday daily grind making a living and not pushing their boundaries to see what they are really capable of accomplishing. How rewarding would it be to spend one’s life with close friends doing the thing that brought you together in the first place? Umphrey’s McGee walked that path: over two decades of musical fulfillment that has provided happiness to Umphreaks around the world. Their ability to meld multiple musical stylings from metal to jazz to reggae into highly technical, polyrhythmic songs while constantly experimenting through live improvisation keeps things fresh for both the band and fans show after show. Umphrey’s is keeping their stone moss free with their Wax On, Wax Off winter tour that started with a sold out two night stint at The National in Richmond, Virginia. The historic theater is a beautiful room with phenomenal sound that has a sloped floor and tiered balcony that affords a great seat to every person who attends an event there.


Richmond’s own southern rockers, The Trongone Band, started off both nights with their upbeat, twangy rock’n’roll. Originally formed by brothers Andrew (guitar & vocals) and Johnny (drums), the band has been rounded out by the addition of Chip Hale (bass) and Ben “Wolfe” White (keys & vocals). The release of their first album “Keys to the House” has gained them some notoriety in the music scene and allowed them to open for many big name acts and grace the stages of large festivals such as Roosterwalk, Sweetwater 420, and Peach Fest. They warmed up the crowd on the cold January nights with the songs like the harmonic “Anne Marie” and gritty rocker “Straight to Hell” led by Andrew and the soulful “Love Away” led by Ben on his classic Wurlitzer boards. Night two brought a surprise addition of a three piece horn section for a few songs and Andy Farag of Umphrey’s for half of their set. The guys are currently working on a new album with the legendary low end of Widespread Panic, David Schools, so keep an eye out for new tracks from this up and coming band soon.


Umphrey’s wasted no time jumping right into things on night one with a funky It Doesn’t Matter opener into a rocking Alex’s House and Similar Skin to the delight of many of the rail riders. As always, Jefferson Waful, the man behind UM’s lighting design, was hard at work from the get go providing a mesmerizing display to compliment the music. A southern fried Bad Poker was up next led by guitar virtuoso Jake Cinninger laying down insane licks. Jake is one of the most expressive guitarists out there today; between his lightning fast playing and a stank face to match, he is one captivating musician to watch on stage. Things started to get really heated when Der Bluten Kat was broken out with a cover of Led Zepplin’s Fool in the Rain sandwiched nicely in the middle. The set wrapped up with the prog rock Looks and anticipation was high for what was to come in set two.


Umphrey’s dove deep into their prog rock pool for set 2. The intricate Mantis started the proceedings and led the set down the path of demonstrating the many sides of Umphrey’s; the heavy, mellow, melodic, and at times, just plain out there. The Mantis opener was followed by a very rare Believe the Lie and the new to the repertoire, Seasons. The Dump City>Walking on the Moon>Dump City>Mantis run to end the set was absolutely intense. Jefferson nailed the lighting during The Police’s Walking on the Moon. It mimicked a disco ball style reflection that truly gave the room a feel as if it had the stars shining down in it. The band left the stage briefly and came back out for a two song encore of Hangover and Glory. Hangover had the crowd chanting “all night long” throughout and it was an absolutely beautiful Glory to finish the night.


Expectations for night two were high and the guys did not disappoint. With a long Miss Tinkles Overture opener, it was clear that Richmond was not going gently into that good night. And with it being keyboardist Joel Cummins and audio engineer Chris Mitchell’s birthdays, there was going to be some raging against the dying of the light! The band coordinated a collective happy birthday from the crowd and went right into an old favorite, 2nd Self. A Sociable Jimmy with a nice metal jam slid right into an instrumental I Heard it Through the Grapevine and just as smoothly was back to Sociable Jimmy. Another old and rare tune, Sweetness, followed which was jammed into a long Rocker 2. A seldom played Water and Breaker were also highlights of set 1.


