Against The Odds Tour
Doors: 6:30PM / Show: 8:00PM
Super Excellent Seats are non-transferable. The ID of the original purchaser must be presented to pick up the tickets. Super Excellent Seats will be made available for will call pick up no earlier than 30 minutes prior to doors.
All patrons must be fully vaccinated against COVID-19 to attend this event. For those under the age of 12, a negative PCR or antigen lab test taken within 48 hours of the event will be accepted.
Undeniably one of the most trailblazing and influential bands of our time, Blondie is pioneering frontwoman/songwriter Debbie Harry, guitarist/conceptual mastermind Chris Stein and powerhouse drummer Clem Burke, along with now long-standing band members bassist Leigh Foxx, guitarist Tommy Kessler and keyboardist Matt Katz-Bohen.
Among their hits is the groundbreaking rock-disco hybrid “Heart of Glass” the equally influential hip-hop fantasia “Rapture” the stalker-love song “One Way Or Another” and the lilting calypso “The Tide Is High.” It is a thrilling journey back to when Blondie pushed punk onto the dance floor and introduced a wider audience to hip-hop sounds, all the while building a catalogue of
enduring hits along the way.
For the last four decades, Blondie has become and still remains a true global icon; one whose influence both shaped and continues to inform the worlds of music, fashion and art. From an irreverent Lower East Side punk outfit to bona fide international ambassadors of New York cool, Blondie will forever be synonymous with that punk spirit that lives somewhere in all of us. Their chart-topping success, fearless spirit and rare longevity led to an induction into the Rock ‘N’ Roll Hall of Fame in 2006 and more than 40 million albums sold worldwide to date. As we look back at the band’s storied career, it makes Blondie’s current vibrancy that much more stunning after 40 years of entertaining all of us.
And the band shows no signs of slowing down… following the release of their 11th studio album entitled Pollinator – which was selected as one of Rolling Stone Magazine’s 20 Best Pop Albums of 2017 – Blondie’s latest release, the BLONDIE: VIVIR EN LA HABANA soundtrack, comes from the short film capturing the band’s 2019 live debut performances in Havana, Cuba. The film achieved widespread recognition from the industry with a string of film festival premieres around the world, including its UK premiere at the Sheffield Doc/Fest and US premiere at the Tribeca Festival in June. Additionally, the first authorized Blondie Archive project in the band’s history — including extensive liner notes, complete discography and a historical photographic history hard cover books plus rare unreleased bonus material — will be released on August 26, 2022.
With four songwriters on the team – on top of founder members Sensible and Vanian, their keyboard wiz Monty Oxy Moron (joined in ’96) and drummer Pinch (1999) both contribute compositionally – each set to work in isolation. As their sticksman resides in San Diego, there were no full-band run-throughs of the 20 tracks they penned until they convened with Visconti in October ’17 for Day One of an intensive nine-day session at Brooklyn’s Atomic Sound.
Says Sensible, “The studio has a heap of wonderful-sounding antique valve gear and mics, and a lovely old Neve desk. Tony had us all playing live, bashing it out in the same room – the same way our debut album was made.”
Just before the sessions commenced, post-millennial bassist Stu West quit, making possible a short-term recall for Paul Gray, a Damned alumnus from the early-’80s purple patch that spawned the ‘Black Album’ and ‘Strawberries’. “Paul’s a spectacular bassist,” confirms the Captain. “He once told us that if he got paid by the notes he crams into a gig, he’d be a multi-millionaire.”
Lifelong fans and newcomers alike will be blown away by the sheer breadth and quality of ‘Evil Spirits’: there’s hurtling Scott Walker-esque chamber pop (‘Standing On The Edge Of Tomorrow’), Farfisa-stabbing garage-psych (‘Devil In Disguise’), even the sweeping Broadway-isms of ‘Look Left’. There’s diversity, too, in the character of The Damned’s main players: Vanian, often cited as the very originator of goth, brings his brooding nocturnalist perspective to ‘Shadow Evocation’, while the madcap polemicist Sensible serves up unforgettable agit-pop aplenty.
Crammed within ‘I Don’t Care’’s all-too-fleeting three minutes are a trio of distinct movements – one with Vanian musing amid piano and violins, and a second where his care-free feelings boil over into eruptive Who-esque rock, before we finally come to earth with a jazzy late-nite outro. It’s punk, Jim, but not as we’ve ever known it before.
Also a Damned constant are the premier-league tunes: songs are filled to bursting point with melodies, with scarcely a second of airtime wasted. The Captain’s swingeing critique of Blairite imperialism, ‘We’re So Nice’, bounces along gloriously on a Tamla beat and is supremely catchy.
“At the end of the day,” he observes, “it’s all about the tune, and making something fabulous that grabs the listener. The message is a bonus. The songs are mostly a reaction to the lunacy of today’s nonsensical politics. I started buying records in 1967, the Summer of Love. There were so many positive changes happening through the ’60s and ’70s – civil rights, feminism, the anti-nuclear demos. Whatever happened to all that? Where are today’s anti-war marches? Whatever happened to the beautiful hippy dream of worldwide peace and love?”
901 Wharf St SW
Washington, DC, 20024