Posts by David Hoffman

If there’s a word that best defines British soul singer Lianne La Havas, it’s authentic.  She brought her blend of authenticity, charm, and soulful talent to her performance at Washington, DC’s The Hamilton Live on February 3rd, 2016. Though ​she played sans band, she commanded the stage with a ​humble demeanor and delightful ​performance style […]

When it comes to turning the angst and energy of an album into performance magic, Stars is matchless. Simply put, if you have the opportunity to see them in concert, don’t pass it up. Their packed show Thursday, November 13th at the 9:30 Club in Washington, DC was heavy on pomp and circumstance, feeling more like a celebration than […]

[rating=8.00] Known for a catalogue of passionate, emotional and cathartic albums and tracks, Stars latest No One Is Lost, (out October 14th) kicks off on a surprisingly, and enjoyably, buoyant note on “From The Night” that carries listeners with a sense of momentum that is both fresh and celebratory. It becomes clear here not only is […]

“Somebody’s Talking” is a deliciously catchy, foot-tapping tune full of sass and momentum.

There’s some wit here, and even smart anecdotes on our social media-driven culture, which will keep listeners thinking while they tap their feet, but with uninspired music backing that type of sharp cultural reflection, the result is a somewhat hollow offering from a band that’s shown they’re capable of much more.

Cut Copy fed off the energy of the audience all evening, encouraging dancing and blissfully singing along, and they left the Washington, DC crowd exactly where a band should want them: happily wanting more.

The Civil Wars eponymous second record, likely exemplifying the irony of their band name better now than ever, is an intensely melancholy and yet genre-expanding contribution from a band we may never hear from again.

One leaves a Rufus Wainwright concert torn between the terrible choice of giving in to their desire to listen to songs they just heard as album versions set against the stark reality that the version they heard live will almost certainly cause the audio version to pale in comparison– and this goes even for solo shows like the one at the 9:30 Club.

On their sophomore release Hummingbird, Local Natives engage listeners in an unexpectedly mature and serious album that divides its time well between showcasing vocals, instrumentation and emphasizing emotional melodies.

No one knows how long the indie-folk moment The Lumineers are spearheading will stay aflame but with performances, and sold out shows like this audiences will likely be able to see a progression and hopefully a maturation from the jam-based folksy energy into something more.

This may not change the world of folk/pop music, but through McKeown's deft hand at flirting with different genres, all against the backdrop of solid songwriting, Manifestra holds its own in her discography and is a great step forward for her.

Authenticity, among other things, drives this album, and this band, to bridge the gulf between west-coast sunshine-pop and mid-west folksy rock. With the energy of youth and the buoyancy of hope and possibility, The Lighthouse and The Whaler deliver here with an engaging sound that shows room to grow and mature and will hopefully carry forward and be enhanced by their solid production, passionate lyrics and innovative instrumentation.

Centipede Hz is a step forward for Animal Collective while not really coloring to riskily outside the lines.

On Gossamer, Passion Pit is taking a step forward in craftsmanship, genre-bending experimentation and delivering once again a powerful and enjoyable album experience.

Combining a witty lyrical framework with a grand sense of musical pomp and circumstance, Kimbra uses her debut album Vows to provoke listeners to be bold and go against the flow.

Neck of the Woods is a compelling reminder that bands can successfully blend personal expansion and experiments while paying homage to years gone by.

Beware and Be Grateful manages to dodge mediocrity with its bombastic sound and clever sonic architecture, but it still slightly misses the mark by flexing muscles that may have been better served with consistency over experimentation.

he Lumineers is an incredibly impressive opening statement from a band with a lot to say, but who is determined to say it with a level of emotional integrity that is bound to resonate across genre.

Ultimately, New Wild Everywhere just doesn’t go many places that the band hasn’t already gone, and instead gives glimpses into the exciting styles of other bands and influences without elevating those for Great Lake Swimmers.

Always facing the specter of a comparison to 69 Love Songs, Merritt and company have produced an album that maintains their classic factors of fun, wit and innovation while coupling it all with a palpable sense of maturity that will make longtime listeners nostalgic for their older work while enjoying the progression that this album represents.