They came out swinging for set two opening with a very jammed out rendition of Band of Gypsys’ Power of Soul. After Spires, UM really opened up into a Hall of Fame ’19 worthy Ocean Billy with Jake Cinninger setting down his guitar to join Joel Cummins on keys. An extended Ringo was jammed into The Linear and The Bottom Half closer was jammed out and ramped up to bring the crowd to a frenzy to finish the set. An Umphrey’s relic, Kimble, was dusted off to start the encore and the night was wrapped up with the rocking opening track on it’s not us, The Silent Type. This two night run was one for the books and with the Doom Flamingo official after party in between these two shows, there wasn’t a soul who could’ve asked for a better weekend. They’ll be touring on their winter tour through the end of February and keep an eye out for the lineup to their phenomenal festival, Summer Camp!
End of Show #umphreys #WaxOnWaxOff pic.twitter.com/SLDlWV3I1W
— Umphrey's McGee (@umphreysmcgee) January 12, 2019
End of Show #umphreys #WaxOnWaxOff pic.twitter.com/jGZOS322vV
— Umphrey's McGee (@umphreysmcgee) January 13, 2019
Thank you RVA!
— Umphrey's McGee (@umphreysmcgee) January 13, 2019
@TheNationalRVA #umphreys #WaxOnWaxOff pic.twitter.com/waUsY3mMrS
Today we have the pleasure of celebrating not one, but two #umphreys birthdays. Give it up for @goldlikejoel & @flyingeyepro! pic.twitter.com/7gAPUNw6Oe
— Umphrey's McGee (@umphreysmcgee) January 12, 2019
Wax On, Wax Off.
— Umphrey's McGee (@umphreysmcgee) January 12, 2019@GtrTabMan pic.twitter.com/ox0cpdwfB4
— Umphrey's McGee (@umphreysmcgee) January 10, 2019
Extra! Extra! Read all about it:
Friday's show is officially sold out! That's right, we're starting off the year with two SOLD OUT shows at @TheNationalRVA. #umphreys @phiercephotog1 pic.twitter.com/ayTwKGOPHq
Photo Gallery
Photo Gallery
Photo Gallery
Enjoy photos by our photographer Sean Chagnon of Eye of The Storm Photography.
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Associated Albums
Associated Albums
Associated Albums
If you're a fan of bluegrass and you're from around the DMV, you've most likely heard of and seen Two Ton Twig at some point. Based out of Alexandria, the band is growing in popularity and exposure by leaps and bounds and with the huge following of their genre of music, the opportunities to play with big names through the D.C. area are becoming endless. The band jumped on a call with us to do an interview ahead of their newest work being released and a host of shows that include a night of bluegrass at Whitlows, something new the bar is implementing to keep up with the local love for the fun-loving sound.
Karin McLaughlin: Thanks for doing this interview guys - I want to get a feel for the bluegrass scene from a bluegrass band that's local and that's from here and playing here. Now, especially as the the genre of Americana and bluegrass grows in this area how that's kind of influencing you guys, and how you're influencing it. Let's start at the beginning.
Brandon Boling: Well, I started the band about seven or eight years ago in Alexandria, I was living there at the time. Me and a couple buddies really just started getting into folk and bluegrass pretty heavily and decided we wanted to play this music so I got myself a banjo and my buddy Jordan got a mandolin. We just started writing songs and playing the seven music without really knowing what we were doing. It all was really rough around the edges early on. The first iteration of the band which was very, we call it punk grass at the time because it was just so like I said, just very rough and raw. Then we started moving more towards trying to emulate a little bit more of a traditional sound and really trying to hone what we were doing. I put out a Craigslist ad to find some new members and some people who played this type of stuff more than we have. We got Donnie on guitar and an upright bass player and started just developing our skills and songwriting and growing musically. Then Alex and Ryan came along - Alex on fiddle and Ryan on bass - and I think in the last what two or three years this lineup hasn't changed and we just sort of locked in and continue to mature and experiment and just grow as a unit musically and friendship wise too (all laugh).
KM: Craigslist has led me to many a new friend here or stories and then you hear stories like this, and I've made lifelong friends. I know it's crazy. I've actually had some pretty surprisingly pretty good luck with roommates on Craigslist, which you would never think but some that stuck with me for years and years.


BB: Yeah you hear some horror stories, but then also ones like this.
KM: So what was what was everyone doing musically before this band in this iteration kind of came together.
Donnie Riggs: I was floating around playing in rock bands and I would go home back to West Virginia a lot because there's mountains, there's camping, there's rafting and all kinds of stuff to do. All my friends back there play some form of bluegrass or another so just having a lot of campfire experience and then learning from these guys some of which were in touring acts, you know, small regional touring acts. More bouncing around between rock bands and then I found something I like. Actually right before I joined this band I met a girl, also on Craigslist, and we were playing music and were going to try to do like a Shovels and Rope type thing and we ended up dating after a little bit, which is never good, but it worked because if we hadn't broken up I wouldn't have been on Craigslist looking for another band girlfriend. I was actually dumped Australian to me very good time channeling. Yeah, I'm gonna pass it on.
Alex(andra) Touzinsky: So - funny story - they actually had a fiddler and a Hennessy that was in the group before me. She went on to get married and have a kid. Her and I went to college together, so she calls me and says, "I have a great project for you and I think this would be fun!" I am a classically trained violinist, I'd never fiddled before, hadn't even done any kind of improv before, so she kind of took me under her wings and said, "Try this. Do this. A little bit of these licks, this is how I do this part." Then she just kind of let me jump into the group from there. We did a couple of side by side shows where she was there with me, but then from there, I just kind of dove into it and was able to embrace the genre and grow as a musician with these guys, which is really neat.
Ryan Thomas: My story is kind of funny too. I met these guys through my barber, my hip, cool barber (laughs). I'll plug him if I can - Dustin at Neighborhood Barber Shop. I played mandolin for about 20 years in probably a more traditional bluegrass kind of setting but I had just always been drawn to the bass and so I bought a base finally. Then about two months later, I was getting my haircut and just chit chatting and I was like, "Yeah, I got a bass and I to want to find a band." Dustin mentioned that his friend Brandon had a bass player that was moving back to England and that there might be an opportunity there. So I came in pretty early when I was new to that instrument and I feel like I've grown a lot with these guys and it's been a really cool adventure for me, just because they've been so embracing of every little vein of curiosity. I find since I've came up on bluegrass, I'm really also interested in other stuff, like rockabilly kind of style or things like that. I'll find something and try to mine it just for ideas and inspiration and it would probably drive a lot of people crazy (everyone laughs) and these guys are great about just like, 'Let's go with this, let's see where it takes us!' It's been a really fun adventure.


KM: So I also want to touch on the fact, especially being that you guys have been doing this for quite a while in this genre specifically, the way that it's changed and grown, especially being that you guys are local. There wasn't as much opportunity or popularity for this type of music years and years ago, and now you've got the whole new life that has been breathed into the jam grass scene and an in turn bluegrass and Americana. You guys have played quite a few venues and get opportunities, like when you guys played back in September with Leftover Salmon at State Theater. How have you guys seen this genre of music and the opportunities as a band grow over the years in the DC music scene?
Brandon: Well back in the day, DC had a really, really rich bluegrass scene for many years in the 50s and 60s, 70s. You had The Seldom Scene and lots of other local acts. I would say when I felt we were really starting to establish ourselves there was stuff happening, but I feel like most of it was a lot more either traditional or the jam grass stuff, like you're talking about with Leftover Salmon. Even in the past 5 or 10 years, there's been a lot of acts that are similar enough in the region that it's provided a lot of really good opportunities to connect with other local acts who are sort of in the same boat as us. They're trying this stuff out and really just diving in head first to this pocket and music and really just having a good time with it.
Alex: The DC music scene - there are so many people that are involved with it and it's a very supportive group of musicians. You have all these performing groups but you also have those groups supporting the bands that come into the area. I think in terms of our genre, I think we've tapped into something that is really starting to grow and that's due to things like Delfest and Kingman Island. Smaller music festivals that are becoming more and more popular because people want to hone in on things are kind of off the beaten path. They want to know where is the true music coming from and where's the heart and soul of the city? We're in a place where we have audience members that are also fellow musicians that support that, so we get pushed forward and we get these amazing opportunities like playing Leftover Salmon and opening for them or playing the 9:30 Club. Those are opportunities that have been provided for us due to the support of the area.
KM: Now 2019 is here, it's the new year, you've got new goals. Donnie mentioned that you guys have a new album coming out, can you tell us a little bit about the process and what the album's going to be like? Maybe what you were trying to focus on or portray with this new album?
Donnie: The process for this one was fun. This will be our third studio album and this is the longest the same lineup of the band has been together. Since that's the case, we've really grown together. We can start playing something and just give each other a look and immediately go into something else and it fits and it works. We have that chemistry now. Everybody, for the most part, can read each other's minds a little bit more musically and it flows a little better and the ideas just come faster. Some of the songs on this album were wholly written by the individuals and some of them, you know, like, I was teaching music one day and found a riff that I liked and I came to practice I was like, "Hey, guys, what do you think about this?" Then, by the end of practice, we have the framework and most of the lyrics for brand new song just based off of something we heard that wasn't anywhere near what we were trying to do, it just happened.


Ryan: There's that quote, 'The whole is greater than the sum of its parts' and I feel like that's true. I think we all have talked about how individually, I don't know that any of us are these incredible musicians, but somehow we've come together and through the creative process, we're able to kind of bounce ideas off of each other and piece something together and something magical happens and we walk away from it and we're all kind of like 'Oh, my God!" (all laughing) I don't think that any of us could do that if we were stuck in a studio by ourselves, or, you know, on an island, there's something about the chemistry that we share.
Alex: Even today, we were talking about the credits that are going to be going through the album. It's like, okay this person is the lyrics person, this one had the chord progression, this person was adding in the harmonies. It really is attributed to everybody.
Donnie: We were trying to remember who wrote the song (laughs) and how did we end up with these ideas. So yeah, our creative process is very, very collaborative. Just workshopping stuff and you end up spit balling stuff and somehow it works. I've been part of processes or projects or teams this didn't happen, but with this group, somehow the end of it what gets kicked out is better than what you came with. We're very much a result of organized or slightly organized chaos (laughs). It's just kind of all this madness and you have four equally creatively magical people just come together and and throw a bunch of ingredients in the pot.
Ryan: I do want to say just as far as influences, I think it's important to know that while the instrumentation is bluegrass, our influences range from punk to classical. Sometimes we're almost playing like a classical ensemble in weird ways and then there's a couple just classic rock in there and some jazz kind of gypsy jazz kind of stuff. So again, the instrumentation is bluegrass but I don't know that our our songwriting approach or structures are at all like that. We just kind of blew that that stuff up.
*We go on to talk about musical influences which, among a laundry list of options including The Wood Brothers, Cats in the Fiddle, Pearl Jam, Punch Brothers, Andrew Bird, Devil Makes Three, Rolling Stones, Trampled by Turtles and many more.
KM: So we'll assume that a New Year's resolution of the collective group was to do more partying and drinking (laughs). You guys did a tap takeover at Union Stage last week and then another tap takeover at Whitlows is coming up on January 20th. What else is on the list of things you guys want to do as a band, either a festival you'd like to play at or a venue maybe, open for someone or anything in between.
Brandon: I would say just to keep upping our numbers of shows per year and definitely play more festivals. We're always a little a little behind on the game when it comes to festivals. It's a challenge because they book so early, but I would love to do more of those in the summer. Alex is a school teacher, a strings teacher and Ryan also works for public schools, so during the school year, it's a little tough to get away for a while. Once the summer comes around, we really need to have our A game ready to be brought.
KM: Well, hey, Delfest is always Memorial Day weekend and that a public school holiday!
Alex: We'd love to play Delfest, DELYEAH! We also love Kingman Island (Bluegrass Festival).
Donnie: There's a couple festivals that we talked about ready but you know, schedules aren't working out at the moment. For me, the biggest thing this year is I'm just so excited to get this album out. I've been on the graphic designer for the band, so I've been doing nothing but working on the album cover and press material, all the promotional material - trying to get all that sorted out. I haven't really thought too far past Valentine's Day, to be honest with you, because I'm just trying to get all that ready.
Alex: We were really excited to play Union Stage - that was a first one for us. That area has opened up so much over at The Wharf. We've been frequently playing at Pearl Street (Warehouse), which is fantastic, but we were really excited to also check out what Union Stage had to offer. Actually, where we're going to have our album release party which is at Dangerously Delicious Pies, it will also be our first time there too. I feel like we're already kind of diving into some new venues that we haven't played before, which is on the bucket list to just do that and then also expanding. Going down to Richmond, going down to Virginia Beach, kind of seeing what options are available to us outside of the area to just see where we can go from there.
KM: Well thank you guys so much for doing this interview!
Get tickets for the Two Ton Twig at the Solace BreweryTap Takeover Sunday January 20, 2019 at Whitlows here and also keep an eye out for the new album coming on Valentine's Day, February 14th. More info on their website


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